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THE PROFESSIONAL LIBRARY OF
CHARLES PETER WEEKS
ARCHITECT OF THE CAPITOL EXTENSION BUILDINGS
HAS BEEN PRESENTED TO THE CALIFORNIA STATE
LIBRARY BY HIS WIDOW.
THIS VOLUME IS A PART OF THAT COLLECTION.
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California Slate Library
CALIFORNIA
State Library
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Call No.Op£££^^$S$>
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Digitized by the Internet Archive
in 2013
http://archive.org/details/brickbuild17unse
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THE
BRICKBVILDER
OBAN Hi
ARCHDBCVRAL
MONTHIY
^....■-■^■■■-,
ED BY ROGERS & MANSON
WATER STREET BOSTON N.
THE BRICKBUILDER-INDEX.
PLATE ILLUSTRATIONS.
Architect.
KuiUling and Location.
\. V.
10,
Conn.
143'
Adams, William House, Woodmere, L. I.
Aiken, William Martin Bath House, New York
Almirall, Raymond F Fordham Hospital, New York
Andrews, Jacques & Rantoul Armory, Haverhill, Mass
Atterbury, Grosvenor House, Locust Valley. L. I., N. Y
Bacon, Henry , Eclectic Society Building, Middletown,
Bacon| Henry Bank, New Rochelle, N. Y
Bell, A. S House, Irvington on- Hudson, N. Y.. .
Boring, William A House, Mamaroneck, X. Y
Boring, William A \partment, New York
Boring, William A St. Agatha School. New York
Bosworth & I lolden Church House, New York
Bragdon, Claude Church. Rochester. N. Y
Brainerd & Leeds Schoolhouse, Maiden, Mass
Brunner, Arnold W Bath House, New York
Day, Frank Miles & Brother House. Wynnewood, Pa
Delano & Aldrich House, Mount Kisco, N. Y
Eyre, Wilson House, Chestnut Hill, Pa
Frost & Granger House, Washington, D. C
Haight, C. C Armory. New York
Hale, Herbert D Bath House, Boston
Hering, Oswald C House, Lexington, Mass
Herts cc Tallant Gaiety Theater, New York
Herts & Tallant Academy of Music, Brooklyn 120, 121, 122, 123, 124, 125,
Howard, Philip B House, Dover, Mass
Howard & Dudley House, Concord, Mass
Keen, Charles Barton House, Wilmington, Del
Keen, Charles Barton House, Wilmington, Del
Keen, Charles Barton House, Overbrook, Pa
Kelsey cc Cret International Bureau of American Republics
Kiessling, Calvin Y. M. C. A., I )avenport, Iowa
Kilham & Hopkins Schoolhouse, Marblehead, Mass
LeBrun, N. & Sons Building for Metropolitan Life Insurance Co., New York
Little & Browne House, Prides Crossing, Mass
Longfellow. A. W Town Hall, Lancaster, Mass
Lord & Hewlett Armory, Brooklyn . .
Lowe, F. F. and Robert S. Peabody,
Associated Power Station, Boston
Lowell, Guy Stevens Memorial Library, No. Andover, Mass
Lowell, Guy Club House, Andover, Mass
MacClure & Spahr University Club, Pittsburg
Maginnis, Walsh & Sullivan Bath House, Boston
Mauran, Russell & Garden Racquet Club, St. Louis
Mauran, Russell & Garden Church, St. Louis 147,
Murphy & Hindle St. Ann's (R. C.) Church, Cranston, R. I
Page, George Bispham Post Office, Allentown, Pa
Page & Frothingham House, Lexington, Mass
Parker, Thomas & Rice House, North Easton, Mass
Parker, Thomas & Rice Tarratine Club, Bangor, Me
Peabody iv Stearns Electrical Engineering Building, Worcester, Mass
Peabody & Stearns, Maginnis,
Walsh & Sullivan, Coolidge &
Carlson, Associated Normal and Latin School Group, Boston 35,
Peabody <!v. Stearns House, New Haven, Conn
Perkins, Charles Bruen Vincent Memorial Hospital
Perkins & Hamilton Park Department Building, Chicago
Pilcher, Thomas & Tachau Armory, Brooklyn
Pond cm Pond Post Office, Kankakee, 111
Pope, John Russell House, Washington, D. C
Rantoul, William G House and Stable, Beverly Farms, Mass
Renwick, Aspinwall & Owen .... Bath House, New York
Revels & Hallenbeck Hall of Natural History, Syracuse, N. Y
Revels & Hallenbeck Hall of Chemistry, Syracuse, N. Y
Revels & Hallenbeck Library, Syracuse, N. -Y. ... 4_ ......
Rogers, James Gamble House, Cincinnati."', .;. j.*.«. :.-<.'.. '.:.:':. ,•..-. „•*"•, .*.';
Sauer, Andrew J Synagogue, PhiladelpKia".'.". .*.'.*. . .'. '. .*.*: '. . :.''.'
Shaw, Howard Van D Building for Ginn #. Co.,.Chioago ...k
Shepley, Rutan & Coolidge House and Stab/e.'.ija^'c. Geneva, ^Vis. .••. ; .-/-%. { .!•:
Shepley, Rutan cc Coolidge House, Brookline,'Mass'. '. .' .'.' '. '.:'.'.. .'.". '. ." . .*. '. .'.''.
Spencer & Towers House and Stable, Lake Forest, 111
Sperry, Joseph Evans Bank, Alexandria, Va
Spiering, Louis C Artists' Guild, St. Louis
Streeton, George H St. Ambrose ( R. C.) Church, Brooklyn
Sturgis, R. Clipston Franklin Union, Boston
Sullivan, Louis H National Farmers Bank, Owatonna, Minn
Taylor, G. Wood Nayasset Club, Springfield, Mass
Thain & Thain Apartment, New York
Trumbauer, Horace Racquet Club. Philadelphia
Plate No.
Month.
17
February
51
April
74, 75- 76. 77
June
114
August
1 1, 12, 13, 14
January
133
November
•S3
I >ecember
56
April
54, 55
April
82,83
June
130. '31, U-
November
78, 79, 80, 81
June
144, 145, 146
1 >ecember
43. 44
March
51
April
4
January
58
April
J54
December
18, 19
February
«i3
August
5°
April
96. 97
July
119
October
126, 127, 128
October
99
July
99
July
23
February
24
February
92
July
117, 118
October
62, 63, 64
May
7', 72
May
7°
May
93' 94- 95
July
IS1! '52
December
110, III, 112
August
73
June
5, 6, 7, 8
January
5- !5, l6
January
25
February
J38, 139
November
141, 142
November
148, 149, 150
December
101
August
104
August
87, 88
July
1, 2. 3
January
49
April
28, 29, 30
February
36, 40, 41, 42
March
100
July
47. 48
April
108, 109
August
102, 103
August
105, 106, 107
August
37. 38, 39
March
89, 90
July
140
November
59, 6o
May
59, 6o
May
61
May
57
Aprd
2 0, 21, 2 2
February
85,86
June
52» 53
April
'55
December
65, 66, 67
May
26
February
!34. 135
November
31. 32, 33,34
March
'36, 137
November
115, 116
October
27
February
84
June
68, 69
May
12437' 5
Architect.
THE BRICKBUILDER-INDEX.
PLATE ILLUSTRATIONS— Continued.
Building and Location.
Winslow & Bigelow House, Dover, Mass
Wood, Donn & Deming Car Barns, Washington, D. C.
Wood, Donn & Deming House, Washington, D. C
Wyatt & Nolting House, Roland Park, Md
Plate No.
91
45. 46
156
98
Monti).
July
April
1 )ecember
July
FRONTISPIECES.— FULL-PAGE HALFTONE ILLUSTRATIONS.
Building and Location.
Royal Palace, Frederiksborg, Denmark
Town Hall, Lubeck, Germany
South Transept, Church of St. Stephan, Tangermunde,
Germany
South Portal, Church of St. Stephan, Tangermunde,
Germany
West Front, Cistercian Monastery, Chorin, Germany. . .
Month.
January
February
March
April
May
Building and Location. Month.
The Castle, Marienburg, Prussia June
Town Hall, From the Court, Lubeck, Germany July
Apses, Cistercian Monastery, Chorin, Germany August
Church of St. Gereon, Cologne, Germany September
East End, Church of St. Gereon, Cologne, Germany. . . . October
The Franciscan Monastery of The Trinity, Dantsic, Ger. November
Church of St. Catharine, Brandenburg, Germany December
MISCELLANEOUS ILLUSTRATIONS IN LETTER-PRESS.
This list does not include illustrations made in connection with articles nor those of terra cotta details.
Title and Location.
Academic Building, Naval Academy, Annapolis, Md
Administration Building, Naval Academy, Annapolis, Md
Agricultural School, St. Paul, Minn
Apartment, The Lorraine, Norfolk, Va
Apartment, The Cordova, Washington, D. C
Apartment, The Robertson, Cincinnati
Barn, Hamilton, Mass
Boat House and Refectory, Garfield Park, Chicago
Boat House and Refectory, Douglas Park, Chicago
Boat House and Refectory, Garfield Park, Chicago
Chapel, Naval Academy, Annapolis, Md
Chocolate Factory, Milton, Mass
Church, St. Aloysius, Jersey City
Church, Christian Scientist, South Bend, Ind
City Hall, South Bend, Ind
City Houses, a Group of Forty-three, New York City
Confectioner's Shop, Interior, Boston
Document Building for The Edison Company, Boston
Dome, Interior, Worcester County Institution for Savings, Worcester, Mass.
Dome, Interior, Westmoreland County Courthouse, Greensburg, Pa
Elgin Watch Works, Elgin, 111
Farmhouse, Bedford, Mass
Fireplace
Fountain, Palm Room, Statler Hotel, Buffalo, N. Y
Garage, Cincinnati
Hospital, Administration Building, St. Louis
Hotel, The Oliver, South Bend, Ind
House, Cincinnati
House, Cincinnati ,
House, Cleveland
House, Columbus, Ohio
House, Denver
House, Fort Thomas, Ky
House, Ithaca, N. Y
House, Reno, Nev
House, Washington, D. C
House, Winchester, Mass
House, of Terra Cotta Blocks
House, of Terra Cotta Blocks, Padanaram, Mass
House, of Terra Cotta Blocks
Infirmary, The Touro, New Orleans, La
Library, Grand Rapids, Mich
Mantel
Municipal Building, Washington, D. C
National Museum, The Fireproof Construction, Washington, D. C...
Office Building, The Mentor, Chicago
Office Building, Entrance to Metropolitan, St. Louis
Office Building, The Sellwood, Duluth, Minn
Office Building, The Tribune, Chicago
tffice Building, The Grinnell, Detroit
Dffice Building, For Detroit Gas Co., Detroit
)ffice Building, The Hudson Terminals, New York
Dffice Building, For City Investing Co., New York
Office Building, Detroit
Architect.
Ernest Flagg
Ernest Flagg
Clarence H. Johnson. .
Ferguson & Calrow . . .
Wood, Donn & Deming
Philip B. Howard .
W. C. Zimmerman . .
W. C. Zimmerman . .
W. C. Zimmerman . .
Ernest Flagg
Winslow & Bigelow
Charles Edwards. . .
S. S. Beman
A. B. LeBoutillier
Winslow & Bigelow ....
Winslow & Bigelow
William Kauffman
Patton, Miller & Abbott
Philip B. Howard
Esenwein & Johnson
S. Hannaford & Sons
James A. Smith
Shepley, Rutan & Coolidge
James Gilmore . . . ,
Harlen E. Shimmin . .
Julian & Julian
Sterner & Williamson .
George O. Totten ,
Allan E. Boone. . .
Philip B. Howard. . . .
Squires & Wynkoop . .
Favrot & Livaudais . .
Williamson & Crow..
Carpenter & Crocker.
Cope & Stewardson . .
Howard Van I). Shaw
Mauran, Russell & Garden,
William \. Hunt
Albert Kahn
. John Scott & Co.. . .
Clinton & Russell. .
, Francis H. Kimball.
Albert Kahn
Page.
Month.
43
February
IOO
May
221
September
20
January
22
January
64
March
6l
March
129
(une
lS3
July
i73
August
43
February
284
December
6S
March
263
November
63
March
87-210
September
241
October
284
December
62
March
62
March
243
October
61
March
262
November
85
April
'51
July
66
March
44
February
22
January
108
May
13°
June
i 76
August
22
January
64
March
108
May
2 43
October
64
March
148
July
■52
July
'75
August
261
November
220
September
44
February
242
October
>52
July
240
October
l9
January
87
April
87
April
106
May
106
May
'75
August
219
September
262
November
265
November
THE BRICKBUILDER-INDEX.
MISCELLANEOUS ILLUSTRATIONS IN LETTER-PRESS - Continued.
-
Title and Location.
Architect.
Opera House, Pittsburg, Pa MacClure & Spahr
Parish House and Sunday School Building, Buffalo, N. V Thomas W. Harris
Pavilion for Live Stock, Indianapolis, Ind Rubush & Hunter
Police Station, St. Louis James A. Smith
Railway Station, Newbury, Ohio
Railway Station, Washington, D. C D. H. Burnham & Co. .
Schoolhouse, South Bend, Ind George W. Selby
Shelter, Lakeshore Playground, Chicago Perkins & Hamilton . .
Society Building, I. O. O. F., Buffalo
Store Building, Monticello Arcade, Norfolk, Va Neff & Thompson ....
Store Building, The 1 >ean, South Bend, Ind George W. Selby
Store Building, The Driscoll, Boston Peabody & Stearns
Store Front, Cincinnati, Ohio Frank M. Andrews
Store and Loft Building, Boston Bowditch & Stratton .
Store and Loft Building, Boston Wheelwright & Haven . .
Store and Loft Building, Chicago Richard Schmidt
Store and Loft Building, Pittsburg Charles Bickel
Synagogue, Columbus, Ohio Jacob S. Goldsmith
Terra Cotta Hollow Tile Construction, Examples of
University of Minnesota, Minneapolis, Minn Clarence H. Johnson
War College, Map Room, Washington, D. C McKim, Mead & White
Window Seat Willard T. Sears
''age.
44
I 10
220
108
I07
172
'73
»3°
2 1
174
28S
86
218
218
21S
221
66
83-84
128
107
•51
Month.
February
May
September
May
May
August
April
August
June
January
August
December
April
September
September
September
September
March
April
June
May
Hy
,'
ARTICLES.
Academy of Music, Brooklyn By Herts & Tallant
Apartment House, A Modern I'aris . . .By George B. Ford
Apartment Houses, Development and Financing of
, . By F. Harris Janes
Architectural Books, On the Buying of . . By L. A. Warren
Architectural League of America, Report of Annual Convention
Architectural Study in Western France, Suggestions for . . .
By Frederick Reed
Armories for the Organized Militia I, By Lieut.-Col. J. Mollis Wells
Armories for the Organized Militia II
By Lieut.-Col. J. Hollis Well-
Armories for the Organized Militia III
By Lieut.-Col. J. Hollis Wells
Bath, The Public I By Werner & Windolph
Bath, The Public II By Werner & Windolph
Bath, The Public III By Werner & Windolph
Bath, The Public IV By Werner & Windolph
Bath, The Public V By Werner & Windolph
Brickwork Details II ... . By Halsey Wainwright Parker
Brickwork Details III. . . . By Halsey Wainwright Parker
Brickwork in East Anglia 169
Bungalow, An Interesting By W. II. Ansell
Church, Second Baptist, St. Louis 285
Church, The Denominational I ... By C. Howard Walker
Courthouse Planning By Thomas M. Kellogg
Dalecross Grange and Other Houses ... By Michael Bunney
Department Store Plan .... By John Lawrence Mauran
English Brickbuilders, The Work of H. R. and B. N. Poulter .
By R. Randal Phillips 15
f?e.
Month.
2T?
October
101
May-
276
December
S4
March
214
September
279
December
120
June
'39
July
•ss
August
^7
February
SO
March
70
April
92
May
"5
June
8
January
33
February
169
August
59
March
28 s
December
267
December
24S
November
97
May
252
November
January-
Page.
English Brickbuilders, The Work of R. Weir Schultz ....
By R. Randal Phillips 256
Fireproof Building Which Was Fireproof 60
•' Homewood," A Famous Colonial Mansion of Maryland ... 55
Hospital, The Contagious By Edward F. Stevens 183
New York City Houses, A Series of Illustrations .... 187-210
Photographs and Magazine Plates, Arrangement of
By Sidney F. Kimball
Railway Station, A Village . . . .By William Leslie Welton
Sanatoria for Consumptives By T. MacLaren
Sanatoria for Consumptives .... By Scopes & Feu'stmann
Standard Architectural Books for Offices and Public Libraries, A
List By Edward R. Smith
Standard Architectural Books for Offices and Public Libraries, A
list By Edward R. Smith
Standard Architectural Books for Offices and Public Libraries, A
List By Edward R. Smith
Swimming Pool, A Third Floor 96
Theater, The American II By Clarence H. Blackall
Theater, The American III. . . . By Clarence H. Blackall
Theater, The American IV .... By Clarence H. Blackall
Theater, The American V .... By Clarence H. Blackall
Theater, The American VI .... By Clarence H. Blackall
Theater, The American VII . . . . By Clarence H. Blackall
Theater, The American VIII . . . By Clarence II. Blackall
Theater, The American IX ... . By Clarence H. Blackall
Theater, The American X . . . . By Clarence II. Blackall
Theater, The American XI . . . , By Clarence H. Blackall
Theater Building Competition . . The Successful Competitors
79
104
«77
223
149
167
Month.
November
March
March
September
September
April
May
September
October
July
August
2IS
96
September
May-
2
23
46
January
February
March
67
89
April
May
in
June
'33
■63
185
2i-
July
August
September
1 'ctober
40
February
EDITORIALS AND MISCELLANY.
Page. Month.
Apartment House, Park Avenue and Sixty-first Street, New York 129 June
Apartment House, Madison Avenue and East Fifty-fifth Street,
New York 130 June
Architects vs. Contractors and Dealers 62 March
Artists' Guild, St. Louis 264 November
Beautiful Boston, A More 262 November
Bills Before the Massachusetts State Legislature, Two Important 1 January-
Boulevard for Paris, New 138 July-
Building Opportunities in Cuba 64 March
California Law of Interest to Architects 20 January
Church, St. Ambrose, Brooklyn 66 March
Clays and Burnt Clay Building Materials to be Tested by the
• Government 260 November
Competition for the Western University of Pennsylvania ... 19 January
Competition for the Springfield Massachusetts Municipal Building
Group 173 August
Cost of Building in 1908 150 July
Dome, Westmoreland County Courthouse 66- March
Drury Lane Theater, London. Destroyed by Fire 130 June
Edison's Cast House 63 March
Elevator Travel in New York City 8 January-
Fire at Chelsea, Mass 85 April
Fire at Pottatown, Pa., and Collinwood, Ohio 85 April
Fires in the United States and Canada 106 May
Fireproofing the National Museum, Washington 241 October
Great Dailies are Lending a Hand 218 September
Guastavino, Rafael 40 February-
Herculean Arch am! Phoenix Wall Blocks 86 April
High Pressure Water Mains \".-w York City 151 July
Page. Month.
Hollow Block Walls and Veneer of Bricks 131 June
Hospital Building Competition 239 October
L'Enfant's Plan of Washington 106 August
Lighting for Libraries, New 263 November
Limit to the Skyscraper. Is There One ? 152 July
Madison Square Garden 263 November
McComb, John, Jr., and New York City Hall 39 February
Monotony of American Streets 172 August
" Open Shelf " Craze for Libraries 152 July
Park Building, Chicago, Two New Ones 174 August
Parker Building Fire 20 January-
Parker Building Fire 41 February
Polychromatic Exterior Glaze Decoration 128 June
Restricting Skyscrapers 241 October
Schoolhouse Fire at Cleveland 60 March
Sing Sing Prison Competition, Findings of Board of Award . . 172 August
Sing Sing Prison, New York 213 September
Skeleton Skyscraper in New York, The First 172 August
Stadium at London 173 August
State Legislature to Aid the Transaction of Real Estate Business
in New York City and State 150 July
Terra Cotta Tile Blocks for Walls of House 85 April
Theater Competition, Prize Winners 19 January
Tiles of Pearl and Cement 8 January
Toll of Carelessness 129 June
Tribune Building, Chicago, Tested by Fire 106 May
Washington Property, Purchase of by the National Govern-
ment 21 January-
Wood Still Principal Material Used in Building Construction . . 262 November
THE BRICKBUILDER
Volume XVII
JANUARY 1908
Number i
PUBLISHED MONTHLY BY ROGERS & MANSON
85 Water Street ... Boston, Massachusetts
Entered at the Boston, Mass., Post Office as Second-Class Mail Matter, March 12, 1892. Copyright, 1908, by ROGERS & MANSON
Subscription price, mailed flat to subscribers in the United States, Insular Possessions and Cuba . . .... $5.00 per year
Single numbers .................... 50 cents
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To Foreign Countries in the Postal Union ............... . $6.00 per year
SUBSCRIPTIONS PAYABLE IN ADVANCE
For sale by all news dealers in the United States and Canada. Trade supplied by the American News Company and its branches.
ADVERTISING
Advertisers are classified and arranged in the following order,:
Agencies — Clay Products
Architectural Faience
" Terra Cotta
Brick ....
PAGE
II
II
II and III
III
page
Brick Enameled . . . . . . . . .Ill and IV
Brick Waterproofing ......... IV
Fireproofing . . . . . . . . . . IV
Roofing Tile .... IV
Advertisements will be printed on cover pages only
PLATE ILLUSTRATIONS
CONTENTS
From Work by
GROSVENOR ATTERBURY; FRANK MILES DAY & BROTHER; GUY LOWELL; PARKER,
THOMAS & RICE.
LETTERPRESS
PAGE
ROYAL PALACE, FREDERIKSBORG, DENMARK... Frontispiece
EDITORIALS '
THE AMERICAN THEATER— II Clarence H. Blackall 2
BRICKWORK DETAILS — II Ifalsey Wainwright Parker
DETAILS, HOUSE AT LOCUST VALLEY, L. I Grosvenor Atteriury, Architect. Illustration 13
INTERIORS, HOUSE AT LOCUST VALLEY, L I Grosvenor Atteriury, Architect. Illustration \\
SOME ENGLISH BRICKBUILDERS. THE WORK OF H. R AND B. A. POULTER R. Randal Phillips 15
EDITORIAL COMMENT AND SELECTED MISCELLANY 19
IH<<<<<<<<^<^^<<v^/v</<</<<<<<<<v<</<^<<<<<<<»>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>yy^a
THE BRICKBVILDER
L.YOL. 17
DEVOTEDTO THE-1NTERE3TJ-OF-ARCHITECTVHE-1N MATERIAU-OECLAY-
JANUARY 1908:
ti<<<<<<<<<<<<<<</<<<<</<<<<<<^<<«<<<<<<<<<<<^««>>>>>>>>>>>v>>>>>>>>v>>>>>>>>>>»»»»»»?yrff7?]a
■ i
TWO bills of great importance to the future of build-
ing in Massachusetts are now before the State Leg-
islature. One of these, presented in the name of the
Boston Real Estate Exchange, provides that mortgages
placed on real property during the progress of improve-
ments on the property, for the purpose of providing funds
to pay for such improvements, shall have precedence over
mechanics' liens connected with the improvements. We
may say that it is our own belief that the special privi-
leges granted to mechanics by the lien laws are not only
unconstitutional and contrary to the spirit of free govern-
ment, but that they form a direct and powerful encour-
agement to shiftlessness and improvidence on the part of
workingmen, as well as an unfailing support to the swin-
dling builders who flourish under them. Apart from the
larger view of them, however, they act, in practice, to
prevent investment in building, for the reason that no one,
unless he is paid an extravagant rate of interest to com-
pensate him- for this risk, will lend money to finance
building operations, with the prospect that mechanics'
liens, perhaps to the full amount of his loan, may at any
time, without notice, be inserted, so to speak, between
his mortgage note and the security for it. If it were not
for this liability to loss of the principal through unex-
pected mechanics' liens, mortgage loans for improvement
would be a very favorite form of investment, and multi-
tudes of building projects would be carried through at
moderate rates of interest which cannot now be financed
or, if at all, only at extortionate interest rates.
Another bill, not at all connected with that of the
Real Estate Exchange, yet forming a valuable com-
plement to it, provides that Massachusetts savings banks
shall, after the passage of the Act, keep at all times at
least sixty per cent of their deposits invested in first
mortgages on real estate, such mortgages not to exceed
in amount, in any individual case, sixty per cent of the
assessed value of the mortgaged property. This is cer-
tainly a conservative measure, and should be heartily en-
dorsed by those who have seen savings banks elsewhere
brought to grief within the last few months by invest-
ments in personal property. The objection which will
be made to it is, that as it is slow work to realize cash in
case of need from mortgages, the savings banks, to fortify
themselves against a sudden run upon their resources,
should have the privilege of changing their investments
in their discretion from real estate mortgages to stocks
and bonds, which are more readily turned into cash.
There is, of course, a good deal of justice in this view,
but in practice it is the source of much hardship to own-
ers of^ mortgaged real estate, who find themselves, in
times of sudden panic, like those we have just passed
through, very generally compelled to raise money at a
ruinous sacrifice, or lose their investment entirely, as the
result of a sudden change of policy on the part of the
savings banks in regard to mortgage loans falling due.
It is hardly necessary to say that the liability to this
does much to discourage building operations, which, like
all other business operations, must be carried on largely
with borrowed money, the only difference being that
in the judicious improvement of real estate, the money
invested is safer than in any other mercantile transac-
tion, although the goods produced with its help are less
quickly salable than in other industries. The savings
bank committees, recognizing both these points, yet
fearing to be called upon at any moment for an amount
of cash which cannot be quickly realized from fore-
closures, are, under the present laws, compelled to con-
vert their mortgage securities into those more promptly
marketable, at the worst possible time for those to
whom they have lent their money. It seems to us that
this difficulty, which is a very serious one for building
interests, might be met with great advantage, both to
the savings banks and the owners of real estate, by an
extension of the emergency currency idea now so much
talked of as a relief for national banks. In general, the
plan for national banks is to have them deposit securities
with the Treasury Department, and receive, as a loan upon
them, currency to seventy-five per cent or so of their par
value, which can be used for paying their depositors'
checks. The various schemes differ as to what sort of
securities shall be accepted, and the rate of interest
which the banks shall pay for the accommodation; but
in the case of savings banks both these details can
easily be settled. As no security could be better than
first mortgages on real estate, not exceeding in amount
sixty per cent of the assessed valuation, a State Treas-
urer, or, possibly, some bank of reserve, under state
authority, would find it very simple to receive such
mortgages from the savings banks as security, and issue
upon them emergency currency to the amount of three-
quarters of their face value, at a rate of interest which
the savings banks, who would be collecting interest all
the time on the mortgages themselves, could pay with-
out any loss, and which would be sufficiently remunera-
tive to the bank of reserve, or to the state treasury; at
the same time that any possible run on a savings bank
so conservatively managed as this bill requires would
be amply provided for.
THE BRICKBUILDHR.
The American Theater. — II.
THE PLAN.
BV CLARENCE H. ULACKALL.
OF theaters erected in the early years of the 19th
century there is little that can be said. The public
sentiment of the country as a whole was decidedly
hostile to theatrical representations of any sort. The
talent available was beneath criticism as a whole, and
the country was too poor to think of building any monu-
ments. Furthermore, the
remarkable Millerite move-
ment which spread over the
country in the late forties re-
sulted in the obliteration of
what few reputable theaters
existed, the best of them be-
ing turned into churches, and
the others remodeled for busi-
ness purposes or destroyed.
There was a good theater in
Boston at that time, portions
of which were converted into
the original Tremont Temple.
There was also a Tremont
Theater close by, the last ves-
tiges of which were destroyed
by the fire in the so-called
Studio Building within the
past year, the theater having
been debased to a storeroom
for carpets.
The year 1850, or there-
abouts, witnessed the con-
struction of the Boston The-
ater, an edifice which was so
well planned that to-day it
holds its own with the more
modern structures and is con-
sidered, and quite rightly, one
of the best.
The Academy of Music in
Xew York and the Academy
at Philadelphia were also
built in the years just before
the Civil War, and inciden-
tally it is of interest to note
that these three theaters we're
government at the crowning period of the reign of Napo-
leon III decided to build a new opera house, a commission
of experts was formed to study the problem in all coun-
tries. This commission, in its report to the government,
called special attention to three American theaters — the
Boston Theater, or ( )pera de Boston, as they called it, tbe
Academy of Music at New York and the Academy at Phil-
adelphia, all of which were cited as excellent models to be
considered. When Gamier was finally commissioned to
design the Paris Opera, his chief innovation, in fact,
almost the only departure from the convention of
precedent lines was in the relation between the exterior
well and favorably known abroad. When the French
WASHINGTON iTttlXT
PLAN OF ORCHESTRA FLOOR, BOSTON THEATER.
of the building and the plan. The mere audience room
and its relation to the stage was designed exactly along
the lines which had been followed for so long in Europe
and which had been applied, with but slight modifica-
tions, in the three American theaters mentioned,
but Gamier was the first modern architect to strongly
emphasize the exterior treatment of the plan. The
Paris Opera shows a long colonnaded loggia, corre-
sponding to the entrance approaches, beyond this, a
slightly higher glass dome corresponding to the salle,
and a high pediment behind the whole and dominating
the design, marking the stage. It has been considered
that his solution was final.
European theaters have very
generally accepted it as
such, and the majority of
opera houses and theaters de-
signed abroad have shown a
striving after the tripartite
arrangement of the exterior.
As a matter of fact, two-thirds
of < iarnier's exterior is utterly
false to the plan. The motive
of the facade does not corre-
spond at all to his approaches,
the dome over the salle lights
in a most extravagant man-
ner a scene painter's dock in-
stead of the hall itself, and the
relative proportions of the
body of the house and the
upper part of the stage are
out of all keeping with prac-
tical requirements. Every
architect who has been abroad
has been profoundly im-
pressed by Gamier s work, but
the impression has never been
sufficiently permanent to per-
mit of translation to this
country, and although in each
of the three early theaters
mentioned the lines of the
audience room are similar to
those of European theaters,
such lines did not find con-
tinued favor here, and we
have yet to see an American
theater that in any way re-
sembles in its scheme of
treatment the arbitrary divisional scheme of Mr. Gar-
nier.
The problem, as it usually presents itself to an archi-
tect to-day, is to pack the greatest number of seats into
the least possible space and omit everything in the way of
approaches and lobbies which the law does not absolutely
insist upon. Willis K. Polk, some years ago,, made a
very clever design for a theater, which adapted in a very
happy manner the motive of the Paris Opera House,
but so far as we are aware this was not carried out.
Most of our theaters are adjuncts of a commercial block,
often a part of it; and when they are separate buildings,
as in the case of the Majestic at Boston, the Illinois at
t^L
EL
PLAN Ol ORCUI. VVRA I LOOP
BOSTON jrni.ATRL
THE BRICKBUILDER
Chicago or the Garrick Theater in New York, the space
allowed the architect for approaches, stairs, etc., is so
inadequate that it is extremely difficult to treat the plan
in anything like an academic manner or to, in fact, make
any plan as such at all. Consequently the principles of
America theater planning are but few. The shape of
the auditorium is unfortunately fixed, in most instances,
by the available dimensions of the lot. The subject of
sight lines will be discussed in a separate chapter. The
front of the stage in plan is in
most theaters now carried
straight across, the apron, or
portion projecting beyond the
curtain line, being from three
to five feet deep at the most.
An orchestra is nearly always
provided for even though the
theater is intended for the giv-
ing of plays in which music
has no part, the so-called
" incidental music " being one
of the artistic inflictions on
our drama.
The space for the orchestra
is generally planned with the
assumption that there would
not be more than two rows
of musicians measured out
from the line of the apron,
and consequently a depth at
the center of six feet and a
half to the edge of the orches-
tra space is a minimum. The
chairs of the orchestra or par-
quet are best arranged in arcs
of circles, centering on a point
forty or fifty feet to the rear
of the curtain line, and in
actual practice it is a good
scheme to keep the center of
all seatings inside of the build-
ing so that the line can be
struck from a center without
offsets. The width of the
rows is fixed by law ^in' New
York City at two feet eight
inches. This gives comfort-
able spacing and is really
enough for every kind of thea-
ter. In a very few instances
this space has been increased
to three feet, and of course, in
theaters where there is ex-
pected to be a good deal of
going out between the acts, and especially in the cheaper
theaters where refreshments are served during the play
to spectators, the width should be not less than three
feet from back to back of seats.
Theater seats, or opera chairs, as they are specifically
termed, are made in varying widths from eighteen to
twenty-seven inches. In good practice, however, no
seats should be put in of less than twenty inches, and the
bulk of the seats should be twenty-ones or twenty-twos.
DESIGN FOR A THEATER.
By Willis K. Polk, Architect
In laying out the seats the various widths are used to fill
out the rows to bring the aisles even. The number of
seats in a single row is governed partly by custom and
partly by law. The Boston law does not allow any group-
ing which necessitates a spectator to pass by more than
six chairs in getting out from his place. This means that
the greatest spacing between aisles may not exceed thir-
teen seats. This is not law in all cities, but represents a
very good practice which should be considered. Some
cities prohibit any row of seats
with a dead end, that is to
say, there must be aisles at
each end of each row. This
also is excellent practice even
where it is not law.
The floor of the parquet is
dished or sloped toward the
stage, as will be explained
later in connection with the
sight lines. Where the pitch
is slight, not exceeding one
and a half inches to the foot,
the floor can be made contin-
uous; otherwise it is built up
in platforms, the aisles, how-
ever, being preferably sloped,
even for grades as sharp as
one in five, as steps should
always be avoided in aisles and
passages where possible.
The arrangement of the
aisles in a theater can have a
good deal to do with the suc-
cess of a house. They should
be so disposed that, as far as
possible, the actors on the
stage would never be looking
the length of an aisle, but
would always have before
them a sea of faces. For this
reason it is never well to have
a center aisle, but rather a
central row of seats, and, for
the same reason, it is better
that the aisles should be
curved rather than straight in
plan. Occasionally, in a very
wide house, it is desirable to
carry certain aisles down only
part way to the stage, as, if
they are all extended, there
would be hardly anything left
of the first few rows. It is not
a desirable arrangement, how-
ever, to plan any aisle with a dead end, on account of the
confusion which is pretty sure to arise in connection with
the ushering.
The planning of proscenium boxes is a difficult task.
Seldom are they of any practical value at all. Though
they are nominally the highest-priced seats in the theater,
the boxes are more often given away by the management
than sold, as they are really the poorest seats in the house.
If the boxes are brought out in line so that the occupants
THE BRICKBUILDER
THE BRICKBUILDER
5
thereof get a really good view of the stage, there is neces-
sarily a sacrifice of seating space on the floor of the
orchestra. For theaters where light dramas or comedies
are played, where most of the stage action is toward the
front and near the center, boxes have a very legitimate
use and can be swung back quite far on either side in
plan. But for a combination house, where the action
takes place all over the stage, it is impossible to hope
that the boxes will be much more than architectural orna-
ments, and as such they are
best treated. The most com-
mon arrangement is to con-
sider the boxes as part of the
stage setting, carrying the
finish around the curtain open-
ing out to the front of the
line of boxes as a proscenium
and treating it as a huge frame
for the setting of the stage.
By this treatment the orna-
mentation is concentrated
about the stage opening, and
the balance of the house can
be treated in a very simple
manner. This scheme is ex-
emplified by the Colonial
Theater in Boston, which can
serve as representing the type.
On the other hand, the Ma-
jestic Theater in Boston shows
a very successful attempt to
treat the auditorium as a
whole and the proscenium as
a part of the auditorium rather
than as a mere framing for the
stage. The line of the boxes
and the curtain opening are
carried clear out to the back
of the gallery, and the audi-
torium is treated like a huge
megaphone architecturally de-
signed and embellished. In
the Auditorium Theater of
Chicago a somewhat similar
treatment was carried out very
successfully for a theater
which is one of the largest in
the country. It would seem
as if the scheme of treating
the auditorium as a unit and
tying the auditorium and the
curtain opening together were
the proper one, but as a matter
of fact in most of our theaters the boxes and the general
proscenium treatment are considered as simply forming
a frame for the stage setting.
The boxes are usually arranged in three tiers, one
above the other, and in not less than two rows, measuring
out from the curtain. Each box is usually assumed to
accommodate five chairs, and additional box space is often
secured by the continuation of the lines of the balcony
and gallery on the sides to the proscenium, as was very
cleverly worked out in the Castle Square Theater, Bos-
plan of orchestra floor, colonial theater, boston.
C. H. Blackall, Architect.
ton, the outside boxes nearer the gallery or balcony being
usually termed loges. The introduction of such loges
serves very often to break in the most pleasing manner
the hard lines of the balcony and gallery fronts and offer
very convenient architectural opportunities to the de-
signer.
Where the space permits it is quite usual to build the
boxes rather shallow, with a small anteroom behind each,
the boxes being reached from a corridor at the rear in
which is a staircase connecting
the different levels. Some
managers, however, have
found that small boxes seating
not more than five each are
not profitable. In the Al-
hambra Theater at Harlem,
New York, as originally built,
there were double rows of
boxes on each side, preceded
by small anterooms and with
solid partitions between them.
Subsequently each tier was
thrown into a single box, the
partitions taken away, all of
the anterooms dispensed with,
and the whole space on each
level thrown into what was
termed an omnibus box, seat-
ing some twenty or thirty
people. It was found under
those conditions quite easy to
sell the seats at a price a trifle
higher than the ordinary or-
chestra chairs, whereas in the
boxes as they were before it
was not always easy even to
give the seats away. In esti-
mating the seating capacity of
the house, however, it is well
not to take much account of
box possibilities. In the New
Amsterdam Theater, New
York, the boxes were reduced
to the lowest possible mini-
mum and treated in a delight-
fully quiet architectural man-
ner, the lower boxes being
omitted entirely, thereby per-
mitting a solid base to the
proscenium, with a greatly
enhanced architectural effect.
In order to improve the
sight lines of the boxes, the
box nearest the stage in each tier is dropped slightly.
This difference of floor level between the two rows is
very hard to treat successfully. In some theaters it is
masked by making the railing on the same level through-
out towards the center of the house, the stepping up
being behind the rail, as in the Colonial Theater. In the
New Amsterdam the difference in level is frankly accused
in the design, the two boxes being quite distinct in their
treatment, while the box in the Colonial has the appear-
ance of a single compartment, but is really divided into
THE BRICKBUILDER
two portions by a low railing which can be removed when
it is desired to throw the whole space into one box. Of
course the wider treatment is an easier one and gives a
little more liberty in the renting of seats.
The arrangement of the boxes in the Majestic Theater,
Boston, is a modification of the box scheme. The seats
are spaced facing the stage, the floors of the successive
rows are stepped up, and as this theater is quite a narrow
one, the boxes command a fairly good view of the stage.
A still different treatment was adopted in the Bowdoin
Square Theater, Boston, in which there are two boxes in
the lower level and what is termed a loge above, arranged
in successive steps like a balcony, the steps all facing
toward the center of the stage and each accommodating
three or more seats. It is very difficult to treat a prosce-
nium of this sort in a successful architectural manner,
and it is only one of the many attempts which have been
made to render boxes of some financial value. It cannot
be said to be very successful otherwise.
The " standee " is a feature of the American
theater and has to be recognized as such. The so-called
standing-up space is found in nearly all our theaters in
one form or other, although the letter of the laws in
many of our cities prohibits any persons from standing
in any aisle or passageway about the theater. The
usual custom is to allow a space not less than six feet
wide behind the rearmost row of seats, separating the
seats from the stand-up space by a solid rail four feet
six inches high, covered with plush, upon which the
" standees " can rest their elbows without deranging the
hats of the audience. In the New Amsterdam Theater
the foyer and the standing-up space are treated as one,
but more commonly the foyer is separated entirely from
PROSCENIUM BOXES AND LOGF, BOWDOIN SQUARE THEATER,
BOSTON.
C. H. Blackall, Architect.
PLAN OF BALCONY FLOOR, COLONIAL THEATER, BOSTON.
the auditorium, both by custom and by law, by a solid
wall.
Many theaters have been planned with what is called
an orchestra circle, consisting of rows of seats towards
the rear of the house, arranged on a different radius
from the main seats of the orchestra, these rear seats
being carried clear around the sides and often raised
slightly above the level of the rest of the floor. This
is exemplified in the Madison Square Garden Theater,
New York. It is a device which is purely superfhious,
introducing a confusing element into the plan, and is
entirely uneconomical of space, as the rows of seats
at different radii always come together awkwardly.
The seats in the orchestra circle are usually sold for less
than the seats nearer the stage, but in practice it is better
to have all the seats on the floor struck from the same
radius and the price can then be adjusted according to
the attraction which is at the house, with less inconven-
ience to the spectators and to the management.
In stage parlance . the word "gallery" is used to
designate the uppermost tier, the word " balcony " being
applied to the first tier above the orchestra and to inter-
mediate tiers, if there are more than three levels in the
house. The usual custom is to have only an orchestra, a
balcony and a gallery. In the European houses it is
almost the rule to plan the balcony in a horseshoe shape
so that the spectators at the sides of the house are
always looking at each other and often looking away
from the stage. Such a plan was adopted in the Boston
THE BRICKBUILDER
PROSCENIUM BOXES, NEW AMSTERDAM THEA'lkR, NEW YUkk.
Herts & Tallant, Architects.
PROSCENIUM BOXES, MAJESTIC THEATER, BOSTON.
John M. Wood and John Galen Howard, Architects.
PROSCENIUM, COLONIAL THEATER, BOSTON.
THE BRICK BU ILDER.
PROSCENIUM BOXES, CASTLE SQUARE THEATER, BOSTON.
Theater and in many of our early constructions, but is
seldom met with to-day. The extreme is shown in the
Studebaker Theater in Chicago, where the seats of the
balcony and gallery are parallel with a certain line. The
more common arrangement, however, is to plan the
balcony on a curve centering a little back of the curtain
line, and the gallery on a curve centering about opposite
the center line of the boxes. Of course these centers are
modified very greatly by the sight lines and by other
conditions.
ON the sixty-six hundred elevators that pierce New
York's six billion dollars' worth of realty the vertical
passengertraffic is now greater than the horizontal railway
traffic, declares an official in the Building Department
who has "figured it out." That the elevator travel ex-
ceeds that of the surface, elevated and subway lines com-
bined is, at first view, amazing; but the statement is
plausible when it is known that the number of passengers
taken up and down in one day by the elevators of the Park
Row Building alone is greater, by actual count, than the
average number of passengers carried in a day on the
entire street car system of Nashville, Tenn. In the new
Metropolitan Building there will be a straight lift of one-
ninth of a mile.
AVERY pretty product has just been put on the
market in France in the shape of tiles for wall-lin-
ings, composed of bits of mother-of-pearl, embedded in a
hard cement, very much like Keene's cement. The
cement may be either white or colored. Apparently the
tiles are made by mixing bits of shell, in the natural con-
dition, with the cement, which is then cast into the shape
of the tiles and polished on one side, after the ordinary
manner of polishing marble. By this process the dull
outer covering of the bits of shell is removed, and each
piece appears in beautifully varied and iridescent colors.
This " mother-of-pearl mosaic, " as the manufacturer calls
it, is by no means expensive. With duty and freight
added the cost here would be not far from that of ordi-
nary Italian marble wall-lining, while for certain pur-
poses it would be far more sparkling and beautiful.
Brickwork Details. — II.
BY HALSEY WAINWRIGHT PARKER.
IT is a natural consequence of admiration for work
done in the past that it should form the inspiration
for modern work and that examples of treatment of
brickwork in North Italy, Spain, Germany and Eng-
land, during the periods when brick was used in prefer-
ence to stone, should form antecedents for similar
factors in recent buildings.
Not only is this the case because of the intrinsic
beauty of the details themselves, but also because in
TELEPHONE BUILDING, ROCHESTER, N. Y.
J. Foster Warner, Architect.
most cases ornamentation on brick is based upon con-
struction in brick, and there is naturally strong resem-
blance between details of identical structure notwith-
standing efforts to create individuality in design. There
is, therefore, less justification in a criticism of modern
work as being an imitation or a plagiarism in brickwork
than in most structural detail. Take, for example, the
Telephone Building, Rochester. It is an excellent
facade of a small building, in which utilitarian condi-
tions force variety of openings and make absolute
THE MUSEUM, UNIVERSITY OF PENNSYLVANIA.
Cope & Stewardson, Frank Miles Day & Brother and Wilson Eyre,
Associate Architects.
1
THE BRICKBUILDER
symmetry impossible. Dissymmetrical balance has,
however, been admirably obtained, and has added a
charm to the whole which resembles the frank, direct
recognition of various factors which is present in mediae-
val work before the advent of the schools.
In obtaining this balance different details are used
THE MUSEUM, UNIVERSITY OF PENNSYLVANIA.
Cope & Stewardson, Frank Miles Day & Brother and Wilson
Eyre, Associate Architects.
around the openings and elsewhere, many of which are
reminiscent of the brickwork of Bologna. The termina-
tions at the ends of the cornice are (jhibelline Parapet
motives, — the cornice is suggested by that of one of the
palaces, — and in the first story the different arch treat-
ments, each thoroughly characteristic of the character of
the opening, have antecedents — especially the pointed
arch with tympanum and segmental arch below, which is
a motive frequently used in Siena. Yet these are not
plagiarisms, they are the natural development of brick
structure, and the choice of the arch detail as defining
mmmmmrmmmmmmmm
uswiism
jj
F P W F
4<4
the character of each
opening is excellent.
The main entrance is
dignified more than the
window openings of the
same width by a double
arch, and the opening
for teams is made en-
tirely different from the
others in its arch treat-
ment, which, while suf-
ficiently important, has
less delicate detail. The
enrichment of detail
toward the top of the
facade is also well con-
sidered, and the whole
design, while detailed with reminiscent factors, has
marked individuality.
The Museum, Philadelphia, is interesting from the
effect gained by simple means, — especially in the patterns
in the tympana of the arch and in the wall base. The
DETAIL, WALL OF MADISON SQUARE
CHURCH, NEW YORK.
McKim, Mead & White, Architects.
DETAIL, CASINO BUILDING, BROOKLYN.
Boring & Tilton, Architects.
ST. JUDE S CHURCH, BROOKLYN.
Lord & Hewlett, Architects.
principal entrance of the same buildings has most care-
fully studied decorative bands of brick design, many of
which are original.
The contrast of designs based on horizontal and
vertical lines and those with diagonal lines is well
considered.
St. Jude's Church is of a bolder type, the tympanum
pattern and the cornice being especially interesting.
IO
THE BRICKBUILDER
y- 1 "' "••--■'-
Bill
Sever Hall, Cambridge, Mass. h. H. Richardson, Architect.
Sever Hall has brick associated with molded brick and
terra cotta, and the brickwork is distinctly better and in
better scale than the ornamental terra cotta. The corner
rolls and vertical diagonal courses are well contrasted, and
this building, which was a noted one of its time, could
with advantage have had the ornamental terra cotta
eliminated, as is indicated by the bow window in the
same building.
The Casino, Brooklyn, has
an excellent treatment sug-
gesting paneling on a flush
surface, which appears to be
entirely original. Recessed
panels in brickwork are very
apt to be crude in effect, and
a border carried around a
surface which has a different
bond or texture pattern from
that of the main wall is to be
welcomed in design. The pat-
tern within the panel in this
case is obtained by the inser-
tion of brick of slightly lighter
tone, but it is the border which
is especially ingenious. The
cornice also has good con-
trasts in its detail. This brick-
work resembles the Spanish
examples more than it does
those of North Italy, the forms
being in rather more robust
scale and the repeats farther apart than in the Italian
work.
The central gable of the same building has adopted a
distinctly Spanish motive of brick detail, i. e., that of
projecting a single header in regular isolated repeats in
the wall. It is difficult to imagine a reason for such a
SEVER HALL, CAMBRIDGE, MASS
treatment. The units are too far apart to produce tex-
ture and too small to create salient detail.
The effect is that of small shadow spots which tend to
make the surface spotty without affording any increased
interest in the design. This example has also an intro-
duction of pieces of stone, as keystones, voussoirs, etc.,
which go far to detract from the dignity of its general
mass. Contrasts of this char-
acter are found in Dutch work
and on some of the Georgian
work in England, and, while
giving certain piquancy to the
design, are certainly out of
scale with the texture of the
brick surfaces. As has been
a|..j|^ stated, brickwork is a mosaic
with the horizontal joints
dominant. Its scale is set out
alone by the patterns used, but
chiefly by the size of the units,
and it is a manifest mistake to
insert in a mosaic of small
units a unit of much larger
scale and of different tone
without a gradual approach to
that unit from the brick sur-
face by intermediate detail.
The sudden transition from
brick texture to isolated stone
keystones or voussoirs is
staccato in its effect, especially
if the contrast of tone or color in the large units still
further accentuates its difference in scale.
The chief criticism of this type of design is that the
facade becomes uneasy from lack of general tone. The
Loft Building, Philadelphia, is, on the contrary, kept in
tone throughout, even the pattern in the frieze, which is
THE BRICKBU ILDER.
1 1
BATH HOUSE, NEW YORK.
Stoughton & Stoughton, Architects.
large in scale, being kept in harmony with the finer forms
of this terra cotta by a very nearly even tone and color.
This frieze pattern, which is
an interlocked parapet pat-
tern, is very effective. The
Store Building, Philadelphia,
shows the treatment of the
soffits in brickwork in this
case. The pattern is that of
the Byzantine guilloche of al-
ternate large and small circles
with broad borders. The
scale of this pattern built in
brick units is necessarily
large, and therefore needs to
ba strongly held upon either
edge, and this design could
be improved by stronger treat
ment at both sides of the soffit
pattern.
The slightly coved surface
of the face of the arch seems
an affectation in brickwork.
It necessitates a majority of
headers in the arch surface
which neutralizes the value of
the radial lines and weakens
the effect of the arch. The
upper part of the same build-
ing has interesting segmental
arches over the grouped win-
dows in which ornamental
headers are associated with
common brick, and the defini-
tion is given by broad joints.
ARCH OVER MAIN ENTRANCE, STORE BUILDING, PHILADELPHIA.
Price & McLanahan, Architects.
UPPER PART OF STORE BUILDING, PHILADELPHIA
Price & McLanahan, Architects.
WETZEL BUILDING, NEW YORK.
Hill & Stout, Architects.
The artistic value of brick surfaces is in their tone
and color, and the texture produces tone, first by the
joints, second by the surface
of the individual bricks. Of
these different factors, that
of the individual brick sur-
faces is often misappre-
hended. There is frequently
an impression that a brick
with a fine, even surface and
accurately struck edge will
produce a finer wall than one
of more uneven character. As
a matter of fact this is not the
case. In judging marble or
glass mosaic, for instance,
those which are built up of
exact squares, and in which
the joints have no irregular-
ities, never have the life and
character of the mosaics in
which the pieces vary. The
same is true of brick mosaic,
and, as in this latter case,
there can never be the variety
of form that there is in marble
or glass mosaic. It is well to
take advantage of all possible
irregularities which are not
deliberate affectations.
The brick, therefore, which
have the more granular and
rougher surfaces and edges,
which, while moderately true
are not absolutely accurate,
12
THE BRICKBUILDER
ABELL BUILDING, BALTIMORE.
Delano & Aldrich, Architects.
give better texture for exterior work than
the finer varieties. The finer brick can be
used in the patterns to define the designs.
The rougher brick are also more in harmony
with the broader joint which expresses the
character of the material and gives life to the
surface.
It is not many years ago that praise was
given to brickwork in which it was difficult
to insert a knife blade between the brick, but
the appreciation by architects of the beauty
of texture of foreign brickwork has changed
the popular conception of good brickwork to
some extent. The softening and neutralization of masses
of red brick by broad white joints is now well under-
stood. A brick surface in which the joints are a very
appreciable area, and the introduction of delicate white
outlines in a design, forming a network of white lines,
which, at a distance, lightens the tone and color, reduc-
ing a hot red to a softer and more delicate tint, near at
hand, creates a lace-like pattern on the surface.
The detail of the Madison Square Church, New York,
indicates the advantage of the broad joint and the
rougher brick in producing texture. The method of
increasing texture effect by the introduction of a darker
header in the Flemish bond is well shown in the Bath
House, New York. This treatment can be easily over-
done. The contrast of tone between headers and
trimmers need not be great, as there is already consider-
able contrast produced by the constant recurrence of the
alternate sizes.
In the Wetzel Building, New York, which is a definite
reminiscence of Venetian work in marble translated
into brick, headers only are used, the patterns being
obtained by contrast of tone or of color, or both, in the
brick. This treatment, like the preceding, 1 can be
easily exaggerated. If contrast of color is shown, but
slight contrast of tone is necessary. Usually dark joints
are too set and rigid in their definitions if the brick is
light in tone; it is well to keep a dark joint in similar
tone to the brick but in different color from it.
The detail of the Abell Building shows the use of the
long or so-called Roman brick, which is always effective
in arches, and produces a more finished appearance in
wall surfaces than does the common brick.
Sever Hall, again, has the American bond with a
heading course every eighth course, but the stretchers
are somewhat longer than the ordinary brick. The
belt course is unusually effective.
The value of brickwork is largely dependent upon
the width of joint and color of the mortar used. Broadly
stated, a brick
of sm oo t h,
even surface
ought never
to be laid in
rough mortar
and with wide
joints; while
one of rough
texture is
largely de-
pendent upon
wide joints
and character
of mortar for
its best ef-
fects. An un-
intelligent use
of color in
mortar too fre-
quently ruins
a good piece
of brickwork.
CENTRAL GABLE, CASINO BUILDING, BROOKLYN
UPPER PART OF LOFT BUILDING, PHILADELPHIA.
Cope & Stewardson, Architects.
THE BRICKBU ILDER
13
^K
■^^"^^■Ksft-JIH
£_ . ^
C5 i^rJI
HKliv:" .--^yiiiySaB™***3^ ' ^^^_^^^^—
DETAIL OF PERGOLA IN GARDEN.
DETAIL OF BRICK WALLS AND SEATS IN GARDEN.
DETA ILS
HOUSE AT LOCUST VALLEY, LONG ISLAND, N. Y
Grosvenor Atterbury, Architect.
DETAIL OF BILLIARD ROOM GABLE AND NORTH
ENTRANCE TO HALL.
FIREPLACE IN LIVING-ROOM.
M
THE BRICKBU ILDER.
INTERIOR VIEW FROM MAIN TOWER HALL TOWARD LIVING ROOM.
DINING-ROOM.
HOUSE AT LOCUST VALLEY, LONG ISLAND, N. Y.
Grosvenor Atterbury, Architect.
THE BRICKBUILDER.
i-5
Some English Brickbuilders.
THE WORK OF H. R. AND B. A. POULTER,
ARCHITECTS.
BV R. RANDAL PHILLIPS.
IT is often urged against an established architect that
he works too much in one vein, with the consequence
that there are no surprises for us, no new features to look
for; we may appraise beforehand what we shall find,
and, being able to do so, are
to that extent deprived of in-
terest in the work. In pur-
suing this line of thought,
however, we should always
bear in mind the fact that an
architect is very much the tool
of circumstance, governed by
practical necessities and by
the claims of his client.
Moreover, the present is
essentially an age of competi-
tion ; the architect has to fight
his way to the front, and in
that endeavor he discovers
what, in his own particular
sphere, is the most successful
means. "Success" may
have, of course, a variety of meaning. One calls to
mind, for instance, the names of architects who certainly
are "successful," but in the majority of cases that
indicates work which has most influence on the general
public; it is the line of least resistance; the architect
has found that a certain thing "goes " and, accordingly,
he repeats himself. If he were in a world where no
such claims of subsistence
existed as they do here, if he
always had a free hand to
produce what he wished,
things might be otherwise ;
but now, first and foremost,
he has to earn a living, and
we need to remember that
when forming an estimate
of his work. Besides, one
particular treatment may be
the perfect solution of the
problem in hand, and, of
necessity, every repetition of
the problem calls forth the
same treatment. An excel-
lent example of this is af-
forded by the work of some
hospital architects. Care-
fully studying the require-
ments, they have found that
a certain plan best fulfills
the conditions, that a certain form of decoration or finish
is most appreciated by the patients; and so, as every
new hospital is demanded — the same requirements, the
same restrictions, though in another district — they
repeat themselves; and, viewed from that standpoint,
nothing can be said against them. There is, however, a
limit to such repetition, and in the work of some well-
LODGE TO " HILL CREST, CAMBERLEY
" WOODCOTE, CAMBERLEY
known men that limit has been exceeded to such a
degree that their buildings cease to be of interest.
Especially is this the case with architects who have
acquired so large a practice that the incentive to strive
after new achievement is no longer present. They have
found the way to financial success and no by-path
attracts them. The quest is one of comfort, not of fresh
conquests; with the result that they are likely to degen-
erate into the type of " respectable " architect, who, as
one writer puts it, goes im-
pressively to church on Sun-
day morning with his wife and
his family and his silver-
knobbed umbrella, returning,
none the less impressively, to
a terrific smell of cooking at
one o'clock.
For newer treatment we
must look to the younger men,
architects to be, or men
already establishing them-
selves and gaining attention
by the vigor of their work.
They have all the faults of
youth; they are dominated by
an enthusiasm which carries
them to extremes, but, after
all is said, their work has life in it — the life which the
older men had before affluence and ease smothered their
energies. It is to these younger men that the future of
architecture belongs, and where no such youthful vitality
and freshness exists we may be certain that the suc-
ceeding generation will be barren of good architecture.
In England to-day there is a growing body of young
architects of ability. We see
their work in the schools,
and the comparison of it with
the buildings daily erected
in our midst gives hope for
the future. These younger
men are directed by the spirit
of the time — efficiency.
They apply themselves
eagerly to the problem set
down ; they study the best of
the old work at home and
abroad — not in the dilet-
tante manner of a hundred
years ago, when no gentle-
men's education was com-
plete without a dainty
knowledge of Palladio, but
with a zealous seeking after
the essence of things. To
them, also, the question of
plan calls for whole-hearted
study. We live no longer in a day when houses are built
from the outside inwards, when the elevation is the first
thing to be settled and the plan made to fit behind it as
best it may, but rather when plan is becoming a veritable
despot — making the outside of our buildings deficient in
proportion and rambling in outline. That defect, how-
ever, we must suffer for all the good associated with it.
i6
THE BRICKBUILDER.
THE' BRICKBUILDER.
i7
FRONT DOOR, "LLANTWIT," FARNBOROUGH.
"LLANTWIT," FARNBOROUGH. THE BRICKWORK HAS BEEN WHITENED.
i8
THE BRICKBUILDER
FIREPLACE,
HOUSE AT WALLOWFIELD.
Our younger men have the faults of their merits, and we
must at least be thankful that such a body of men is
leavening the art of architecture.
As members of that younger band of architects,
Messrs. H. R. and B. A. Poulter of Camberley, Surrey,
call for mention. Their work is here shown from photo-
graphs and drawings, which best explain and illustrate
the aims of their authors. Almost entirely they are en-
gaged in domestic work, car-
ried out in good brickwork,
red tiles and half timber in
parts. The brickwork is
frankly acknowledged, made
to assert itself, varied in
surface treatment, with vitri-
fied headers here and there,
and of diversified color as
the kiln gives, in which con-
nection it may be noted how
modern commercial practice
seeks after dead uniformity.
Without going to the ex-
tremes that lead some archi-
tects to import into their
houses woodwork, "rough
from the saw," that conjures
up some barbarian working with a pre-historic adze, tiles
that look as though some refuse of the kiln had been
sprinkled over them, and brickwork so coarse as to be
wholly offensive, — without going to those extremes, we
may well protest against that uniformity in bricks, tiles
and woodwork which manufacturers consider perfection.
There is a real charm about good brickwork with varia-
tions of surface and color created in the kiln, about tile-
work, which, instead of being overspread with one dead
flawless glaze, has a play of tint and sheen. There is a
growing recognition of this, and, as relative to the pres-
ent subject, it is the aim of the younger body of archi-
tects to foster that recognition. For want of color the
accompanying illustrations cannot give the true effect of
Messrs. Poulter's houses, and this reference must suffice.
It will be seen that some of the houses are finished white,
not white roughcast, but brickwork lime-whitened.
In designing their buildings the first step is to collect
the fads and fancies of the client, to visit the site and as-
certain its possibilities, and then to gather the architec-
tural suggestions from these. Messrs. Poulter are quite
opposed to the ordinary idea of drawing a plan regardless
of the position which the house is to occupy. They con-
sider the house to be only part of an entire scheme, — like
a tree in a landscape, and it is their endeavor, by posi-
tion, form and color, to follow the natural surroundings.
From the first they regard their building, not as a plane,
but as a solid mass, to be viewed in perspective, and
preferably modeled in plaster. The client, of course,
not infrequently upsets the final result by insisting on
some personal likes or dislikes, against the architects'
advice. Messrs. Poulter have not been altogether free
from this evil. They have met the type of person who
comes with a fixed idea of a house, — three reception
rooms, a hall, a skirting around the floor, a cornice around
the wall: to be just like "so and so's," though the person
in question is invariably unlike "so and so," in habit
and taste; and he chooses land on which " so and so's "
house could not possibly be built. Nevertheless, they
have produced creditable work, even under those condi-
tions. For a precise estimate of their work, the
accompanying illustrations must be lef.t to speak
for themselves, but the following notes in refer-
ence to some of the houses may be given:
"Llantwit," Farnborough. — This house is on
the side of a hill, backed by
dark trees. The brickwork
is whitened. Local condi-
tions (in the fall of the
ground) made it desirable to
have some of the reception
rooms a floor below the main
entrance. The fireplaces are
a special feature of the in-
terior.
Col. Kirwan's House,
Camberley. — This house is
among light trees, so red
bricks have been adopted,
and as the house is well with-
in the village, a free treat-
ment of eighteenth-century
English work was followed.
The brickwork is broken up with tile bands and panels.
" Woodcote," Camberley. —Except for a few building
requirements, the architects had their own way to a large
extent in the design of this house. They adopted a
simple roof of steep pitch, hung with old tiles, the walls
being roughcast and whitened because of the trees, so
that only small portions of the brickwork are left showing.
LLANTWIT.
COLLINGWOOD PLACE, CAMBERLEY.
THE BRICKBUILDER
19
Editorial Comment and
Selected Miscellany
THE THEATER BUILDING COMPETITION.
AWARD OF PRIZES.
THE Jury for the Theater Building Competition
awarded First Prize (#500) to Russell Eason Hart,
New York City; Second Prize ($200) to Charles Romer
and Fredrick J. Feirer, associated, New York City;
Third Prize ($100) to Walter Valerede Mari, Sacramento,
Cal., and Mention to the following: Edward F. Maher
and Hubert G. Ripley, associated, Boston; Joseph Mc-
Guinniss and Maurice P.
Meade, associated, Boston ;
George Awsumb, Chicago;
Israel Pierre Lord, Boston;
Wilfred Arnold Paine, Co-
lumbus, Ohio; J. T. Wrinkle
and A. A. Blodgett, asso-
ciated, Boston.
The Competition was
judged in New York City,
January 25, by Messrs. John
M. Carrere, Clarence H.
Blackall, William Adams De-
lano, Francke Huntington Bos-
worth, Jr.
DETAIL BY NEW YORK ARCHITECTURAL
TERRA COTTA CO.
COMPETITION TO
SECURE A GROUP PLAN
AND AN ARCHITECT
FOR THE WESTERN
UNIVERSITY OF
PENNSYLVANIA.
THE Western University
of Pennsylvania, whose
buildings are now scattered in
the former city of Allegheny
and Pittsburg, has acquired in
the latter city a new site of
about forty-three acres near
Schenley Park and will at once
begin thereon the construction
of a group of buildings, in-
tended ultimately to house all
departments of instruction.
This projecthas been placed in the hands of its Executive
Committee by
the Board of
Trustees of the
University.
To secure a
suitable plan
scheme for this
project, the
University will
hold a competi-
tion among ar-
DETAIL BY F. C. BONSACK, ARCHITECT. _ &
Winkle Terra Cotta Co., Makers. chitects, under
THE MENTOR BUILDING, CHICAGO.
Howard Van D. Shaw, Architect.
Glaze granite-color terra cotta above first story, made by
Northwestern Terra Cotta Co.
the terms of a
programme pre-
pared by Pro-
fessor Warren
P. Laird of the
University of
Pennsylvania.
The prize of
this competi-
tion will be the
commission to
design and
supervise the
first building to
be constructed, that for the department of the School of
Mines, for which a fund of
$175,000 is now available.
And it is quite likely that
the University will place in
the architect's hands also cer-
tain other buildings whose
construction is hoped for
at a comparatively early
period.
Furthermore, since it is
important that the general
plan scheme be carried into
execution by its author, he
would be the natural and
logical selection, under the
policy inaugurated, to super-
vise the erection of future
buildings.
The competition will be
open to all architects of whose
professional standing and
ability to execute large work
the committee receives satis-
factory evidence. Three ar-
chitects from without Pitts-
burg have been especially in
vited and will be paid $1,000
each for their services in sub-
mitting designs, while to those
other three who rank highest
in merit will be awarded each
a like fee.
Any such payment due the
architect awarded the com-
petition will apply on account
of his fee as architect of the building.
The programme will be ready about February 15, and
drawings will be called for about April 15. It is intended
to simplify the work in every possible way, for it is ab-
solutely essential that the actual construction of the first
building be begun by June 1. To facilitate this, the
general plan will be regarded as a preliminary study
only, for whose subsequent restudy due provision will
be made in the programme. The general plan must,
however, determine the permanent location of the group
comprising the building first to be constructed and com-
petitive designs will comprise the preliminary study of
this building.
20
THE BRICKBUILDER
Architects desiring to enter the competition are re-
quested to write for the necessary application forms to
Dr. S. B. Linhart, Secretary of the University, 802
Home Trust Building, Pittsburg, Pa.
w
THE PARKER BUILDING FIRE.
THE engineers and fire experts who have examined
the Parker Building in New York, the scene of the
latest fatal and big fire, have completed their report to
the Fire and Building Departments and other organiza-
tions. It appears that the building was of the numerous
class called by courtesy "fireproof" or "non-combus-
tible," but which offer little protection to their contents
and are damageable all the way from 5 per cent to 90 per
cent of their cost value, a
class absolutely distinct from
the really fireproof buildings
of the first class.
Its outer walls were of
stone, brick and terra-cotta,
its skeleton of cast-iron col-
umns and steel beams and the
floor filling of hollow tile. The
steel beams were unprotected
by tile in their most vulner-
able parts, — the lower flanges.
So were the girders unpro-
tected ; the elevator shafts and
stairways opened into every
story; iron shutters of an in-
ferior order protected only a
few of the windows ; the water
supply permitted the firemen
to reach to only the fifth floor.
The building was put up for
light office purposes, but was
occupied as a manufacturing
plant and loaded with ma-
chinery and filled with the
most combustible of mate-
rials; most of the partitions
were built upon the wooden
sleepers in the concrete filling
of the floors. The fire vir-
tually had to burn itself out unchecked. Yet it was
not a total collapse, and much of its materials being in-
combustible, it was essentially a fire of the contents, and
it was kept within the building in which it originated.
With the water
pressure as it
was, had that
fire been in
some of the old-
fashioned, all-
exposed steel
and wooden-
joisted build-
ings, it would
probably have
been the begin-
ning of another
DETAIL BV HERMAN MILLEk, ARCHITECT. COlOSSal COnfla-
Conkling-Armstrong Terra Cotta Co., Makers. gration.
DETAIL BY L. A. GOLDSTONE, ARCHITECT.
New Jersey Terra Cotta Co., Makers.
THE LORRAINE APA
Ferguson & C
Terra Cotta made by
I T H -
OUT
wishing to
question the
wisdom of
courts, it may
be observed
that the present
state of the law in California has a certain interest for ar-
chitects. It appears that, according to the Appellate
Court of the State, the late Mayor Schmitz and his ad-
viser, Mr. Ruef, while they were not, perhaps, acting
in a praiseworthy manner when they went about of
evenings to restaurants and collected large sums of
money from the proprietors by threatening to revoke
their licenses, were doing
nothing legally wrong, for
the reason that the Mayor was
empowered by law to revoke
liquor licenses, and he was
not legally culpable in promis-
ing to do, in certain ex-
igencies, what he was legally
entitled to do, according to
his discretion. That the fail-
ure to pay him a thousand
dollars or so in cash would
constitute an exigency in
which he would use his dis-
cretion to revoke the license
of the person or firm con-
cerned was, in the opinion of
the Court, a matter of no
legal moment to the public,
at least, although it was of a
certain importance to those
who paid the money. Now,
the way in which this decision
affects architects is that, in
California, architects are re-
quired to obtain licenses to
practise their profession, and
are subject to heavy penalties
if they engage in practice
without them. These licenses
are issued to architects by an Examining Board, which
has the power to revoke them on grounds which it deems
sufficient. Under the law as it stands at present in Cali-
fornia, it appears to be quite unnecessary for the licensing
board to inquire into any one else's opinion as to what
constitutes sufficient ground for the revocation of a
license; and, if it determines that failure or refusal of a
licensed architect to pay over a thousand or two dollars
whenever the pockets of the members of the Board are
empty, or to provide for them a steady income by a
percentage of his commissions, is suitable ground for
revocation, no one can question or contradict their de-
cision. It will easily be seen how valuable a "plum "
such discretionary authority as this may be made in the
hands of those who understand how to use it effectively;
and architects in California, as well as in other states
where similar principles prevail, may do well to provide
in time for escaping the consequences of the application
of them.
RTMENT, NORFOLK, VA.
alrow, Architects.
Atlantic Terra Cotta Co.
CLINTON HALL, CLINTON STREET, NEW YORK CITY.
(FOR THE HOUSING OF SOCIAL ORGANIZATIONS ON THE EAST SIDE.)
Howells & Stokes, Architects.
THE BRICKBUILDER,
APRIL,
1904.
THE MERCHANTS CLUB, BALTIMORE, MD.
Sperry, York & Sawyer, Architects.
THE BRICKBUILOER,
NOVEMBER,
1906.
*mnuu! iiH4>*Mi ttr ^mf^
THE LAMBS' CLUB, NEW YORK CITY.
McKim, Mead & White, Architects.
THE BRICKBUILDER,
SEPTEMBER,
1906.
THE BRICK BUILDER
2 I
SENATOR HEYBURN failed to
have a vote taken on his bill for
the purchase by the Government
of all land south of Pennsylvania
Avenue in Washington and between
the Botanic Garden and Fifteenth
Street. It was objected that the
land was swampy and that as the
locality was not destined to rise in
value, an act to acquire it was not
therefore immediately necessary.
The estimated $10,000,000 required
in order to obtain it was probably
the real obstacle reckoned with, es-
pecially at a time when even Con-
gress must be chary of outlay.
Nevertheless, friends of the move-
ment to beautify Washington will
find encouragement in the fact that
the Scott bill has passed the Senate.
This bill provides for the purchase
of a site southeast of the Treasury
Department and for the erection of
buildings for the Departments of
State, Justice and Commerce and
Labor on this property. The bill
carries an appropriation of $3,000,000, and it provides
for a commission composed of the Secretary of State,
the Attorney General, the Secretary of Commerce
and Labor and the Superintendent of the Capitol,
which Commission shall report to Congress prelim-
inary plans and an estimate of cost of one or two
buildings.
Still another new Federal building about to be author-
ized is for the Patent Office. Bills providing for it have
already been introduced in both the Senate and the
House. They contain the items of $600,000 for the site
and $5,000,000 for the building.
DETAIL BY KEES &
COLBURN, ARCHITECTS.
American Terra CottaCo.,
Makers.
CLOCK IN RATHSKELLER, SEELBACK HOTEL, LOUISVILLE.
Frank M. Andrews, Architect.
John l>. Wareham, Sculptor,
The clock is seven feet long and four feet high.
The whole is treated in quiet, low-toned mat glaze gray, gray green.
soft brown and yellow faience made by Rookwood Co. The
numerals and hands of the clock fit over the circle.
FROM all directions come reports of important con-
cessions on the part of building workmen in the
matter of wages. Union officials, naturally, are the last
to hear of these reductions; but as a matter of fact, con-
tractors everywhere seem to be nearly overwhelmed with
applications from good men for work at wages a long
way below the union scale. In most cases the workmen
accept the situation very sensibly. If, as there is reason
to believe, a general reduction of wages will encourage
building, so that they can find employment six days in
the week throughout the year at a fair wage per day, they
will be a great deal better off than they have been for
many seasons past, with a nominally higher wage per
day, and employment for only ten or twelve days out of
every month. The only danger is that the schemers, who
have both money and political influence to gain at the
expense of workingmen, will, as they have done so many
times before, seize the opportunity of reviving business
to make a "demonstration" in their own interest, with
the usual result of diverting capital into other channels,
and depriving of employment those whom they pre-
tend to represent.
MONTICELLO ARCADE, NORFOLK, VA.
Neff & Thompson, Architects.
Exterior of white mat glaze, with background of green glaze, terra
cotta made by Atlantic Terra Cotta Co.
IN
GENERAL.
Maginn is,
Walsh & Sulli-
van, architects,
Boston, have
dissolved their
copartnership.
Charles I ) .
Maginnis and
Timothy Walsh
have associated
under the firm
name of Ma-
ginnis & Walsh,
while Matthew
Sullivan will
conduct prac-
tice under his
CARTOUCHE BY VERNON REDDI1
ARCHITECT.
North Eastern Terra Cotta Co., Makers.
Carter. Black & Ayers, Agents.
22
THE BRICKBUILDER
own name. The offices of both new concerns are in
the Colonial Building, Boston.
C. D. Parnham, architect, Atlanta, Ga., has been
admitted to the firm of Edwards & Walter, the new firm
taking the name of Edwards, Walter & Parnham.
Offices, Candler Building, Atlanta, Ga.
William T. Warren and William Leslie Welton,
formerly with McKim, Mead & White, have formed a
partnership for the practice of architecture, with offices
in the Title Guarantee Building, Birmingham, Ala. Mr.
Warren is a native of Alabama and a graduate of the
School of Architecture of Columbia University. Mr.
Welton is a Rotch Traveling Scholarship man.
HOUSE AT CINCINNATI.
James Gilmore, Architect.
Roofed with American "S" Tile made by Cincinnati Roofing Tile
and Terra Cotta Co.
At the January meeting of The Gargoyles, held at
the Hof-Brau Haus, New York City, on the evening of
January 21st, designs were submitted in competition for
a club pin.
Official reports from fifty-five leading cities of the
United States, received by The American Contractor,
New York, and tabulated, show that building transactions
in the cities tabulated reached the enormous total of
§580,492,196. As compared with the figures of 1906 —
$667,032,499 — this means a loss of $86,540,303, or 13
per cent. This loss, while widely distributed through-
out the country, is chiefly chargeable to a few large
cities. Thus, in round numbers, the loss in New York is
forty-three mil-
lions ; twenty-
two millions in
San Francisco ;
eight millions
in St. Louis and
five millions in
Los Angeles, a
total of seventy-
eight millions
for the four
cities. Chicago
makes a com-
paratively good
showing, with a
DETAIL BY TOWNSEND, STINLE & loSSOf leSS
haskell, architects. than six mil-
South Amboy Terra Cotta Co., Makers. lions.
(ly^BbO'4
- .. *4 DM
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Wood, Donn & Denting, Architects.
Roofed with Edwin Bennett's Tile.
NEW BOOKS.
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perintendent of Construction, United States Public
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and at the same time the explanations and cuts are plain.
WANTED — By a leading house, a young man (with architec-
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VOL. 17, NO. 1. PLATE I.
TOWARD THE ROAD.
HOUSE AT
NORTH EASTON, MASS.
PARKER, THOMAS & RICE,
ARCHITECTS.
F I R. J- T ■ Fl_ O O R_ • P-l^/^Sj
THE BRICKBUILDER.
VOL. 17, NO. 1. PLATE 2.
LOOKING ALONG THE LOGGIA.
HOUSE AT NORTH EASTON. MASS.
Parker, Thomas & Rice, Architects.
THE BRICKBUILDER.
VOL. 17, NO. 1. PLATE 3.
TOWAHD THE GARDEN.
HOUSE AT
NORTH EASTON, MASS.
PARKER, THOMAS & RICE,
ARCHITECTS.
^eccajd • Floor.' P
LAN
THE BRICKBU ILDER.
VOL. 17. NO. 1. PLATE 4
HOUSE FOR ROBERT HEYL, ESQ., WYNNEWOOD, PA.
Frank Miles Day & Brother, Architects.
THE BRICKBUILDER
VOL. 17, NO. 1.
PLATE 5.
^
THE BRICKBUILDER
VOL. 17, NO. 1. PLATE 5.
FIRST FLOOR PLAN.
FIRST FLOOR PLAN.
BASEMENT PLAN.
PLANS, STEVENS MEMORIAL LIBRARY;
NORTH ANDOVER, MASS.
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Guy Lowell, Architect.
THE BRICKBU ILDER.
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VOL. 17, NO. 1. PLATE 8.
DETAIL OF MAIN FACADE
STEVENS MEMORIAL LIBRARY, NORTH ANDOVER, MASS.
Guy Lowell, Architect.
THE BRICKB U ILDER.
VOL. 17. NO. 1. PLATE 9.
DETAIL OF COURT BALCONY FROM GARDEN.
HOUSE AT LOCUST VALLEY, LONG ISLAND, N. Y.
Grosvenqr Atterbury, ARCHITECT.
THE BRICKBUILDER.
VOL. 17, NO. 1. PLATE ,o.
GENERAL VIEW OF HOUSE FROM SOUTHWEST.
GENERAL VIEW OF COURT AND GARDEN FROM SOUTH END OF GARDEN.
HOUSE AT LOCUST VALLEY, LONG ISLAND. N. Y.
Grosvenor Atterbury, Architect.
THE BRICKBUILDER.
VOL. 17, NO. 1. pLATE 11.
DETAIL OF LIVING-ROOM GABLE AND PORCH FROM SOUTHWEST.
DETAIL OF NORTHEAST WING SHOWING MAIN ROAD.
HOUSE AT LOCUST VALLEY, LONG ISLAND. N. Y.
Grosvenor Atterbury. Architect.
>33
THE BRICKBUILDER.
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THE BRICKBUILDER
Volume XVII FEBRUARY 1908 Number 2
PUBLISHED MONTHLY BY ROGERS & MANSON
85 Water Street ... Boston, Massachusetts
Entered at the Boston, Mass., Post Office as Second-Class Mail Matter, March 12, 1892. Copyright, 1908, by ROGERS & MANSON
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CONTENTS
PLATE ILLUSTRATIONS
From Work by
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PEABODY & STEARNS; ANDREW J. SAUER; JOSEPH EVANS SPERRY; G. WOOD TAYLOR.
LETTERPRESS
PA'.R
TOWN HALL, LUBECK, GERMANY Frontispiec
THE AMERICAN THEATER- III Clartnct /A BlackaU
THE PUBLIC BATH Harold Werner and August P. Windolph
BRICKWORK DETAILS-III ■ *»** »«»•»**' *'*»
THE THEATER COMPETITION WINNERS
RAFAEL GUASTAVINO
EDITORIAL COMMENT AND SELECTED MISCELLANY
TOWN HALL, LUBECK, GERMANY
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VOL. 17 NO. 2
DEVOTEDTO THE-]NTERE5rJOF-ARCHITECTVR£-IN MATERIALiOFCLAY-
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s
The American Theater — III
FOYERS AND ANTEROOMS.
BY CLARENCE H. BLACKALL.
'"T^HE weak points in the American theater, the
X features which are generally bad in plan, illogical
in arrangement and slovenly in treatment, and which
are always markedly inferior to what is found in the
best work abroad are the foyers and approaches. From
the manager's standpoint,
any floor space in the front
of the house not actually
earning money is a waste of
good opportunity, and it is
doubtful if any theater pro-
moter would ever surrender
for foyers and lobbies a
single square foot more than
the law's minimum demand.
Consequently, the good-
natured American public
submits to being crowded
through insufficient door-
ways, and down narrow
stairways, so that the theater
can earn more money on a
lesser first cost. We simply
do not know what really
ample exits mean. Two typ-
ical theaters from Europe
will illustrate by contrast
what we have not. The
Schiller Theater at Charlot-
tenburg, Berlin, gives nearly
twice as much space to
foyers, approaches and stairs
as is given to the entire
auditorium. In the Raimnnd
Theater, Vienna, the ap-
proaches are greater than
the hall. In this country it
is seldom that the approaches
equal in aggregate fifty per
cent of the area of the hall. But even aside from the
scanty proportions of the foyers and other rooms in front
of the house, only rarely do we make the best use of the
spaces the laws compel the owners to allow. Commercial-
ism again steps in and dexterity rather than skill is dis-
played in complying with the legal requirements. And
the building laws are not at all uniform. Boston pre-
scribes that each division of the house, that is to say, the
SCHILLER THEATER, CHARLOTTENKURG.
orchestra, balcony and gallery, shall be preceded by a
lobby or foyer of sufficient size to accommodate, stand-
ing, all the persons for whom seating capacity is
arranged in each respective section. No other city has
so exacting a requirement as this in regard to lobbies,
and it hasmade theater build-
ing in Boston unnecessarily
expensive and wasteful of
space, without a real gain in
either safety or accommoda-
tion. New York requires no
lobby at all. In a number
of the most recent theaters
built in that city, the only
lobby space is that in front of
the ticket office and the
standing-up space behind the
orchestra seats. In the New
Amsterdam Theater this
space is separated from the
house only by a species of
glazed partition, with mov-
able sash. In the Stuy vesant
and the Majestic theaters,
the separation is by a glazed
screen stopping several feet
short of the ceiling. If we
are to assume there is no
real need for a lobby in the
European sense, then it be-
comes simply a question of
safety in case of panic or
fire; and when the standing-
room opens directly on the
street, as in the Stuyvesant,
the New York plan is really
safer than the Boston plan, as
shown by the Colonial. On
the other hand, the New
York theaters are rarely provided with any foyer for
balcony or gallery, and the stairs are carried up in open
corners in such manner that no real separation is possible
between the different levels.
The Brooklyn Academy of Music is a remarkable
exception, in that the plan shows a monumental treat-
ment of the approaches. The building includes a large
concert hall as well as a theater, and the large foyer on
-4
THE BRICKBUILDER
the ground floor serves for both halls, while the ball
room, on level of first balcony, can also be used as a
foyer. In this building a bank of elevators is an im-
portant feature, and the
stairs and exits have been
worked out by the archi-
tects in a most able manner.
This theater was not built
by any theatrical syndicate
nor as a mere investment, and
its approaches could there-
fore be planned in a more
generous manner and with
more thought for the public
than is usually considered
practicable.
A foyer on the ground floor
is in a sense a spectacular ne-
cessity. The average Ameri-
can audience does not go
out, to any extent, between
the acts, but it has come
to be considered the proper
scheme to elaborate the
decoration and the arrange-
ment of the main foyer, and
to give it a festive char-
acter, quite aside from that
demanded by practical re
quirements. There is not the
same necessity for space and
display in connection with
the foyers for balcony and gallery, and they could with
perfect safety be dispensed with, provided the exits and
entrances are properly arranged. The foyer, then, from
an architectural standpoint, becomes purely a matter of
design. A width of eighteen feet, carried across the
entire frontage of the auditorium is a minimum for a
first-class theater. It is usually customary to so arrange
the stairs and the approaches that all portions of the
house, including the gallery, can be reached through the
main foyer, so that on special occasions, when high prices
are charged for gallery seats, the entire audience can come
RAIMUNI) THEATER,
VIENNA.
\.
Main Entrance.
a.
1st Tier Stairs.
B.
Main Vestibule.
b.
jd Tier Stairs.
C.
Hall.
c.
Service Stairs.
I).
Lobby, 1st Tier.
P-
Box Office.
E.
Lobby, 2d Tier.
w.
Bar.
F.
Green Room.
V-
Cloak Room.
G.
Stores.
z.
Lavatory.
in through the main entrance, instead of the gallery
ticket-holders being obliged to come in through the less
prominent gallery entrance. This is accomplished usually
by the connection between
the main foyer and the gal-
lery entrance itself, and is
also accomplished by ex-
tending the stairs of balcony
up to the gallery, with either
barriers or doors so that un-
der ordinary circumstances
no one can pass from the
gallery to the balcony.
The matter of stairs is a
very vital one to any theater.
They should never be less
than five feet in width, and
when more than six feet in
width, should have a fixed
rail down through the center
of each run. The stairs
should be in runs of not more
than twelve steps and the
platforms should all be built
with rounded corners, so
that in case of panic, no one
can be squeezed up into an
angle. Requirements as to
stair capacity vary greatly.
Boston's new law passed last
year calls for an aggregate
width, for inside stairway,
of twenty inches for each one hundred people the theater
can seat, besides a minimum of ten inches per one hun-
dred people for the width of outside stairways or fire
escapes, and this represents a fair average of what is
believed to be good practice. But all stairs should be
so arranged that in an emergency, each division of the
house can be emptied independently, as far as the street,
without interfering with or crossing any exit from
another division.
Stairs at the best, however, are objectionable. Some
theaters have been planned in which the level of the
West. 44" Street,
GROUND FLOOR PLAN.
■f+A-.ja
STUYVESANT THEATER, NEW YORK.
West, 44" Stro<-r
FIRST BALCONY PLAN.
THE BRICKBUI LDER.
main entrance from the street
was midway between the
level of the balcony and the
level of the orchestra, so
that the ascent to the bal-
cony required only a slight
rise. This has not usually
found favor, as the holders
of orchestra seats, which are
highest in price, object to
going down. Several very
clever attempts have been
made to do away with stairs
entirely, substituting there-
for inclined ways. In the
Los Angeles Opera House
the main floor is dropped
slightly below the street, but
not sufficient to seem like a
descent. A broad and easy
ramp, of grade nowhere more than one in twelve, leads
directly from the main foyer to the balcony. The
theater is built on the side of a hill and, consequently,
from the upper level there is an opportunity to gain
direct access to the upper row of the gallery, from the
rear. So that as a matter of fact, no one need walk up
any steps to reach any portion of the house. The same
problem was worked out in a more architectural manner
and by the same architect, in the Nixon Theater in
Pittsburg. In this arrangement, a wide ramp leads up
STUYVESANT THEAT
George Keister,
from just inside the ticket
door to a point on a level
with the central tier of the
gallery. A broad cross aisle
connects the two entrances,
and steps lead up and down
the sides of the balcony, to
reach the upper and lower
levels. The grade of the in-
cline is about one in twelve,
and in practice it has been
found to work very satisfac-
torily. In this theater stairs
are also provided, but the
audience uses the ramp quite
as much as the stairs.
The other requirements
in plan for the front of the
house include a ladies' room,
which is usually made a
very ornamental feature of the theater, and elaborately
decorated as an advertisement. In close proximity to
this there should be an ample coat room not less than
ten by fifteen feet, for a first-class theater, and also a
ladies' lavatory. Occasionally this ladies' room and
lavatory can be put into the basement or on the balcony
level, but where space permits
it is invariably in close proxity
to the main foyer.
The entrance vestibule for
ER, NEW YORK.
Architect.
26
THE BRICKBUILDER
FIRST FLOOR PLAN (TAK.IN BELOW STAGE LEVEL).
FIRST BALCONY PLAN.
ACADEMY OF MUSIC, BROOKLYN.
Herts & Tallant, Architects.
ordinary theaters should be not less than fifteen feet
wide, with ticket office about midway of the length, so
as to allow of the formation of a line of ticket purchasers
without interfering with entrance and exit. The ticket
office is better not too large. Seven feet in width by
twelve in length allows of two selling-windows and plenty
of space for ticket racks. The usual custom is to arrange
the tickets for the day's performance on a swinging-
board in which are slots corresponding to the seats of
each division of the house, each ticket occupying a slot
1 ■. — -
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•fVXOH -TMlATat.-
NIXON THEATER, PITTSBURG.
B W. Marshal], Architect.
THE BRICKBUILDER
27
by itself so that the ticket seller can tell at a glance what
seats are available. Advance sales for future perform-
ances are made from racks in which all the tickets of a
given row are in a separate compartment by them-
selves. It is usual to arrange a ticket office so that
seats can be sold two weeks in advance, at any time.
There should also be an office for the manager which
can be reached from the main vestibule and also from
the main foyer. Adjoining this there should be a small
counting room in which the tickets can be counted up
each night and the records kept of the performance.
The smoking room and lavatory for men are usually
placed in the basement. Rarely is there sufficient space
on the ground floor to accommodate these. In the base-
MAJESTIC THEATER, NEW YORK.
J. H. Duncan, Architect.
ment is also placed a room for the ushers, and there
should be a room for the door-keeper, and a closet con-
taining a large sink fed with hot, cold and ice water,
for the use of the water boys.
In arranging the approaches to the theater it is well
to provide at least three sets of doors between the out-
side air and the auditorium There should be two
between the sidewalk and the vestibule. There should
be a door between the vestibule and the foyer, at which
point the tickets are collected, and there should be
doors between the foyer and the orchestra. All these
doors should be double swing, except the two outer
sets, both of which should open out only, and all the doors
should be fitted with checks and door bolts, to hold open.
THE art of building is the strongest, proudest, most
enduring, of the arts of man; it is the art which. is
associated with all civic pride and sacred principle; with
which men record their power, satisfy their enthusiasm,
make sure their defence, define and make dear their
habitation. — Ruskin.
The Public Bath.
BY HAROLD WERNER AND AUGUST P. WIKDOLPH.
A PROPER appreciation of the fundamental princi-
ples underlying the development of the public bath
cannot be arrived at without at least a review in outline
of its history, and its value and service to the people
throughout the ages. The following discussion will
include the development of the types of public baths with
the various forms of bathing, some suggestions on
planning, structural peculiarities, the extent of the facili-
ties afforded, and will indicate in a measure the value,
from a sanitary standpoint, to the community.
The earliest records mention the River Baths of the
(Ganges and Nile as a popular form of recreation and a
means for cleanliness. While public bathing was
fostered and encouraged by the people of the Peloponne-
sus, the Romans in their gigantic institutions consider-
ably perfected them, not only from a constructive but
from a mechanical point as well. A pure and ample
supply of water was always available through the
agency of the enormous aqueducts carrying water across
the Campagna, in some instances a distance of over fifty
miles to the source of supply.
In the third century, B. C. , we find a complete bathing
establishment near the Circus Maximus in Rome, with
approved form of water supply and wastes, with hot
water tanks in sets to heat the water to varying degrees
of temperature, with a consequent saving of heating
units, similar in general principle to those in use to-day,
— also provision for ventilation with air ducts to carry
off the foul air, and a universal use of marbles, mosaics
and other materials to make the interior as sanitary as
possible. Only in mechanical devices do we show to-day
any improvement.
The sanitation was further improved by the liberal
supply of water in the pool baths. In some cases the
pools were more than two hundred feet long and con-
tained several hundred thousand gallons of water. The
largest interior pool bath (Municipal) in this country is
not over one hundred and twenty-five feet in length and
contains less than one hundred thousand gallons of
water.
The bath was considered not only as a form of
exercise but as a means of cure. In the city of Rome
there were over eight hundred bathing establishments,
the capacity of a single bath house frequently exceed-
ing three thousand persons at one time. We find princi-
ples of sanitation carefully followed, medicines and
drugs were discarded, and the bath served as a guarantee
of the public health.
The larger establishments, constructed under the
reigns of Titus, Caracalla and Diocletian, no longer
served purely as a means for bathing but as a form of
recreation and pleasure. The use of anointing, massage,
lounging and other rooms marked the decline, and it
appears that the true purpose of the public bath had
been forgotten. The bath had become simply an insti-
tution to pander to the luxurious tastes of a decadent
people, and for several centuries there was a period of
inaction until the fifth century when the people of the
peninsula, realizing that the bath in order to accomplish
its purpose must serve merely as a place for bathing
28
THE BRICKBUILDER
developed a simpler type of building, discarding many
of the unnecessary features of the Diocletian type. The
buildings in operation during the Middle Ages were
mostly of a private nature devoted to medicinal pur-
poses. It was not until the latter part of the eighteenth
another development of this form of bathing and proved
very popular, although later on came in for considerable
criticism, owing to the room required, the great amount
of water used, the difficulty of keeping the compartment
and the tub clean, and the growing doubt of its efficiency
F1RST FLOOR PLAN
Men's First-Class Pool.
Kntrance to Men's First-Class Pool Bath. 9.
Entrance and office for Entertainments. 10.
Men's Second Class Pool Bath. (O)
Men's Entrance and Office, Second-Class Pool. (E)
Laundry. (T)
Office and Entrance to Laundry. (C)
KENNINGTON ROAD BATHS, LONDON.
SKCONI) FI.OOK PLAN.
Ironing aud Mangling Room. (R)
Women's Pool Bath. 11.
Women's Tub Baths. 12.
Offices. 13.
Emergency Exits.
Toilets. 14.
Courts.
Waiting Room.
Spectators' Balcony.
Board Room.
Women's Second-Class Tubs and Waiting
Room.
Men's Second-Class Tubs and Waiting
Rooms.
century that a revival occurred in public bath building,
— the stern demands of modern civilization caused its
value to be again recognized. It matters not whether
this was due to altruism, or a sudden awakening to
the lamentable conditions of the masses, or, owing, on
the other hand, to a selfish motive, that the lack of
proper bathing facilities would eventually decrease
the economic value of the poor classes ; suffice to
know that the movement received firm support
through both private and public means and appar-
ently, at the present time, it is firmly established
abroad as well as throughout this country.
To Liverpool must be
given the credit of having
established the first modern
public bath. The Corpora-
tion established in that city,
in 1794, a public swimming
pool which from the start
proved successful. This
modest beginning was fol-
lowed by another and larger
type of river bath (the St.
George Bath), since re-
modeled and in use to-day
and now known as the Pier-
head Baths. While not of a
strictly modern type these
baths are still proving of
great benefit to the com-
munity.
The tub bath in England,
known as the slipper bath, is
FIRST
HAGGBRSTOH
Public Laundry. 8.
Ironing Room. !).
Waiting Room to Laundry. 10.
Entrance Corridor to Laundry. 11.
Pool. 12.
Office. 18,
Men's Waiting Room.
as a proper form of bath for an ample and complete
cleansing of the body.
The shower or spray baths were the next step, modeled
after a simple form of workman's bath, established some
years before in Shropshire, England, which in turn were
patented after the German
type. These primitive
shower chambers were very
large, being eight feet long,
four feet wide, with a circular
cast-iron pan set above the
floor. Over the center of the
pan a rose nozzle was placed
which supplied hot and cold
water, with a simple chain
control to regulate the sup-
ply. Occasionally the shower
was placed in the same com-
partment with the tub bath.
While this primitive form of
shower and spray has been
greatly improved, the shower,
the most practical of all
forms of bathing, has not
proved very popular in Eng-
land except as an auxiliary
to the tub bath, or pool.
English ultra conservatism
rigidly adhered to the warm
and cold slipper tub bath,
the vapor and hot air baths.
The public wash house
and laundry were incorpo-
7
r -czr
FLOOR PLAN.
BATHS, LONDON.
Women's Waiting Room.
Women's Tub Baths.
Club Room.
Area and Courts.
Special Exit from Pool.
Men's First Class Tub Baths
and Office.
THE BRICKBUILDER.
29
rated in the British bath house about 1850. Owing to
the legislative enactment and consequent government
support, with a revival of public interest, the building
of these bathing establishments has steadily increased up
to the present time. The last two decades have, how-
ever, seen the greatest activity, and the majority of the
English institutions of merit date from this period.
The pool bath in its various forms has proved the
most popular form of bathing in England, and while the
continent, we find, as in the transportation service, two,
and occasionally three, classes of patrons. First and sec-
ond pool bath, first and second shower or vapor baths,
first and second and even third class tub baths had to be
provided for. The question of proper entrances and
exits was of considerable importance. In one case the
classes were grouped with an entrance in common or all
near the same point, and in another with separate en-
trances and offices. A modification of the latter scheme
FIRST FLOOR PLAN.
First-Class Pool Bath.
Entrance to First-Class Pool.
Entrance for Entertainments.
Coats.
Women's Retiring Room.
Men's Retiring Room.
Office for First-Class Pool.
Second-Class Pool.
Superintendent's < Ufice, Second-Class Pool.
TIBBERTON SQUARE BATHS, LONDON.
10. Women's Pool.
11. Office and Entrance, Women's Pool.
12. Entrance to Laundry.
13. Public Wash Room.
14. Ironing and Mangling Room.
15. Retiring Room.
(L) Lodge.
16. Spectators' Balcony to Pool.
17. Women's Waiting Room.
SECOND FLOOR PLAN.
18. Men's Waiting Room. First-Class Tub
Bath.
19. Men's Waiting Room. Second-Class Tub
Bath.
20. Men's First-Class Tub Room.
21. Men's Second Class Tub Room.
22. Women's First-Class Tub Room.
23. Woman's Second-Class Tub Room.
24. Tub Room. Office.
FIRST FLOOR PLAN.
First-Class Pool.
Entrance to First-Class Pool.
Second-Class Pool.
Entrance to Second-Class Pool and Waiting Room.
Club Room.
Women's Entrance and Waiting Room.
Women's First-Class Tub Room.
Women's Second and Third-Class Tub Room.
Entrance to Second-Class Men's Pool.
OLD KENT ROAD BATHS, LONDON.
10. Entrance to Public Laundry.
11. Wash House.
12. Ironing and Mangling Room.
13. Office.
(T) Toilets.
(C) Courts.
(E) Exits.
14. Spectators' Balcony.
SECOND FLOOR PLAN.
1">. Board Room.
16. Waiting Rooms First-Class Tub Baths.
17. Men's First-Class Tub Baths.
18. Men's Second and Third-Class Waiting
Room Tub Baths.
19. Men's Second-Class Tub Baths.
20. Men's Third-Class Tub Baths.
21. Courts.
authorities are somewhat divided as to its merits, almost
every modern bath house is equipped with one or two
pool baths. In order to better understand the diffi-
culties of planning the buildings at this time, we must
consider the various conditions as required by the
Public Bath Act, and make due allowances for the
general experimental and unsettled condition of the
bath problem, particularly in regard to the proper form
of bathing considered essential.
Owing to the strong feeling of class distinction on the
is now generally accepted in England as the correct one,
i. e. , separating the entrances but with one controlling
office for both waiting-rooms. The entrance to the laun-
dry is generally separated and occasionally used also for
the second-class baths. One of the typical baths of the
earlier nineties is the London Hornsey Road Baths. The
architect, A. H. Tiltman, has grouped around the quad-
rangle the various departments of the establishment di-
verging the different classes of bathers.
The first-class plunge room is of the commonly ac-
3°
THE BRICK BUILDER
cepted English type with dressing compartments off the
runway to the pool. It is interesting to note that emer-
gency exits have been provided to conform to the re-
quirements of the building laws on Assembly Halls, for
in the winter, when the attendance falls off, the plunge
room is converted into a lecture hall and place for enter-
tainment, and the balcony provides additional room for
spectators. The modern plunge baths of the first class
all classes form over fifty per cent of the total bathing
capacity, and the large space required for this consider-
ably decreases the efficiency of the establishment. A
considerable item was the enormous amount of water re-
quired for these baths, in one year exceeding an outlay
of $6,000. It was eventually found necessary to use Ar-
tesian wells and pumping, which has cut down this item
of expense nearly fifty per cent. This question of wells
&&&-
E>TBANO; t«TOAfCt
makob jtrixt
GROUND rLOOR PLAN
DASEMCNT FLaM
j^J_I_L
nnsr n.ooR pi_an
SECOND rLOOR PLAN
V j£J"'""y"H »,j
<c^i± or nxi
PLANS, CHELSEA PUBLIC BATHS, LONDON.
Tumo n.oon plan
are, as a rule, thus utilized throughout England.
The second-class baths in the Hornsey Road Baths
are most inconveniently placed at the extreme end of the
building with the only access by means of long and irreg-
ular corridors. The dressing compartments for the sec-
ond-class pools are in a separate room, an arrangement
which appears to be superior to the ordinarily accepted
English arrangement. The tub baths or slipper baths of
and pumping has not as yet received the attention it de-
serves by the municipalities in this country.
Of the same period of construction and similar in gen-
eral type are the Kennington Road Baths, also on an
irregular plot of ground. This establishment having a
frontage on two streets allows better access and easier
distribution for both classes of bathers than does the
Hornsey Road Baths. The different departments are
THE BRICKBUILDER
^^
THE MAIN FACADE.
THE SWIMMINO POOL.
CHELSEA PUBLIC BATHS, LONDON.
32
THE BRICKBUILDER
conveniently placed with the exception of the woman's
second-class baths. The public laundry and wash house
of these baths having an interior position with court and
skylight openings, are also inconveniently placed. The
plunge room is similar in its general arrangement to the
Hornsey Road Baths and the dressing compartments off
the runway to the second-class pool are open boxes similar
to the general continental custom for second-class baths.
The Tibberton Square Baths seem to offer the most
practical and simple solution of the English bathing prob-
lem at this period of development. The departments are
easily accessible, the long corridors have been partly
eliminated, the plunge rooms are conveniently placed and
the laundry particularly so for light and air. Cross ven-
tilation might have been obtained by extending the rear
court, though sacrificing a small part of the laundry space
for this purpose. The tub rooms are very properly placed
on the second story, as this form of bath may be considered
a luxurious feature of the establishment. The isolation
protects this class of bathers from the disturbing noises of
the plunge room, which are always objectionable when,
these compartments are adjacent to the plunge room.
In the latest period of bath development in England
we find most of the facilities of the early nineties, with
the addition of gymnasiums, club rooms, small libraries
or reading rooms, and occasionally rooms for municipal
purposes. The desire to provide facilities for the dif-
ferent classes naturally produced a most elaborate and
complicated structure.
Tiltman suggested a remedy for this over-centraliza-
tion, and his views are also of value for cities of the first
class in this country. He said that the general public
cannot be expected to go more than half a mile for their
baths and laundry, and as the majority to be benefited
are of the very poor classes, they are often repelled by
these ornate and elaborate structures. He suggested a
central establishment for any particular section of the
city with a group of small unpretentious buildings as
auxiliaries, placed at convenient and proper distances,
depending upon the character and density of the popula-
tion. The central establishment should serve as an
administration building for the group, and should be
prominently and conveniently located on the main thor-
oughfare, and provided with baths of various forms, a
public laundry and a bath laundry for all purposes. The
small bath buildings were to be economically equipped
with a small number of shower baths, or alternately pro-
vided with tubs and showers.
Tiltman's suggestions were not adopted by the muni-
cipality, but the discussion resulted in a more simple and
rational type of building, of which the Haggerston, Old
Kent Roads and Chelsea Baths, recently completed, are
good examples.
The Hagerston Baths in the environs of London are
particularly interesting as showing the introduction of
separate shower compartments, though they still retain
the use of the tub bath. A reaction had set in in regard
to the extravagantly large English pool baths, as, for ex-
ample, the Battersea Pool, which was 50 feet by 150 feet
in water area and contained some 250,000 gallons of
water, a volume which furthered the sanitation of the
bath, though the expense of replenishing and heating the
water was a considerable item. The difficulty of properly
heating such a large volume of water was the reason that
this and other English pools were not generally used for
bathing purposes during the winter months, and so the
true purpose of the institution was impaired. The water
area of the Haggerston Pool is 35 feet by 100 feet, now
accepted as the standard dimensions by the English
authorities. The plan shows separate entrances provided
for the sexes, with a superintendent's room in common.
Separate waiting rooms are also provided for the tub
bathers, with a small clubroom adjoining the first-class
plunge. The dressing compartments and one or two
shower compartments off the runway, and spectators' bal-
cony illustrate the adherence to the early English type of
plunge rooms. The access to the various departments of
this bath is most direct. The laundry is properly placed
on the first floor off the main street with an admirable
arrangement of the washing, drying and mangling rooms.
For simplicity this bath is exceptional among English
examples.
The Old Kent Road Baths show the advantage of a
corner site with ample frontage, particularly for the effi-
ciency of the numerous departments of the English es-
tablishment. The first-class pool room, considering its
winter purposes of entertainment, has been planned with
its long side on Marlborough Road with an outside cor-
ridor provided with the necessary emergency exits. The
entrances to the first-class pool and to the first, second
and third class tubs for both sexes are from the Kent
Road. The entrances to the laundry and second-class
pool are from Marlborough Road. In this bath the
women's tubs are arranged on the first floor and the
men's three classes of tubs on the second floor. For con-
venience and ease of supervision, the first-floor plan is to
be commended, but the second-floor arrangement shows
a very inaccessible position of the men's second and third
class tub rooms, resulting from the intention to control
from the Kent Road in preference to the Marlborough
Road entrance. Clubrooms are again in evidence and
suggest recreation purposes rather than the strictly util-
itarian. The shower bath is again conspicuously absent.
The plunge room is used, as is customary in the winter,
for lecture purposes. In addition it is provided with a
movable stage and fireproof curtains and complete light-
ing equipment for dramatic entertainment.
The Chelsea Baths, completed in July, 1907, are sim-
ple and economical in plan, still retaining provision for
tub and pool bathing and public laundry purposes. Foot
and needle baths as an auxiliary to the pool bath — a
recent innovation from Germany — have been introduced
into this institution. Hot air baths, the vapor or Turkish
baths — another luxurious feature — have also been in-
corporated. The facade is simple in character, expresses
its purpose well and is one of the few successful English
examples.
In order to better understand what an important part
the bath house has played in the social economy of Eng
land, a comparison of expenditures for hospitals and
baths in the early nineties is of value: —
from 1890 1894, INCLUSIVE.
Loans raised. Loans outstanding.
Baths, wash houses, $2,994,941.00 $6,297,324.00
Hospitals, 1,940,541.00 4,558,864.00
THE BRICKBUILDER
33
While this proportion of appropriation for public
baths to hospitals in England has not been attained on
the continent or in America, the growing appreciation of
the bath system as a prevention of disease is becoming
more and more evident, and it is believed that public
moneys can be put to no better use than that of bath
sanitation. The curative value of the bath in its various-
forms has long been recognized, but in its disciplinarian
and strengthening qualities to the human race lies its
value in the future.
In our day it has been left to Japan to indicate to the
so-called civilized nations, with their advanced medical
propaganda, a method of applying sound principles of
sanitation. In the late war no battle commenced with-
out the preliminary bath. The results obtained, on con-
sideration of aseptic principles, have been remarkable
and inestimable. It may be that in the near future,
owing to the efforts of Lasser in Germany, Vashar in
England, Rohe and Baruch in America, who have blazed
the way for a universal adoption of a perfect system of
bath sanitation, — that buildings of this class erected for
the prevention of disease may render unnecessary the
construction of buildings for curative purposes the
hospitals.
We find that the principal development in English
baths during the past century is in the ample swimming
facilities provided, in the sanitation and perfection of
their plunge rooms, and in the improvements of their
public laundries and the various machines and appli-
ances for these purposes. On the other hand we find an
adherence to the antiquated inside corridor with the
dressing rooms off runways to pool, meager shower-
bath facilities, and, as a rule, complex interiors and over
elaborated exteriors. This is owing, no doubt, not so much
to defect in plan as to a result of providing too many facili-
ties. An expensive exterior, in addition to luxurious in-
terior appliances, represented a large outlay to the com-
munity with no corresponding return, and it would appear
that the development of the bath house in England was
again in danger of overreaching itself, — the stern lesson
of Roman decay seems to have been forgotten. Numerous
protests for reform have encouraged the building of baths
on more simple lines, but the complicated and elaborate
English bath shows little dimunition in number.
Brickwork Details III.
BY HALSEY WAINWRIGHT PARKER.
BRICK BALUSTRADES. — Balustrades built of
brick are often of interesting design whether of suc-
cessive piers, or piers with ornamental panels between,
or thin walls with perforations. In the latter case they
should either be placed at the top of a wall so as to be
out of reach or set in cement supplemented by clamps,
etc. The diaper patterns of brick walls make excellent
balustrades if the centers of the chequers, etc., are
omitted; and successive arches forming scale patterns
also lend themselves to balustrade treatment. These
scale patterns may be varied in many ways — for in-
stance, the alternate rows can be different
size if a straight course be placed between
them, or patterns may be alternated be-
tween the small arcades, or alternate large
and small arches may be used. There is
an example of scale pattern, arch above
arch, in the interior of the mosque at Cor-
scale, and the
e ff ect of successive
arch lines in per-
spective is very
rich and interest-
ing. Skeleton
walls of this char-
acter can be made
very effective. The
reveals of brick
balustrades, while
EXAMPLE OF PERSIAN BRICKWORK.
EXAMPLE OF PERSIAN BRICKWORK.
dova — over the
col.onnad,e of
the numerous
aisles. The
wall over these
colonnades is
actually a brick
lattice of large
DETAIL OF FRENCH DOVE COTE.
necessarily cf eight inches in thickness
to secure stability, should not be greater
than the widths of the openings be-
tween the solids if any effect of light-
ness is desired. The introduction of
glazed brick in the balustrade is espe-
cially effective, when the color is con-
fined to the outside surfaces only, the reveals being left
without glazes. The perforations at the tops of the
pigeon houses in French manors are often excellent in
detail.
Brick Parapets. -The machicolations of fortified
walls and towers are often of brick, consisting merely of
openings cut down through the parapet wall to allow
the defenders opportunity to repel attack while protected
.
34
THE BRICKB U I L DER
WINDOWS IN THE DUOMo, CREMA.
by the masses of high wall between the openings. In
Italy there were two marked terminations for these sec-
tions of protecting the walls, each of which indicated the
party to which the fortification belonged. The Guelphs,
or followers of the popes, built square-
topped crenellations, while those of
the Ghibellines, or followers of the
Emperor, were cleft or swallow-tailed
in shape. Oriental parapets were
usually stepped.
The alternation of light and shade
in these parapets make an interesting
silhouette against the roofs and the
sky and enrich an otherwise severe
line, in much the same manner as a
classic cheneau. There can be great
variety in the detail, as elaborate
traceries of brick patterns can be
used. As these parapets have lost
their original purpose and are now
ornamental features only, there is no
need for heavy masses of brickwork
in their design, and while the alternate
PROM THE PALAZZO BUONSIGNORI,
SIENA.
FROM THE PALAZZO GONKALONI ERI,
CREMONA.
masses are retained to
obtain scale, within the
profile perforations are
possible. Focussed de-
tail of glazed brick upon
the axes of the units
produce a rich crown
motive to the cornice
or to wall.
Brick Tracery in
Window Openings. —
Brick tracery must
necessarily be crude
and is seldom satisfac-
tory, as the multiplicity of joints indicates small co-
hesion in slender forms, and large course forms are
usually out of scale with the building. Tracery of
molded brick is somewhat better than of ordinary brick,
but is seldom successful.
The skeletons of the tracery are of
the simplest description, and the diffi-
culty of securing the bricks together
makes this work somewhat of an affec-
tation, wood, stone and metal all being
better fitted for the purpose.
The windows of the Mohammedan
towers of the Giralda in Seville, and
of the Alminar in Cordova, as well as
those of numerous Moorish buildings
in Spain and in Northern Africa, are
treated with extremely interesting,
but in most cases unconstructional,
brickwork. Molded and unmolded
brick tiles and terra cotta are all as-
sociated in these windows, and there
is great latitude shown in the designs
— which indicate the infinite possi-
bilities of line and color in brickwork.
Brick Copings. — Copings and
sloping surfaces, such as the slopes of
buttresses,
etc., can be
laid in two
ways : first by using the brick
in the same manners as tiles,
making each successive course
overlap the one below,
the bricks being laid
as inclined stretchers
across the trend of the
wall, or they can be laid
as inclined headers,
the heads sloping with
the pitch of the coping,
etc. Both should be
set in cement, on ac-
count of the exposed
RUM THE CASTELLO, PAVIA.
THE BRICKBUILDER
35
DETAIL OF ENGLISH HOUSE.
top joints, which
are subject to
weathering.
Brick Crest-
ings. — Brick
crest ings upon
ridges are un-
usual, terra cotta,
stone or metal
being better
adapted to the
purpose, but occa-
sionally a crude
cresting appears,
formed by pro-
jecting alternate
courses laid across
each other, log-
cabin fashion.
land, France and
Germany the
chimneys are
made very decora-
tive in effect. As
they are vertical
motives, the treat-
ment is usually
either in long
pilaster lines, or in
long panels, and
many of the best
chimneys are built
upon a plan in
which the surfaces
are diagonal to the
face of the chim-
ney.
/ ■
1 . .flPWE
m
«"<l. * .rf<!SKBygt. '*m^&tf. — ^J
ma
AN ENGLISH HOUSE.
Such crestings are very rare, and weather
badly, and are practically worthless.
Brick Columns. — Circular piers of bricks
of large diameter are built merely to avoid
corners, but columns of smaller diameter
have a crude appearance, and are better
made of other material. A small brick
column seems in danger of disintegration
because of the number of its joints. Verti-
cal joints are not advisable in any columns,
as they suggest weakness. Columns of
special bricks with curved surfaces are but
little better. Piers with polygonal plan,
when built of brick, require considerable
plan area before they appear sufficiently
strong.
There occur examples such as the buttresses
of the Cathedral at Albi, in which the light
and shade upon the columnar forms are ad-
mirable in effect, but in this, as in other
similar cases, the mass of brickwork is suffi-
ciently large to make the joints unobtru-
sive.
Brick Chimneys. — The treatment of
chimney tops above the roofs has been much
neglected in American work, while in Eng-
OLD ENGLISH EXAMPLE.
There are especially fine examples of these chimneys
to be found in English country-house archi-
tecture, especially in the designs of Mr.
Norman Shaw and Mr. Pearson. In the
earlier work, the best of the chimney designs
occur before the time of the Classic Revival,
as the formality of the Classic forms was
not in sympathy with the picturesqueness
which is characteristic of brickwork. The
detailed brick chimneys may therefore be
sought in work done under the Tudors and
the Stuarts.
Stepped Gables — These are to be found
in North Germany and in Holland, of the
most picturesque forms, with silhouettes of
combinations of straight steps and simple
or compound curves, and frequently with
perforations near their outer edges. The
successive steps are often arcaded, and are
also accented by the introduction of glazed
or colored bricks, either as borders or as
foci.
Molded Brick — The moldings upon
brick are usually simple single molds, such
as plain chamfers, quarters and half rounds,
cavettos and single cymas or ogees. Small
detail, town hall, lubeck.
EXAMPLE OK BRICK PANEL WORK, GERMANY.
THE BRICKBUILDER
PICTURESQUE ENGLISH TYPE.
fillets seldom occur, as
they are likely to be
broken indeliveringthe
brick, and in the coarser
clays used in brick
making flaws would de-
stroy sharp arrises. The
fillets, therefore, are
built of the unmolded
brick, and are at least
two inches broad, and
this fact alone creates a
large scale in the moldings of the molded brick as they
are designed to be associated with ordinary brick. Also
as edges easily broken are to be avoided, delicacy or
sharpness of molding cannot be expected, and the
curves are robust and are usually parts of circles. But
from combinations of these simple forms, most inter-
teresting details may be obtained. Molded
brickwork develops naturally a similar set of
combinations of moldings as those in stone-
work— with the exception that soffits of great
projection are impossible in brick. For this
reason, the facial angles of groups of mold-
ings in brick are usually greater than of
similar groups in stone, and multiplicity of
moldings compensates for lack of projection
and consequent shadow.
Cornices. — As it is impossible to obtain
in brickwork heavily projecting cornice
soffits, excepting when supported by
corbels set near together, the brick
cornices do not resemble classic cornices,
excepting, perhaps, in having the same
integral factors of bedmold, facia and
corona. They are necessarily flatter
than classic cornices, the facial angle of
the cornice being greater than forty-five
degrees. The bedmold becomes elaborate,
being made up of corbel courses, often
one above another, and the motives re-
semble the cornices of military building
more than they do those of the orders of
architecture. The molded brick tend to greatly refine
these cornices, and are used not only in the lines of the
long moldings, but
also in the stepped
courses of the
faces of the cor-
bels. Many of the
motives of stone
Romanesque ar-
chitecture, such as
the broad paneled
lintels, the corbel
courses in which
small arches are
sprung from cor-
bel to corbel, etc.,
can ble readily
adapted in brick-
entrance to studio building. work, and these
Harold Van B. Magonigle, Architect. arcaded Corbel
courses not only
create vigorous
shadows which
could not other-
wise be obtained
in the material,
but they can fol-
low the rakes of
pediments and
gables, and, if on
sufficiently small
scale, may be
carried around
arches. Apart
from the moldings
of simple curves,
the corner rolls on
molded brick are
DETAIL OF ENGLISH COTTAGE.
AN ENGLISH
CHIMN
COTTAGE
EY.
DETAIL OF ENGLISH COTTAGE.
of the most value in combinations. These
are either simple roll moldings or roundels,
or roll moldings with concave hollows on
either side of the roll. They make admirable
inside edges to arches, and if laid over each
other in piers, produce delicate colonnettes.
The quarter round hollows are best in balus-
trades or in window traceries, or as foils to
the convex moldings. The repetition of the
same molding in successive bands, which
is introduced in much modern brickwork,
is apt to be monotonous and ineffective. In
the brickwork of Northern Germany at Lune-
borg and Lubeck, Wismar and Stralsund,
square corners are carefully avoided around
openings, a simple quarter round molded
brick being used. The effect is to soften
shadows, but it is rather coarse and large
in scale. It does, however, produce a very
typical brick architecture.
Brick with dog tooth chamfers on their
corners produce brilliant fringed edges in
light and shade. The bricks with stamped
patterns are actually a crude variety of
ornamented terra cotta and are to be con-
sidered as modeled ornament. They afford variety and
contrast to the common brick, as do fragments of marble
or glazed tile or metal
set into the brickwork.
Brick Vaulting. —
The surface of brick
vaulting may be con-
sidered as the soffits of
arches and capable of
receiving similar pat-
terns, excepting that it
is not advisable to panel
the surfaces, as heavi-
ness of effect results.
In groined vaulting the
ribs of the vault must
either be of ground
brick or of brick espe-
cially made for the pur-
pose. Herringbone pat- mckim, mead & white, architects.
THE BRICKBUILDER
37
terns are especially
effective in vaulting.
Brick Paying.—
Paving patterns can
be very considerably
freer in design than
wall or soffit patterns,
as the element of ap-
parent structural
strength is removed ;
in fact, almost any mo-
saic patterns can be
made in brick pave-
ments, and the scale of
the pattern increases,
as the brick can be laid
on their sides without
the necessity of
headers to secure bond
as in walls. Many of
the patterns in the
marble mosaic floors
of St. Marks in Venice,
the Christian basilicas
in Rome and else-
DETAIL OF DOME, COLUMBIA UNIVERSITY
CHAPEL.
Howells & Stokes, Architects.
DETAIL OF APSE, COLUMBIA
UNIVERSITY CHAPEL.
Howells & Stokes, Architects.
where, offer suggestions for designs
which could be effectively produced
in brickwork.
Tone in Brick. — As brickwork is
a mosaic made up of definite regular
units, the color or tone of each unit
should be even throughout the sur-
face of the unit, effects of change of
tone being made by combinations,
not by graded tone in the individual
brick.
The fire flashed brick, dark at one
end and light at the other, tends to
DETAIL OF SCHOOLHOUSE, ST. LOUIS.
William B. Ittner, Architect.
subtle when
variations are
slight. The
cont r as t of
black and
white check-
ered patterns
is in most
cases disagree-
able, but the
same patterns
become agree-
able in two
tones which
are but slight-
ly different
from each
other. The in-
troduction of
bench brick in
lines or spots
should be very
carefully studied, for dark courses need to be lighter than
the shadows or the shadows are ineffective and valueless.
Upon the other hand, the introduction of dark brick in
the shadows, to intensify them, fre-
quently gives brilliancy of defini-
tion. Dark courses, therefore, are of
value below projecting bands rather
than above them, and dark brick are
preferably placed between corbels
rather than in the corbels. The
alternation of dark and light brick
in arches goes far to destroy the
lines of the arch, though an oc-
casional dark line dividing the arch
into voussoirs gives scale to the sur-
face.
The primitive rule which Owen
Jones states in his Grammar of Or-
nament, i.e., that projecting surfaces
should be of light tone and receding
FIRE STATION AND AMUSEMENT HALL.
Lord & Hewlett, Architects.
disturb surface,
texture and pattern,
and has no intrinsic
merit in itself.
The usual pat-
terns of brickwork
are so simple that
they can be de-
ciphered when all
the brick are of one
tone and color, and
a very slight differ-
ence in tone or color
makes them per-
fectly definite. It
follows that violent
contrasts of color
or tone are to be
avoided, the effect
being much more
surfaces of dark
tone, is especially
applicable to
brickwork. Open-
ing and edges are
best defined with
light tones.
Color. — The
color of the brick
is necessarily that
of the clay, which
ranges from light
grays through the
tones of dark gray
to browns, and
light straw colors
to deep reds. The
introduction of
iron filings into
the clay produces
ENTRANCE TO FACTORY BUILDING.
Pi i rid & Pond, Architects.
33
THE BRICKBUILDER
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EXAMPLES OF ITALIAN PAVEMENT PATTERNS.
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•PALAZZO FARNESE'ROME'
THE BRICKBUILDKR
39
INTERIOR COURT TREATMENT.
Wilkinson & Magonigle, Architects.
mottled sur-
faces. With so
wide a gamut
of color and
tone great va-
riety in effects
produced by
con t r asting
brick of differ-
ent clays is
possible. Very
little advan-
tage has been
taken of this opportunity. Such contrasts can easily be
overdone, but in skillful hands should produce very agree-
able results. In the buff brick there are many examples
of hot yellows, strong orange tones, etc., which are dis-
agreeable and aggressive in large masses, and in the
mottled brick there is often
aneffect of bituminous
ooze which is to be avoided.
As a matter of fact, the
gray brick and red brick
are best both in tone and
color.
Glazed Brick. — Glazed
brick have either transparent
or opaque glazes. If trans-
parent, the glaze merely en-
riches the color of the brick ;
if opaque, the result is a
faience which can be in any
color. The glazes, if left
brilliant, are disturbing in
large surfaces because of the
reflection of light, and in
all such surfaces dull glazes
should be used. The texture
of the surface of glazed brick
is of a totally different char-
acter from that of unglazed
brick, and this fact should
be considered in associating
the two together. The
glazed product is a finer
material and has the same
comparative quality with
the unglazed that silk has
to wool. It should be used in small quantities as con-
trast only: in fine lines, borders and centers of orna-
ment. The interstices of the structure, such as span-
drils, tympana and panels, offer opportunity for the
introdu c t io n
of glazed brick
patterns. In
North Germany
green glazed
brick are used
effectively as
trims around
openings in red
brick build -
WIDE JOINT BOND. ingS.
F
DETAIL OF WAREHOUSE WALLS.
Argyle E. Robinson, Architect.
ATHLETIC CLUB, ROCHESTER, N.
Bragdon & Hillman, Architects.
ROM the re-
cently dis-
covered diary of
Architect John
McComb, Jr., it
is apparent that
when the New
York City Hall
was built the
duties of the
architect were as
varied as they are
to-day. In turn-
ing the leaves of
this old record a
reader of the
present generation sees a familiar aspect in the difficulties
that beset the architect of a hundred years ago. "Cal-
culations of expenses must
accompany plans, " so ran the
advertisement the building
committee issued in order to
obtain a design. And there
was the usual vacillation on
the part of the " City Fa-
thers " concerning such rad-
ical things as the length and
depth of the building, and
the kind of stone to be used.
We see the architect
spending half of his time at
the building and half at the
quarry; we see him urging
the quarrymen to continue
shipping the marble through
the winter by sledges over
the snow ; we see him engag-
ing scaffolding poles ; and we
imagine between the lines of
his handwriting many other
things he did which mixed
feelings may have restrained
him from recording.
McComb's compensation
for all he did was six dollars
a day for every day he
worked. Lemaire, the sculp-
tor who carved the capitals,
got four dollars a day. But there was other compensa-
tion, even though they themselves were not to enjoy
it. Little was it realized then that the building wrought
was to be pronounced by architects a hundred years
later the gem of
the city. Thus
it stands to-day,
invulnerable,
by virtue of
its intrinsic
beauty, against
the attacks of
innovators and
scheming poli-
ticians.
l.oN<; STRETCH BR AND wihk [OINT.
4°
THE BRICKBUILDER.
The Theater Building Competition.
THE SUCCESSFUL COMPETITORS.
RUSSELL EASON HART, who was awarded the
First Prize of $500, is at present connected with
the office of C. B. J. Snyder, architect for the School
Board, New York City, and at the same time he is taking
a special course in architecture at Columbia University.
His early training was received in the offices of Noland
Charles Romer and Frederick J. Feirer, who were
awarded the Second Prize of $200, are both stu-
dents in the Atelier Hornbostel, New York City.
Mr. Feirer received his early training in the offices
of Palmer & Hornbostel, and Howard Greenley, New
York City, while Mr. Romer received his in the
offices of L. E. Jallade, Welch, Smith & Provot, Reed
& Stem, R. S. Stephenson and A. N. Allen, all of New
York City.
RUSSELL EASON HART.
FREDRICK J. FEIRER.
CHARLES ROMER.
& Baskerville, Richmond, Va. ; Cram, Goodhue & Fer-
guson, H. Van Buren Magonigle, Carpenter & Blair,
and in the Atelier of Frank E. Perkins, all of New York
City. At present he is a student in the Hastings Ate-
lier, under John V. Yan Pelt.
Walter Yalere de Mari, who was awarded the Third
Prize of $100, is at present located in San Francisco.
His early training was received in the offices of War-
ren & Wetmore, Palmer & Hornbostel and the Atelier
Hornbostel, all of New York City.
RAFAEL GUASTAVINO.
RAFAEL GUASTAVINO, originator of the cohesive
tile-construction which bears his name, died at his
home in Asheville, N. C, February 2, 1908. He was
born in Valencia, Spain, in 1842. Coming from a family
of musicians, a portion of his early life
was spent in the study of music. At seven-
teen he entered the office of D. Jose' Nadal,
an architect of Valencia, and from there he
went to Barcelona, where he took the full
University course, and afterwards entered
the School of Architecture.
Having embraced the profession of a
builder as well as architect, as was then
customary in Spain, he was largely engaged
for many years in the erection of mills,
factories, and other types of buildings, in
which the necessity of fireproof construc-
tion was evident, and while erecting these
he had every opportunity to experiment
with concrete and tile for floor and roof constructions.
He was guided by the study of the architecture of the
Byzantines and Persians, whose influence had been felt
in Spain from the third to the fourteenth century.
RAFAEL GUASTAVINO.
At the time of the Centennial Exhibition at Philadel-
phia, in 1876, a number of photographs of his work as
an architect and inventor were exhibited in the Spanish
government section; and having received a medal for
these, he felt encouraged by that alone to visit this coun-
try as soon as he could find it convenient to do so. This
did not occur until 1881.
His first work in this country was done
in 1886 in a four-story private house on
78th Street, New York, and later in the
Arion Club, 59th Street, whose building
committee accepted his proposition, when
they ascertained that with his arches they
could make a saving of over $5,000 in two
floors alone, largely on account of the
amount of iron that was omitted.
With this experience and a series of
experiments that he undertook in New
York, he commenced the study of his art
along scientific lines, and endeavored to
adduce formulas based on constants, which
for the first time in his experience he was able to
obtain.
Mr. Guastavino was appointed architect for the Span-
ish Government Pavilion at the World's Fair, in 1893, at
THE BRICKBU ILDER.
4i
Chicago, which was a replica of " La Lonja " at Barce-
lona, Spain, which was built in 1492.
At the invitation of the president of the American
Institute of Architects, he read a paper before the In-
ternational Congress of Architects, which was held at
Chicago in 1893, on "Masonry Construction," which cre-
ated a considerable amount of interest and discussion,
and was considered one of the ablest papers presented.
He was also appointed one of the international judges
on a jury of awards for the Architectural exhibit in the
Exposition.
Perhaps no better estimate of the man could be given
than that by William E. Blodgett, who for twenty years
has been associated with Mr. Guastavino in his work.
He says:
"I distinctly remember my first meeting him some
twenty years since, at the time he was starting on his
first really large and interesting task in the line of con-
struction which he originated and developed, the Boston
Public Library. This building is still in some ways the
best illustration of the possibilities of the timbrel vault
construction, because of the diversity of its problems,
the barrel arches, groined arches, and domes, all of them
structural in their character, carrying the floor load, and
also because of the fact that it was the first instance, in
this country at least, of the use of that finished repressed
and glazed tile development which latterly has become
so largely a component part of the development of the
system.
"Contrary to the general impression as to the Span-
ish character, I found him an extraordinarily alert and
active man, both physically and mentally; in fact, I
never met a quicker man in all my experience ; a very
hard worker day and night himself, he demanded the
same kind of service from those associated with him —
always industrious and never idling. While these charac-
teristics softened very slightly with the passing of the
years, they obtained up to the time of his decease, and
though recently he did not devote himself so exclusively
to the business of the company with which his name is
identified, he always maintained a supervisory oversight,
and spent the remainder of his time, not in ease, but in
other forms of activity, to which his very versatile mind
easily lent itself.
"Mr. Guastavino was an ardent lover of the truthful
and the beautiful in the arts, and felt that his chosen
profession of architecture was one of the noblest callings
of man, and to it he gave all the wealth and energy of
his resourceful nature."
As the personality of Mr. Guastavino was so largely
identified with the type of construction which he origi-
nated, the inquiry naturally arises as to whether there
are those left who can successfully carry on and develop
the system with which his name has been so long asso-
ciated. Some ten or a dozen years ago, the business was
put into a corporate form, and his son, bearing the same
name, has been vice-president and general superintend-
ent of the company, having in charge the laying out
and designing of the work and the superintending of the
larger and more difficult problems, so practically the bur-
den of this technical work has fallen on him during these
years. He has stepped into his father's place as presi-
dent of the company. Mr. Blodgett, who for the past
twenty years has been the business man of the concern,
and treasurer of the company, will still have charge of
these affairs as before. With the company retaining the
personnel which has been a part of the equipment for
many years, so far as the execution of contracts and the
interests of the profession are concerned, but little, if
any, change will be noted.
Editorial Comment and
Selected Miscellany
THE PARKER BUILDING FIRE.
IN our last issue we made some brief comments on the
burning of the Parker Building in New York. Even
the most casual study of this structure
is sufficient to convince one that it ought
never to have been included among first-
class buildings. The interior frame-
work is composed entirely of round cast-
cases the cast-
ircn flanges sup-
posed to hold
the beams were
broken entirely
away. There
was no girder
covering used,
the bottoms of
DETAIL BY CLINTON & RUSSELL, ARCHITECTS.
New Jersey Terra Cotta Co.. Makers.
DETAIL BY F. S. BARNUM, ARCHl'lLCT.
North Eastern Terra Cotta Co., Makers.
iron columns, the girders
resting upon brackets
and being bolted to cast
flanges. Acon-
DETAIL BY A. E. WESTOVER, ARCHITECT. si(Jerab1e sec.
Conkling- Armstrong Terra Cotta Co., Makers. ^.^ ^ ^ ^^
in each story, including two lines of columns, was entirely
destroyed and fell in a mass to the basement. In many
the girders being Hush with the bottom
of the terra-cotta arches and the plaster-
ing was carried level across the tlanges
of the girders without even metal lathing
to hold it in plaoe. The girders being
unprotected, many of them deflected by
the heat. The pent house which occu-
pied a large portion of the roof was constructed with light
columns of steel angles only 2lx>lx| inches, unprotected.
These failed at a very early stage in the fire, the whole
house crashing to the main roof and thence breaking
through, probably causing the initial failure of the interior
lines of columns. Floor spans of six feet were constructed
with semi-porous, side construction, hollow tile arches
only eight inches deep. The fireproofing of the cast-
42
THE BRICKBUILDER.
iron columns consisted of a
casing of two-inch porous terra
cotta with apparently no tie
except that afforded by the
cement in the setting.
It is a libel on fireproof
construction to put this build-
ing in the same category with
hundreds of buildings all over
the country which are built
well and thoroughly, the steel
work properly protected and
the columns cased in such way
that the covering will not peel
off and drop on slight provo-
cation. So far from this build-
ing forming any example of
the failure of terra cotta to
properly do its work, it is
really a most decisive proof
that even when terra-cotta
fireproofing is applied in an
unworkmanlike manner, in
insufficient quantity and of
insufficient strength, it is yet
able to afford a very large de-
gree of protection. It would
seem as if every precaution
had been taken to make the
construction poor rather than
to make it good. The column
casings were cut repeatedly
by pipes for electricity, etc. ;
the partitions were only three inches thick where they
ought to have been at least four inches and were all cut
to pieces with windows and wooden sash; the filling over
the arches appears to have been of nothing but cinders
and the wood flooring was blocked up on sleepers in such
a manner that when the woodwork burned away heavy
machinery, safes, etc., dropped down onto the arches,
which were utterly unable, and never intended,
to stand any such shock. The Parker Building
is simply another illustration of the reckless
way in which a speculative building can be
carried up with a bare compliance with the law
and yet be classed as fireproof.
»
^^^ " ~ rn ■ ■ -» ^^1
t
building may be expected as
the season approaches, subject
only to such restrictions as are
presented each presidential
year.
Among the cities which
scored an increase despite the
financial panic are: Bridge-
port, with a gain of 22 per
cent; Denver, 9; Kansas City,
16; Little Rock, 6; Omaha, 10;
Paterson, 28; Reading, 32;
Spokane, 10; Topeka, 91.
Greater New York shows a
decrease of $7,000,000, a loss
of 50 per cent ; Philadelphia,
61 ; Chicago, 21; St. Louis, 5 1 .
IN GENERAL.
The firm of Babb, Cook &
Willard, architects, New York,
has been dissolved by mutual
consent. A new co-partner-
ship has been formed under
the name of Babb, Cook &
Welch. The new firm will re-
tain the same offices, 3 West
29th Street.
DOME OF POLICE HEADQUARTERS BUILDING, NEW YORK
Hoppin, Koen & Huntingdon, Architects.
Terra Cotta by New York Architectural Terra Cotta Co.
BUILDING OPERATIONS FOR
JANUARY.
INFLUENCED by national financial disturb-
ance, the most sensitive of all industrial
undertakings, building and construction, has
suffered a severe depression, as shown by
official reports received by the American Con-
tractor, New York, and tabulated. As fore-
casted by the decline of stocks of every va-
riety, the decrease in building operations as
compared with January, 1907, was expected,
and has materialized, to the extent of 44 per
cent in the aggregate of 47 cities presented in
the comparison. The indications for February
are more favorable, — and a large volume of
,7?
1
A
DETAIL BY WALTER E.
PARFITT, ARCHITECT.
Made by South Amboy
Terra Cotta Co.
Murray A. White, formerly
connected with the office of
Holabird & Roche, Chicago,
has formed a co-partnership with Burke & Horwood,
architects, Toronto, Canada. The new firm name is
Burke, Horwood & White.
At the Annual Meeting of the Washington Chapter of
the American Institute of Architects, held on January
3, the following officers were elected for the year 1908:
President, E. W. Donn, Jr. ; Vice-President,
W. J. Marsh ; Treasurer, F. B. Pyle ; Secretary,
Percy Ash.
Harvard University offers to members of
the Architectural League of America three
scholarships in Architecture. These scholar-
ships are divided into two classes: Class A. —
One scholarship which is restricted to those
who can pass the entrance examinations of
Harvard College. Class B. — Two scholarships
for special students for which there is no ex-
amination, but a competition in architectural
design to select the holders. Candidates for
the above should notify the Chairman of the
Committee on University Scholarships, Emil
Lorch, Ann Arbor, Mich., by April 1 of their
intention to take part in the competition. The
Architectural League of America also has a
foreign or traveling scholarship, for informa-
tion regarding which apply to Professor Percy
Ash, Chairman, Committee on Traveling
Scholarship, George Washington University,
Washington, D. C.
THE BRICKBUILDKR.
43
The Eighth Inter-
national Congress of
Architects will be
held in Vienna, May
18 to 24, 1908. His
Majesty, the Em-
peror, has graciously
consented to be
Patron. The formal
opening of the Con-
gress will be in the
Chamber of Ceremo-
nies in the I. R.
Palace. A very at-
tractive programme
for the entertain-
ment of the dele-
gates has been ar-
ranged. The follow-
ing named constitute
the permanent
American Commit-
tee: William S.
Eames, Chairman ,
George Oakley Tot
ten, Jr., Secretary;
Francis R. Allen,
( ilenn Brown, George
B. Post. Further in-
formation may be ob-
tained from Mr. Tot-
ten, whose address is
808 17th Street,
Washington.
The scope of the
work which the
Philadelphia Chapter
of the American In-
stitute of Architects
has planned to do is
a manifestation of
the new spirit which
seems to have seized
the architectural pro-
fession as a whole.
The opportunities
for doing a great
deal of good in a
community, which
come to a body of
this kind, seems to
have been fully
realized. The pro-
gramme which has
been laid out by the
Philadelphia Chapter
could be studied with
profit by the other
Chapters of the In-
stitute. It is too long
to permit of presen-
tation here. No doubt
CHAPEL, U. S. NAVAL ACADEMY, ANNAPOLIS, MI).
Ernest Flagg. Architect.
Dome of polychrome terra cotta; ribs and ornamentation in cream glaze; background
of dome golden yellow. Made by Atlantic Terra Cotta Co.
the Secretary, A mold
II. Moses, 136 So. 4th
St.. Philadelphia,
would be glad to fur-
nish copies.
At the Convention
of the National Brick
Manufacturers' As-
sociation, held this
month at Columbus.
Ohio, the proposition
to establish a School
in Bricklaying at the
Winona Technical
Institute, Indianapo-
lis, received very
hearty support from
the members. Some
forty scholarships
were subscribed for
by the Association.
This school will be
opened to boys from
any part of America.
TheCommittee of the
Association having
these scholarships in
charge are: Hon.
Anthony Ittner, St.
Louis; J. M. Blair,
Cincinnati; and
George T. Dickover,
Wilkesbarre.
ACADEMIC BUILDING, U. S. NAVAL ACADEMY, ANNAPOLIS, MD.
Ernest Flagg. Architect.
Terra cotta used in connection with granite and made uniform with that material
in color. Atlantic Terra Cotta Co., Manufacturers.
NEW BOOKS
Modern Baths and
Bath Houses. By
Wm.Paul Gerhard,
C. E. 8vo, xvi + 311
pages, 130 figures.
Cloth. S3. 00 net.
New York : John
Wiley & Sons.
Contents. — Pref-
ace. Historical Notes
on Bathing. The
Purposes of Bathing.
The Different Forms
of Baths. The
Modern Rain Bath.
I louse and Tenement
Baths. Public Bath
Houses. People's
Hat lis. Factory
Baths School Baths.
Baths for Military
Barracks, Prisons
and Jails. Hospital
Bajths. Bjaths for
( Clubhouses, Gymna-
sia, Hotels and Bar-
44
THE BRICKBUILDER.
OPERA HOUSE, PITTSBURG.
McClure & Spahr, Architects.
Built of dull glaze cream white terra cotta. Made by Northwestern
Terra Cotta Co.
ber Shops. River and Sea Baths. Air and Sun Baths.
Medical and Electric-Light Baths. The Water Supply
and Plumbing of Bath Houses. Bibliography on Baths
and Bathing. Appendix: Bathing in-
Various Countries. The Dog Bath
Alphabetical Index.
Sanitation ok Public Buildings. By
William Paul Gerhard, C. E. 121110,
xi -(- 262 pages. Cloth, $1.50. New
York: John Wiley & Sons.
This book is intended to discuss
some features of sanitation in Public
Buildings, with special reference to
drainage, water supply, lighting and
ventilation. The volume is, in some
sense, a continuation of the author's
work, "Sanitary Engineering of Build-
ings," which is devoted largely to the
sanitary work of dwelling-houses, apartments and tene-
ment-houses.
Modern Pigments and Their Vehicles. Their Proper-
ties and Uses considered, mainly from the Practical
Side, and how
to make Tints
from Them.
By Frederick
Maire. New
York : John
Wiley & Sons.
It is not
within the scope
of this little
book to go into
the detective
business nor to
make a specialty
of exposing the
tricks of trade.
Its purpose is to
give a brief and
concise history
of all valuable
pigments useful
in painting -the
main sources of
their derivation
■v>* A.r -i X
V-
IL
jSp-?!
W**
lf^
- - -1 ».
'-A-
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.1
mtmmm?*-
1 Ml
j
m*
r;
fcyj ■- H
ET
IJL |p^
entrance gate to estate at grand
rapids, mich
William W. Clarke. Architect
Roofed with combination shingle tile made by
Ludowici-Celadon Co.
and supply; their properties and chief uses; their good
qualities and their defects are pointed out, and incidentally
there are presented the best methods of detecting adul-
teration.
ACKNOWLEDGMENT.
T
DETAIL BY ESENWEIN & JOHNSON,
ARCHITECTS.
Brick Terra Cotta and Tile Co., Makers.
amples of brick bonding, made in
connection with the article treating of
Brickwork Details, were furnished by
Fiske & Co., New York and Boston.
The photographs from which the
illustrations of the Naval Academy
Buildings were made, were loaned by
the Scientific American, New Vork.
The illustrations of the Chelsea
Public Baths were reproduced from
the Architectural Review, London.
POSITION WANTED by architectural draughtsman with
special college training and ten years' office experience in designing
and detail work in both the East and the West. Would like posi-
tion where there is opportunity for advancement. Can furnish the
best of references. Address "Indiana," In care of "THE
BRICKBUILDER."
THE OLIVER HOTEL, SOUTH BEND, IND.
Shepley, Rutan & Coolidge, Architects.
Built of 1 10 A light brick made by Hydraulic Press'Brick Co.
BRANCH LIBRARY, GRAND RAPIDS, MICH.
Williamson & Crow, Architects.
Built of " Iroticlay " Brick. F. II McDonald, Agent.
THE BRICKBUILDER.
VOL. 17, NO. 2. PLATE 17.
HOUSE AT WOODMERE LONG ISLAND, N. Y.
William Adams. Architect.
THE BRICKBUILDER.
VOL. 17, NO. 2. PLATE 18.
THE BRICKBUILDER.
VOL. 17, NO. 2. PLATE 18.
THE BRICKBU ILDER.
VOL. 17, NO. 2. PLATE 19
THE BRICKBUILDER.
VOL. 17, NO. 2. PLATE 19
THE BRICKBUILDER
VOL. 17, NO. 2. PLATE 20.
^^^T ^
BETH ISRAEL. SYNAGOGUE, PHILADELPHIA.
Andrew J. Sauer, architect.
THE BRICKBUILDER.
VOL. 17, NO. 2. PLATE. 21.
THE BRICKBU I LDER.
VOL. 17, NO. 2. PLATE 22.
THE BRICKBU I LDER.
VOL. 17, NO. 2. PLATE 23.
HOUSE AT WILMINGTON, DEL.
Charles Barton Keen. Architect.
THE BRICKBUILDER.
VOL. 17, NO. 2. PLATE 24
HOUSE AT WILMINGTON, DEL.
CHARLES BARTON KEEN,
ARCHITECT.
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THE BRICKBUILDER.
VOL. 17, NO. 2. PLATE 25.
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UNIVERSITY CLUB, PITTSBURG, PA.
MacClure & Spahr, Architects.
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THIRD FLOOR PLAN
THE BRICKBUILDER.
VOL. 17, NO. 2. PLATE 26.
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VOL. 17, NO. 2. PLATE 28.
THE BRICKBUILDER.
VOL. 17, NO. 2.
PLATE 29.
THE BRICKBU ILDER.
VOL. 17, NO. 2. PLATE 30.
ELECTRICAL ENGINEERING BUILDING, POLYTECHNIC INSTITUTE,. WORCESTER, MASS.
Peab6dy' & Stearns, Architects.
The Theater Building
Competition
Special Number
of
THE BRIGKBUILDER
EXTRA EDITION
TO
VOLUME XVII, NO. 2.
ROGERS & MANSON
Publishers
BOSTON, MASSACHUSETTS
THE BRICKBUILDER
Published monthly by ROGERS <®, MANSON, 85 Water Street, Boston, Massachusetts.
Kntered at the Boston, Mass., Post Office as Second Class M.iil Mailer, March ia( if
Copyright, 1908, by Rogers & M \- on
Subscription price, mailed flat to subscribers in the United States, Insular Possessions and Cuba
Single numbers
Subscription price, mailed flat to subscribers in Canada
To Foreign Countries in the Postal Union .
$5 00 per year
50 cents
$5 5° per year
$6.00 per year
SUBSCRIPTIONS PAYABLE IN ADVANCE
For sale by all news dealers in the United States and Canada. Trade supplied by the American News Company and its branches
Competition for a Theater Building
FIRST PRIZE, $500 SECOND PRIZE, $200 THIRD PRIZE, $100
T
PROGRAM
*HE problem is a Theater Building-. The location may be assumed in any city or large town of the United States.
The site is at the corner of two streets of equal importance. The lot is perfectly level, has a frontage on one
street of 100 feet and a depth on the other street of 150 feet to a 15-foot alley at the rear.
The following is offered by way of suggestion :
Depth of stage, 35 feet to curtain line. Projection of stage beyond curtain line, 3 feet. Proscenium opening not less
than 36 feet wide, and not over 40 feet high. Width may be increased and height may be decreased to suit design. Audi-
torium to seat about 1,200 and to have but one balcony.
The sight lines should be so laid out in plan that every seat shall command an unobstructed view of at least three
fourths of the depth of the stage, measured on a center line. The lines of the balcony should be sufficiently raised so that
each seat on the floor shall have an unobstructed view to a height of 20 feet on the curtain line.
On the first floor, in addition to the auditorium, provision should be made for the foyer, lobby, ladies' retiring suite,
coat room, ticket office and manager's office opening therefrom, and such other features as may seem desirable to the
designer.
On the balcony floor there should be a foyer, which may be treated in a monumental manner if desired, also lavato -
for men and women, and such other features as may seem desirable to the designer.
It is assumed that a smoking-room and lavatories will be provided in the basement, but plan of this need not be shown.
Details of stage arrangement and dressing-rooms may also be omitted.
There should be separate exits and stairways at least 5 feet wide on each side of the balcony, which exits may lead
into the foyer of the first story.
There must be an exterior balcony of terra cotta, or loggia, with access thereto from the balcony level. This should
be treated as a feature of the design, and may be carried all around the building if desired.
It is not the intention that the design should be out of reason with the commercial requirements of an ordinary thea-
ter. The portion devoted to the stage should be carried up to a height of not less than 80 feet above the street ; otherwise
the height need be governed only by sight lines and by questions of design. It is not necessary to consider daylight
illumination for the interior, and openings in the outside wall need be considered only as means of egress.
The exterior of the building and the lobby are to be designed entirely in Architectural Terra Cotta, employing colored
terra cotta in at least portions of the walls. The color scheme is to be indicated either by a key or a series of notes printed
on the same sheet with front elevation and plans at a size which will permit of two thirds reduction.
The following points will be considered in judging the designs :
A. Frank and logical expression of the prescribed material.
B. Rational and logical treatment of the exterior.
C. Excellence of plan.
In awarding the prizes the intelligence shown in the constructive use of terra cotta and the development or modifica-
tion of style, by reason of the material, will be taken largely into consideration.
There is no limitation of cost, but the designs must be suitable for- the character of the building and for the material
in which it is to be executed.
The details should indicate in a general manner the jointing of the terra cotta and the sizes of the blocks.
DRAWINGS REQUIRED
md
On one sheet at the top, the shorter elevation, drawn at a scale of S feet to the inch. At the bottom, the first
balcony floor plans drawn at a scale of 16 feet to the inch, and the color key or notes between the elevation and plans.
On a second sheet at the top, the longitudinal section, drawn at a scale of 16 feel to the inch ; immediatel) below, tin-
longer elevation, drawn at a scale of 16 feet to the inch, and below that half-inch scale details of the most interesting
features of the design. .
The size of the sheet (there are to be but two) shall be exactly I- inches by 30 inches. Strong border lines are to be
drawn on both sheets, one inch from edges, giving a space inside the border lines 20 by is inches. The sheets are
not to be mounted. ,, , .
All drawings are to be in black ink without wash or color, except that the walls on the plans and in I ons may
be blacked-in or cross-hatched.
Graphic scales to be on all drawings. _
Every set of drawings is to be signed by a nom deplume or device, and accom ame is to be a sealed envelope
with the nom de plume on the exterior and containing the true name and address of the contestant.
The designs will be judged by three well-known members ol the architectural profession.
For the design placed first in this competition there will be given a prize of $500.
For the design placed second a prize of $200.
For the design placed third a prize of $100.
J^,
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REPORT
OF THE
JURY OF AWARD
THE Jury of Award recognizes the immense
amount of work which has been expended
by the contestants in this competition.
Out of the two hundred or more designs submitted
there was not a single one which did not show care-
ful thought and endeavor to solve the problem
primarily as a theater and give it an individual char-
acter. The jury also cannot refrain from comment-
ing upon the excellence of the draughtsmanship.
Good drawing of itself does not count for a great
deal in the decision of a competition of this sort,
and yet it certainly has a value in an educational
way, and the yearly progress which has been made
in these competitions shows how fast the average of
excellence is advancing among our draughtsmen.
But with the great amount of thought expended
upon the problem itself and the excellent draughts-
manship displayed, it is a matter of regret to the
jury that so few of the designs show a definite
solution of the problem as a theater, and that in so
many instances when the frank and logical expres-
sion of prescribed material was indicated it was not
accompanied by an equal excellence in plan. And
in further accordance with the distinct conditions
of the program, in awarding the prizes the jury
tried to consider first the intelligence shown in the
constructive use of terra cotta and the development
or modification of style by reason of material.
Terra cotta, permitting as it does of a light,
delicate and highly decorative treatment, should be
an especially suitable material for a theater. With
it a texture can be given to a wall surface which
might not be equally admissible in a building of a
different character, and a playfulness in the treat-
ment of detail would be permissible in the material
and applicable for a theater to an extent which
would hardly be possible with any other one prob-
lem. On the other hand, it is not easy to deter-
mine just what constitutes fitness in design for
terra cotta details, but the jury feels that the three
premiated designs have each in slightly different
ways managed to present their detail sheets so as
to show a character of detail that certainly sug-
gests the use of terra cotta rather than any other
one material. The same is true to a lesser extent
of several of the designs which are mentioned, but
the tendency to slip into stone work is manifest to
quite a marked degree in nearly all the designs.
As to plan, the jury feels that the competition is
somewhat disappointing. It was hoped that some
novel and interesting solution of the problem might
be offered, that there might be something set forth
which would be of value to the architect in a sug-
gestive way at least, and that with all the bright
young men working on this problem there would
be sure to be some distinctly novel proposition.
But the jury regrets to find that almost no depar-
ture has been made from the orthodox conventional
type and that none of the plans of themselves are
such as would be likely to find their way into the
utility heap of an architect's library.
First Prize. This was placed first for its gen-
eral excellence, for the essentially terra cotta effect
of the design both in mass and as detail, and for
the perfectly logical treatment of the exterior.
This design could be taken for nothing but a
theater, and it could be worked out successfully in
nothing but terra cotta. The plan has utilized the
possibilities of a foyer on the balcony level as sug-
gested by the program, but it has made nothing of
the exterior treatment on the side, which is rather
to be regretted.
We are inclined to question a little whether the
Florentine Renaissance is after all the most
adaptable style in detail for American terra cotta
architecture, but accepting that as a parti it has
certainly been very cleverly and successfully
worked out on the detail sheet. In plan, the circu-
lar promenade around the orchestra is a feature
which is always acceptable, but the absence of
side aisles is not a good arrangement. The loca-
tion of the ladies' room and its adjoining toilets is
quite inadvisable, being without any exterior light
or air, and there is no good reason why it should
not have been on the side street instead of being
put way inside. Also, the manager's office is
treated as if it were to be used in part for the sale
of tickets, whereas the ticket selling department is
always by itself in a much smaller room. It is
on the whole, however, a good, workable theater,
which might easily be developed into a well ap-
pointed house, and the jury feels that on all three
considerations this is fitly placed first, and it is
especially commended for the beautiful manner in
which it is worked out. It is one of the few de-
signs submitted in which the treatment of terra
cotta is logically carried throughout the interior.
Sri ond Prize. The excellence of the composi-
tion and the simplicity of plan is specially to be
commended in this design. Also the sense of scale
if
it
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is very carefully preserved and the side elevation
is given an admirable treatment, though it needs
further elaboration to be quite successful. The
terra cotta character of the exterior is well pre-
served in the elevation drawings but is not worked
out so successfully in the detail. The plan is lack-
ing in coat rooms, and the introduction of triple
independent vestibules would necessitate separate
ticket offices and prove an undesirable feature.
The treatment of the stairs is very compact and
logical. The introduction of the cross aisle near
the stage end of the auditorium is not a desirable
feature as it cuts the house in two and there seems
no good reason why it should be done at all. The
proscenium boxes are not in good proportion to the
house and the plan and the section do not seem to
quite agree.
Third Prize. In this design the general effect
of the outside shows unmistakably as terra cotta but
not as unmistakably as a theater. The details are
the most exquisite that were submitted and the
draughtsmanship makes one appreciate how aston-
ishingly the country has advanced of recent years.
There seems to have been absolutely no restraint
on the facility of the pen which elaborated the sheet
of details, and the work as shown has the advantage
of not only looking like terra cotta, but of being as
well beautiful in itself. It is to be regretted from
an artistic standpoint that the same skill was not
expended on the sight lines of the section and the
treatment of the main ceiling as was given to the
extremely clever indication of the foyers and stairs.
In plan every condition seems to have been on the
whole very well met, with the possible exception of
ladies' lavatories. The treatment of second story
foyers is admirable, and this design is one of the
few submitted which took advantage of the possi-
bilities of loggias on the side. These are very well
treated and the exits from the house in balcony and
gallery are in every sense admirable and ample.
The boxes of the proscenium are quite ignored, but
there is no doubt of the author's ability to work
this out as successfully as he has the front of the
house.
First Mention. The jury especially commends
this design as an artistic stunt. It is exceedingly
clever and well worked out, adapting to an exterior
the suggestion of a proscenium motive and elabora-
ting the detail in a wonderfully clever manner, but
it was felt that this was essentially an exposition
design rather than that for a permanent theater
building. Furthermore, the enormous canopy sus-
pended over the sidewalk from the top of the arch
motif is indicated at a height so extreme as to be
of no practical value, and is an unfortunate concep-
tion. In plan, boxes are introduced which were
not asked for and in the second floor the purpose
is not apparent for the long apartments at each
end communicating apparently with nothing of any
particular interest. The draughtsmanship is very
praiseworthy in this design.
Second Mention. A well composed exterior.
with good detail in many respects, and one of the
few designs which took into account the inevitable
electric sign which must be a feature of every
theater. The boxes are poorly arranged, the
stairs to balcony are unnecessarily twisted, and the
introduction of the central skylight is uncalled for
and a feature which had far better be eliminated
entirely.
Third Mention. An exceedingly clever scheme,
introducing the decorative frieze of figure work
most interestingly, but as a whole it lacks in charm
and is unfortunate in mass. The purpose of the
niches and figures in front of the foyer is not by
any means apparent and the foyer is one of the few
rooms about a theater which can appropriately be
treated with large exterior windows, instead of
which we have here a perfectly blank wall. In this
design also the interior skylight is a practical
mistake.
Fourth Mention. The work of a man with
ideas. A design thoroughly well presented and
worked up, with exquisite draughtsmanship, and
with the introduction into the plan of many of the
academic tricks which enhance its points so effec-
tively and bring out the treatment of axis and
balance of parts in a perfectly legitimate manner.
It is not, however, characteristically terra cotta,
either in detail or mass, and the mass of the front
portion of the building is unnecessarily low and not
pleasing in general outline. This scheme has, how-
ever, one merit in that it accepts the fact that the
building is placed at the corner of two streets of
equal importance and the side elevation is accord-
ingly given a degree of study which is not found
in any of the other designs.
Fifth Mention. This deserves to be com-
mended for the attempt to depart from the conven-
tional treatment of the proscenium above the roof.
It is a question how successful this would be, but it
certainly is not hackneyed. The facade is well pro-
portioned and the details clean and well worked out.
Six ih Mention. This design is essentially terra
cotta in its appearance but the scale is not well
balanced and the introduction of the depressed
marquise at the entrance introduces an unfortunate
low scale at the entrances. The arrangement in plan
of the ticket office lobby is not practical, nor are the
stairs well arranged for the accommodation of the
public.
"John M. Carrere
Clarence II. Bi \< kali
William Adams I)i i wo
France.! 1 1 , Bosw orth, Jr.
Jury of Award*
After the Prise and Mention Designs the others are not arranged in order of merit.
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THE BRICKBUILDER
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THE AMERICAN THEATER - IV Gtorttue If. Blackall
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VOL. 17 NO. 3
DEVOTEDTO THE-INTERE5TJOF-ARCHITECTV&E-IN MATERIALf-OF-CLAY-
MARCH 1905:
>>»»»»}&
The American Theater — IV.
SIGHT LINES.
BY CLARENCE H. BLACKALL
THE essential condition, which rightly takes prece-
dence over every other consideration in a modern
theater, is that every spectator shall have an'/ inter-
rupted view of what is being done upon the stage.
There is no excuse for the neglect of this condition,
and its importance can hardly be too strongly empha-
sized, for if the sight lines are faulty, no amount of
careful planning otherwise, or of architectural develop-
ment or adornment, can make the theater any more than
a partial success, which is equivalent to a failure. Bad
acoustics can be tolerated in these days, when with most
shows it really matters so little what is said on the
20 25 SO 35 40 -t5 SO
how variously it has been worked out, and how often it
just fails of being a success. It has been the practice of
the writer to work out the sight lines first on paper,
then to have a
scale model con-
structed,including
the curtain open-
ing, the shape of
the parquet, and
the main construc-
tive cantilevers or
girders of the bal-
FIG. I. TYPICAL PLAN.
stage and imperfect#heating and ven-
tilation can be remedied after a build-
ing has been occupied, but the sight
lines are fundamental. They are the
very first factors which must be abso-
lutely established in flie design of the
auditorium, and once incorporated into
the building, it becomes practically
impossible to change them. It be-
hooves the architect, therefore, to ex-
ercise the utmost care in fixing them,
to check them constantly on the draw-
ings and during the progress of con-
struction, and to be sure of his facts
and of the results. The problem
seems, after all, like an easy one, but
one has only to compare a dozen or
more recent theaters to appreciate
fig. 3
K.I.SKA THEATER.
FIG. 2. COLONIAL THEATER, BOSTON.
cony and gallery, the latter being
made in tin or galvanized iron. With
this constructive model the sight lines
are thoroughly tested for every por-
tion of the house, the framing being
raised or depressed until just the right
lines are assured. This model serves
as a basis for grades on the shop draw-
ings of the steel work, and can then
be clothed in wax, clay or plaster, in
studying the architectural design of
the interior. And working in this
manner it has often been found that
the lines as developed on paper had to
be materially modified. The sight
lines are really the key to the whole-
design.
46
THE BRICKBUILDER.
First, in plan.
Every seat must
lie within limit-
ing lines, touch-
ing the jambs
of the curtain
opening and
starting from a
common center
on the longi-
tudinal axis of
the hall. If the
theater is to be
used for light
drama ortvaude-
ville, this center
should be at
JCALL fao£] ■ - -
FIG. 4. BOSTON THEATER.
least 30 feet to the rear of the curtain
line (Fig. 1); for the ordinary run of
theaters, this center should be at least
forty-five feet back of the curtain line
(Fig. 2), while for grand opera or
large, spectacular productions, the
lines should be such that from the
most extreme side seat a spectator
can see at least one-half of the width
of the rear of the stage (Fig 3). As
these limiting lines must be .applied
to each division of the house, it be-
comes extremely difficult to plan for
boxes on the sides with good sight,
and only by sacrificing good seats on
the parquet are good boxes possible.
Box seats are, accordingly, usually the
poorest in the house.
It will at once be seen how much
the efficient seating capacity of the
house is modified by the width of the curtain opening.
This width varies from a minimum of twenty-five feet
for a vaudeville house to as much as seventy feet, as
in the Boston Theater (Fig. 4), and is, at times, affected
by the permissible depth of the auditorium and by
the width to which the lines can fan out on each side.
With sight lines which would be theoretically perfect
the bounding lines should be parallel to the center line so
that from the extreme side seat a spectator could see the
whole depth of the stage the whole width of the curtain
opening, but as scenery is invariably set drawing in
towards the rear, and as most of the action is confined to
the central quarter of the stage, such extreme lines are
not necessary, though they have been followed in a few
cases in this country, and are often found for the parquet
seats only of the theaters in Europe.
The only practical reason for arranging the seats in
curves is to make it a trifle easier to look straight at the
front center of the stage. They could perfectly well be
put in straight rows parallel to the curtain, as was done
quite successfully in the Studebaker Theatre, Chicago.
An amphitheatrical arrangement of the seats is preferred,
however, on account of its presenting a more compact ap-
pearance, and seeming to give a more intimate sense of
touch between the actor and the audience, a very desir
able condition. This can be carried too far, however, as
is usually the case with the European theaters, where the
balcony and galleries are cut away back in the center and
carried out on the sides in the familiar horseshoe shape,
causing a considerable portion of the audience to face
each other instead of the stage, and removing the best
seats far from the stage. This arrangement has never
found favor with us. The illustrations (5, 6, 7, 8, 9, 10)
show some of the most successful bal-
cony lines. The front of gallery is
usually cut back more and struck with
a lesser radius than the balcony, but
in none of the recent theaters is the
gallery center in advance of the cer-
tain line, more generally being kept
to the rear thereof, so as to give
flatter curves.
Second, in section. In the ancient
amphitheaters the rise of the plat-
forms was so sharp that each spectator
could see entirely over the head of the
one in front of him. This would be
manifestly impractical in a modern
hall, and even to so graduate the slope
that each spectator would be able to
have his eyes even above the level
of the head in front of him would
speedily bring the rise in the twenty
L
FIG. 5. KEITHS THEATER, BOSTON.
to twenty-four
rows of the average
theater so high
that galleries
would be imprac-
tical. A com-
promise is there-
fore made. jThe
seats are seldom
directly in front of
each other in plan.
In fact, the aisles
are generally de-
liberately planned
so that the seats
would be more or
^?
i.
... .
U
t
FIG. 6. ILLINOIS THEATER, CHICAGO.
THE BR ICKBU I LI) E R.
47
FIG.
7. Sl'UYVESANT
NEW YORK.
THEATER,
less staggered. It is as-
sumed that one can ordi-
narily look between the
heads of at least two
rows in front of them.
Since the theater hat has
disappeared this assump-
tion accords very well
with the fact and indeed
it is not at all unsafe to
assume that one can see
between the heads for
three rows in front of
him. Consequently, if
the steppings are so ar-
ranged that every fourth row is raised sufficiently to
give a clear view over the top of the fourth man's head,
the sight lines could be called good ones. It is also
not enough to give merely a view of a person standing
on the stage. In these days of dancing and stage effects,
the feet of the actresses are quite prominent and ac-
cordingly the sight lines are taken from the edge of
the apron. The difference between the level of the apron
and the level of the first row of seats is best taken at
three feet. It is sometimes made six inches more, but
three feet gives a better line, especially as the hood which
covers the foot-
lights rises to a
height of about
five inches
above the level
of the stage
floor. The eye
of a person
seated is gen-
erally about^
four feet above
the floor. By
laying out suc-
cessive heights,
as shown by the
diagram (Fig.
11), and draw-
ing the sight
lines, a curve is
worked out
which gives a
rise for twenty
rows of seats of six feet. To determine the sight lines
for the balcony, a line is drawn from the eye of a person
seated in the rearmost seat of the orchestra to a point on
the curtain line twenty feet above the stage. No portion
of the balcony soffit must project within this line. Twenty
feet gives an uninterrupted view of a high set scene.
Where space is very restricted, this height can be reduced
to eighteen feet, but twenty is better. For the lines of
the steppings of the balcony the same process can be fol-
lowed as in the orchestra, but it has been found that a
very close approximation would be to make the tangent
to the edges of the risers center on a point four feet be-
low the top of the stage at the center. Then to determine
the soffit of the gallery a line is drawn from the eye of a
person seated at the rearmost row of the balcony to a
THEATER,
FIG. 10.
BALCONY, OPERA HOUSE,
INDIANAPOLIS.
point twenty feet above
the stage at the rear, and
all of the balcony soffit
must fall outside of this
line. Similarly a tangent
for the edges of the gallery
risers is drawn from the
point four feet below the
front of the stage.
In this manner the lines
are established for the bal-
cony and gallery along the
center line of the house.
If the seats are in rows
parallel to the curtain,
each row can be made
horizontal, but when the
seats are on a curve in
plan, the rows must pitch
sidewise in order to preserve proper sight lines, the
amount of pitch being determined by working out a
section along the limiting side line of the plan. On
this side line the rearmost row of seats can be kept
at same level as on the center, but the front row must
be dropped enough to give clear sight on the stage floor
at the curtain line on the side of the curtain opening.
This cuts down the height at curtain line visible from the
extreme side seat under the balcony, which is usually un-
avoidable, but which is in accordance with the usual prac-
tice so long as this height is not reduced below twelve
feet as against twenty feet on the center line. Hence it.
will be seen that with balcony curve of short radius, the
sight lines become difficult of arrangement, and with a
horseshoe shape are impossible. European balconies
generally have thoroughly bad side sight lines, and in the
case of the Paris opera, one can not see the stage at all
from the extreme seats of the side gallery.
The diagrams
(12, 13, 14, 15. l6-
17) will show the
varying ways in
which the sight
lines have been
worked out in sec-
tion.
Thedimensions
figured on the il-
lustrations are
only approximate,
being worked out
from small scale
drawings intended
to give only
general relations
of parts.
There are a few
other things to
consider in con-
nection with sight
lines. In the de-
sire to accommo-
date the greatest
number of people
fig. 9.
BALI os V, COLONIAL I 111
48
THE BRICKBUILDER.
in the least space, and with the feeling- that because the
gallery seats are cheaper than the orchestra therefore
the gallery seats need not have as much consideration,
many theaters have been planned with the gallery carried
back so far and so high that the topmost row was
considerably above the top of the curtain opening.
JCALLlfactfri: ... ...
FIG. II. TYPICAL SECTION.
This is a thoroughly vicious arrangement and in no theater
should any seats ever be carried as high even as the top of
the proscenium opening. The curtain opening is generally
made not over thirty- five feet. Consequently in a well-
planned theater no seat in any part of the gallery should
be more than thirty-five feet above the stage level and
should be as much lower as the greed of the manager
and the size of the lot will permit.
It will be seen that the sight lines of a theater call for
a very considerable degree of expert knowledge, as the
different factors involved are so closely correlated that
no one can be considered alone, and even a slight change
in one necessitates change in all.
FIG. 12. SECTION, COLONIAL THEATER, BOSTON.
ACOUSTICS is the one baffling problem which has so
far set at naught scientific research. There has been
some most excellent work done by such investigators as
Professor Sabine, of Harvard College, who has analyzed
results most convincingly, and who has been able to
reduce the results of his experiments to definite coeffi-
cients and formula;, but when it comes to determining in
advance what the acoustic properties of a given hall
shall be, the only guide is experience, and even that is
sadly unreliable from causes for which we are often
wholly at loss to account. If there is to-day any work-
able theory for determining acoustic properties of a hall
of audience it has yet to be successfully applied in
practice, and the most that we can do is to draw a few
lessons from observed facts, and even these must be
applied with fear and trembling if one departs at all
from the beaten track of safe practice. Having found
that one hall is excellent acoustically, the only sure way
is to exactly copy that hall, line for line, and in every
dimension, and even then sometimes an unexpected
combination seems to set all our plans at naught. Sound
is not propagated in straight lines nor in straight waves,
but apparently in spherical undulations, which are so
extremely tenuous as to be easily modified or deflected
by slight obstacles. We have not yet reached even a
satisfactory starting point for the theory. Professor
Sabine's experiments appear to have been conducted
with a view to diminish the residual effect of sound,
to absorb the waves, rather than to intensify them.
Other experimenters have hypothesized that beyond
certain distances from a focal center, all surfaces of walls,
etc., must be made absorbent, while surfaces near at
hand should be reflective of sound. Rut in a theater
SECTION, NIXON THEATER, PITTSBURG.
there is no focus from which to reckon. Action,
speech and music may start from any point of the stage
and even at varying levels above the same, while there
is the added complication that the music in the orchestra
pit must be effective to both the audience on one side
and the artists on the other.
There are, however, a few things which we know by
experience. Of recent years, there have been built a
number of open-air auditoriums, which have been used
quite extensively throughout the West, in connection
with the various Chautauquan movements. These are
simply huge wooden shelters on a circular or square
plan, built without any sides, open to the air and with
concentric rows of seats. In some cases, audiences as
...
FIG. 14. SECTION, ACADEMY OF MUSIC, BROOKLYN.
high as four and five thousand have been accommodated
under perfect acoustic conditions, and it has sometimes
been found that a shelter of this sort, which is
perfectly good while the sides are open to the air,
becomes bad acoustically when the sides are closed in,
quite irrespective of the material of closure. Again, it
THE BRICKBUILDER.
49
seems to be a fact that spoken and musical sounds will
travel with less interference across a moving current of
air than they will travel with the current. Consequently,
when the fresh air is introduced, so as to ascend in verti-
cal columns through the house, the effect of the ventila-
tion, instead of carrying the sounds away from the
audience, seems to be to render them more distinctly
audible. In the writer's experience the most fertile
cause of trouble in an auditorium seems to rise from in-
equalities of temperature. The sound
waves, passing from a warm through
to a cold strata, seem more likely to.
One hall will be very easy to speak in, and the smallest
modulations of voice seem to reach each spectator, while
in another, everything can be heard with perfect ease
FIG. 15. SECTION, MAJESTIC THEATER, NEW YORK.
be confused than when the temperature is maintained
at an even degree throughout. Consequently, the ideal
hall, on this assumption, would be one in which there are
no outside walls directly exposed to the weather, but in
which the auditorium is entirely surrounded by a larger
building on all sides, so that there shall be no cold walls
or ceilings. It has been noted also that an anditorium
with a domed ceiling is quite apt to have bad acoustic
FIG. 16. SECTION, MAJESTIC THEATER, BOSTON.
properties ; that, on the other hand, a hall with a flat
ceiling seldom gives any trouble. Against this, how-
ever, is the fact that a plain ceiling unbroken by beams
may affect unpleasantly the sound. The hall which has
the reputation of being the best acoustically, in this
country, is the Sanders Theater, of Harvard University,
which has an open, Gothic, wooden ceiling and has the
arrangement in plan of an amphitheater. Again, quite
aside from the question of arrangement or absorption,
there is the question of timbre, the quality of sound.
JCALc l+mJiinhw<i'nitWr
fig. 17. section, keith's theater, boston.
but the sounds are not soft or pleasing. The problem,
in fact, is a wholly indeterminate one, and conclusions
cannot be supported by logical reasoning, but only by a
sense of measuring what has come out well in various
halls, and trying tp^combine different features into what
might be termed an ideal auditorium. In such an
auditorium, measured by the writer's experience, there
would be a carpet on the entire orchestra floor through-
out. The floor of the orchestra pit, where the musicians
sit, would be made hollow with a half-inch, thoroughly
seasoned upper floor, furred off from the under floor like
a sounding boardT The ceiling would be generally flat,
but would be broken up a good deal by projecting
beams. The walls on the other hand, would he kept
quite plain beyond the proscenium front, broken, if at
all, only by very shallow pilasters. The drapery about
the boxes would be reduced to a minimum and there
would be no drapery or carpeting in galleries, except the
strip of carpeting down the aisles. Such an arrange-
ment has repeatedly been used, coupled, of course, with
uniformity of temperature and evenness of ventilation,
and has always given excellent results.
Various schemes have been devised to improve acous-
tic properties and to insure special results. The mega-
phone type, in which the lines of the plenum are carried
out through the whole ceiling, as in the Majestic Theater,
at Boston, or the Auditorium, in Chicago, was a perfect
success in one instance and a doubtful result in the other,
giving really too much sound and a little tendency to
harshness. A certain architect made quite a reputation
for himself by effectually stopping echo in a theater by
the simple process of furring up the floor a few inches.
But when he came to apply the same treatment to an-
other house of slightly different disposition and plan his
scheme was an utter failure. There are some cases of
houses which when empty resound like a sounding box
but which when filled with people and warmed are mel-
low and pleasing in their acoustic properties. In fact,
it may be generally stated that a hall which is even
tolerable when empty is pretty sure to lie greatly im-
proved, if not perfect., when warmed and filled, and the
comforting thought in connection with the whole vexa-
tious problem is that, after all, most halls of audience
good acoustically and a very small percentage of t
that are built are so bad that they cannot be used or that
they bring discredit upon architect or owner.
5o
THE BRICKBUILDER.
SMALL BATH, HANNOVER.
I. Men's Waiting Room. 2. Wo
men's Waiting Room. 3. Office.
4. Men's Shower Halls. 5. Women's
Shower Halls. 6. Wash Room.
The Public Bath — II.
THE GERMAN TYPE.
BY HAKOLD WERNER AND AUGUST P. WINDOLPH.
WE find that there is established throughout Ger.
many, even in the smallest towns, public baths
with at least the shower facilities. The most notable
improvements in the German baths have been made in
the development of the shower bath, in pool bath con-
struction, in the workmen's bath, and the technical
excellence of the fittings. There is also an admirable
system of compilation, which shows the attendance and
cost of maintenance.
The public laundry
and wash house, which
have always been a
working feature in the
English bath house,
have of late years been
practically discarded in
Germany. The last
public bath and wash
house was constructed
in Augsburg as far back
as 1871 ; to-day we find
the laundry in a special
building.
An early form of the small municipal bath is illus-
trated from Hannover.
Most of the early buildings were provided either with
swimming facilities or with the tub bath, as in England,
and it was not until 1880 that Lassar, a German author-
ity, following the suggestion offered by Vasher for
reform, recognized that the best means of
bathing the people should be a bath com-
bining extreme simplicity and economy.
I le accordingly advised the sole use of the
shower bath for the middle and working
classes as the most practical of all. He
further suggested the installation of a
certain number of these bathing com-
partments for the use of the workmen in industrial
establishments, as well as in the mines. These baths
have been known as the workmen's baths and have
proved most successful throughout Germany, and they
could be used with good results in this country, both in
the mines and in large manufacturing plants. They
are inexpensive in construction and simple in plan,
consisting of the requisite number of shower compart-
ments with dressing room provided with adjustable
poles which can be raised to the ceiling, thoroughly
isolating the articles of wearing apparel. Some of these
workmen's baths are provided with disinfecting rooms,
thus furnishing a bath for the clothing as well as for
the bather. Some simple forms of workmen's baths
are illustrated
from the Krupp
Gun Works at
Essen. A few
tubs have also
been provided.
The section
WORKMEN'S HATH, BORSIGWERK.
E. Entrance. S. Shower Rooms.
D. Dressing Compartments. T. Tub
Room. R. Retiring Rooms. W.
Waiting Room. T. Toilets.
HATH AT K
Tub Rooms.
shows the simplicity of
the shower arrange-
ments, the angle of
spray and the floor sec-
tion for drainage.
A somewhat larger
bath is illustrated from
Borsigwerk. This build-
ing has a capacity for
bathing fifty workmen
simultaneously. The
showers are arranged
in separate compartments with ample rooms for adminis-
tration.
Still another type of workmen's baths, for miners, pro-
vides for bathing the men in common in a long bathing
hall with a straight row of double showers, the young
men having a separate room. Adjoining rooms provide
for the hanging of the clothing. Offices, an emergency
hospital and a morgue are also provided.
The following general recommendations have been
urged by the German authorities for workmen's baths,
which it would appear are equally applicable to the larger
type of baths:
1. The greatest possible utility in the least
possible space.
2. Ease and convenience in cleansing the
bath compartments.
.;. Avoidance of all wood.
4. Prevention of draught with the rational
position of the shower nozzle (pref-
erably at forty-five degrees).
The success of the workmen's bath resulted in the
adoption by the various municipalities of a type of small
bath modeled on these lines. Their capa-
city ranging from a dozen bathing units
in the minor establishment to fifty or one
hundred units in cities of the first class.
The people's bath at St. Paul's, Ham-
burg, is a type of the small city bath
in Germany. There are four shower
compartments for women and eight for
men. The building is situated at the corner of two
streets and has proved serviceable and economical in
operation.
A somewhat similar municipal bath for cities of the
second class is illustrated in the public baths of Chemnitz.
The plan shows the proper proportion of men and women
shower compartments with the corridors against the ex-
terior walls.
The municipal bath at Mannheim has separate waiting
rooms for the
T--TTTT""!
RUPP WORKS.
2. Shower Rooms.
mTiTITi'n
klLLLIJzJCj
BATH AT KRUPP WORKS.
Tub Rooms. 2. Shower Room. ;. Toilets
sexes with pro-
visions for four-
teen sho we r
compartments,
ten for men and
four for women.
The corridors
are on the out
side walls and
numerous win-
dows provide
- TL*~ i
m [hw 2 ,". ! ' 1 1 1 1 1 il
C.EKMAN MINERS BATH.
1. Workmen's Dressing Hall. 2. Woikmen's
Shower Room. 3. Young Workmen's Showers.
4. Office. 5. Morgue. 6. Sick Room.
lamp Stations. 10. Oil Room. 11. Toilets.
12. Entrance.
TH E BRICKBUILD E R.
5«
people's bath, st. paul's
HAMBURG.
i. Office. 2. Waiting
Rooms. 3. Women's Showers.
4. Men's Showers.
ample light and air. The plan
is compact and is well adapted
to the needs of a small city.
The small bath at Munich
shows the use of the octagonal
plan with provisions for four
showers for women and eight
shower compartments for men.
The City Bath at Mainz
shows the entrance for the sexes
properly separated. This plan
with some modifications has
been adopted by towns and
small cities throughout Ger-
many as well as in America. These small baths
are also found in cities of the first class as illus-
trated in the small city bath at Berlin, which pro-
vides for tub bathing as well as showers. Provi-
sion for the first and second classes is also made
in each bathing hall. In the
shower bathing halls the dress-
ing compartments are separated
from the showers, and the tub
bathing halls are well lighted
and ventilated. A small laundry
and the boiler room are in the
rear wing of the building.
The public bath of the city
of Ouedlinburg, with a popula-
SMALL BAl'H,
MUNICH.
1. Waiting Room, tion approximating twenty-five Women's Showers.
SMALL BATH,
MANNHEIM.
1. Men's Waiting
Room. 2. Women's
Waiting Room. 3.
Men's Showers. 4.
5. Office,
ing Room.
2. Office. 3. Wo thousand, shows the use of the
men's Shower Hall, three forms of bathing. The
4. Men's Shower snower baths are in the basement, the
Hall. 5. Staircase to
Boiler Room.
pool and tub baths are on the first floor,
and steam and hot air baths are on the
second floor. The establishment also includes a laundry
and superintendent's living quarters.
The vapor, hot air, steam and Roman baths have
lately been introduced into the larger establishments and
FIRST FLOOR PLAN.
FIRST FLOOR.
1. Entrance. 2. Office. 3. Wait-
ing Room (women). \. Women's Tubs,
First Class. 5. Women's Tubs, Second
Class. 6. Waiting Room (men's).
7. Men's Tubs, First Class. 8. Men's
Tubs, Second Class. 9. Preliminary
Cleansing Room for Adults. 10. Pre.
liminary Cleansing Room for Children-
sf.< OND I I.OOR PI. \N.
BATH AT QUEDLINBURG.
11. Tool. 12, 13. Upper
Boiler and Engine Room. 1 1.
Rooms for Hath Cloth
|p FLOOR.
Steam and Hot-Air
2. Retiring Rooms. ,. Superintendent's
Ouarters. 4. Toilets. 5. Balcony for
Children.
arc well illustrated in the public
baths of Stuttgart, Munich,
Frankfort and Hannover.
These large baths mark the
acme of modern bath construc-
tion on the continent, and with
their large double-story bathing
halls and domed ceilings recall
in a measure the early splendor
of the Roman baths. As a rule
they have been developed on
an unsymmetrical plan with a
picturesque treatment of the
exterior — in their ornateness
recalling the British
baths. BATH CHEMNITZ.
The bath at Stutt- 1. Entrance (women). 2
.... (both sexes). t. Women's
gart, completed in ... . ' J ,„
r Watting Room. 4. Women's
1892, is provided With showers. 5. Women's Toilets.
tWO pools. The WO- 6. Men's Waiting Room.
men's plunge is on the '■ Entrance (men). Men's
main street and con- Showers-
veniently arranged to the entrance hall. Access
to the men's plunge room is provided through an
extremely long, groined corridor. It is difficult
to understand why the men's pool, serving the
principal bathing purpose of the institution,
should be placed at the extreme rear of the plot,
— particularly as there is no rear access provided,
— necessitating a walk of some three hundred
"'> feet from the entrance hall. Preliminary shower
rooms are also provided for, with a second story
of dressing compart-
ments for the plunge
room. The tub bath
provides the auxiliary
means of bathing on
this floor, and the
engine and power rooms
and a few tubs for
medicinal pur-
poses are provided
for in the base-
ment of the main
buildi-ng. The
narrowness of the
plot makes economical planning exceedingly diffi-
cult, and the numerous long corridors and passages,
though direct, are of little assistance in promoting
easy communication and convenience of handling
the bathers.
The bath at Munich is another elaborate ex-
ample of the modern German type. The large pool
baths, the Roman bath, a circular room with provi-
sions for cold and warm immersions with the ad
joining steam, spray, vapor and rubbing rooms
makes the plan complicated and the structure
COStly. It is needless to say that a plan of this
character is hardly adaptable for use in America
for public purposes. Many of its sanitary features
are adaptable for municipal purposes, although its
general featui' more suggestions for the pri-
vate, so-called Turkish and Russian baths.
BATH AT MAIN/.
1. Entrance .:. Women's Waiting
Room. 3. Office and Wash Room.
I. Men's Waiting Room. 5. Entrance.
6. Women's Showei II. ill. 7.
Shower 1 1 all.
Men's
Part of
Toilets.
Ilaths
52
THE BRICK BUILDER
THE MULLER BATH, MUNICH.
i. Entrance Hall. 2. Office. 3. Men's
Waiting Room. 4. Women's Waiting Room.
5. Men's Pool. 6. Preliminary Cleansing
Room. 7. Tub Baths for Men. S. Women's
Pool. 9. Retiring Rooms. 10. Steam, Hot-Air
and Vapor Baths, and Women's Pool. 11. Re-
freshments. 12. Tub Baths for Women.
The city bath
at Frankfort,
completed in
1896, is pro-
vided with three
pools. Separate
waiting rooms
are provided for
the sexes, with
adjoining re-
freshment
rooms. Corri-
dors from these
waiting-rooms
lead to the re-
spective pools
and tub bathing
halls. The plan
in capacity, containing
some 200,000 gallons of
water, — the pool's
depth varying from
three feet to ten feet,
its water area, forty-six
feet in width by ninety-
five feet in length. The
women's plunge room
has preliminary cleans-
ing rooms in alcoves to
the rear with eleven
shower and foot baths.
The Brauseraum is a
square chamber with
3
HT 1
-11
r
1- 1— L
k . . .
j
BATH, BERLIN.
1. Men's Waiting Room. 2. Office.
3. Women's Waiting Room. .\. Men's
Tub Baths. 5. Shower Rooms.
6. Women's Tub Baths. 7. Power
and Boiler Room. S. Laundry.
is far more compact and economical than the
Stuttgart Baths. The different classes of
bathers for both sexes have quick and con-
venient access to the various bathing halls and
the arrangement for diverting the various
classes of bathers is to be commended.
The bath at Hannover, completed in 1905,
illustrates the highest type of public bath de-
velopment in Germany. This establishment,
facing on two streets, with a plot of ample size,
has a decided advantage for ease of adminis-
tration. The arrangement of the courts pro-
vides each wing with a liberal amount of light
and air. The bathing halls and administration
are in the main building, while the superintend-
ent's living quarters are in a separate building
on the rear street ; — the boiler and power-
house is also isolated. The exterior is
rather stiff and formal and is character-
istic of the late German work. The ad-
ministration wing is well expressed,
though the ecclesiastical appearance of
the bathing hall pavilions, while interest-
ing and vigorous, has but little of the
character of the municipal bath house.
The plunge room is typical of the
latest period of construction on the con-
tinent. A large, two-story bathing hall
has a cove ceiling with penetrations for
clear story openings, affording ample light
and air. The dressing compartments are
in groups of three between the piers.
Easy staircases on both ends give access
to a second story of dressing-rooms. Ac-
cess is afforded to the dressing-rooms from
the main entrance by means of the ex-
terior corridor, and from the dressing-
rooms in turn to the preliminary cleans-
ing shower room with accessory toilets.
From the cleansing showers to the pool
runway is but a few steps. The pre-
liminary cleansing shower rooms are pro-
vided with a series of wall showers, with
additional foot basins, — a recent innova-
tion. The first-class pool is very liberal
shower alcoves on the corners, and two small pool baths
at different temperatures are arranged in the apses. The
sanitary appliances and appointments of this room are
very elaborate and costly, and suggest the pri-
vate bathing establishment.
The second-class swimming pool, somewhat
smaller in size and capacity, is not provided
either with the outside runway or dressing
compartments. The bather after entering from
the street ascends the staircase to the second-
story balcony where simple racks and hooks
are provided for his wearing apparel. After
undressing he descends the staircase to the
preliminary cleansing wall-showers and then
to the pool.
The connecting wings on the first story arc
I). Disinfecting mainly devoted to retiring compartments, tub-
Waiting Room. roomSj refreshment and toilet rooms. The
second floor, main wing, is entirely devoted
to tub-bath purposes. It may be noted that
PEOPLES BATH, ESTER-
HAZY STREET, VIENNA.
< >. ( iffice.
Room. W.
S. Superintendent's Ouar
ters. T. Toilets.
FIRST HOOR. »
1. Men's First Pool. 2. Women's Pool.
3. Main Hal! and Office. 4. Refreshments.
5. Hair Dressing Room (women). 6. Retir-
ing Rooms. 7. Shower Room. S. Spray
Room. 9. Steam Bath. 10, 11. Hot Air
Rooms. 12. Men's Second Pool. 13. Tub
Rooms. 14. Bath Clothes. 15. Prelimi-
nary Cleansing Rooms. T. Toilets. P. Power
BATH AT HANNOVER.
v House. S
Superintendent's Living
Quarters.
SECOND FLOOR
1 . Men's Pool, Balcony Lockers and Dressing
Compartments. 2. Women's Pool, Balcony
Lockers and Dressing Compartments. 3. Men's
Second Pool, Balcony Lockers. R. Retiring
Rooms. Superintendent's Ouarters. T, Tub
Rooms.
THE B R I CK B U I L D I • R
53
ROMAN BATH, MUNICH.
this large space provides only twenty-eight bath-
ing units, — so generous an allowance could hardly
be commended from the standpoint of municipal
economy.
As in Germany and England, the first bathing insti-
tution in Austria was a city river bath, on the Danube,
at Vienna — some thirty years later than its German pro-
totype and nearly a hundred years later than the old
English bath on the Mersey. At the present time Vienna
is equipped with several bathing institutions provided
with showers similar to the Berlin baths. The Esterhazy
Street People's Bath, Vienna, has the advantage of a
corner location with numerous openings for light and
M
PRELIMINARY, CLEANSING ROOM, I'.ATH AT MUNICH.
air. The waiting room, office, superintendent's quarters
and a disinfecting room are on the first floor. The bath
halls are arranged on the second and third floors, and
the shower compartments and dressing rooms for men
and boys are in separate halls. The advisability of
placing the women's baths on the third floor and making
them of equal capacity to the men's is to be ques-
tioned. Allowing special provisions for youthful bathers
is a practice prevalent to-day in Germany as well as
Austria.
The public baths of France and the comparatively
few baths of Southern Europe have little to offer
us either in design or construction, as in most cases
they have followed English or German models, which
have also served as a type for baths in the United
States.
men's pool, first class, bath AT MUNICH.
WOMEN 9 pool, ha I M \i MUNICH.
54
THE BRICKBUILDER
" III IIIIMII I |
BATH AT MUNICH.
BATH AT HANNOVER.
MENS POOL, FIRST CLASS, BATH AT HANNOVER.
MEN'S POOL, SECOND CLASS, BATH AT HANNOVER.
On the Buying of Architectural Books.
BY L. A. WARREN.
THE American student abroad is apt to be forcibly
impressed with the variety of good architectural
publications there within easy reach of a moderately filled
pocketbook, and if he is ambitious, and appreciates the
value of books, he is very apt to bring back with
him as large a working library as his means will
stand. In the same way the draughtsmen in our Ameri-
can offices are quite likely to begin the formation of a
professional library while they are still mere beginners.
While books are an absolute necessity for a successful
architect, the immediate need for their possession by a
student or a draughtsman is to be questioned. In these
days of most excellent public libraries, when so many
architects have excellent working collections of books in
their offices, to which the draughtsmen have free access,
there is not the slightest real necessity for a young man
to encumber himself with architectural folios, and his
money would be spent to far better advantage in sub-
scribing freely to the American, English, French and
c.erman architectural publications. Besides, a young
man is usually in a formative state, he is not likely to
find himself early, he does not know in which direction
will lie his greatest opportunities, nor does he know the
kind of books from which he can draw, nor even surely
the architectural style which will be his ultimate ex-
pression. The standard works he can always consult in
a library. Others he does not yet need, nor know how
to use. My advice to a young man would therefore be,
to keep and study the files of at least four of the best
architectural serials, to buy very sparingly of architectural
photographs, and to limit his library to a thoroughly
good edition of Vignola, and a copy in the original of
(iuadet, if he can read French. Then when he is
through with the preliminary stage, let him gradually
accumulate his library as he feels the real need thereof,
buying only works that can be of actual help in his busi-
ness, and making them thoroughly his own. And the
student abroad can well afford to neglect the opportunity
to buy good boo*ks cheap, for he \vill not need them at first ,
and later on he may find himself loaded up with books
which he does not want. A compact, small library,
every volume of which meets a known want, every illus-
tration catalogued and ticketed both mentally and by a
proper card index, is a necessity to every architect who
means to grow and who wants to make the most of him-
self, but to be of the most value it must accumulate slowly
as his practice grows, and must not be encumbered with
the debris-of youthful, indiscriminate enthusiasm.
THE BRICKBUILDER.
55
"Homewood" — A Famous Colonial Mansion of Maryland.
"H
OMEWOOD," surrounded by sixty acres of
wooded land, and having one of the finest loca-
tions in Baltimore, is considered the best example of
Colonial architecture in Baltimore County. It was, how-
ever, built much later than the Colonial period and was
the last of the well-known brick Colonial houses of the
South, which may account for its refinement. It is also
the farthest north of any of the houses of this class.
over which still remain parts of an old brklge. The
entrance was from the York Road and through what is
known as Madman's Lane; the estate now very
much reduced in area — is entered from Charles
Street Avenue, only a few hundred yards from the east
front.
A short driveway under tall trees leads to a flight
of wide, marble steps, guarded on either side by a wrought
"HOMEWOOD," BALTIMORE, MARYLAND.
Colonial houses
show a marked dif-
ference in Mary-
land and Virginia
from those farther
north, — in the
North, they were
built on small es-
tates, while in the
South they are on
very large estates.
It is a low,
rambling building
one hundred and
forty feet long,
with the principal
front facing south-
east and opening
onto a large lawn
which is terraced
down to a brook,
' l
3?f i
'
Bmm.
M ■ %
'r-,7
<S^-
— ~i
£
\
■
HOMEWOOD
SCAi.r in rr-r
iron balustrade,
covered with
honeysuckle.
These steps lead
to the marble
pavement of the
porch, which is the
keynote of the de-
sign. The wood
columns are un-
usually delicate
and refined, as is
the general detail
of the porch and
entrance, the
pediment. richly
ornamented in
cast stucco, has no
equal in any of the
older houses, and
the real charm of
56
THE BRICKBUILDER
THE BRICKBUILDER
57
:UXU-5llHl?lIB*Jll!JLfJ^^'!»f?ffj
» *. J^y **£.> * » ' ■
aujtjacj? ? y f j j jxx
1
jtag-'.
— ~
1
i-.-l
DETAILS OF " H0MEWO0D."
58
THE BRICKBUILDER
" Homewood " lies in the liberal handling of unusual
and refined detailr- In general, the design shows the
influence of the Annapolis and James River houses.
Here the designer breaks away from architectural tradi-
tions, and influences a style of detail that is found gener-
ally in old Baltimore houses, such as " Montebello,"
built only a few years after.
The exterior walls are of small, red brick laid in
Flemish bond with sills and stone courses of a light, soft
stone. In the north and south connecting wings are
most carefully built brick arches, over the Paladian
windows, — the semi-circular arch springing from the
flat arch, all having the same center and being self-
rooms being on the ground floor. The chimney-pieces
show quite the same refinement and free design as the
exterior, and they are of a very marked difference in the
various rooms. All the ornament throughout the entire
house is cut in wood. Fine geometrical designs, bead-
ing and fluting are freely and effectively employed. The
visitor is much impressed with the finish and graining
of the doors, which are pine, but generally taken for
mahogany.
" Homewood " was built in 1H03 by Charles Carroll of
Carrollton, as a residence for his son, Charles Carroll, Jr.,
who, in 1800, had married Miss Harriet Chew of Phila-
delphia. On the death of Charles Carroll, of " Home-
THE STABLE, "HOMEWOOD.
supporting. There still hangs at the left of the east
entrance the cast-iron seal of the fire company of long ago.
The entrance is through two sets of doors, the outer
of glass and the inner of wood, opening into a large,
square entrance hall, screened from the main corridor
by a glass door and side lights with a leaded glass
transom.
A corridor extends through the length of the house
from the kitchen to the chapel. In the corridor and
entrance hall are wood arches, finely wrought by the
skilled workmen of the time. An enclosed stairway
leads from the garden entrance hall to the second story,
where there are but four bedrooms, — most of the bed-
wood," his son, Col. Charles Carroll, inherited the estate,
and later, on the death of his grandfather, in 1832, Col.
Carroll inherited Doughoragan Manor, in Howard
County, where he made many alterations and took up
his residence. On December 20, in 1839, " Homewood "
was conveyed to Samuel Wyman, who made it his resi-
dence during the remainder of his life. His son William
inherited the property about 1877, and conveyed it to the
Johns Hopkins University in February, 1902. The new
buildings of the University are to be built around the
present house and are to be in the same style. The old
mansion is to be used for the residence of the president
of the University.
THE BRICKBUILDER
59
An Interesting Bungalow.
BY W. H. ANSELL.
UNDOUBTEDLY the most successful bungalow is
one that has been designed with a governing idea, a
root motive, so that the purpose of the building is obvious-
ly expressed in its planning.
The illustrations show such
an one. It was planned for a
man of moderate wealth, who,
whilst wishing to get away
from the conventionalities and
restrictions of city life, had
the intention of "roughing it"
in comparative comfort, and
of keeping his bungalow well
filled for a great part of the
year with young and lively
company.
The whole of one end of
the central part opens to the veranda, which has, on
either side, deep, shady lounge bays. Meals will be often
served in these bays, and to facilitate this a door com-
municates from the kitchen to
the veranda.
The other end of the liv-
ing-room has a small stairway
leading to a minstrel's gallery,
where the fiddlers play when
the hall is cleared for the dance
or the winter party. The sleep-
ing arrangements are a fea-
ture of the planning. From
the entrance hall two bed-
rooms are entered, in which
the married visitors are usu-
ally accommodated, and at
either end of the veranda is a
sleeping apartment, men's
side and girls' side.
Each of these apartmentsji
is divided into three cabins
by thin concrete partitions. One side of the cabins is
fitted with two hanging bunks which can be unhooked
and taken down. At the end of the bunks is a roomy
wardrobe or cupboard fitted
with shelves above and hang-
ing space below. Opposite the
bunks are hinged seats which
fold flat against the wall when
not in use. Outside the ward-
robe are strong shelves where
trunks and bags may be stored.
The fitting of mirrors with
convenient shelves for brushes
completes the furnishing of
men's side and girls'side which
thus require no movable furni-
ture whatever, but are ready
at any time for guests. As
each cabin is six feet wide and
has its own door and window
it can be made into a private
ELEVATION
=£=
OUT HOUSC
PLAN Or BUNGALOW
room. To minimize the amount of service required,
wash basins are fitted in a bay with high windows, and
at the end of the compartment, approached through a
cut-off lobby, is the sanitary adjunct which contains a
shower bath.
The outside walls are brick whitewashed, and as even
so simple an operation as
whitewashing is not always
done in the best manner, save,
perhaps, when the genius of a
Tom Sawyer directs the pro-
ceedings, it may be as well to
specify how this was done.
Unslaked lime was used,
mixed in small quantities,
and while the ebullition was
going on a generous allowance
of Russian tallow was stirred
in, and the hot preparation
applied immediately to the
walls. Two coats of this made the exterior like a duck's
back, so far as throwing off the water was concerned.
The walls inside were plastered. The living-room
depends for its effect on its
shape, a Greek cross, its sim-
ple, big-arched recesses over
table and fireplace, and the
air of mystery attendant on
the minstrel's gallery over-
head. The fire is open, with
small brick hobs on which the
log ends rest. The mantel-
piece is formed with thin red
bricks wide-jointed, and a
shelf of the same thick red
tiles with which the whole
recess is paved. The wall
above is divided into panels,
which have tiles set edgewise
in diamond and hexagonal
shapes. On the center panel
is hung a dull gleaming
copper targe, in which the flickering candles are
reflected.
The side seatsof oak, left clean from the tool with ends
shaped like old settles, have
boxes under, in which many
things are stored, from golf
clubs to Wagnerian opera.
The furniture of the liv-
ing-room almost demands a
special article to itself. With
the exception of the grand
piano it was made to the
architect's designs by the vil-
lage wheelwright, and some of
the fine craftsmanship that
one finds in the old farm
wagons is also found here.
In short, simplicity, but not
dullness or monotony, has
been the root motive, the
governing idea of the whole.
JL
6o
THE BRICKUILDER
A Fireproof Building Which was
Fireproof.
THE Exchange Club, Boston, was erected a dozen or
more years ago from the designs of Henry B. Ball,
architect, and is occupied entirely as a dining club. It
is of burnt clay fireproof construction throughout, the
only wood appearing being limited chiefly to the trim
and to the floors. There are dining-rooms on each story,
all of them supplied from a central serving-room in each
story, the serving- rooms of the various stories being con-
nected by lines of dumb waiters.
On the tenth of February fire broke out in the serving-
room in the third story. This room
has no outside light of any descrip-
tion, being entirely surrounded by
the dining-rooms and service cor-
ridors. The fire had as much oppor-
tunity to spread as would ever occur
in a building of fireproof construc-
tion. The pantry shelves and much
of the fittings of the room were of
wood, and of course the floors and
door finish were likewise of the same
material. The fire rapidly spread
from the third story through each
floor above, communicating by
means of the dumb-waiter shaft.
The enclosures of these shafts were
of terra cotta, but in each story was
an opening, with wooden doors, and
the elevator cars and guides were of
wood. The vertical opening was
not fire stopped at any level.
The interior of the serving-room
on each story was almost entirely
gutted. The fire department managed to keep the fire
under very good control without using a great deal of
water, most of the extinguishing being done by
the use of chemicals. The fire spread out in the
corridors adjoining the serving-rooms, destroyed wood
finish and partly damaging the upper floors in places;
though in no case did the fire spread so as to de-
stroy the finish for a distance of more than fifteen or
twenty feet beyond the serving-rooms. A great deal of
damage was done by smoke, necessitating the entire re-
THE EXCHANGE
Photograph take
finishing of the building throughout. All the doors to
the dumb-waiter shaft were consumed, and the cars en-
tirely disappeared. With their customary disregard of
nice finish, the firemen did a good deal of damage by un-
necessarily smashing doors and cutting away at finish.
The total loss to the building, however, was only about
twenty-five thousand dollars, and this loss was confined
entirely to the finish, the structural damage being abso-
lutely nothing. Since the fire, in making the repairs,
the dumb-waiter shafts have been entirely closed.
This affords an excellent illustration of the value of
fireproof construction. Here were all the conditions
favorable to a bad fire; the interior room, none too easy
of access by the firemen, in a portion of the building
where an incipient fire might easily
be overlooked, with rather more than
the ordinary amount of combustible
material ready at hand for the flames.
The fire while it lasted, and in the
location where it started, was hot
enough to do a good deal of damage ;
and had this building been of second-
class construction, and had the fire-
proofing construction been any less
thorough than it was, there would
undoubtedly have been a very serious
loss. It was the fireproof construc-
tion that saved it, and the principal
damage was to paint and plaster, by
mere smoke and water.
We have had a number of exam-
ples within a short time of fireproof
buildings which were not fireproof.
The value of fireproofing methods
has been brought severely into ques-
tion, and their real efficiency has
been questioned. It is, of course,
impossible to fireproof the contents of any building,
but the Exchange Club shows how a fire can be re-
stricted to the rooms in which it starts or into the spaces
immediately adjoining. No one would say that a
dumb waiter should be equipped with wooden doors,
but barring this one fault, which enabled the fire to
spread rapidly through three stories, the Exchange Club
fire abundantly demonstrated the value of fireproof con-
struction when properly applied and understandingly
employed.
CLUB, BOSTON
n after the fire.
The Schoolhouse Fire at Cleveland.
THE horror in the Collin wood School at Cleveland is
being held up as a warning. But for whom? As
in many other disasters there is danger that the warning
will lose its effectiveness by its lack of a definite objective.
The people have been warned repeatedly against improp-
erly constructed schoolhouses, against defective means of
exit, dangerous heating apparatus, lack of fire drill, over-
crowding, etc. No further warning is needed on these
points. What the public needs now is a lesson in the duty
and responsibility in government, says the Boston Her-
ald editorially. Some authority was responsible for the
conditions which existed in that Cleveland schoolhouse.
There was criminal neglect in the light of every-day
knowledge of what constitute proper and safe conditions.
That responsibility should be fixed and a proper penalty
imposed upon the officials who neglected their duty. Ir"
out of this disaster there can be read to public officials an
emphatic lesson of duty and ademonstration of the penalty
that justice demands for neglect, the warning of the
holocaust may not be without its effect. There can be
no excuse in these days, for schoolhouses with improper
fire escapes, or with but a single commodious exit.
There should be no toleration for schoolhouses with
heating apparatus located directly under the main stair-
way or with doors opening inward or with passageways
so narrow as to invite congestion and panic. In these
days of fireproof construction why should tinder boxes
be used for the housing of school children?
THE BRICKBUILDER.
61
62
T HE BR I C K B U I L DE R
Editorial Comment and
Selected Miscellany
ARCHITECTS might, perhaps, find advantage in
concerted action to protect themselves against the
practice, which is rapidly growing among contractors
and dealers, of trying to hold them responsible for work
done, or materials furnished, for their clients or for other
contractors. Where a piece of work involves a number
of small contracts it is not at all unusual for the architect
to find that at least one-half the bills sent to him for ap-
proval are made out against him personally, although it
has been perfectly understood from the first that he was
acting in behalf of a client whose name was known to all
the parties concerned. In the great majority of cases
the architect corrects or approves the bill, without notic-
ing, perhaps, the name to which it is charged, or wishing
to save the time and trouble required for sending it back
to be made out to the proper person ; and it is paid in
due course, together with the bills properly made out.
Legally, this is safe enough, as many decisions of the
courts have held that where an architect, known to be
such, orders goods or work for a principal whose name
he gives, or is ready to give if it is asked, the principal
only, and not the architect, can be held liable for the
price of the goods or work. Notwithstanding the legal
aspect of the case, the practice in question is con-
fessedly adopted by contractors, not through inadver-
tence, as is sometimes pretended, but with the object
of holding the architect in some way responsible for
payment of the price of the goods or work. Even if he
is not legally bound, he may not know his rights, and it
is easier for contractors or dealers in materials to hold
the threat of a lawsuit over him than to inquire for them-
selves, as the courts have decided is their duty, into
WORCESTER COUNTY INSTITUTION FOR SAVINGS, WORCESTER, MASS
Winslow & Bigelow, Architects.
View from Gallery, showing (iuastivino Dome.
INTERIOR OF DOME, WESTMORELAND COUNTY COURTHOUSE,
GREENSBURG, PA.
• Built of Terra Cotta made by Northwestern Terra Cotta Co.
William Kauffman, Architect
the solvency of the real purchaser before they deliver
the goods or do the work. Of late years this disposition
to hold the architect as guarantor of contracts has
increased to such an extent that an architect who
endeavors to secure the best results for his clients by
subdividing their contracts exposes himself to ruin.
We hear a great deal from the smaller contractors of the
bad results of erecting buildings by huge blanket
contracts, and architects understand as well
as anybody the disadvantages, artistic and
practical, of doing so; but until the smaller
contractors are willing to keep within their
legal rights, and treat architects as the friends
and advisers of both parties, and not as the
guarantors of the agreements that their clients
make through them, they must expect to fall
into the position of subcontractors, which they
dislike so much, and with so much reason. It
is true that there are many contractors and
dealers in materials who recpgnize and value
the true position of architects in relation to
themselves and the owners of buildings. It
would be unjust to class them with the people
who try to obtain over unguarded members
of the profession a hold which may, they
think, guarantee them against the conse-
quences of their own business incapacity ; and
the various associations of architects, local
and otherwise, might do much to protect
themselves, as well as to promote the in-
terests of the contractors and dealers who are
willing to treat them honorably, by keeping
lists of those who charge goods or work to
THE BRICKBUILDER
63
the architect, instead of to the
client or contractor, in order that
they may be avoided ; with, pos-
sibly, a list of those who are will-
ing- to promise that, in conformity
with the law, if the architect, on
request, gives the name of the
client or contractor for whom the
service is to be done, they may,
after further inquiry, refuse to do
it, notifying the architect at once
of their action, but that they will
look for payment solely to the
client, or the contractor or his
bondsmen, as the case may be,
and never to the architect.
EDISON'S CAST HOUSE.
THE]
con
5RE will be a grain of
comfort come to those archi-
tects who feared that Mr. Edison,
with his buy-a-mold-and-some-
cement-and-build-your-owmhouse
invention, would deprive them of
what little comes their way now,
— if what a correspendent in
Cement and Engineering News
states is correct. He says:
"There appeared recently in
your publication an article concerning the 'Edison Molded
Concrete House,' stating that a two-story structure can
be erected for a little over $1,000, that it can be cast
in twelve hours (after mold is in place), that the mold
can be removed in six days, that in another six days it
will be ready for occupancy, that at the same time all
interior and exterior ornaments, as well as the bath tub,
mantels, stairs and partitions, will be cast, etc., etc.
TERRA COTTA FIGURE
FOR THEATER AT
SCRANTON, PA.
Conkl in g- Armstrong
Terra Cotta Co., Makers.
A. E. Westover, Architect.
WSBSk
regEsfifiKil
CITY HALL, SOUTH BEND, IND.
Built of Hydraulic Press Brick.
DETAIL OF BRICKWORK, MCLEAN HOUSE, WASHINGTON, D. C.
John Russell Pope, Architect.
The brick were furnished by the New York office of Fiske & Co.
"Nobody would welcome such an invention more than
the writer — but, being an expert in the artificial stone
line, and especially in concrete, with an experience
covering a period of over forty years, I state most em-
phatically that it will be impossible to accomplish this.
" I cannot go into all details here, but will mention a
few reasons in support of my statements and warn the
public not to be too hasty in accepting Mr. Edison's
claims.
"It is surprising that not more dissenting voices have
been heard. Are there so few real experts in this line
of business, or do they fear to come forth to dispute the
opinion of so great a man as Mr. Edison ? To fill such a
' House Mold ' it will be necessary to have a very thin
mixture of cement, so thin that it will tlow freely.
Thus, it will be seen that the aggregates will settle at
the bottom, and the water, taking with it the fine parts
of the cement, will come to the top and also ooze out of
all joints (because no iron
mold composed of so
many parts is absolutely
watertight). The scum,
which always forms, will,
of course, go to the top,
into ornaments and espe-
cially undercuts. The
walls of the mold will
neither absorb moisture
nor air, therefore little air
bubbles will form all over
the smooth iron mold.
Two aggregates will ob-
struct many places, and
large and small holes are
the result. A great deal
of mending and patching
would have to be done,
which may cost as much
or more than the first cost
FAIENCE PANEL EXE< I ihi BY
of the building. Besides rookwooi. pottery co.
this, SUCh a patched-up Frank M. Andrews, Architect.
64
THE BRICKBU ILDER
house will not
look good,
even when
done by ex-
perts.
"Next, it is
impossible
that this house
will dry out in
six days, nor
even in thirty,
and if the con-
crete is not kept damp for a considerable time, say fifty
to sixty days, the final setting will not take place
properly, shrinkage and air cracks resulting.
" In my opinion, it will take at least three months,
after curing, before this house would be dry enough for
occupancy.
"How about floors, doors and windows? None of
OFFICE OF GLIDDEN VARNISH CO.,
CLEVELAND, OHIO.
Roofed with French A Tile made by Ludowici-
Celadon Co.
temporarily lo-
cated in Ha-
vana, writes as
follows concern-
ing the condi-
tions, architec-
turally, as he
finds them
there: "The
high rental of
buildings in
Cuba, of which
there is con-
stant com-
plaint, is due
primarily to the fact that nearly all of the buildings
are but one story in height. The owner of the property
in order to get a proper revenue on his investment
must charge exceedingly high rental for the single story.
HOUSE AT WASHINGTON, D. C.
George O. Totten, Architect.
Roofed with Edwin Bennett's Roofing Tile.
DETAILS EXECUTED IN TERRA COTTA FOR ST. CATHERINES R. C. CHURCH, SOMERVILLE, MASS.,
BY ATLANTIC TERRA COTTA CO.
Maginnis & Walsh, Architects.
them can be put in place before the concrete is dry,
otherwise they will warp, especially the floors, to such
an extent that they will have to be replaced.
" Much more could be said in contradiction, but time
and space for-
bid it."
HOUSE AT FORT THOMAS, KY.
Gordon Sheppard, Architect.
Roofed with American "S" Tile, made by
Cincinnati Roofing Tile and Terra Cotta Co.
BUILDING
OPPORTU-
NITIES IN
CUBA.
ACORRE-
SPOND-
E N T to
The Brick-
builder, now
If there were one or more additional stories to the building
rents would be less. I believe that the people who will
go into this pro-
ject of putting
up some double
apartment
houses in Cuba
will derive rich
returns within
a few years.
The conditions
of the country
warrant im-
provements in
the building
line; — real
estate is in
good shape.
THE ROBERTSON APARTMENT, CINCINNATI,
OHIO.
Joseph Steinkamp & Brother, Architects.
Built of Shawnee Brick, made by Ohio Mining
and Manufacturing Co.
THE BRICK BUILDER.
65
New building construction is going
on in every direction. Artisans and
workmen of all kinds are fully em-
ployed. The average house and com-
mercial building of the Cuban is
simple in detail, but numerous ad-
ditions have been made since the
original structures were put up, and
piecing out has added to the intricate
arrangement. The poorer classes
are crowded together in the queer
Cuban combination apartment
houses. These light structures are
constructed with a view to acquir-
ing as much room as possible for a
large number of people. The build-
ing itself is usually a large oblong
affair with quite a liberal size court
in the center. On either side of this
court are the several apartments.
Often only one room is possessed by
a family and frequently these fam-
ilies have a large number of chil-
dren. This crowded condition is to
be deplored but cannot be avoided
so long as better and more roomy
apartments cannot be had at equal prices. As practically
all of these structures are but one story there is not a
very large number of people
to the acre after all. Cuba
is waiting for some one with
enough enterprise to come
here and put up roomy
structures for the rich and
for the poor which can be
rented or sold at reasonable
prices. Rents have doubled
since the American occupa-
tion, due to the fact that there is a greater demand for
houses. As to building materials, the Cuban brick
is not up to date in any respect but can be used if
required. It is larger than the American type and
cruder in every way. Nearly all of the brick build-
ings are cemented over so that the appearance of
the brick facing does not matter very much. Con-
siderable lumber is imported
from America, but prices
necessarily rule high, due to
the cost of transportation.
Builders' hardware is another
item which adds to the expense
of building here. Skilled and
unskilled workmen are to be
had in plenty, and there are
many native artisans. Wages
average about even with those
paid in America, if anything
a little lower."
CHURCH OF ST. ALOYSIUS, JERSEY CITY, N. J.
Charles Edwards, Architect.
The 200 tons of Architectural Terra Cotta used
in this building were supplied by the New
York Architectural Terra Cotta Co.
ship will be held in Boston beginning
April 13. Anyone who has been em-
ployed during two years in profes-
sional work in the Massachusetts
office of an architect resident in the
state is eligible for the competition.
Preliminary examinations are held
in History of Architecture, Con-
struction, French, and Drawing from
the Cast. Graduates from a regularly
accredited architectural school may
present their diplomas in lieu of
these examinations. Those who are
successful in the preliminary ex-
aminations will be admitted to the
final competition in Design upon
which the award will be made. The
successful candidate receives $1,000
per year for two years, to be ex-
pended in study and travel abroad.
Further details may be obtained upon
application to C. H. Blackall, Secre-
tary, 20 Beacon Street, Boston.
FOR
W1
DETAIL FOR MARYLAND HOTEL, ST. LOUIS
A. B. Groves, Architect.
Winkle Terra Cotta Co., Makers.
DETAIL BY R. H.
HUNT, ARCHITECT.
American Terra Cotta
Co., Makers.
ROTCH TRAVELING
SCHOLARSHIP EXAMI-
NATIONS.
*HE examinations for the
Rotch Traveling Scholar-
T\
DETAIL HY NEW
JERSEY TERRA
COTTA CO.
L. A. (ioldstone,
Architect.
BUILDING OPERATIONS
FEBRUARY.
HILE the building depression incident to the
recent currency stringency, which shortened the
supply of money for build-
ing operations and also de-
veloped a waiting policy,
still continues, there is an
improvement in some quar-
ters, which contains much of
encouragement. Official re-
ports from some fifty cities
received by Tht American
Contractor, New York, and
tabulated, show a total falling off of $$ per cent, or
practically one-third, as compared with the oper-
ations of February, 1907. The loss, amounting to
about fourteen million dollars, is nearly accounted
for in the decrease in New York and San Fran-
cisco, amounting to more than twelve million
dollars. Chicago holds up remarkably, showing
a gain of 9 per cent, while the
total value of permits issued is
but little more than a million dol-
lars less than those issued in
Greater New York.
Among the other cities showing
gains are the following: Bridge-
port, 39; Cincinnati, 29; Denver,
18; Milwaukee, 87; Minneapolis,
33; Omaha, 6; Philadelphia, 27;
Paterson, 61; St. Louis, 9; Spo-
kane, 149; Syracuse, 140; Salt
Lake City, 63. The following
figures show the percentage of
loss in leading cities: Baltimore,
26; Buffalo, 20; Columbus, 53;
Davenport, 61 ; Dallas, 42; Detroit,
61 ; Duluth,26; Grand Rapids, 53;
Hartford, 63; Indianapolis, 4;
DETAIL r.v
J. W. ROYER,
ARCH1 1 I
Indianapolis
Ten
Makers.
66
THE BRICKBU ILDER.
Kansas City, n; Louisville, 9 ; Los Angeles, 46; Mem-
phis, 44; Mobile, 42; New York, 59; Pittsburg, 25; Ro-
chester, 55; St. Paul, 52; San Francisco, 66; Seattle, 50;
Toledo, 50; Washington, 11.
at Rocky Hill,
New Jersey.
MAIN DOME, WESTMORELAND COUNTY
COURTHOUSE.
THIS dome is built of polychrome and gold enamel
terra cotta, both inside and out. The outside, par-
ticularly in sunlight, is of unusual richness in tone. The
inside is one of the most perfect examples of terra cotta
construction ever produced. The lines, colors and gild-
ing are ideal in all respects. The dome is weatherproof
and will not sweat. The outside shell of the dome is
constructed of steel, covered with cement, which in turn
is covered by the terra cotta. The inside is a natural
dome, built of terra cotta blocks without skeleton. The
spandrels, cornices and arches below the dome proper on
the inside are also built of terra cotta. The courthouse,
of which William Kauffman is architect, is located at
(ireensburg, Pa. The terra cotta was executed by
The Northwestern Terra Cotta Company.
DETAIL BY SOUTH
CO. E. G So
ST. AMBROSE CHURCH, BROOKLYN
GEORGE H. STREETON, ARCHITECT.
THE terra cotta decorations on the
front of this building are of a
character in accordance with the high-
est development of the use of this
method of architectural treatment, both
as to style and execution. The design
has been carefully studied with the end
in view of the adaptability of poly-
chrome terra cotta for producing the
desired architectural effects. The work
has been kept mostly fiat as to projec-
tions and relief, and the desired final results obtained
by the rich colors of the terra cotta. Much of the orna-
ment is very fine and rich and has been brought out by
the use of three and sometimes four colors on a single
piece. The figure panels (of which there are several),
the ornamental corner pilasters and the main cornice
are extremely rich in effect and are most successful as
showing what can be accomplished by the proper em-
ployment of polychrome terra cotta. This building is
sure to prove a stimulus in the matter of creating an in-
creasing
demand
for this
kind of
material.
The
terra
cotta
was
made
by the
Atlantic
Terra
Cotta
C o m -
ADMINISTRATION BUILDING, CITY HOSPITAL, " ^ .
ST. LOUIS. James A. Smith, Architect. their
Terra Cotta by St. Louis Terra Cotta Co. plant
NEW BOOK.
Analysis of
Mixed Paints,
Color Pig-
ments and
Varnishes.
By Clifford
Dyer Holley,
M. S., Ph. D.,
New York:
John Wiley &
Sons.
Each method
given in this
work has been
tested out in
the author's
laboratory and
its working
value thoroughly demonstrated. The various analyses
given are believed to be representative of the composi-
tion of the pigments they illustrate, and
it is hoped that they will be of service
in enabling the analyst to pass on paint
products with fairness to both the
manufacturer and the consumer.
JEWISH TEMPLE, COLUMBUS, OHIO.
Jacob S. Goldsmith, Architect.
Built of " Ironclay " Brick.
AMBOY TERRA COTTA
uthey, Architect.
IN GENERAL.
W. R. B. Willcox. formerly of Bur-
lington, Vt, and W. J. Say ward, until
recently connected with the office of
McKim, Mead & White, have formed a
co-partnership for the practice of archi-
tecture and located at Seattle, Wash. Their offices are
in the Arcade Annex.
J. F. Sheblessy, architect, formerly of Louisville, Ky.,
has formed a copartnership with S. E. I >esjardins, under
the firm name of Desjardins & Sheblessy, offices, Fourth
National Bank Building, Cincinnati, Ohio.
SCHOOL OF ARCHITECTURE
UNIVERSITY OF PENNSYLVANIA
The Four Year Course. Full professional training (with an option in
Architectural Kngineering) leading to the degree of B. S. in
Architecture. Advanced standing is offered to college graduates
or the two degrees of A. B. and I!. S. in Architecture can be
taken in six years.
The (iraduate Year affords opportunity for advanced work in design
and other subjects of the course leading to the degree of M. S.,
in Architecture.
The Two Year Special Course. For qualified draughtsmen. Offers
advanced technical training with a Certificate of Proficiency.
For Full Information address Dr. J. H. Penniman, Dean of the College,
University of Pennsylvania, Philadelphia.
POSITION WANTED —Architect, 28, University graduate, ex-
perienced in practical office work and superintendence, returning
from foreign travel and study, wishes permanent engagement, with
future prospects as superintendent of construction, practical busi-
ness manager or representative with architect or construction com-
pany. Address University Graduate, care THE BRICKBUILDER.
POSITION WANTED by architectural draughtsman with
special college training and ten years' office experience in designing
and detail work in both the East and the West. Would like posi-
tion where there is opportunity for advancement. Can furnish the,
best of references. Address "Indiana," In care of "THE
BRICKBUILDER."
THE BRICKBU ILDER.
VOL. 17, NO. 3. PLATE 31.
\ «,
THE BRICKBUILDER.
VOL. 17, NO. 3. PLATE 32.
ST. AMBROSE R. C. CHURCH. TOMPKINS AVE.. BROOKLYN, N. Y.
George H. Streeton, Architect.
^
-V~\
THE BRICKBU ILDER.
VOL. 17, NO. 3. PLATE 33.
FDO/1T ELEVATIO/1
5ECTIO/1 THBOTEO/1T
ELEVATION
ST. AMBROSE R. C. CHURCH, TOMPKINS AVE., BROOKLYN, N. Y.
George h. Streeton. Architect.
THE BRICKBUILDER.
VOL. 17, NO. 3. PLATE 34.
■ .J^-i
SIDE ELEVATION
AND
FIRST FLOOR PLAN,
ST. AMBROSE R. C. CHURCH,
BROOKLYN, N. Y.
GEORGE H. STREETON
ARCHITECT.
PLAN OF ST AMBROSE R.-C-CHURCH
BOEO OF BROOK IXN -NYC-
THE BRICKBUILDER.
VOL. 17, NO. 3. PLATE 35.
THE BRICKBUILDER.
VOL. 17, NO. 3. PLATE 36.
T
* " *' tcit Lati/j school
First Floor Pl«/j
mokkal. School.
.Second- Fxqor Plan
ba/cmmt Plan ■
model' jchool'
Thikd T-l°°k, Pl/.a
PLANS. NORMAL AND LATIN SCHOOL GROUP, BACK BAY FENS. BOSTON.
Peabody & Stearns, Maginnis, Walsh & Sullivan, Coolidge & Carlson, Associated, Architects.
THE BRICKBU I LDER.
VOL. 17, NO. 3. PLATE 37.
THE BRICKB U ILDER.
VOL. 17. NO. 3. PLATE 38.
HOUSE FOR JOHN R. McLEAN. ESQ., WASHINGTON. D. C.
John Russell Pope, Architect.
THE BRICKBUILDER.
VOL. 17, NO. 3 PLATE 39
HOUSE FOR JOHN R. McLEAN, ESQ., WASHINGTON, D. C.
John Russell Pope, Architect.
THE BRICKBU ILDER.
VOL. 17, NO. 3. PLATE 40.
THE BRICKBUILDER
VOL. 17, NO. 3. PLATE 41.
THE BRICKBUILDER.
VOL. 17, NO. 3. PLATE 42.
LCEEl!
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NORMAL AND LATIN SCHOOL GROUP. BACK BAY FENS, BOSTON.
PEABODY & STEARNS. MAGINNIS, WALSH & SULLIVAN, COOL.DGE & CARLSON, ASSOCIATED, ARCHITECTS
THE BRICKBUILDER.
VOL. 17, NO. 3. plate 43.
THE BRICKBU I LDER.
VOL. 17, NO. 3. PLATE 44.
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THE BRICKBUILDER
Volume XVII APRIL 1908 Number 4
PUBLISHED MONTHLY BY ROGERS & MANSON
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CONTENTS
PLATE ILLUSTRATIONS
From Work by
WILLIAM MARTIN AIKEN AND ARNOLD W. BRUNNER, ASSOCIATED; A. S. BELL; WIL
LIAM A. BORING; DELANO & ALDRICH; HERBERT I). HALE; PARKER, THOMAS &
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& COOLIDGE; WOOD, DONN & DEMING.
LETTERPRESS
rAGi
SOUTH PORTAL. CHURCH OF ST. STEPHAN, TANGERMCNDE, GERMANY Frontispiece
THE AMERICAN THEATER — V Clarence //. Blackall
THE PUBLIC BATH III Harold Werner and August P. Windolph 7"
ARRANGEMENT OF PHOTOGRAPHS AND MAGAZINE PLATES Sidney F Kimball v>
THE USE OF HOLLOW TILE TERRA COTTA BLOCKS lllustratiom 83,84
EDITORIAL COMMENT AND SELECTED MISCELLANY
SOUTH PORTAL, CHURCH OF ST. STEPHAN, TANGERMUNDE, GERMANY.
iH<<<<<<<<<<<<<<<<<<v<^<<^<<«<<<<<<v<^<^/<<.>>>>>>v>>>>>w>>>w>>>w>>>>>>>>>>yvv>v»vvvw>>>>>>>ai
THE BRICKBVILDER
VOL. 17
4
DEVOTEDTOTHE-INTERE3TJ-OF-AHCHITECTVRE-lNMATERlAL^OrCLAY-
APRIL 1908
_i
x
The American Theater- V.
HEATING AND VENTILATION.
BY CLARENCE H. BLACKALI.
THERE are two theories accepted by engineers in
regard to the heating and ventilating of a hall of
audience. One starts with the assumption that the
fresh air should be introduced into a hall either through
the ceiling or on the side walls at a considerable height
above the floor, this air, when cooling, becoming heavier
and hence dropping to the floor level, whence it should
be drawn off by exhaust ducts, either in the floor itself
or in the base at the floor line. This theory further
asserts that the air near the floor, always being colder
than the air at a higher level, must necessarily be drawn
out, in order to keep the lower part of the hall comfort-
ably warm. The second theory starts on the assump-
tion that the emanations from a crowd of people, from
electric and gas lights, are always highly heated in rela-
tion to the incoming air, and would, therefore, naturally
ascend to the top of the ceiling, whence they should be
drawn off at once, in order to preserve the purity of the
air of the hall. In this system, it follows that the fresh
air is introduced at the floor level, and the exhaust is
entirely at the top. The first theory disregards the
heated emanations from the human body, drawing these
downward along with the fresh air, and thus compelling
the spectator to breathe the mixture, in order to get any
fresh air at all. The second system gets rid of the contam
inated air at once, at the expense of carrying along with
it a considerable amount of fresh air entering from
below.
The first solution is essentially academic ; the
second is essentially practical. The best evidence in the
world that the air in the top of the room is always the
foulest is afforded by one's nose, and no amount of theory
can disguise the fact that even under the best circum-
stances, the air is apt to be worse in the gallery than on
the ground floor. There is never any difficulty in heat-
ing an audience room as far as mere temperature is con-
cerned. The difficulty is always to get rid of impurities
quickly and without causing drafts. By the overhead
introduction system, if enough air is brought in, and the
inlets are distributed sufficiently over the entire ceiling,
the air of the entire hall can undoubtedly be changed
completely so as to insure a suitable supply of fairly fresh
air to every spectator, but this is accomplished at a large
expense, with a loss of efficiency, and it is extremely
difficult with this system to avoid drafts. There is a
good example of this system in one of the most promi-
nent halls in this country, the heating and ventilation of
which was designed by and carried out under the supervi
sion of one of the most eminent New York engineers.
The air is taken in at the top of the hall, and drawn out
through registers in the floor of the parquet, the motion
of the air being forced by an inlet and an outlet fan.
The installation was a very expensive one in first cost,
and proved expensive in maintenance. From the very
opening of the hall complaints were made of drafts. To
remedy this, more than half the ceiling registers were
closed, the speed of the fan was cut down one-half, and
finally half of the plates of the inlet fan were removed,
but even then there were found to be drafts and the
ventilation was far from perfect. It is the belief of the
writer, based upon the most careful examination of
existing halls in this country and abroad, that the down-
ward system of heating and ventilation is seldom wholly
satisfactory and is often absolutely impractical when
applied to a large hall, entailing unnecessary expense,
and being most uncertain in operation. The other
system has been almost invariably found to work satis-
factorily under varying conditions, to give uniformity of
temperature, with ample change of air, and to require
little care when properly installed and automatically
controlled.
The building laws of several of our large cities pre-
scribe a minimum supply per minute of twenty-five cubic
feet of fresh air for each person accommodated in a hall
of audience. For an overhead system this might be even
insufficient, but for a properly arranged natural system,
with supply below and exhaust above, this has been
found in practice to be altogether too much. With a
proper arrangement of the plant, ten cubic feet of air per
person per minute is all that can safely be introduced
into a hall and is sufficient to secure perfect heating and
ventilation throughout. The writer has yet to find an in-
stallation actually supplying much more than this. When
provision has been made for a greater supply the
quantity is almost invariably cut down very materially
in daily use. Ten feet per minute per person is full
enough if it really is distributed so as to be available for
each person, while a hall might be wretchedly ventilated
which had a supply equal to twenty-five or even fifty
feet per minute, if that supply were simply allowed to
enter at one point and go out at another, without ade-
quate distribution. Furthermore, no plant can be made
perfect on paper. Air does not always go where it is
sent even with a fan behind it, and even the most intel-
68
THE BRICKBUILDER.
ligently devised system requires careful adjustment in
operation, for the essential condition is uniformity of
distribution, and anything like a by-pass of air currents
or unequal velocities through the ducts is apt to make
success impossible.
For the purpose of illustrating more specifically the
upward system of ventilation, the Colonial Theater, in
Boston, will be taken as an example. The air is intro-
duced from out of doors into a basement chamber. Local
conditions are such that no filtering or straining of the
air was considered advisable. Beyond this entrance
chamber the air is carried either through a series of
steam-heating pipes or around the same by suitable by-
pass, to a fan chamber, whence the air is forced into the
space under the main orchestra, the whole of which is
ating the steam supply to the coils beyond the fan, and
also operating the by-pass valves. It has been found
most satisfactory to introduce this air at a temperature
of between sixty-five and seventy degrees, or about the
temperature desired in the hall itself.
From the heating chamber, air escapes into the
auditorium through openings in the floor connected to
small chambers formed in the legs of the seats, each seat
thus having a supply. This is a convenient way of
masking the air inlets. Another practice is to carry a
three-inch round pipe up under the center of the seat,
capping it with a low, bell top, raised an inch or two
above the floor. The results in either case are essen-
tially the same.
It is not enough, however, to introduce air to the
HEATING AND VENTILATION, MAJESTIC THEATER, BOSTON.
utilized as a distributing or plenum chamber. The air
is introduced to this chamber through a single, large
galvanized iron duct, but inside the wall the duct is split
up into a number of smaller pipes so arranged that the
air will surely be carried to all portions of the heating
chamber under uniform pressure. A better practice
would be to divide this space by brick partitions into
not less than three sections, and better six, carrying
separate air pipes to each section ; these pipes being
regulated by dampers, so that uniform pressure will be
maintained in each chamber. The object, of course, is
to make sure that the air will not take a by-pass, but that
the warm air issuing into the audience room will enter
everywhere with equal velocity.
The temperature of the air is controlled by thermo-
stats placed in various portions of the auditorium, oper-
floor of the orchestra. From the fan room, pipes are
carried to the space under the floor of the balcony. The
air thence escapes through perforations in the faces of
each of the risers of the balcony steps. The flow of
air is regulated by dampers in the basement.
This constitutes the entire supply system for the
auditorium. The total area of the supply ducts is pro-
portioned on a rate of delivery through the outlets of not
over five feet per second. For the exhaust, a row of
outlets is arranged around the center of the ceiling, and
also larger registers in the ceiling at each side and the
center, over the rear of the gallery. All these openings
connect directly into the air space immediately over the
auditorium. To ventilate the pocket under the balcony,
registers are introduced into the ceiling and exhaust
pipes carried to the air space over the gallery. This
THE BRICKBUILDER.
69
air space in turn is divided into cross sections by the
lines of steel girders, and these sections are all con-
nected at one end to an exhaust chamber from which a
fan draws air and delivers it to a discharge duct carried
above the roof.
The area of the exhaust registers in this case was
made somewhat larger than the area of the inlets. It is
believed that slightly better results could be obtained if
the area of the outlet registers were smaller, by, say, five
per cent, than the combined area of the inlets. It is well
to maintain a slight plenum in an auditorium, thereby
checking any tendency to drafts inward from the vestibule
doors. Also in operation great care has to be taken to
properly balance the speed of the two fans above and
below, so that the draft of the up fan will be entirely
from the heating chamber below, through the audito-
rium, and not draw on the foyers and corridors.
This system makes no provision for either washing or
cooling the air, both of which are very desirable. At an
throughout an entire auditorium at an even temperature
not varying more than two degrees anywhere.
Very often, however, the space under the parquet is
claimed for dressing-rooms or storage. The second illus-
tration shows the heating and ventilation recently in-
stalled under such conditions. The radiation is propor-
tioned on the basis of 1 foot of heating surface to 100
cubic feet of space to be heated. Fresh air is introduced
through twelve direct indirect radiators in side walls
aggregating 52° square feet, and through two indirect
stacks in main floor, one each side on line of the first box,
each of 1,200 square feet. There are also 770 square feet
of direct radiation. Such a system would be intolerable
without the most thorough ventilation, especially as the
audiences in this particular house are not of the highest
type and may be allowed to smoke. In the ceiling over
the standing-up space is a continuous exhaust register
3 feet wide by 48 feet long. Over the center of the balcony
are three registers, each 16 by 36 inches, and over the
HEATING AND VENTILATION, COLONIAL THEATER, BOSTON.
expense of less than two thousand dollars an air washer
can be installed outside of the main fan, which would give
very satisfactory results. The least expensive way to
cool the air is to keep the receiving tank of the air washer
partially filled with ice, thereby using ice water to wash
and consequently to cool the incoming air. When the
expense is not an item, a more sure way is to use a re-
frigerating plant to pump cold brine through the pipes
which are used in cold weather for the steam, but in the
writer's practice the former method has been found the
simplest and least expensive, while sufficiently effective.
The cost of such cooling is approximately half the cost of
heating the same quantity of air, or for an ordinary the-
ater under ordinary conditions an average of ten dollars
per performance.
The system described has been followed in principle
in most of our American theaters where the space under
the auditorium could be spared for a plenum chamber.
When properly handled and adjusted, thermostatically
and otherwise, such a system can easily maintain the air
back of the balcony pocket a continuous register 12 inches
by 14 feet. In the main ceiling, over the gallery, is a
continuous register, 18 inches wide by 40 feet long. All
of these registers are connected to galvanized iron ducts
and extended, separately as much as practicable, to a 1 io-
inch exhaust fan above the roof. The steam supply is
controlled thermostatically and the velocities of air in the
exhaust regulated by adjustable dampers.
It has been found in practice that two spots in an
auditorium are apt to be cold : one, the orchestra pit at
each end of the stage apron, and the other just in advance
of the lines of the boxes on each side. Consequently, at
each of these points it is well to put a certain amount of
direct radiation. The same result has been accomplished
by locating exhaust ducts near the floor to draw oft" the
cold air.
In the old days when electricity was unknown it was
quite essential to have an enormous exhaust ventilator
over the central chandelier and highly desirable to ar-
range a special vent in connection with each gas jet.
70
THE BR ICKU ILDER
But the introduction of electric light has, of course,
changed all that.
The stage itself is usually heated by lines of ij^-inch
circulation pipes carried entirely around three sides
of the stage as far as possible and starting not less than
six feet above the stage level. The amount of this radi-
ation is largely a matter of judgment and of exposure.
The total surface, however, should be on a ratio of
not less than i square foot to each 200 cubic feet of space
over stage floor behind the curtain, and, in many cases,
twice that quantity might be insufficient. A good rule is
to pixt in all one can, and see that the mains and returns
arelarge enough to double it. The scantily attired artists
on the stage seldom complain of the heet.
The ventilation of dressing rooms is accomplished in
various ways. If, as is unfortunately often the case, the
rooms have no outside light and air, a fresh supply of
warmed air must be pumped to them and they must be
connected to a system of forced exhausts. If they have
outside windows, the forced supply can be dispensed
with, in which case the exhaust must be ample and posi-
tive. In any case the heating and ventilating of these
rooms must operate independently of the auditorium, as
the dressing-rooms are used a great deal when the house
is unoccupied.
The heating and ventilating of other portions of a
theater do not present any peculiar problems, other than
are involved in heating and ventilating ordinary rooms
or apartments. There are, of course, many variations
from the system herein described, and each theater pre-
sents special problems which have to be studied and
treated individually. The overhead system has never
developed beyond the stage of interesting experiment.
It can, of course, be made to work perfectly if space and
first cost are not to be considered, but it requires such
extreme care in planning, such discriminating exactness
in adjustment, and piles up so large a coal bill in opera-
tion, that few owners will knowingly accept it.
The Public Bath III.
THE AMERICAN TYPE.
BY HAROLD WERNER AND AUGUST P. WINDOI.PH.
F'ROM 1850, the date of the introduction of the public
bath in this country, and almost to the close of the
century, but little attention was given to the subject of
bath sanitation. Our American municipalities were
either indifferent, or at any rate did not deem it im-
perative to establish a system of public baths. A few
isolated buildings, of the river bath type, poor and crude
imitations of European models, were in operation ; also
some primitive buildings equipped with shower baths.
To better appreciate the conditions at this time, some
statistics taken in New York and Philadelphia are inter-
esting. In the former city ninety-six per cent of the
people of the tenement sections were entirely unprovided
with bath facili-
ties, and Philadel-
phia showed
eighty-two per
cent unprovided
for; in one section
containing two
hundred and fifty-
five thousand
people only three
hundred people
had proper bath-
ing facilities. The
cities of the second
class and towns
were but little
better off.
We have already
noted that Eng-
land had long be-
fore this by legis-
lative enactment,
made it manda-
SWIMMING POOL, BROKAW HALL, PRINCETON UNIVERSITY.
tory to establish these buildings as an integral part of the
modern social system. In the early nineties, in response
to an awakening on the part of our American body politic,
a movement resulted that may be described as a new social
spirit, or civic renaissance. The state of New York, after
considerable discussion, finally consented to give the bath
movement legislative support, and to provide ways and
means to furnish proper bathing facilities for the people.
It is within the last decade that bath building has
shown some systematic development. Each municipality
heretofore approached and solved the problem after its
own fashion, some following inapplicable foreign types,
but generally, and with more unsatisfactory results, the
direction of an in-
competent board
of local improve-
ment. No partic-
ular type has been
agreed upon as
being proper, even
under similar local
conditions. We
find in the solving
of this problem
that lack of co-
operation, which
has been equally
manifest in other
matters of civic
improvement in
this country. This
may be due, in a
measure, to the
complex character
of our population,
and to the size of
THE BRICKBUILDER
7*
Plan or first Floor
PUBLIC BATH, JOHN JAY PARK, NEW YORK. Stougbton & Stoughton, Architects.
PUBLIC BATH, EAST ELEVENTH STREET, NEW YORK. Arnold W. Brunner, Architect
7*
THE BRICKBU ILDER.
u 1 — n — u i
-d L
" Tiiiiiin— r —
ri
i
i '- »
-H !
I I.OOR.
PUBLIC BATH, DOVER STREET, BOSTON.
Peabody & Stearns, Architects.
a country as vast as ours which is in a state of rapid de-
velopment, but above all to the lack of systematic records
and comprehensive statistical information on the subject
of baths. This last factor has been of great assistance to
Germany in developing a system of baths properly pro-
portioned to the needs of her people. Foreign cities of
the first class are often equipped with small bath build-
ings but in this country the size of the buildings indicates
fairly accurately the size of the city. We have had the
advantage of the experimenting on the part of foreign
authorities and
have profited by
their mistakes, and
while our bath sys-
tem, even up to the
present day, is in a
very experimental
and indeterminate
shape, some of our
individual build-
ings are, as regards
sanitation and fit-
tings, equal to the
European models
and are often supe-
rior in simplicity of
plan and merit of
construction.
It is well to bear
in mind, however,
that we have not the
difficulties of pro-
viding facilities for
various classes of
SWIMMING POOL, PUBLIC BATH, WEST TWENTY-THIRD STRIET, NEW YORK.
bathers, and the elimination of steam, hot air and vapor
baths has further simplified the problem. The elaborate
entrance halls, staircases and rooms devoted to various
purposes other than bathing, play a comparatively small
part in the municipal bath establishments in this country,
the desideratum being to provide the largest proportion
possible of units devoted solely to bath purposes.
For convenience we may classify public baths into
two main groups: the interior baths, including all that
are enclosed, and which, as a rule, provide facilities for
all year bathing, and a second group, including seashore
and river baths and those open to the air.
We find three distinct types of interior baths: first,
those equipped with the shower ; second, those equipped
with the pool; and third, a type combining the other two.
The building equipped with the shower has up to the
present time been
the most favored by
our municipalities.
Its many advan-
tages of economy,
practicability and
simplicity have ap-
pealed to the au-
thorities, and the
majority of the
cities of this country
having public baths
have, at least, one
building of this
type.
We have seen
that the small city
bath equipped with
showers has been
greatly favored by
the German and
other continental
authorities. In
cities of the first
THE BRICKBUILDER.
73
74
THE BRICKBUILDER
class the capacity of these buildings rarely exceeds fifty
units; the larger buildings invariably combine other
forms of baths with the showers. In this country some of
our largest institutions are equipped solely with shower
baths, with a capacity varying from seventy-five to two
hundred units.
An excellent example of the modern shower type is
the John Jay Park Public Bath of New York. The site
is too near the river and the building being situated at
the side and not in the heart of the district must be at a
disadvantage in drawing its patronage ; in fact, many of
the New York baths are unfortunately situated in this
respect. The building adjoins the park, however, and
has the advantage of light and air on three sides. The
comparatively small waiting rooms and large bathing hall
space, with a total bathing capacity of one hundred and
two shower compartments, are in marked contrast to
foreign buildings of similar capacity, and show the
strictly utilitarian purposes of the building. It has no
1 IKST FLOOR. BASEMENT.
PUBLIC ISATH, CLEVELAND.
E. H. Beier, Architect.
BASEMENT. FIRST FLOOR.
WALTERS PUBLIC BATH, BALTIMORE.
provision for a laundry, in fact none of the baths of New
York are so equipped, although the Rivington .Street
Bath, the first municipal bath in New York, had installed
a laundry which did not prove successful, and the allotted
space has since been replaced by shower compartments.
Some others of our cities have had indifferent results
with the public laundry; on the other hand, in Baltimore,
Buffalo, Cleveland and Boston, those baths which are
equipped with laundries have had fairly successful re-
sults. In analyzing this matter the success or failure of
this public facility does not seem to be a question either
of locality, character of the patronage, or administration,
— the exact cause as yet remains undetermined.
We do know that abroad, particularly in England, the
laundry plays an important and successful part in bath
economy: it is invariably prominently placed, well venti-
lated, and its many advantages have appealed to the
public. We find in this country the laundry relegated to
the basement in a restricted space and often directly ad-
joining the boiler room.
The Dover Street Bath, Boston, is another example of
the shower type. The shower halls are elevated some ten
feet above the waiting-room level to provide necessary
light and air for the laundry. Steam for this bath is
THE BRICK BU ILDER.
75
\ d )m~~_J~
ATTENDANT
ZE^
jm-
HALL ""» VAlTI/iS {™W
First Fl°°R. Plaz-i
BROOK LINK PUBLIC BATH,
B R O O K L I N K , MASS
F. JOSEI'lf UNTKRSEE,
ARCHITECT.
76
THE BRICKBUILDER
LAV.
PUBLIC BATH, PHILADELPHIA.
furnished from a fire
department building in
the neighborhood, an
arrangement which has
effected a considerable
saving to the munici-
pality.
The Buffalo Muni-
cipal Bath, situated in a
tenement district of the
city, illustrates a some-
what smaller city bath
equipped with showers.
A general waiting room
J j lt mm-n- ^or both sexes requires
different times for bath-
ing and considerably re-
duces the efficiency of
the building, as no more than half of the bathing hall
capacity can be utilized at one time.
The Walters Public Bath at Baltimore shows the
shower halls properly proportioned at a ratio of three to
one, but the waiting rooms are somewhat inconsiderately
planned, allowing an equal area for both sexes. The
building is equipped with a small public and private
laundry in the basement.
In a similar type of small city bath at Cleveland we
find the waiting rooms of equal capacity and the shower
halls very nearly so. A corner location has allowed a
special entrance to the laundry in the basement.
At the other end of the scale in respect to size, and as
an example of the shower-bath type of large capacity, is
the East 54th Street Public Bath, New York, now under
construction. Two stories of shower halls and some
showers in the gymnasium give a total of two hundred
and eleven bath units, furnishing a workiug capacity of
eight thousand baths a day. In order to facilitate the
circulation of such a large number of bathers, it was con-
sidered advisable to provide special exit halls. The
ratio of the bathing hall capacity for the sexes is about
two and one-half to one. In designing this building the
architects considered it preferable to provide for one
hundred and thirty shower bath units and to substitute a
pool bath for the shower baths omitted. The authorities,
however, did not consider the pool necessary at the time,
but now have the matter under consideration. The rela-
tive value of the pool and shower to the public bath build-
ing will be discussed in another chapter.
The second type of the interior bath, in which the
pool alone serves the bathing purposes of the institution,
is but rarely used in this country. The only instance
where this system has been adopted throughout a large
city is in Philadelphia, which has fifteen luiildings so
equipped. The baths are not of a strictly modern type
and are comparatively inexpensive buildings, in most
cases without proper heating plants.
The plan of the pool is modeled after the English
type with the dressing compartments directly off the pool
runway; adjoining the waiting room is a primitive form
of a preliminary cleansing bath arranged in an alcove.
The pools are fed from the Schuylkill River, which is
an economical arrangement, but at certain seasons of the
year, when the river holds considerable deposits in sus-
pension, the pools are not particularly inviting, as the
baths have no filters. In spite of these objections the
baths have served their purposes well, as is amply proved
by a yearly attendance of five million bathers.
There are a few other isolated examples of the pool
bath type which are similar in general plan and arrange-
ment to the Philadelphia baths and call for no special
comment.
The third type, the combination of the pool and
shower bath, is rapidly growing in favor in this country,
and will, eventually, in the opinion of the writers, displace
the other two forms, except in those instances where it is
desirable to provide baths of very small capacity.
( >ne of the earliest ex-
amples of this type in this
country is the Municipal
Bath at Brookline, Mass.
This building closely fol-
lows foreign precedent and
its similarity in general
plan to the yuedlinburg
Bath is very marked. The
pool bath units as compared
to the showers are propor-
tionately much larger than
in the German prototype,
the pool bath providing
more than eighty per cent
of the capacity.
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THE BRICK BUILDER
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THE BRICKBUILDER
A general waiting-room gives access to the shower
hall, the beginner's pool and the large pool. The plan
of the plunge room also shows the use of the outside and
inside gangways, the dressing compartments opening
directly into both gangways.
Such an arrangement allows
the bathers to dispense with
the form of the preliminary
cleansing baths, and in the
orderly town of Brookline this
lack of control probably causes
the superintendent no serious
inconvenience, but, as a rule,
this privilege would be abused
and would certainly result in
confusion.
The Orange Street Bath at
Albany, with a pool room of
similar capacity, shows that
this particular difficulty has
been overcome. The bather
must pass through the pre-
liminary cleansing showers
before entering the pool. The
plunge room, however, has
the disadvantage that we
noted in the Stuttgart Bath —
an isolated position at the
extreme end of the plot.
Another serious objection is
the entrance corridor provid-
ing access to both the plunge
room and the shower halls .
Another example of the
pool and shower type, with a
considerably larger capacity,
is the Cabot Street Bath, Bos-
ton (see plate 50), where bath-
ing facilities are provided for
on three floors. The general waiting room is directly off
the street level, and a staircase leads to the plunge room
below the level of the waiting room, another to the
spectators' balcony above this level, a third to the
shower hall in a mezzanine
story and a fourth to the
gymnasium above.
While admitting that this
arrangement has the advan-
tage of a single point of con-
trol from the main office, it
certainly would not be suc-
cessful during rush hours in
the tenement sections of New
York or other cities of the
first class. The situation is
further complicated by
having one waiting room for
both sexes, a difficulty which
we have seen may be over-
come by allotting special times for the sexes, but an ar-
rangement that could scarcely be justified in a building
with so large an equipment.
We have seen, in the Albany, Brookline and Philadel-
1 IRsT II.UUK PLAN
PUBLIC BATH, CABOT STREET, BOSTON
Herbert I). Hale, Architect.
PUBLIC BATHS, BUFFALO,
phia pool baths, the use of the dressing compartments
directly off the pool gangway, following either the
English or German principle. In this bath we have
another arrangement, — the dressing compartments are
provided for in a separate,
dressing hall, the preliminary
cleansing being arranged for
in shower compartments at
the entrance to the plunge
room.
This plan has a marked
advantage in separating the
dressing halls from the plunge
room, particularly for the
sanitation and washing down
of the plunge room, but it re-
quires additional supervision
in controlling the bathers
while in the dressing rooms.
The ratio of the pool bath to
shower units in this building
is about the same as in the
Albany and Brookline baths,
namely, four to one.
The East 23d Street Bath,
New York (see plate 51),
recently completed, has the
advantage of a large plot,
which allows all the bathing
facilities on one floor.
The excessive value of the
land and cost of the building
will require an enormous at-
tendance to warrant such a
large outlay from the stand-
point of municipal economy.
This bath is the only one in
the country, so far as we
know, where the shower units
exceed the pool units. One hundred and fifty-five com-
partments have been provided for shower purposes, but
it seems likely that a considerable number of them must
be used for preliminary cleansing purposes and dressing
compartments for the pool.
Access to the spectators'
balcony in the plunge room
is provided from a special
entrance in the rear of the
building.
The West 60th Street
Bath, New York, is still
another variation of the
third type. In this build-
ing, as in the Cabot Street
Bath, shower and pool facili-
ties are provided for on
separate floors, but the ar-
rangement of the pool dif-
fers considerably from the
Cabot Street plan and the other baths that have been
mentioned.
In this building the dressing rooms are placed on the
balcony in the plunge room, directly off the waiting
THE BRICKBU ILDER.
79
room level. This arrangement separates the dressing
rooms and runway from the pool runway below, and the
bathers are under direct control at all times.
Staircases lead from the balcony directly into the
preliminary cleansing room below, which is separated
from the plunge room by a necessary guard rail. This
arrangement allows the undressing, preliminary cleans-
ing and bathing to be supervised from any point of
control in the plunge room. Special staircases in the
waiting rooms lead to the second-story shower halls,
which have a capacity slightly less than that of the
pool.
While these examples of the pool and shower bath
may not in themselves express the last word in Interior
Bath building, they at least show a progress which
augurs well for the future.
Arrangement of Photographs and Magazine Plates.
BY SIDNEY F. KIMBALL.
THE many systems for arranging photographs and
magazine plates, which have been described in
The Brickbuilder, all possess distinctive features of
excellence, some of which, however, may seem mutually
exclusive. There remains still another system which
aims to combine many of these features, and may thus
present some advantages over any yet suggested.
In order that it may be better understood, perhaps it
will be well, before outlining it, to review briefly the
general principles which govern arrangements of this
sort. The kind of system adopted, as Mr. Parker pointed
out in The Brickbuilder for October, 1906, will depend
upon the way in which one refers to one's plates. One
may look either for a special example, such as the Riccardi
Palace or the dome of St. Paul's; for any example of a
special type, such as a post office or a theater; or for any
example of some particular detail, such as a doorway, a
balustrade, or a bronze lamp. The first two of these
methods of reference are of primary importance; there-
fore the plates themselves will be arranged to facilitate
one, or if possible, both of them. The third method is
secondary. Tts requirements may be satisfied either by
a card catalog, in which the various interesting features
of each plate are indexed, every one on a separate card,
or possibly by Mr. Parker's plan for coloring the edges
of the plates themselves.
Of the two primary methods, the first is generally
employed in referring to buildings of the past, because
in their case one usually knows just which example one
wishes. Photographs of these buildings, and the few
magazine plates of them which appear, may be arranged
either geographically or in some other simple way. Those
belonging to the Department of Architecture at Harvard
University, for instance, are first divided into groups
according to their architectural style — Greek, Roman,
Byzantine, and so forth; then those of each style are
grouped by countries ; and finally those of each country
are divided into towns, arranged alphabetically. The
various buildings of a single town, however, are there
not placed in any logical sequence, but haphazard in the
order of their accession, so that with cities like Rome,
Florence, or Paris, many plates must still be turned over
before the desired building is found. It would seem
that by placing the buildings of each town in alpha-
betical order an improvement in this respect might be
made.
The second method of reference, for the purpose of
finding any example of a special type of building, is the
one most used with drawings and photographs of modern
work, which serve as precedents for similar problems at
the designing-table. The main bulk of these is made up
of the magazine plates, tremendous in number, which
are most often and perhaps most conveniently kept loose
and unmounted in vertical files. The few photographs
which deal with the same kind of subjects may be
mounted on cards and placed with them. The obvious
way to divide material of this character is into classes by
type. If, however, these classes are arranged in the file
alphabetically, there is the disadvantage that related
heads will come far apart. Furthermore, it will be im-
possible to carry out this system consistently: subheads
will have to be made and a mixed system will result.
Thus, for example, under Residences there must be sub-
divisions into City, Suburban, and Country, at least. To
place these subclasses, grading into one another as they
do, in their separate places in the main alphabet, is hardly
conceivable. They must be grouped in some way under
the head of Residences. The same advantage could
be gained by having other related heads side by side,
as Academies, Colleges, and Technical Schools, all pre-
senting architecturally much the same features, and
each useful as a reference for the others. The logical
outcome of • this condition is a complete arrangement
by heads and subheads, placed in some systematic
order.
Such an arrangement already exists in the Dewey
classification, advocated by Mr. Ginsburger in The Brick-
builder for October, 1907 (q. v.), which presents many
features highly worthy of adoption. Its decimal system
of numbering the classes, which allows any one of them
to be divided into ten smaller sections by adding another
decimal place to the class-number, is especially valuable,
as it makes possible unlimited expansion and interpola-
tion. This classification, however, is one embracing all
human knowledge, and unfortunately represents, in so
far as it applies to magazine plates, the theoretical stand-
point of a librarian rather than the practical one of an
architect. Owing to limitations imposed by its general
scheme, which left but four main heads available for
classifying buildings, the author was forced at this point
into a complete lack of coordination between the parts.
There is surely less reason for grouping Commercial
8o
THE BRICKBUILDER
Buildings and Manufactories under Public Buildings
than there would be for placing Religious and espe-
cially Educational Buildings there; the first two, like
most of the subheads under Public Buildings, are really
coordinate with the last two, which are made main
heads. The only advantage to be gained by thus
cramping the headings is that in this form they take
their place in a universal scheme of knowledge, and
stand in their proper relation to African Ethnology
and Didactic Poetry, for instance — an advantage
which the architect will readily sacrifice for any prac-
tical gain in usefulness. The most logical thing for
him to do is frankly to make as many main divisions as
he needs.
The following, shown by experience to be useful, have
been adopted as the basis of the new classification here
to be described, which, while preserving the numbering
system and much of the matter of the Dewey classification,
attempts to overcome its deficiencies.
i. Administrative and Governmental Buildings.
2. Monuments.
3. Ecclesiastical and Religious Buildings.
4. Educational and Scientific Buildings.
5. Society Buildings
6. Residential.
7. Recreation and Amusement.
8. Business and Commercial.
9. Transportation and Storage.
10. Manufactories.
1 1 . Bridges.
12. Other Buildings.
The arrangement of these heads, while in some degree
arbitrary, has been made so far as possible with a view
to easy transition from each to the next through the
subdivisions, as may be seen later. Thus, Parish
Houses and Sunday-School Buildings, the last section
under 3, comes next in the file to Day Schools, the first
under 4.
In the same way the residential clubs of 5 are followed
by the apartment hotels of 6, related subjects being thus
brought near together.
In splitting up the main classes the endeavor has been
to keep closely to the types of actual modern work, and
to subdivide only when differences in architectural char-
acter occur. In both these respects the Dewey classifica-
tion is defective. To use an illustration furnished by
Mr. Ginsburger himself, in the class of Ecclesiastical and
Religious Buildings, the sections Temples, Mosques, and
Monasteries are practically useless for modern work,
while the section Y. M. C. A. would obviously, from an
architect's standpoint, be much better placed with the
clubs. The second fault, that of subdivisions architec-
turally needless, though existing to some extent in the
original Dewey classification, is exemplified still more by
the expansion of it published by the Experiment Station
of the University of Illinois, and described in the October
issue of The Buickbuilder. Here, for instance, Alms-
houses are subdivided into National, State, County, City,
Town, Endowed, Subscription, etc., though architectur-
ally forming a single unit.
In the classification now proposed an effort has been
made to minimize these defects, although doubtless many
still remain. Some of these are inherent in the scheme
of a decimal classification; for instance, the lack of exact
coordination between certain of the heads. 1.55 Regis-
tries of Deeds is not properly a sub-division of 1.5 Court
Houses; but because there are no more main heads left
here, it is placed under 1.5, the one to which it is most
closely related. In spite of such imperfections, the
classification has stood with absolute satisfaction the
test of experience with several small collections, and is
now being applied, so far without meeting any diffi-
culties, to a collection of about ten thousand plates
covering the greatest variety of subjects. In full it is as
follows. :
Administrative. Governmental. Etc.
1 Capitols. I louses of Parliament. Legislative
Buildings.
2 Ministries of War, State, etc. Governmental
Departments and Office Buildings.
3 City and Town Halls.
4 Custom Houses. Excise Offices.
5 Court Houses.
55 Registries of Deeds. Archive Buildings.
6 ' Post Offices.
63 Post Office and Custom House combined.
66 Post < )ffice and Court House combined.
69 Post Office, Custom House, and Court House
combined.
7 Engine Houses. Fire Alarm Stations.
8 Military, Protective, and Corrective.
Si I '.arracks, Military Post Buildings.
82 Armories. (See also 7.3, Riding Halls )
83 Arsenals.
85 Police Stations.
86 Penitentiaries. Jails.
87 Reformatories for Adults.
88 Reform Schools.
9 Hospitals. Asylums.
91 Sick and Wounded. Incurables. Etc.
92 Sanatoria.
93 Insane. Feeble Minded. Inebriates.
94 Blind. Deaf and Dumb. (.See also 4. 1 7,
Day Schools for Defectives.)
95 Almshouses.
96 Aged. Convents, etc.
97 Soldiers' Homes.
98 Orphans. Children. Foundlings.
Monuments.
2. 1 Commemorative.
2.2 Funerary.
221 Monuments proper.
2.22 Tombs. Mausoleums.
2.23 Receiving Vaults.
2.3 etc. (Numbers left blank or omitted may be
filled as occasion arises.)
Ecclesiastical and Religious.
1 Chapels, small.
2 Parish Churches.
3 Cathedrals.
4 Synagogues.
5 Parish Houses. Sunday-School Buildings.
E DUCATIONAL AND SCIENTIFIC.
1 I >ay Schools.
1 1 Kindergartens.
12 Primary Schools.
THE BRICKBUILDER
81
4- 13
4 14
415
4. 16
4i7
Grammar Schools.
High vSchools.
Normal Schools.
Manual Training Schools.
Schools for Defectives. (See also 1.94,
Asylums for the Blind, Deaf and Dumb.)
4. 2 Boarding Schools.
43 Colleges. Universities.
4.4 Professional and Technical Schools not con-
nected with a University.
4.41 Theology.
4.42 Law.
4.43 Medicine.
4.44 Science, Engineering.
4 45 Aft-
4.46 Music.
4.5 Independent Scientific Institutions. Labora-
tories. Observatories.
4 6 Scientific Museums. Menageries. •
47 Art Museums. Galleries.
Libraries.
Learned Societies. (See also 5. 1 1 City Clubs
non-residential.)
Society Buildings.
City Clubs.
Non-residential.
Societies.)
Y. M. C. A.
Residential.
Y. M. C. A.
Suburban Clubs.
Y. M. C. A.
Country Clubs.
Residential.
Hotels. Etc.
City Hotels.
Country Hotels.
Restaurants. Cafe's
Rathskellers.
Apartments. Tenements. (See also 8.3
Mixed Store, Office, and Apartment Build-
4.8
4.9
5-
5-1
5"
S-"S
5-i2
5-I25
5-2
5-25
5-3
6.
6.1
6. n
6. 12
6.15
6.2
(See also 4.9 Learned
Saloons. Bars.
6-3
6.4
6-5
6.6
6.7
6-75
6.8
6.9
6.91
6.91 1
6.91 2
6.92
6.921
6.922
6.923
6.924
6.925
6.926
ings.)
Palaces and Palatial Private Houses.
Em-
bassies. Etc. (Detached.)
City Houses in Block. (Anything with one
party wall or more.)
City Houses not in Block.
Suburban Houses. Village Houses.
Country Houses.
Farm Houses.
Cottages. Bungalows.
Outbuildings. Dependencies.
City.
City Stables, private.
Garages.
Country. Farm Buildings.
Gate and Porter's Lodges.
Kitchens. Laundries. Dairies. Etc.
Stables. Kennels. Etc.
Carriage Houses. Garages.
Barns. Granaries. Ice Houses. Silos.
Etc.
Conservatories. Greenhouses.
7-4
7-5
7.6
7-7
7.8
7-9
8.
8.1
8.2
8-3
31
32
33
34
•4
■41
.42
■5
•55
.6
8.
6.927 Windmills. Water Towers.
7. Recreation and Amusement.
7.1 Theaters. Opera Houses.
7.2 Concert Halls. Lecture Halls.
7.3 Rinks. Amphitheaters. Riding Halls and
Schools. (See also 1.82, Armories.)
Gymnasia. Turn Halls. Baseball Cages.
(See also 5. 1 15, 5.125, and 5 25, Y. M. C. A.)
Baths, swimming and otherwise. Locker
Buildings.
Buildings for watering places. Beach Bath
Houses.
Buildings for parks.
Boat Houses.
Stadiums. Others.
Business and Commercial.
Markets.
Stores, Wholesale and Retail.
Mixed Store, Office, and Apartment Build-
ings.
Stores and Offices.
Stores and Flats.
Offices and Flats.
Including Hall.
Office Buildings.
Low.
High, Steel Construction.
Banks. Trust Companies. Safe Deposit
Vaults.
Bank and Office.
Exchanges. Boards of Trade. Clearing-
houses.
Transportation and Storage.
I Railway Passenger Stations.
I I Way Stations.
I I I City.
1 12 Country.
1 2 Terminal Stations.
2 Street Railway Stations.
21 Surface Stations.
22 Elevated Stations.
23 Subway Stations.
3 Wharf and Dock Buildings.
31 Ferry Houses. Buildings for passengers.
Immigrant Stations.
32 Dock Buildings for freight, etc.
4 Railway Freight Houses.
5 Warehouses — Bonded, Storage, etc. Cokl
Storage.
Grain Elevators. Coal and Ore Docks.
Railway Roundhouses. Car Barns. Etc.
Roundhouses.
Car Barns.
Signal Towers. Etc.
Others.
Factories. Etc.
Mill-Construction Buildings, for whatever use.
Power Stations.
Abattoirs.
Laundries.
Bridges.
Wood.
Masonry (stone, brick, concrete, etc.).
9
9-
9
9
9
9
9
9-
9
9-
9-
9
9
9
9
9
9
10
10
10
10
10
1 1
1 1
1 1
82
THE BRICKBUILDER
1 1.3 Steel and Iron.
1 1. 3 1 Simple Truss.
1 1.32 Cantilever.
11.33 Arch.
11.34 Suspension.
12. Other Buildings.
(To be subdivided to suit each individual
collection.)
The plates are sorted into these classes, the proper
numbers being marked on the corner of each; and the
groups of plates are arranged in the file in numerical
order, between guide-cards bearing both the number and
name of the class. When there are few plates in any
class its guide-card may be omitted without disadvan-
tage; when there are none, the whole division simply
drops out of the file, yet as soon as any are acquired, it
is ready to spring into existence. If the guide-cards used
have their tabs at different points along their top edges,
those with tabs at the left may be used to separate the
main groups, those next to them to separate the first
decimal subdivisions, and so on. With guides so ar-
ranged any class may be found readily, even if its
number is not known. If still more definite reference
should be desired, an alphabetical index of all the classes
might be made, so that their numbers could be found
directly without searching in the table. This will
ordinarily not be necessary, because even occasional
use of the classification will make its main outlines
familiar.
Dividing the plates simply into classes, however, will
not be enough. Even if the chief purpose of the arrange-
ment is to bring together the different types, there will
often be occasions when a definite, individual example
will be wanted. Many of the classes will be so large that
it can be found only after long search. Moreover, if the
plates are to be card-indexed for details, not only must
each one be immediately accessible, but also it must
have, besides its class-number, an individual number,
peculiar to itself alone. For both these reasons some
further arrangement, within the classes, is necessary.
Mr. Parker suggests in the November, 1906, issue, that
the classes by type should be subdivided by locality,
construction, etc., but does not give any method for
this.
The method adopted with this classification is, first,
the arrangement of the buildings in each class alphabeti-
cally by the names of the cities or towns in which they
stand, and then the buildings in each town alphabetically
by the names of their architects. To the class number of
each plate are added the first two or three letters of the
name of the town, and after a dash, those of the architect's
name. Thus 1.83 Har — Smi would stand for an arsenal
in Hartford by Smith, and 6. 7 Arl — Jon would stand for
a country house in Arlington by Jones. If Jones had
done two country houses there, they would be marked
6.7 Arl — Jon — A, and 6.7 Arl — Jon — B, in order to
give each some distinguishing sign for purposes of ref-
erence. For the same reason the plates representing
each example are divided into three groups: (1) plans,
(2) elevations and sections, (3) photographs and perspec-
tives, designated by /, e, and /, respectively ; and the
plates of each group are numbered 1, 2, 3, and so on, in
the order of their accession. The second photograph
would be f 2, the third plan p 3, and so forth. If there
should be a plan with either an elevation or a photograph
on the same plate, it is 'put among the plans; if there is
an elevation with a photograph also, it is put among the
elevations. The last two marks are placed below a line
drawn under the rest. Thus the completed number of
the third photograph of the second country house in
Arlington by Jones would be
6.7 Arl — Jon — B
The
whole system, which at first glance must appear some-
what cumbersome, is really very easy of application ; so
that, after a small amount of practice, the numbers can
be put on as rapidly as the plates can be classified. For
instance, taking some plates at random from the Decem-
ber Brickbuilder, it is evident that those of Mr. Atter-
bury's house at Ridgefield, Pis. 182, 183, 184, and 185,
will be marked 6.7 Rid — Att, over f 1, f 2, f 3, and p
1, respectively; whereas that of Peabody & Stearns's
High School at Whitinsville, PI. 186, will be marked
— . A practical illustration of the utility of
P "
the system was recently given when an architect, being
away in the country and desiring certain plates, was able
to write home their numbers, making them up on the
spot, and have the office boy pick them out. With
any arbitrary numbering system, such as that proposed
by Mr. Kelsey, such a thing would have been impos-
sible.
In one or two cases it has been thought desirable, for
various reasons, to make slightly different arrangements
within the classes. The sections for hospitals and
asylums, colleges, and similar institutions are first
divided, as usual, by the name of the city or town where
they are, but institutions in the same place are then
lettered serially A, B, C, etc., and their separate build-
ings numbered 1, 2, 3, etc. In this way, confusion
caused by multiplicity of names is avoided, and the
division of institutional buildings in the same city is
made on the institutional lines, not on the lines of archi-
tectural authorship. The advantage of this is evident
in a city like New York, where Columbia University and
New York University (which, one largely, the other
entirely, built by Mr. McKim, would otherwise be
confused) are readily given the numbers 4.3 N — A and
4.3 N — B. Again, in the case of ecclesiastical and
religious buildings, a general division into Gothic and
not-Gothic is first made, even before the subheads are
put in. The parts are designated by g and c, and then
divided as usual. A Gothic parish church would be
3. g 2 ; a Gothic cathedral, 3. g 3 ; a cathedral in the
Renaissance style, 3. c 3. Other minor rules and varia-
tions might be described, but they will readily suggest
themselves to the reader as he meets their problems
individually.
With the plates numbered and arranged according to
the proposed system, all of the three methods of refer-
ence are equally possible. Not only are all the examples
of each type brought together, but also any special
example is instantly available, and the whole collection
may be card-indexed, so that reference is instant and
sure.
THE BRICKBUILDER
«3
84
THK BRICKBUIL D E R
THE BRICK BUILDER
85
Editorial Comment and
Selected Miscellany
THE fire at Chelsea, Mass., which began at about
10.30 a. m., Sunday, April 12, and continued until
midnight, destroying some ten million dollars' worth of
property, furnishes little by way of suggestion in mat-
ters pertaining to building construction which is not
already pretty thoroughly known.
This city, of some twenty-five thousand inhabitants,
adjoins Boston on the north and has been ruled for along
period by a succession of the ordinary type of politicians
who have been wholly lacking in administrative capacity,
with the result that intelligent and progressive municipal
thought and action have become unknown quantities.
The city was built up almost entirely of wood, with now
and then a business block, schoolhouse and church of
brick or stone, but these offered little resistance to the
flames, which were driven before a forty- mile gale. Not
a single building in the whole city was of fireproof con-
struction, although 'tis worthy of note that the facade of
the Odd Fellows Building, which was entirely of archi-
tectural terra cotta, stands alone amid the ruins without
having been appreciably damaged. Burning shingles
were driven by the wind to the shingle or gravel and tar
roofs of other buildings a mile or more distant, with the
result that every building
within the fire-swept area,
which is about two and one-
half miles long by one mile
wide, is in ruins. But who
thinks that Chelsea will be
rebuilt without shingle and
tar paper roofs, or with
proper regard for safe con-
struction? The insurance
money which will come to
the mortgage holders on
many of these homes will
be received with gratitude,
and the owner with his
small equity will be glad to
find shelter under any sort
of roof. Will the officials of
the city of Chelsea demand
of property owners a better
type of construction? Will
the city, in the rebuilding
of its own, set an example
worthy of emulation? Will the insurance companies
who will stand two-thirds of the burden of this loss-by-
fire-calamity take a hand in remedying existing evils?
Let us see.
What happened to Chelsea could, probably would,
under similar conditions, happen to almost any other
small city or town in the United States.
DETAIL BY F. C BROWNE,
ARCHITECT.
NEW YORK ARCHITECTURAL
TERRA COTTA CO., MAKERS.
THE disastrous fires with loss of life at
Pottstown, Pa., and Collinwood, Ohio,
prove the necessity of greater vigilance with
regard to buildings in which many persons
gather in suburbs and small towns. Not only
the construction but maintenance should be
watched. If this is difficult of realization
within the organizations of cities, how can it
be attained over a large area sparsely dotted
with small places? State inspection has been
shown to be lax. The spectacle of an officer
settling himself into a snug berth of inspect-
orship does not suggest the vigilance neces-
sary to cope with potential danger; and we
are reminded of Governor Hughes's recently
expressed dictum that the need to-day is not
in new laws but of character in the men
called upon to administer the law. Long be-
fore political machinery can be attuned to its
duty, we suspect that private enterprise as
embodied in the insurance business will have
organized its own method of inspection. The
cost of this must be added to the premiums,
but the result will be a safeguarding of life,
also of the interests of stockholders in the
insurance companies.
FOUNTAIN IN PALM ROOM, STATLER HOTEL, BUFFALO, N. Y.
Executed in Faience by Atlantic Terra Cotta Company.
Esenwein & Johnson, Architects.
THE USE OF TERRA COTTA HOLLOW-
TILE BLOCKS IN THE CONSTRIC-
TION OF HOUSES.
ON pages 83 and 84 of this issue there is
presented a series of illustrations of
86
THE BRICKBUILDER
houses which have been built of
terra cotta hollow tile blocks.
These examples of this type of
construction are given with the
sole object of indicating the de
velopment of a new type of build-
ing construction which is being
adopted pretty generally by archi-
tects throughout the country. At
this stage in the development of
the science of building it is im-
portant that a type of construc-
tion which is economical in all re-
spects, and which lends itself
easily to the demands of a free
architectural treatment, and which
is dependable in the matters of
strength, weather and fireproof
qualities, should receive the close
scrutiny of those who are looked
to to solve the prob-
lem of rational build-
ing.
The illustrations
are given merely to
show the character
of the work in which
this construction is
now being employed
but there is no limit
to the types of build-
ings in which it may
be used successfully,
as the material lends
itself easily to all
forms in design and
construction. It is
unnecessary to here
enter into the discus-
sion of comparative
costs, details of con-
struction for walls
and floors, strength
of the hollow tile
blocks, sizes, shapes,
etc., for this is all given in detail in a very interesting
treatise upon the subject which has recently been issued
in booklet form by the National Fire-Proofing Company.
A copy of this
booklet may be had
upon application to
any of the offices of
the company. It is
a work which pre-
sents in a most
direct way all the
data concerning this
particular type of
construction and we
are glad to commend
DETAIL BY WILLIAM E. MOWHRAV, ll t0 tnose °f Our
architect. readers who are in-
New Jersey Terra Cotta Co., Makers. terested.
HERCULEAN- ARCH AND
PHCENIX WALL BLOCKS.
^"THE above is the title of
i. another interesting treatise
on the use of terra-cotta hollow
tile blocks in floor and wall con-
struction which has recently been
issued by Henry Maurer & Son.
The work is amply illustrated
from drawings, showing wall, floor
and partition construction and
photographs of many buildings
in which these systems have been
employed.
It is desirable that the walls
of a house should be fireproof but
it is imperative that they shall be
damp proof, and the fact that hol-
low tile blocks are being used so
extensively to-day in the walls of
houses and other
buildings is evidence
that they are fully
meeting these de-
mands. Hollow tile
block construction is
no fad, and its in-
creased use warrants
a close study of the
systems which are
being put forth by
concerns which have
held the respect of
the building frater-
nity for more than a
generation.
A STORE FRONT, CINCINNATI.
Frank M. Andrews, Architect.
Treated in colored faience, including a rich combination of red tones
Work executed by Rookwood Pottery Company.
ACKNOWLEDG-
MENT.
N the book en-
titled " Fireproof
Houses of Terra
Cotta Hollow Tile
and How to build
I
Them," recently issued by the National Fire-Proofing
Company, there were illustrated two buildings with
details of structural work, at Briarcliff, N. Y., by
Robert W. Gardner, architect. Through an oversight
Mr. Gardner's name was omitted in connection with
the illustrations. The National Fire-Proofing Company
wishes in this manner to make amends as far as pos-
sible for their oversight.
IN GENERAL.
New York will
build permanent
state fair buildings
at Syracuse at a
cost approximat-
ing a million and
a half dollars.
DETAIL BY CHAPI'ELLE & BOSWOR1 H,
ARCHITECTS.
South Amboy Terra Cotta Co., Makers.
THE BRICKBUILDER
«7
ENTRANCE TO METROPOLITAN BUILDING, ST. LOUIS.
Mauran, Russell & Garden, Architects.
Treated in green, yellow and brown dull finish faience.
Made by Hartford Faience Company.
Richard Hooker and Howard K. Jones have been ad-
mitted to the firm of Alden & Harlow, architects, Pitts-
burg.
The date of the next Convention of the Architectural
League of America has been set for September 17, 18
and 19 at Detroit, to be held under the auspices of the
Detroit Architectural Club.
SCHOOLHOUSF, SOUTH BEND, IND.
George W. Selby, Architect.
Built of Hydraulic-Press Brick.
Architect Grosvenor Atterbury has been commissioned
to design a building in Philadelphia for the Henry Phipps
Institute for the Study, Treatment and Prevention of
Tuberculosis.
The Marist Brothers, a French Catholic order, is pre-
paring to erect build-
ings for a Catholic
college on two hun-
dred acres of land
recently purchased
near Lowell, Mass.
The Board of Trus-
tees of the Univer-
sity of Illinois has ac-
cepted plans for two
new buildings. One
is a physics labora-
tory to cost about two
hundred and fifty
thousand dollars, the
other, an extension of
the natural history
building, to cost
about one hundred
and fifty thousand KEY block, v. m. c. a. building,
dollars. PATERSON, n. j.
Brick Terra Cotta and Tile Co., Makers.
The venerable
Fifth Avenue Hotel is now closed to patrons. In quickly
destroying the building, the celebrated old hostelry will
at least be spared a period of melancholy senility. A
" sky-scraper " office building is to be erected on the site.
Messrs. McKirn, Mead & White have been selected
as architects for the new New York Post Office Building,
which is to be located near the new teiminal of the
Pennsylvania Railroad, for which they are also the archi-
tects.
iiiiifS^1 1! ■
if if iff*
SELLWOOD BUILDING, DULUTH, MINN.
William A. Hunt, Architect.
Built of tlark gray standard brick, made by Columbus Brick and
Terra Cotta Company.
88
THE BRICKBUILDER
The first prize of $5,000 for the best set of plans sub-
mitted for the proposed $300,000 Capitol building of
San Juan, Porto Rico, has been awarded to Frank Edson
Perkins, architect, formerly of Boston, but now of New
York. Ritchie Abbott of New York received the second
prize of $2,000 and H. L. Beadel of New York the third
prize of $1,500. There were 135 competitors.
On March 28, the Columbus Society of Architects
was organized at Columbus, Ohio, with a charter mem-
bership of forty-one practicing architects. The object
of the society is for the advancement of interest in archi-
tecture and the allied arts, the professional improvement
of its members, and to bring into social relations those
interested in these objects. President, A. M. Allen;
Vice-President, C. A. Stribling; Secretary-Treasurer,
Fred W. Elliott; Directors, Frank L. Packard, C. E.
Richards, Edwin E. Pruitt, C. E. Bellows.
I'UBLIC BATHS. CLEVELAND.
E. H. Beier, Architect.
Roofed with Ludowici-Celadon Tile.
The terra cotta used in the Normal and Latin School
Group, Boston, illustrated in The Brickbuilder for
March, was supplied by the Atlantic Terra Cotta Co.
Edward W. Robinson, vice-president of the Hartford
Faience Co., has opened an office at 1125 Broadway,
New York, and will take personal charge of the sales
department of that Company. Mr. Robinson also rep-
resents vSherwin & Cotton and Carter & Company of
England, well-known manufacturers of high-grade wall
and floor tiles.
Carter, Black & Ayers of New York are introducing
into the market a vitrified hollow building block. Be-
ing salt-glazed they are exceptionally well adapted to
withstand dampness and for foundation work. Both
sides of the blocks are scored so that stucco when ap-
plied holds firmly. These blocks are suitable for houses,
garages, manufacturing buildings and the like.
The New Jersey Terra Cotta Company is supplying the
architectural terra cotta for the following new buildings:
Apartment house, Park Avenue, New York, C. W.
Buckham, architect ; apartment house, Riverside Drive,
New York, H. C. Pelton, architect; apartment house,
Madison Avenue, New York, W. E. Mowbray, architect;
Seaman's Home, West Street, New York, Boring & Til-
ton, architects; Soldiers' Home, Chelsea, Mass., Clough
6 Wardner, architects; Town Hall, Skowhegan, Me.,
H. C. and J. H. Stevens, architects; Lincoln School,
Orange, N. J., W. M. Tubby, architect.
POSITION WANTED— Young man 22 years of age, five years'
practical architectural experience, desires position as traveling rep-
resentative, preferably in New England, for some article in the
building line. Moderate salary. Address '' Salesman," care of
THE BRICKBUILDER.
POSITION WANTED —Architect, 28, University graduate, ex-
perienced in practical office work and superintendence, returning
from foreign travel and study, wishes permanent engagement, with
future prospects as superintendent of construction, practical busi-
ness manager or representative with architect or construction com-
pany. Address "University Graduate," care THE BRICKBUILDER.
SCHOOL OF ARCHITECTURE
UNIVERSITY OF PENNSYLVANIA
The Four Year Course. Full professional training (with an option in
Architectural Engineering) leading to the degree of B. S. in
2 Architecture. Advanced standing is ottered to college graduates
or the two degrees of A. B. and B. S. in Architecture can be
taken in six years.
The Graduate Year affords opportunity for advanced work in design
and other subjects of the course leading to the degree of M. S.,
in Architecture.
The Two Year Special Course. For qualified draughtsmen, offers
advanced technical training with a Certificate of Proficiency.
For Full Information address Dr. J. II. Penniman, Dean of the College
University of Pennsylvania, Philadelphia.
KIDDER'S ARCHITECTS' and
BUILDERS' POCKET-BOOK
FIFTEENTH EDITION, REVISED
The changes in this edition consist of the correction of all typo-
graphical errors reported to the publishers, and the rewriting of Chap-
ters XXIII and XXIV. This work has been done by Rudolph P.
Miller. Professor Alvah H. Sabin has also brought the section on
Paints and Varnishes up to date.
16 mo, xix r 1703 pages, 1000 figures
Morocco, $5-00
NEW YORK . JOHN WILEY & SONS
A VALUABLE REFERENCE BOOK
"American Competitions,"1907
1 The "Concours Pabltqac" of the V. S. I
E. B. LACEY, Editor
7 Competitions:
Soldiers' Memorial, Allegheny County, Pa. . . 10 sets of Drawings, 24 Plates
D L. & W. R R. Station, Scranton, Pa. 6 sets of Drawings, 18 Plates
Union Theological Seminary, New York City . 6 sets of Drawings, 19 Plates
State Educational Building. Albany, N. Y. . . 10 sets of Drawings, 33 Plates
Bureau of American Republics' Bldg., Wash., D. C. g sets of Drawings, 35 Plates
Connecticut State Library and Supreme Court Building, Hartford. Conn.
4 sets of Drawings, 19 Plates
Central Y. M. C. A., Philadelphia, Pa. . 4 sets of Drawings, 14 Plates
Published by the
T SQUARE CLUB, PHILADELPHIA
Edition limited, 750 copiei. Price, substantially bound in buckram.
$13.50; in portfolio, $1 1. 00. Cash with order.
M. A. VINSON, gmV.Z.'"^
1012 Walnut St.
PHILADELPHIA
205-206 Caxton Bldg.
CLEVELAND. O.
THE BRICKB UILDER.
VOL. 17. NO. 4. PLATE 45.
«^
CAR BARNS FOR CAPITAL TRACTION COMPANY. WASHINGTON. D. C.
Wood, Donn &. Deming, architects.
THE BRICKBUILDER.
VOL. 17. NO. 4. PLATE 4K
CAR BARNS FOR CAPITAL TRACTION COMPANY. WASHINGTON, D C.
Wood, Donn & Deming, architects
THE BRICKBU ILDER.
VOL. 17. NO. 4. PLATE 47.
THE BRICKBU I LDER.
VOL. 17. NO. 4. PLATE 48.
• Sl'lON ) fc LOUR PI \S ■
THIRD FLOOR PLAN
ttllU HUM M-feC
RAStMfc.Nl TL AS
KIR5T1-LUUH ri \\ ■
SCALE
VINCENT MEMORIAL HOSPITAL. HEATH STREET, BOSTON
Charles Bruen Perkins, Architect.
THE BRICKBUILDER.
VOL. 17, NO. 4 PLATE 49.
THE BRICKBUILDER.
VOL. 17, NO. 4. PLATE 50.
'UBLIC BATHS. CABOT STREET. BOSTON.
Herbert D. Hale, Architect.
THE BRICKBUILDER.
VOL. 17, NO. 4. PLATE 51
PUBLIC BATHS. EAST TWENTY-THIRD STREET. NEW YORK
William Martin Aiken and Arnolo W. Brunner. Architects.
THE BRICKBUILDER.
VOL. 17, NO. 4. PLATE 52.
X
tV''
HOUSE FOR N. W. HARRIS, ESQ., LAKE GENEVA. WIS
SHEPLEY, RUTAN & COOLIDGE, ARCHITECTS.
THE BRICKBUILDER.
VOL. 17, NO. 4. PLATE 53.
First Txoo"rPlan
^/econ d Ploot?. Plan
STABLE AND PLANS OF HOUSE FOR N. W. HARRIS. ESQ., LAKE GENEVA, WIS
Shepley, Rutan &. Coolioge, Architects.
THE BRICK BUILDER
VOL. 17, NO. 4. PLATE 54.
HOUSE AT MAMARONECK, N. Y.
William A Boring, Architect
THE BRICKBU ILDER.
VOL. 17, NO. 4. pLATE 55.
HOUSE AT
MAMARONECK, N Y
William A. Boring,
Architect.
• roKTrcocHcxa
zdf
neoTOTOizy-PLAAr
THE BRICKBUILDER.
VOL. 17, NO. 4. PLATE 56.
HOUSE AT IHVINGTON-ON-HU
A. S. Bell, Architect.
THE BRICKBU ILDER.
VOL. 17, NO. 4. PLATE 57.
5&i**&*k
HOUSE AT CINCINNATI, OHIO.
James Gamble Rogers, Architect.
(of hale & rogers.)
THE BRICKBUILDER.
VOL. 17, NO. 4. pLATE 58
■ FIR5T riOOR.
ECIMIO FLOOR-
HOUSE AT MOUNT KISCO, N. Y.
Delano & Alorich, architects.
THE BRICKBUILDER
Volume XVII
MAY 1908
Number c
PUBLISHED MONTHLY BY ROGERS & MANSON
85 Water Street ... Boston, Massachusetts
Entered at the Boston, Mass., Post Office as Second-Class Mail Matter, March 12, 1892. Copyright, 1908, by ROGERS & MANSON
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PLATE ILLUSTRATIONS
CONTENTS
From Work by
CALVIN KIESSLING; KILHAM & HOPKINS; N. Le BRUN & SONS; REVELS & HALLENBECK:
SPENCER & POWERS; HORACE TRUMBAUER.
LETTERPRESS
PAGB
WEST FRONT, CISTERCIAN MONASTERY, CHORIN, GERMANY Frontispiece
THE AMERICAN THEATER— VI Clarence H. Hlackall 89
THE PUBLIC BATH IV Harold Werner and August P. Windolph 92
DALECROSS GRANGE AND OTHER HOUSES Wt hael Bunney 97
ADMINISTRATION BUILDING, NAVAL ACADEMY, ANNAPOLIS, MD Illustration 100
A MODERN PARIS APARTMENT HOUSE George B. Ford 101
A VILLAGE RAILWAY STATION William !.. Weltotl 104
EDITORIAL COMMENT AND MISCELLANY 106
|H<<«<<<^<<<<<<<<^<<<<<<<{<<<<»{<<^<<<.(<<<<<<<«»»»»»»»W»>W»>V>^»»V>»»V»V>W>»»»»»7]I
THE BRICKBVILDER
VOL. 17 NO. 5
DEVOTEDTOTHE-INTERE3TJ-Of-AR.CHITECTVRE-lNMATER!ALy-Or-CLAY-
MAY 190S
{.;.'•:•: t«»»»»»»»»»»v»»»»»»»»»»»»»»H|
J-
m
The American Theater — VI.
BALCONY CONSTRUCTION.
BY CLARENCE H. BLACKALL.
*"PHE constructive problems involved in the planning
1 of a theater are such as are encountered in any
modern fireproof building, with the exception of the fram-
ing of the balcony and gallery and the forming of the
stepping of the various floors to receive the seats. These
factors call for special consideration on account of the
necessity of avoiding any columns which could obstruct
the view, as well as on account of the specific require-
ments of fireproofing.
Columns supporting a gallery or balcony do not of
themselves constitute a serious obstruction to the view
of the stage. Before the days of steel construction they
were accepted as a matter of course, and even in such
are even tolerated among the seats of the balcony. In
some cases it is possible to omit columns in the balcony
by suspending the gallery by rods dropped from the
trusses or girders over the main ceiling, as has been done
in some of the best of the New York theaters, but such
an expedient is by no means satisfactory in appearance
and is hardly justified by the resulting economy. The
best way is to omit columns entirely.
There is almost no limit to the amount of over-
hang which can be constructed with properly designed
cantilevers. Figure i shows one case where the over-
hang was nearly 27 feet, the steel work averaging less
than twenty-three pounds per square foot. In this case
the cantilevers were only 7 feet on centers over the bear-
ings, converging to nearly 3 feet at the end, and were
connected by concentric lines of wooden floor beams
which carried the flooring, the building not
being of fireproof construction.
I WOOD E-ISE.CL-
WOOD PLATPOR-Pl
We5
^AT*
-»5«
6' CAST IRON
«
FIG.
recently constructed
houses as the Grand
Opera House in Cincin-
nati, a double row of
columns in the parquet
is hardly noticed as an
obstruction, but in most
of the modern houses
the entire absence of
columns is considered
an added virtue which is worth all it costs. The cost
of a cantilever construction is, however, by no means
excessive. The weight of such construction usually
amounts to a minimum of about twenty pounds per square
foot for cantilevers projecting not over 18 or 20 feet,
resting on girders spanning not over 65 feet between the
side walls. These weights include only the steel work,
and as they increase very rapidly as the spans are in-
creased, it becomes quite an object for study to reduce
the overhangs of the balconies to the most strict mini-
mum. Hence, while columns may be vigorously excluded
from the body of the parquet, they are permissible at the
rear of the seats on the line of the standing-up rail, and
1 ^.LINE.
OF JTEPJ
/
5
^^^^
^yL
r
:==4l|l^^
^ i
■°. ° ° - ° ° -^
26'
-3%
■*l
BALCONY CONSTRUCTION, AUDITORIUM, UNIVERSITY OF ILLINOIS.
Figure 2 shows the typical construction in the Nixon
Theater, Pittsburg, a fireproof structure. The cantilevers
are spaced a considerable distance apart and are braced
by connecting channels, while the risers for the steppings
are formed with light latticed girders, built on a sweep
and resting on the cantilevers.
Figure 3 shows in detail the balcony construction of the
Colonial Theater, Boston. The cantilever columns are on
the line of the stand-up rail at the back of the rearmost row
of seats of the orchestra. The columns are connected by a
girder bent in plan following the radius of the stand-up rail.
Bracketing out from this girder are the cantilevers, project-
ing nearly 1 5 feet and ending with a double angle iron bent
go
T II E B RI CKIUT I LI)]- R
THE BRICKBUILDER
9'
up to form the support for the rail. The cantilever on
the rear of the girder is carried across to the wall of the
foyer and thence across to the foyer ceiling, receiving its
anchorage from the outer wall of the building. The col-
umns of the gallery rest upon the balcony cantilevers,
these columns in turn supporting the cantilevers of the
gallery. To be strictly consistent, these balcony columns
should be omitted and the cantilevers supported entirely
by the two masonry walls, but these columns can be
made quite small, four or five inches in diameter
not really constitute a very serious
interference with sight. The cross
girder upon which the balcony canti-
levers are built is not only curved in
plan but it also pitches towards the
stage each way and requires most care-
ful designing and has to be braced for
a side bending or twisting strain as well
as for the transverse load. The
cantilevers are spaced from 8
to 12 feet apart and are con-
nected by curved lattice work
corresponding to the outlines
of the balcony steps. A nail-
ing strip is bolted to the top
of each lattice, and a concrete tread and riser cast
in place with steel reinforcement, the i^-inch upper
floors being nailed to radial sleepers buried in the con-
crete, while the riser is nailed to the floor boards above
and below. The floor boards are made i% inch so as to
allow for screwing the opera chairs in
place. In each of the preceding cases
the finished floors are of wood and
columns are not entirely eliminated.
fig. 3.
CANTILEVER.
WEb^" ANGLE i -Txlxj
lines of reinforced concrete beams, which form the faces
of the risers and are cast homogeneous with the rein-
forced concrete platforms. Later, the exposed surfaces
are skimmed with a granolithic finish. Rutty wall
plugs are built into the platforms, into which are worked
the screws holding the seats. In some of the aisles the
surfaces are covered with
linoleum, pasted directly to
the concrete with fish glue
cement, and where carpets
are thought expedient, they
are tacked to three-quarter
inch beveled nailing strips
built into the concrete. The
steel work of this construc-
tion weighs a trifle less than
twenty pounds per square
foot.
A construction entirely
of reinforced concrete may
suggest itself as a possi-
bility, but reinforced concrete
cantilevers of such large
dimensions would be clumsy
and, of course, very heavy
in proportion to their strength. In some small lecture
halls and audience rooms the galleries or balconies have
been formed with the Guastavino tile construction, turned
between the cantilevers, upon which the steppings are
built up in concrete, but so far as known, this con-
struction has never been applied to a theater.
The building laws of most cities prescribe provision
for a live load on theater floors of one hundred and
twenty-five pounds per square foot. In figuring the
cantilevers, it must be remembered that at times all of
the live load may be concentrated on the overhanging
arm, producing thereby a large negative moment on the
opposite side of the girder or wall, for which proper
provision must be made. In the first instance illustrated
herein (Fig. 1) the negative moment was as high as
BALCONY CONSTRUCTION, COLONIAL
THEATER, BOSTON.
^ECT'ON on LINE A- A
m •?_
12-iJ Sib MAH
PLAN OF bALCONY
FIG. 4. BALCONY CONSTRUCTION, NEW LYCEUM THEATER, BOSTON.
Figure 4 shows the construction adopted in the new
Lyceum Theater, Boston. There are no columns visible
anywhere. The cantilevers are carried by heavy cross-
girders spanning from wall to wall, or are bracketed out
from the wall columns. The girders are all concealed in
the spaces below the balcony and gallery, and the pro-
jection of the cantilevers is reduced to a minimum. No
wood of any sort is used in connection with this con-
struction. The cantilevers are connected by concentric
117,500 pounds. One hundred and twenty-five pounds
per square foot is, however, way on the safe side. It is a
physical impossibility to crowd people more closely than
the seats themselves, — or at the rate of one person to
about four square feet, equivalent to not over forty
pounds per square foot.
It is absolutely essential that when the balcony con-
struction is assembled in place, the fronts of the canti-
levers shall be exactly where they were planned for,
92
T II E B R I C K H U I L I)K R
even the slightest variation sufficing to throw out the
lines of the balcony front. Consequently it is a very
nice operation to set these in position, and it is usually
quite desirable to have the connections so planned that
some adjustment can be made after the cantilevers are in
place. In the construction of the Colonial Theater this
was effected by setting the cantilevers on shores the
exact heights required, and then putting on the splice
plates for top chord over the girder by means of field
rivets, the holes being drilled after the cantilever is set.
A very simple device has been used by the writer on one
occasion with good success. In this instance each
cantilever rests directly upon a column carried down to
the basement, the cantilevers being braced between
themselves by light lattice struts. The foot of each
column rests upon a broad, slotted plate, in which is
inserted the cap of a jack screw. The columns support-
ing the cantilevers are of cast iron six inches in diam-
eter, leaving a four-inch hollow space. The jack screw
rests upon a bed plate, and the screw is free to work up
and down in the hollow space of the column. In setting
the columns the foundation is prepared as nearly at the
right level as possible, the lower plate set, the jack
screw put on top of this, and the upper plate and the
column put in position. When all the cantilevers are in
place the jacks are screwed up or down, raising or
depressing the overhang of the cantilevers until each is
in its exact position. This can be done after the fire-
proofing is in place, so that the adjustment includes the
compensation for varying deflections. When the canti-
levers are just right, the space between the upper and
the under plates is filled solid with concrete, both the
plates being made of a size proportioned to the load
upon the concrete bed. The cost of this amounts
to hardly more than fifteen or twenty dollars per
column.
It is one of the inherited traditions of our building
laws that even though a theater may be constructed
throughout on the most approved fireproof system,
nevertheless a proscenium wall of brick is insisted upon.
Its value is very largely sentimental. As far as actual
protection is concerned, it could be omitted entirely and
the same degree of safety obtained by the use of suitable
fireproof partition work between the members of the
steel skeleton.
In a theater of a second-class or non-fireproof con-
struction, however, the brick should be insisted upon for
the proscenium wall and each opening therein should be
most carefully guarded by fireproofed door or curtain.
It goes without saying, that every theater should be fire-
proof. There are, however, many theaters built in small
towns which are of second-hand construction through-
out, and in which the local conditions, it is claimed, do
not permit the expense of a fireproof building. Such
structures, of course, are restricted in the amount of
overhangs and are obliged to introduce post and girder
construction to an extent which can be obviated entirely
by the use of steel.
The Public Bath IV.
OPEN AIR BATHS.
BY HAROLD WERNER AND AUGUST P. WINDOLPH.
OPEN air baths form a valuable auxiliary to the
interior or all-year baths ; we find three types of
them — the river, seashore and park.
Although the river type was the earliest introduced
in America, our municipalities have given, as a rule, but
scant attention to this form of
bathing, and the river bath of
to-day shows but little im-
provement over early experi-
ments.
The usual type consists of
a platform placed upon floats,
the pool being in the center
of the platform, so constructed
as to allow a free circulation
of water. Grouped around the
pool is a single row of simple
dressing boxes, while the
formality of the preliminary
cleansing shower is not pro-
vided for.
For the past two decades New York City has kept in
operation an extensive system of these river baths, but
increased sewage and constant danger of contamination
from this source has compelled the city authorities to
condemn most of them.
TYPICAL OPEN AIR POOL, CHICAGO PUBLIC BATHS
Contamination of the water is a serious objection, and
it has militated against this form of bath in many of
our cities. In Paris the danger of contamination has
been eliminated by disposing of the sewage in the Seine
several miles below the city, while in Vienna the large
city river bath sets back some
distance from the river's edge,
and the water is introduced
into the pool by means of a
canal and sluiceway, which in-
sures its being sanitary. On
the Danube, Rhine and other
European rivers, we find va-
rious devices for keeping the
water clean; but until our
cities solve the sewage dis-
posal problem the river bath
cannot play an important part
in bath economy.
Seashore baths are more
sanitary, and if convenient to
the municipality are of greater benefit to the community.
There are several forms of the seashore type, — one, set-
ting back from the ocean, receives the water through a
canal, the same system of supply as used in some of the
river baths. There are not many in this country and
THE BRICK BUILDER
93
CASINO AND BATHING PAVILION tOR THE HOROUGH
OF DEAL, NEW JERSEY.
they do not compare in size to those abroad. A cele-
brated European example is the Havre des Pas Bath on
the Isle of Jersey. On this dangerous coast there has
been much loss of life by drowning, and the municipality
realized that its people must
have a place to learn to swim,
and, not having the means to
provide interior bathing facili-
ties, they constructed a shore
bath in the solid rock, which
is in many ways the most
unique bath in the world.
The pool was formed by
blasting the rock to proper
slopes, the interstices being
filled in with concrete, which
formed the side walls. The
bottom was properly graded,
allowing a shallow place for
beginners and sufficient depth
for diving.
The pool is entirely en-
closed by a series of dressing
rooms and a large number of
shower baths. The area of
the pool is enormous, covering nearly three acres. Water
is introduced by means of a sluiceway, which controls a
tidal movement, frequently exceeding forty feet, and
which allows flushing and refilling the entire basin at
every tide. In the colder seasons this pool, or rather
miniature lake, is used for boating purposes.
We find other seashore baths on this island, similar in
principle but considerably smaller, which have furthered
the art of swimming and greatly reduced the loss of life.
Across the Channel
at Port Sunlight there
is another bath of this
type which sets back
some distance from the
ocean and is supplied
with salt water by
means of a large service
main. The pool is el-
liptical in shape, the in-
tention being to allow
the bather to swim con-
tinuously without turn-
SHERMAN PARK BATH, CHICAGO.
i. Closed Gymnasium and Shower Bath. 2. Men's Open Air
Gymnasium. 3. Swimming Pool 4. Dressing Compartments
and Locker for Pool. 5. Children's Pool and Field. 6. Women's
Open Air Gymnasium. 7. Play Ground.
ing, as he is compelled to do in the ordinary rectangular
pool. The dressing rooms enclose the basin and are
provided with a single runway, the customary English
arrangement.
A few attempts have been made along the rocky
coast of New England to provide baths of this character,
but they are not municipal, and as a rule are small
structures which call for no special comment.
Occasionally we find shore baths with bathing and
dressing facilities entirely enclosed as in the interior
type. This is true of the Sutro Baths situated on the
shores of the Pacific, which consist of no less than six
pools, entirely enclosed with glass. A large spectators'
balcony has been provided, with adjoining lounging and
refreshment rooms. The pools are supplied with salt
water by means of a service main, which extends several
hundred yards into the ocean. While the pools are
usually filled by the tidal movement, an auxiluary set of
pumps supply tanks, which are used under certain
tidal conditions. The water in the larger pool is kept
at the normal sea tempera-
ture, but the smaller pools are
heated to varying degrees of
temperature. The large pool
is nearly five hundred feet
long, and with the smaller
ones contain a million gallons
of water, with a total bathing
capacity of two thousand
units, comparing favorably in
size to the largest of the early
Roman institutions.
Another example of the
seashore bath, with the dress-
ing and shower facilities en-
closed, but with open sea bath
ing, is the State Bath at
Revere, Mass. The plan is
simple and the building is
well adapted to handling with,
out confusion a large number
of bathers at one time. The administration building is
in the center, flanked by dressing-room yards, which are
enclosed with brick walls. The dressing rooms have
a rather novel arrangement, being planned in two tiers,
£31111111
61
111111111
" -
3. Toilets.
Corridor.
PLAN OF RIVER BATH.
Pool. 2. Waiting Rooms.
4-
Dressing Rooms and
SUTRO BATHS, SAN FRANCISCO.
94
THE BRICKBUILDER
- . , . 'J $<•
■ ;- ♦■-
OGDEN PARK HATH, CHICAGO.
i. Closed Gymnasium and Shower Baths. 2. Swimming Pool. 3. Men's Open Air Gymnasium. 4. Women's Open Air Gymnasium.
5. Children's Pool. 6. Field. 7. Lagoon.
BOI/L EVA r*.D
FIRST FLOOR I'l.AN.
^tZLTl ffiTJ-pl.
iiiiiiiiiiiiiiiiiiig;.--
— ■*inf^ — fffn — -
rru. tftn
ill liwM
5
\ . ., _ „ , — . — . _ /6s
i:\SKMK\T PLAN.
STATE HATH, REVERE HEACH, MASS. DAVIS SOUARE PARK BATH, CHICAGO.
1. Waiting Room. 2. Women's Dressing Rooms. 3. Men's 1. Closed Gymnasium and Showers. ^. Swimming Pool. 5. Men's
Dressing Rooms. 4. Yards. 5 Subway under Boulevard to Beach. Open Air Gymnasium. 4, Women's Open Air Gymnasium. 5. Children's
6. Open Pavilions. T. Toilets. O. Otlices. Pool. 6. Field.
THE BRICKIUIILDRR.
95
so that the passageways of the lower stories come
between the backs of the dressing rooms of the second
story. This leaves all the passageways clear to the sky,
providing the necessary light and air for all of the dress-
ing rooms. The right wing is exclusively for men and
the left for women. The basement floor of the adminis-
tration building contains, besides the main entrance hall
and dressing rooms, toilets, storage rooms, an emergency
hospital and the boiler room. The upper floor contains
the administration rooms and a thoroughly equipped
laundry for the care of bathing suits. The subways
provide direct access, under the highway, to the beach.
The general plan and arrangement could hardly be im-
proved, but its facilities for the public could be increased
MARK WHITE SQUARE PARK BATH, CHICAGO.
i. Closed Gymnasium and Shower Baths. 2. Men's Open Air
Gymnasium. 3. Swimming Pool. 4. Children's Pool. 5. Field.
6. Women's Gymnasium. 7. Dressing Compartments. 8. Boiler
and Power House. 9. Field.
by utilizing at least part of the building for bathing pur-
poses during the winter months. This is a criticism
which may be applied to all seashore baths, with one or
two exceptions.
In the park baths we find part of the facilities avail-
able during the winter months, and, as a rule, gymna-
siums are combined with them.
Boston has a few examples of this type and a few iso-
lated ones are found in cities of the second and third
class. It is in Chicago, however, that we find a complete
system of park baths in operation, and, while strictly
speaking they are of the open-air type, they suggest the
interior baths, because, in addition to their provisions for
STATE BATH, REVERE BEACH, MASS.
bathing, they have an enclosed gymnasium as well as
lecture and reading rooms for use during the winter
months. These baths are situated in the densely popu-
lated sections of the city and their total yearly attendance
is in excess of the interior baths.
The Mark White Square Park Bath, Chicago, is an
excellent example of this type. The enclosed gynnasium
building, the men's open gymnasium and field, are on
axis, flanked on the left by the men's swimming pool
and on the right by the children's pool and women's
open-air gymnasium. The main pool is of ample size,
with graded depths, and the water is thoroughly sanitary,
as the supply is taken from the city mains, and the pool
is constantly being replenished. Two stories of dressing
compartments are at the head of the pool and prelimi-
nary cleansing shower baths have been provided for. The
power plant is in the rear of the dressing wing. The
gymnasium or field house has shower-bath facilities sup-
plied with warm water for all-year bathing. A consid-
erable part of the building is utilized for a lecture hall
and reading rooms.
The Davis Square Park Bath, Chicago, of about the
same capacity as the one in White Square, offers similar
facilities, although in this instance we find the main pool
and gymnasium building on axis.
The Sherman Park Bath, Chicago, covers a con-
siderably larger plot than the other two mentioned.
Here the dressing-room building nearly encloses the
DOUGLAS PARK BATH, CHICAGO.
l. Men's Swimming Tool. 2. Women's Swimming Pool. 3. Men's
Dressing Room. j. Men's Waiting Room. 5. Women's Dressing
Room. 6. Women's Waiting Room. 7. Open Air Gymnasium.
96
T H E B RICK l\V I I. I) K K
pool and the sexes are separated by the intervening
buildings.
In the Ogden Park Bath, Chicago, the pool is enclosed
on three sides,
affording protec-
tion to the bathers
from the prevail-
ing winds. In
addition to the
children's pool
there is a larger
natural pool which
adjoins the park
lagoon.
The Douglas
Park Municipal
Bath, Chicago,
differs from the
usual type, the
gymnasium, dress-
ing and shower
rooms being in one
building, which
encloses pool baths
for both sexes.
The pools are com-
pletely surround-
ed by the dressing rooms, the gangway being sepa-
rated from the pool only by a guard rail. The prelim-
SWIMMING POOL, WISSAHICKEN HEIGHTS CLUB, PHILADELPHIA.
inary cleansing showers are at the head of the pools and
are to be commended for their liberal size, — fifty-five by
one hundred and twenty feet for the men's basin and
fifty-five by sixty
feet for the
women's. The
depths range from
two feet six at
the shallowest end
to eight feet at
the deepest. Some
of the waste water
from these pools
is returned to the
boilers and the
balance emptied
by gravity into
the park lagoons.
Chicago has
operated this
system of park
baths for only a
few years, but has
amply proved that
they are in con-
junction with in-
terior baths, a val-
uable asset for all large cities, tending to the elevation of
both the moral and physical well-being of the community.
A Third-Floor Swimming Pool.
TI I E swimming pool in the new building of the
Racquet Club in Philadelphia is sustained above the
beautiful central hall of the ground floor. This hall is
square and is comprised within twelve vertical supports
extending the height of the building. Its ceiling, which
is of plaster and coved, is elaborately enriched with
painted and relief ornament. Every precaution was nec-
essary to protect this ceiling from possible injury which
might be caused by the large body of water upheld
above.
The twelve structural columns already mentioned
occur, one at each corner of the tank and two midway of
each side. The four corner columns are tied together by
plate girders 3 feet deep; and from two intermediate
columns on each side to two corresponding columns oppo-
site extend similar girders. Across these girders 15-inch
I-beams are laid about 18 inches apart. Upon this foun-
dation the steel tank was set. The tank is 35 feet square
inside and contains about 7,962 cubic feet of water 4 feet
6 inches deep at one end and 8 feet 6 inches at the other.
When the tank is thus filled the weight of the contents is
nearly 25 tons and the surface of the water is 71.- inches
below the terrazza floor surrounding the pool.
The tank is lined and waterproofed as follows: Upon
the steel bottom 3 inches of concrete was laid, then
1 inch of asphalt mastic, then 3 inches of concrete upon
which a floor of circular tiles ^ inches in diameter was
laid in cement. On three walls of the tank including the
shallow end 1 '_• inches of asphalt mastic was laid against
the steel, then 4 inches of brick laid in the mastic, and
on the brick 3 x 6-inch tiles were laid in cement. On the
wall at the deep end the brick is 9 inches thick. The
mastic was hot when the bricks were laid, and the front
of each joint was filled with it, the back being left until
a height of five courses was reached. Then the hot ma-
terial was poured in behind and made to thoroughly fill
'and seal the space. Five more courses were laid and
similarly grouted, then five more and so on. At the top,
the mastic was turned over the edge of the tank,
under a marble coping 5 J -j inches high and con-
tin ued over the entire area surrounding the pool,
A layer of concrete covered with terrazza produced
the finished floor and brought it up flush with the
coping.
The space between the bottom of the tank and the ceil-
ing of the hall underneath is sufficiently high for a man
to walk. The floor of this space is protected by means
of a coat of concrete and one of asphalt mastic, and the
chamber is ventilated through several openings provided
at each side. Water is pumped into the pool from an
artesian well bored for the express use of the building.
The piping is also so arranged that the pool may be
filled from the city water main. The pool is drained
directly to the street sewer.
THE B{RICKBUILDER
97
Dalecross Grange and Other Houses.
Crotich and Butler, Architects.
BY MICHAEL BUNNEY.
LIKE most of the large English towns, with the not-
able exception of London, Birmingham has the ad-
vantage of possessing in its vicinity a tract of fine upland
country within half an hour's rail journey of the central
parts of the city and yet so little spoiled and so little in
danger of being spoiled that it will provide for many
years to come a playground and a dwelling place for
those whose work lies in the grimy surroundings of this
industrial center.
has been carefully guarded by judicious laying out of the
different estates already under development and the
preservation as open spaces for all time of large tracts
where the natural beauties are more particularly pro-
nounced.
Barnt Green and other parts nearest to the railway
and most accessible to Birmingham have naturally be-
come more peopled with houses than the remoter hills,
but even here the estates are so large and the distances
HOUSE IN PRITCHATTS ROAD, EDGBASTON.
It is, of course, inevitable that such districts as the
Lickey Hills should be more or less monopolized by the
wealthier resident to the partial exclusion of those whose
moral claim to a share is just as great, still there is com-
pensation in this, that large houses, with their necessarily
extensive grounds, do, to a great extent, prevent even
that amount of crowding of the landscape which the pres-
ence of smaller buildings must perforce bring about. The
character, therefore, and the appearance of these semi-
urban districts and, most important of all, their wood-
lands are preserved unspoiled. The charm of the Lickey
Hills is still the old forest growth, and a great deal of this
between the buildings so carefully kept that the obtru-
sion of bricks and mortar upon the lovely undulating
woodlands is reduced to a minimum. It is in this dis-
trict that Dalecross Grange is situated.
Architects of country houses are lucky when they get
fine natural surroundings amongst which to place their
work, and doubly so when those surroundings give a key-
note for any constructional method that can be adopted.
Half the unsatisfactory work that one sees is the fruit of
a perversity that ignores local characteristics of construc-
tion. Even though a thorough adherence to half timber
methods may be inadvisable now that the use of other
98
THE BRICKIU ILDHR
GROUND PLAN, DALECROSS GRANGE, BARNT GREEN, WORCESTERSHIRE.
materials has so much developed, it is surely better, in
the forest counties of the West, to build, in some measure
at least, after the traditional fashion of John Abel and
the great carpenters of Hereford and Leominster. There
is just enough of this half
timber element in Dalecross
Grange to carry on this tradi-
tional sequence; the long, ver-
tical timbers are typical, too,
of West country work, though
they are not, perhaps, either
so pleasing in their architec-
tural effect nor so sound from
a constructional standpoint as
is the shorter and more elabo-
rate woodwork o^he South.
Otherwise the house is es-
sentially modern, but the two
qualities have been skillfully
blended so as to prevent any
sense of antagonism.
Within the house the tim-
ber construction, in oak, is
again the ruling motive, and
all the decoration and furniture is arranged to work in
with this. Most of the furniture is old English oak,
some of the pieces are remarkably fine specimens, and
the carved paneling over the fireplaces in the hall and
PLAN OF HOUSF, DALECROSS GRANGE.
dining-room is built up of old fragments worked in with
the new. Those in the hall have biblical subjects sculp-
tured in a quaint and simple way but with a great deal
of character; they are probably of Dutch or German
workmanship. Needless to
say this old carving and the
furniture add very much to
the satisfactory effect pro-
duced by these rooms, but even
without these the general
treatment would be success-
ful.
The garden is still growing,
up, and, as is the case before
maturity is reached, its condi-
tion is now rather ragged.
The site, which slopes rapidly
towards the south, affords
plenty of opportunity for ter-
racing at different levels, and
full advantage of this has been
taken by the architects, while
the axial lines of the layout
have been well enforced.
Nearer to Birmingham, Messrs. Crouch and Butler
have recently completed two interesting houses. Vil-
lette, at Berkswell, the smaller of the two, is notable for
its whitewashed brickwork, a somewhat bold departure
VILLETTE, BERKSWELL.
THE BRICK BUILDER.
99
D A L E C R O S S GRANGE,
BARNT GREEN, WORCESTERSHIRE.
THE ROSE GARDEN IN WINTER.
IOO
T HE H RICKBU1 L D E R.
on a house of even this size, but the result in throwing
up the charming center gable and chimney was well
worth striving for by so simple a means.
Much the spine kind of reasonable building is seen in
the Edgbaston house with
its clever grouping of gable,
bay and chimney, the coarse
Leicestershire bricks accord-
ing well with the severe type
of mullion and stonework
generally. Inside the house
is a treatment of construc-
tional decoration in oak,
similar to, though less ambi-
tious than, that at Dalecross
Grange.
Limewhiting for external
use on either brickwork,
plaster or roughcast is pre-
pared as follows : Pure and clean unslaked lime is mixed
with clean water to a consistency of cream, and while hot
is freely spread with a large brush, never more than one
coat being laid on.
This is the old and the simplest method of whiten-
ing, but in towns, or in otherwise dirty atmospheres, it
requires renewal each spring, if the work is to keep
a really fresh appearance.
c*o*CH <*- grniK- a*c«™
PLAN OF HOUSE, PRITCHATTS ROAD, EDGBASTON
( >chres, pinks and Venetian reds were used as coloring
pigments on many of the plastered cottages and farms in
the south of England, and the presence of a pigment, of
course, keeps the surface for some time from looking
dingy. I have seen dark ochre-
washed walls of twenty years'
standing that still looked
fairly fresh.
In clean, country air it
would be well for the first
three years on a new building,
to whiten every spring, after
that probably every third year
would be sufficient.
The modern method of add-
ing a small quantity of melted
Russian tallow to the lime
wash preserves the coat from
tlaking, the first symptom of
decay, and adds to its preservative quality as a covering
to the material on which it is laid. The proportion is a
pint of tallow to a bushel of lime.
( )ld limewhiting, before renewal, should not be
washed off, but merely brushed with a stiff brush to
remove the flaked particles, — it is the thick, uneven
surface of oft-renewed limewhiting which gives such a
pleasing texture to the wall surface.
ADMINISTRATION HUILDING, NAVAL ACADEMY, ANNAPOLIS, MD.
Ernest Flagg, Architect.
THE BRICKBUILDER
101
A Modern Paris Apartment House.
BY GEORGE B. FORD.
NEW ideas, if reasonable, are worth our attention.
New solutions of old problems deserve study.
Good or bad, they are bound to have some suggestion for
us. In this connection, certain of the recent buildings
in France demand more than a passing glance. The
French architect rarely has more than one building to
construct at a time. Being thus free, his best thought
and study go into that building. It is only natural,
therefore, that he arrives at some interesting results.
M. Deglane, well known as patron of an atelier and
as architect of the Grand Palais, has just completed an
apartment house in Paris, at the corner of the rue
Grenelle and the rue St. Simon. This is in the very midst
of the severely aristocratic Faubourg St. Germain, the
quarter occupied by the exclusive families of the old
French nobility. High walls and massive doors enclos-
ing the forecourts, simple, dignified almost forbidding
facades, narrow, somewhat winding streets, these char-
acterize the neighborhood. Classic old friends from
Cesar Daly greet you on every hand. A sense of well-
being, of quiet and repose,
stamp the region as one of true
refinement. The financial con-
dition of many of the younger
branches of these old families
does not permit of their oc-
cupying their ancestral homes.
They can afford only a moder-
ate rent. Their taste and train-
ing demand a certain restrained
luxury of architectural treat-
ment. Their social life de-
mands that they remain in the
neighborhood.
Such was M. Deglane's
problem ; to conform to these
conditions; to fulfill these requirements, all on a lot
75 by 45 with two apartments, each of six rooms, on
on a floor. The apartments on any given floor, in
accordance with an unwritten French law, have to be
of nearly equal rental value. The plan has no especial
interest for the American architect. Granting the
habits of the French family life, it is well arranged. It
is further unquestionably ingenious in its economical
use of the space given. It is even quite exceptional,
from the French standpoint, in having a bathroom with
set tub in each suite, and even betters our practice, in
that it has the water-closet separate from the bathroom.
The toilets noted here serve as dressing-rooms. The
numerous fireplaces are required by law. They at least
give the Frenchman the entirely undemanded excuse for
keeping his chamber windows closed tight all night, winter
and summer. The stair entrance and vestibule come in
the middle of the south side. Just to the right of the
stairs are the concierge's rooms. The rest of the space
on either side of the entrance is utilized, in the manner
customary, even in some of the most expensive Paris
apartment houses, by two small shops.
ys'-
PLAN OF TYPICAL FLOOR
The chief interest for us, however, is in the exterior.
An unwritten law demands that the ground floor shall
be of stone, a good, hard, white limestone, as are also
the sills and belt courses on the floors above. The rest
of the stone is a warm buff limestone, lending itself well
to carving, and harmonizing well with the red brickwork.
This latter is laid Flemish bond in white mortar with
well-raked joints. The brickwork on the top floor is laid
in red mortar, which tends to unify the story, forming a
sort of frieze about the top of the building. The wrought
iron grilles and balcony rails are painted a green black.
The lintels over the third-story windows are of terra
cotta blocks, anchored in between the flanges of the I's.
And when we turn to the general design we remark
how frankly M. Deglane takes advantage of his corner
lot. The great bow-window rising into a tower not
only carries well on the exterior, but with its extra
large windows gives most desirable rooms inside. Note
the happy way in which he "has tied this tower into the
quiet street facades by the secondary bow-windows on
other side. How naturally and
without strain the stone
changes to brick. How well
chosen and well spotted are
the masses of ornament and
color throughout, relieved as
they are against the plain brick
surface, between the bow-win-
dows. The decoration, too, is
most in keeping with the rest
of the building, bold and strong
where needed, or delicate where
appropriate. In fact, all the
details are characterized by a
robust refinement which gives
the building a dignity of its own.
Many of the individual details are most carefully studied
in themselves. Take the entrance door, for instance ; how
easily and playfully the bay-window grows out of it with-
out any feeling of weakness or lack of support. Remark
especially, too, the ironwork; how harmonious it is,
how light and free, how full of individuality, and how
varied in motif clown to the main entrance door, which
is unique and most striking in the absolute frankness of
its plain, solid vertical and horizontal bars, relieved in
just the right spots and just the right amount by the
decorative flower motif in the panels, and the flowing
spiral motif in the borders. This is the work of M. E.
Robert, so well known in France for his artistic metal
work.
With all its care, it is interesting to note that this
house cost no more than its neighbors, that is to say, the
building cost about $70,000, which is at the rate of about
$22 per square foot or 28 cents per cubic foot. The rents
average in the neighborhood of 45 cents per square foot,
which makes the rent of the average six-room apartment,
between $640 and $700 per year, taxes on doors and
windows extra at 50 cents apiece.
102
T H E B R ICKB U I L I.) E R
THE BRICKBUILDER
103
DETAIL OF APARTMENT HOUSE, RUE CRENELLE AND KUE ST. SIMON, PARIS.
io4
THE BRICKBUILDER.
A Village Railway Station.
BY WILLIAM LESLIE WELTON.
IN the realm of hypothesis all things are possible. So
now that " Brickbuilderville " is tired of using a
neighboring way-station, and has decided to build one for
itself, it becomes necessary to devise a conveniently
planned building conforming to the general architectural
lines already established.
This imaginary village is, in reality, a suburb of a
large city and some twenty miles distant, a charming
community of three thousand people, in fact, a town in
southern California, a sort of American Mentone, a smil-
ing land with a luminous atmosphere.
Ever since the day Father Junipero set out from
Mexico to colonize California and teach Christianity to
the Indians this favored country has prospered and been
admired by eastern civilization.
Our supposed town is at the base of the foothills of
the Santa Ynez Mountains, where, on every hand, the
landscape, from the first blush of morn to the golden
pyres of sunset, seems about to smile with girlish joy.
Long lines of swelling hills lead into the level and no-
where is one line firmly followed, but the whole wavers
and yet is beautiful. It is a country where the broad,
long lines of the mountains melt into the sea, and then
soar again to the sky; where every piece of dithyrambic
landscape forms a varied picture, whereof the composition
is due to subtle arrangement of lines always delicate,
which somehow seem to have been determined in their
beauty by the mountain system, as though they had all
taken their time to choose their place and wear down into
harmony and one symphonious whole.
The arrangement of our -plan presupposes the utmost
simplicity and directness in arrangement. Merely a large
waiting-room with a retired alcove for both men and
women at either side. Space is provided for baggage,
plumbing, etc. The ticket office is accused opposite the
main entrance, commanding the room within and the
track without. Pergolas screen the unsightly tracks
from the public approach toward the square, and at the
same time add an interesting line to the facade, leading
the eye up to the culminating feature of the design — the
main entrance. Covered shelters at each side of the
roadbed offer protection to commuters in stormy weather.
So many "modern " railway stations are such impos-
sible things, architecturally, that the public cannot be
blamed for escaping to the track promenades in prefer-
ence to remaining inside and be driven to a sepulchral
end. The refined iniquity of the authors of these plans
is, to say the least,, calculated to drive one to perdition.
It may be parenthetically observed that the economy of
the poor ( ?) railroad corporations is doubtless respon-
sible.
That type of plan which divides what might have been
one fine large room of good proportions into two small
sheathed boxes, facetiously termed, for the sake of
courtesy, "ladies' and gents' waiting-rooms," is particu-
larly to be condemned. These rooms, usually resplen-
dent with "golden oak" woodwork are so ingeniously
separated that a man might quite easily lose his wife in
the shuttle, a condition generally, though not always,
considered a disadvantage. The baggage room in this
type of plan is usually relegated to a wart-like excrescence
at one end of the building accessible only from the outside
and forever in the way of passers-by.
The building here illustrated is intended to be built
of brick and terra cotta. The walls outside could be
ornamented with a diaper pattern, crossed by horizontal
lines forming octagonal spaces, with a terra cotta shell in
the center, or otherwise accented by certain color ele-
ments in the use of tile or Robbias.
For the roof let us go to the good old examples in the
Spanish churches of Mexico, the possibilities of which
never seem to have been fully realized. Inside, this same
roof becomes a fine barrel vault like the church of the
Miracoli at Venice, except in our case tile instead of wood,
carrying down to the floor, also of tile, laid herring bone.
Certain spots of color at the impost line, above the doors,
around the ticket office and clock, as well as the brick-
lined fireplaces, might add much interest to the interior.
If I may speak of the exterior without indulging in
a discourse on architecture, for manifestly the subject of
this article is a village railway station, I would offer, as a
personal impression, that it is perhaps better to profit by
the use of our legacy of architectural forms, as did
Peruzzi in Italy and Gabriel in France, adapting them to
modern conditions, than to make a vain show of sciolism
by brushing aside the learning of three thousand years
and grossly claim to have the only solution for good
architecture.
So right here in southern California there exist to-day
traces of an unmistakable art left by the hand of Indian
neophytes under Spanish guidance, an architectural
inheritance of which America may well be proud, at once
furnishing us a logical precedent for the character of our
building in the preservation of the traditions of the
country.
THE BRICKBUILDER
105
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A VILLAGE RAILWAY STATION.
William L. Welton, Architect.
io6
T H E BR I C K BU I L DE R.
Editorial Comment and
Miscellany
THE TRIBUNE BUILDING, CHICAGO, TESTED
BY FIRE.
'"■ I "HE fireproof qualities of the Tribune Building
J. were demonstrated effectively early on the morn-
ing of April 29, during a blaze, which originated from
some unknown cause in one of the storage rooms on the
eighteenth floor.
"The rooms situated on the top floor of the structure,
on the Dearborn Street side, were filled with records and
other inflammable material. This burned rapidly, but
the flames were confined to the three small apartments
where they started.
"It was the highest fire from the street level since
the days of skyscrapers in Chicago. The flames were
extinguished by water, forced through the standpipe of
the building to the top floor by fire engines, and the
pressure proved ample.
"The fire gave positive evidence of the safety of
towering buildings of modern construction. It showed
that no matter where a fire occurs in such a building, it
is impossible for it to spread to any extent.
" The fire was just under the roof and the heat of the
flames is indicated by the fact that the wire reinforced
glass in the skylight melted in places, and in others
became so soft that it dropped down in fantastic shapes.
Also a ten-foot steam pipe which ran through the room
in which the fire originated, although covered with
asbestos, was totally destroyed.
"In the section swept by the flames was a room
used by the electrician and the carpenter of the Tri-
bune Com-
pany, and two
rooms used for
the records of
the auditing de-
partment of the
newspaper, con-
taining data for
a number of
years back.
Many of these
records were
destroyed.
"These three
small rooms
had glass win-
dows set in
their partitions
of fire brick.
This glass was
destroyed tby
the heat and
permitted the
flames to
spread. Had
there been no
THE TRIBUNE BUILDING, CHICAGO. °
From photograph taken after the fire. fireproof par-
t i t i o n s the
flames would
have been con-
fined to one
room, accord-
ing to the fire-
men.
" The par-
tition walls
were left in-
tact and the
floors were un-
injured. The
flames did not
spread outside
the outer par-
tition wall
separating the
storage rooms
from the cor-
ridor. The
building was
fireproof ed
with terra
cotta hollow
tile."
The fore-
going descrip-
tion of the fire
was published
in the Tribune
— "'the party
of the first
part."
GRINNKLL BUILDING, DETROIT.
Albert Kahn, Architect.
Entire front of full white glaze terra cotta,
made by Atlantic Terra Cotta Co.
FIRES occurred in fifty-eight public or private school
buildings in the United States and Canada during
the first three months of this year. The property loss
was large. More important than that, the lives of thou-
sands of school children were endangered. A tabulation
by the Insurance Press fails to show the cause of the fire
in each instance, but in the majority of cases, where the
cause is stated, a defect in the flue, the" furnace, the wir-
ing, or in some other detail of construction, is named as
responsible. A list of six hundred and forty-five cities
and towns in the United States is given in which com-
munities, it is said, investigation has shown a lack of
necessary precaution for the safety of school children.
If there is one type of buildings which needs to be fire
proofed it is the schoolhouse. The people may be de-
pended upon to contribute the additional cost if the way
is pointed out to them by those whose business it is to
point the way in matters of this sort.
DETAIL ON SCHOOL OF APPLIED DESIGN.
Pell & Corbett, Architects.
Conkling-Armstrong Terra Cotta Co., Makers.
THE BRICK BUILDER.
107
ALTHOUGH his
skill finds great-
est scope in perma-
nent forms, the ar-
chitect may devote
himself with scarcely
less success to tempo-
rary structures such
as civic decorations for
street and other pa-
geants. A matter of
national interest is the
embellishing of Penn-
sylvania Avenue in
Washington for the
next inaugural parade.
A competition for this
has been instituted by
the local chapter of the
American Institute of
Architects, the Wash-
ington Architectural
Club and The National
Society of Fine Arts.
Three prizes are to be
given and the designs placed at the disposal of the in-
augural committee on decoration. The route of the
parade from the Capitol to Seventeenth Street is to be
treated, and the designs are to include stands and other
structural features. It is stipulated that the flag shall
only be used where it can float freely as from a staff. In
this connection it is interesting to refer to the decora-
tions of Paris by eminent architects of France on the
occasion of the marriage of
Napoleon to Marie Louise.
$25,000 for this work,
and will make a fur-
ther contribution to-
ward the restoration
of the building as a
whole. This is philan-
thropy which archi-
tects, especially, will
appreciate , — the
spirit which preserves
a thing of beauty to
be studied and enjoyed
by all.
MAP ROOM, WAR COLLEGE, WASHINGTON, D. C.
McKim, Mead & White, Architects.
Guastavino Tile Construction.
IN GENERAL.
The seventh annual
exhibition of the
Washington Architec-
tural Club opened in
the Corcoran Gallery
of Art, May 8.
THE Government appro-
priation of $ 1 , 200, 000 for
a deep waterway three hun-
dred feet wide, from Newark-
Bay up the Passaic River to
the northern limits of Newark,
is a forecast of important
building schemes in this
vicinity. Uredgings from the
river are to be deposited over the adjoining meadows,
and will aid in furnishing factory sites. A large sum has
been voted by the people of Newark for the construction
of public docks, and private enterprises of proportional
scale are likely to follow.
RAILWAY STATION, NEWBURG, OHIO.
Roofed with Imperial Spanish Red Tile.
Made by Ludowici-Celadon Co.
Arthur G. Everett,
of Everett & Mead,
architects, Boston, has been appointed building commis-
sioner for the city of Boston.
Elmo C. Lowe and Horace C. Ingram have formed a
copartnership for the practice of architecture, with offices
in the Corn Exchange Bank Building, Chicago.
R. Burnside Potter, having retired from the firm of
Robertson & Potter, architects, 160 Fifth Avenue, New
York, the business will be
continued under the firm name
of R. H. Robertson & Son.
At the annual meeting of
the Society of Columbia Uni-
versity Architects, the follow-
ing named were elected as
officers for the ensuing year:
president, Henry Snyder
Kissam; first vice-president,
I. N. Phelps Stokes; second
vice-president, Stockton B.
Colt; secretary, Will Walter Jackson ; recorder, F. Living-
ston Pell; treasurer, H. G. Emery; governors, W. A.
Delano, J. T.
Werner.
Tubby, Jr., D. Everett Waid, Harold C.
MRS. RUSSELL SAGE is interesting
restoring that masterpiece of Colonial
architecture, the New York City Hall, to
conform with the original plans
for the building as drawn by John
McComb, assisted by Lamaire.
Already the Governor's Room
has been restored, under the
direction of McKim, Mead &
White. Mrs. Sage donated
herself in
DETAIL BY J. WARNER ALLEN, ARCHITECT.
South Amboy Terra Cotta Co., Makers.
The report is current that the Pennsylvania, the St.
Paul & Chicago and Northwestern Railroads will build
in Chicago, west of the Chicago River, a union passenger
station, which will be the largest in the
world, at a cost of about one hundred mil-
lions of dollars. The other roads
entering the city will also use this
station.
The Metropolitan Life In-
surance Company has decided
to have its tower on Madison
Square, New York, built to a
io8
THE BRICKBUILDE R
HOUSE AT CINCINNATI, OHIO.
Built cif Shawnee Brick, made by Ohio Mining and Manufacturing Co.
height of fifty stories, instead of forty-eight, as first
planned. When completed, the summit of the tower will
notable on account of their locations and the fact that
they are likely to become dominating features of archi-
tectural schemes later to be developed. The former
hotel, designed by Marshall Mackenzie & Son is in the
concave curve of the new, wide street of Aldwych ; the
latter, by Norman Shaw, stands as a key for the recon-
struction of the Regent Street Ouadrant.
The discussion in the House, anent the housing of
American embassadors abroad, provided some very en-
tertaining reading in the otherwise prosaic C ongressional
Record. And now that the bill has passed for the pur-
chase of a mansion in Paris, it is to be hoped that em-
bassies elsewhere will be straightway acquired. But
why purchase them? American architects are the leaders
of the world in planning domestic establishments and
they should be given a chance to house Uncle Sam's
large and scattered family.
The Second Prize, §2,000, awarded in the Competition
IRST DISTRICT POLICE COURT AND PATROL WACO
ST. LOUIS, MO.
James A. Smith, Architect.
Terra Cotta by St. Louis Terra Cotta Co.
be six hundred and ninety-three feet above the sidewalk,
or eighty-one feet higher than the Singer Building.
The restoration of normal financial conditions is
bringing increasing capital into the mortgage market,
where it may be had at fairly reasonable rates. In New
York, five per cent is now accepted, and extensive build-
ing improvements are again being projected, though on
rather a more rational scale than in the recent past.
The Press Club is to add another to the long list of
clubhouses in New York City. Property recently pur-
chased at the corner of Spruce and William streets will
be improved by the erection of a twelve-story building,
of which the lower four floors are to be rented as stores
or offices, and the remainder devoted to a completely
appointed home of the club.
Two fine new hotels nearing completion in London
are the "Waldorf" and the "Piccadilly." Both are
for the Capitol Building of San Juan, Porto Rico, was won
by Ritchie & Abbott of Boston, and not Ritchie Abbott
HOUSE AT ITHACA, N. Y.
William H. Miller, Architect. Built of " Ironclay " Brick.
THE BRICKBU II.DK R,
109
DETAIL BY HALL & BAKER, ARCHITECTS.
American Terra Cotta Co., Makers.
of New York,
as stated in
our April
issue. Mr.
Ritchie is
connected
with the office
of Parker,
Thomas &
Rice, Boston,
and Mr. Ab-
bott is with
Shepley, Ru-
tan & Cool-
idge.
The architectural terra cotta used in the three new
buildings for the Syracuse University, illustrated in this
issue, was furnished by the Atlantic Terra Cotta Com-
pany.
The new Lotos Club Building, New York, Donn
Barber, architect, promises to be unusually interesting as
an example of texture and pattern work in brick. Fiske
& Co. of New York will supply the face and ornamental
brick for the building.
The architectural terra cotta used in the Vincent
Memorial Hospital, Boston; Tarratine Club, Bangor;
Public Baths, East Twenty-third Street, New York, illus-
trated in The Brickbutlder for April, was executed by
the Atlantic Terra Cotta Company.
The Indianapolis Terra Cotta Company will furnish
the architectural terra cotta for the following new build-
ings: Elks Club, Terre Haute, Ind.; Martin Miller,
architect; High School, Sharpesville, Ind., J. T. John-
MAIN ENTRANCE, ADMINISTRATION BUILDING,
SEARS, ROEBUCK & CO. GROUP, CHICAGO.
Nimmons & Fellows, Architects.
Gray Terra Cotta executed by Northwestern Terra Cotta Co.
DETAIL OF STORAGE BUILDING FOR METROPOLITAN LIFE
INSURANCE CO., BRONXVILLE, N. Y.
N. Le Brun & Sons, Architects.
Terra Cotta by New York Architectural Terra Cotta Co.
son & Co., architects; public school, Indianapolis, H. C.
Brubaker & Co., architects; Y. W. C. A. Building,
Indianapolis, D. A. Bohlen & Son, architects; Y. M. C. A.
Building, Indianapolis, Foltz & Parker, architects.
The increased use in this country of faience has put a
demand upon the manufacturers for quality, which is
being met by them in a most commendable spirit. Work
which will meet the demands of the architect in the
matter of colors, glazes and nicety of finish, and work
which will withstand the ravages of time is recognized
by the manufacturers as being paramount in the devel-
opment of this business. The Doultons of England have
long been famous for the excellence of their manufacture
in this material, and it is announced by the Hartford
Faience Company of Hartford, Conn., that they have se-
cured the services of Francis G. Plant, who for a long
time has had charge of the architectural faience work for
Doulton & Co. Mr. Plant, who has had a large experi-
ence in executing work under the direction of architects,
will have entire charge of the architectural faience work
for the Hartford Company. This company will begin at
once the manu-
facture of a new
line of tiles for
the decoration
of buildings,
and will also
put on the mar-
ket a new series
of designs for
mantel work,
all of which will
be executed
under Mr.
p. T> 1 • ORNAMENT OVER WINDOW.
f lant s ciirec- widmann & Walsh, Architects.
tion. Made by Winkle Terra Cotta Co.
I IO
THE BRICKBl'ILDER
DETAIL BY ISRAELS & HARDER, ARCHITECTS.
New Jersey Terra Cotta Co., Makers.
COMPETITION FOR THE MUNICIPAL BUILDING
GROUP, SPRINGFIELD, MASS.
THE Municipal Building Commission of Springfield,
Mass., announce a competition for the proposed
new Municipal Building Group, to comprise munici-
pal offices, a large auditorium and a clock tower. The
group is projected for a fine site facing the newly en-
PARISH HOUSE AND SUNDAY SCHOOL BUILDING, BUFFALO.
Thomas W. Harris, Architect.
Built of Red Shale Brick, made by Jewettville Pressed and
Paving Brick Co.
larged public square which extends from the business
center to the Connecticut River.
The competition will be held under the direction of
Professor Warren P. Laird, of the University of Penn-
sylvania, and will consist of two parts; a preliminary,
open to all qualified architects and a final confined to the
authors of the two best designs in the preliminary, five
especially invited architects, and all qualified Springfield
architects. In the final competition will be awarded
nine fees of four hundred dollars each; two to the
Springfield architects submitting the best designs, and
one to each of the other competitors, no competitive fee
being paid to the architect awarded the prize.
The following architects have accepted the Commis-
sion's invitation to submit designs in the final part, viz. :
Messrs. Cass Gilbert, Hale &: Rogers, Lord & Hewlett,
Peabody & Stearns and Pell & Corbett.
The conditions of the preliminary competition will be
announced probably on Thursday, June 4, and drawings
are to be delivered by noon of Saturday, June 27.
The preliminary competition will call for very few
and simple drawings at thirty-second scale, its purpose
being to "try-out " the open field with the least possible
outlay of time and expense to the competitor.
The Commission desires the participation in the pre-
liminary part of all architects of good professional
standing and of experience in the actual execution of
large work. Applications are to be made on blank forms,
which may be secured by addressing the adviser at the
I niversity of Pennsylvania, Philadelphia.
THE Board of School Inspectors of St. Paul has just
purchased the sites for the location of four new
high schools to be erected practically simultaneously, to
take the place of the buildings now in use. The first
building to be started is to be known as the New Me-
chanic Arts High School, centrally located. The Board
has established an open competition for the purpose of
selecting an architect. The programmes of this compe-
tition are now ready and will be submitted to any repu-
table architect applying for the same. The first prize
will be the commission to design and supervise the erec-
tion of the building. Second and third prizes of four
hundred and three hundred dollars respectively will be
awarded to the next two architects whose designs shall
be rated as second and third in order of merit.
SCHOOL OF ARCHITECTURE
UNIVERSITY OF PENNSYLVANIA
The Four Year Course. Full professional training (with an option in
Architectural Engineering) leading to the degree of B. S. in
Architecture. Advanced standing is offered to college graduates
or the two degrees of A. B. and B. S. in Architecture can be
taken in six years.
The Graduate Year affords opportunity for advanced work in design
and other subjects of the course leading to the degree of M. S.,
in Architecture.
The Two Year Special Course. For qualified draughtsmen. Offers
advanced technical training with a Certificate of Proficiency.
For Full Information address Dr. J. II. Penniman, Dean of the College,
University of Pennsylvania, Philadelphia.
KIDDER'S ARCHITECTS' and
BUILDERS' POCKET-BOOK
FIFTEENTH EDITION, REVISED
The changes in this edition consist of the correction of all typo-
graphical errors reported to the publishers, and the rewriting of Chap-
ters XXIII and XXIV. This work has been done by Rudolph P.
Miller. Professor Alvah H. Sabin has also brought the section on
Paints and Varnishes up to date.
16 mo, xix ; 1703 pages, 1000 figures
Morocco, $5«00
NEW YORK : JOHN WILEY & SONS
A VALUABLE REFERENCE BOOK
"American Competitions,"1907
1 The "Concours Fubliquc" of the U. &)
E. B. LACEY, Editor
7 Competitions:
Soldiers' Memorial, Allegheny County, Pa. 10 sets of Drawings, 24 Plates
D I.. 4 W. R R. Station, Scranton, Pa. 6 sets of Drawings, 18 Plates
Union Theological Seminary, New York City . 6 sets of Drawings, 19 Plates
State Educational Building. Albany, N. Y. . . 10 sets of Drawings, 33 Plates
Bureau of American Republics' Bldg., Wash., D. C 9 sets of Drawings, 35 Plates
Connecticut State Library and Supreme Court Building. Hartford, Conn.
4 sets of Drawings, 19 Plates
Central Y. M. C A., Philadelphia, Pa. ... 4 sets of Drawings, 14 Plates
Published by the
T SQUARE CLUB, PHILADELPHIA
Edition limited, 750 copiei. Price, substantially bound in buckram,
$13.50; in portfolio, $1 1.OO. Cash with order.
M. A. VINSON, foraTaSguareSacfub
1012 Walnut St.
PHILADELPHIA
205-206 Caxton Bldg.
CLEVELAND. O.
THE BRICKBUILDER.
VOL. 17, NO. 5. PLATE 59.
3
JOHN LYMAN HALL OF NATURAL HISTORY. SYRACUSE UNIVERSITY. SYRACUSE. N. Y.
KEVELS & HALLENBECK, ARCHITECTS.
BROWNE HALL OF CHEMISTRY, SYRACUSE UNIVERSITY, SYRACUSE, N. Y
Revels & Hallenbeck. Architfcts.
THE BRICKBUILDER.
VOL. 17, NO. 5 PLATE 60.
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VOL. 17, NO. 5. PLATE 61.
GENERAL LIBRARY (CARNEGIE), SYRACUSE UNIVERSITY,
SYRACUSE, N. Y.
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YOUNG MENS CHRISTIAN ASSOCIATION BUILDING, DAVENPORT. IOWA.
Calvin Kiessling, Architect.
T H E B R I C K B U ILDEK.
VOL. 17, NO. 5. PLATE 63.
T H E B R IC K B U I LjDE'R.
VOL. 17, NO. 5. PLATE 64.
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VOL. 17. NO. 5
PLATE 65.
GATE LODGE.
GATE LODGE AND STABLE. HOUSE AT LAKE FOREST. ILLINOIS.
Spencer & Powers, architects.
THE BRICKBUILDER.
VOL. 17. NO. 5 PLATE 66.
**x*%
HOUSE AT LAKE FOREST, ILLINOIS.
Spencer & Powers, Architects.
THE BRICKBUILDER.
VOL. 17, NO. 5. PLATE 67.
LAKE FOREST, ILLINOIS..
SPENCER & POWERS,
ARCHITECTS
THE BRICKBUILDER.
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THE BRICKBUILDER.
VOL. 17, NO. 5. PLATE 70.
BUILDING FOR FILING RECORDS,
METROPOLITAN LIFE INSURANCE COMPANY,
BRONXVILLE, NEW YORK.
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THE BRICKBUILDER
VOL. 17, NO. 5.
PLATE 71.
THE BRICKBUILDER
Volume XVII
JUNE 1908
Number 6
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CONTENTS
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LETTERPRESS
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THE CASTLE, MARIENBURG, PRUSSIA Frontispiece
THE AMERICAN THEATER- VII Clarence H. B lac kail in
THE PUBLIC BATH — V Harold Werner and August P. Windolph 115
ARMORIES FOR THE ORGANIZED MILITIA -I LieuL-Col. J. ffollis H
EDITORIAL COMMENT AND MISCELLANY
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THE BRICKBVILDER
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The American Theater VII
SAFETY FROM FIRE.
BY CLARENCE H. RLACKALI-.
THE greatest source of danger in every theater fire
has been not in the fire nor in the smoke but in
the people themselves, who lose their heads and trample
one another to death. Accordingly, the first considera-
tion of safety is that the exits shall be of such arrange-
ment and size that a panic-stricken crowd cannot go
wrong. It is, of course, impossible to make any building
panic proof, but there are certainly many things to avoid
in the construction of an auditorium, and there are some
constructions which should enter into the planning of
every public hall.
Most of our cities now require open courts or streets
on each side of the auditorium of a theater. The re-
quired width of these courts varies from six feet in Bos-
ton to ten feet in Rochester, and it is everywhere
required that they shall connect without interruption
to a public thoroughfare. This is a regulation which
sometimes seems like a hardship to the owner who is
required to give up a large portion of the available
width of his lot, but it is a very desirable provision and
one that ought not to be slighted. We have not yet in
this country come to the point of obliging every theater
to be open to the streets on all sides, as is the case in
most European cities, though that is by far the best
arrangement.
As has previously been stated in this series, Boston
is one of the few cities in which the Building Law is
exigent as regards lobbies. The theory is that in case
of fire the audience should have a lobby of sufficient size
to accommodate the entire audience standing. The real
efficiency of this arrangement has never been put to a
test. It is extremely doubtful if theaters that have
large lobbies would be any safer than those which
have no lobbies at all but have properly arranged exit
corridors. On the other hand, there is no controverting
the advantage of lobbies from the point of view of con-
venience. They are never built in this country too
large for that purpose, and they are often reduced in
size to the vanishing point; but as a matter of mere
safety, in case of a fire or panic, it is not conceivable
that the audience will rush into the lobbies and stay
there while the theater burns, and the real value of a
lobby as part of a safety exit is measured by the capacity
of the exits leading from this lobby to the street. The
mere interposition of what might be termed an expansion
joint into the line of exits would not make the danger
materially less in case of panic. This principle should
be borne in mind in planning exit corridors, especially
those from the galleries. It is a good scheme to start
with these of the maximum size which shall be deter-
mined upon and to continue this size practically un-
broken to the street. If expanded into lobbies, or if
they have any marked projections, these passages might
easily become danger spots for a panic-stricken crowd.
Furthermore, when flights of stairs form a part of a
line of exits, these stairs should be kept as nearly uni-
form in rise and tread as possible. Any variation in
one or the other is very apt to cause a crowd to stumble.
Also, in such lines of exits all interior corners should be
rounded out so that by no possibility could individuals
be caught in an eddy and crushed. Some of these pre-
cautions may seem unnecessary, but sad experiences have
shown how unreasonable a crowd will be.
Dependence should not be put upon so-called emer-
gency exits. A crowd will go in the usual lines and
cannot be depended upon to avail themselves of any exits
not ordinarily in use. For this reason so-called exterior
fire escapes are of little practical value in case of panic.
While, of course, they are a great deal better than noth-
ing, and may sometimes save lives in case of fire after
the first rush, the right way is to make the regular exits
ample, and have them used every time the theater is
emptied, so that the public may become accustomed to
such ways of egress. Exterior fire escapes suggest
safety ; as a matter of fact, they are seldom constructed
so as to be of use. In some cities it is required that
such exterior exits shall be covered to protect them from
snow and ice, and the rise and tread of the stairs is usu-
ally prescribed by law; but they are, after all, unusual
exits, and are generally steep and dangerous in appear-
ance. The interior exit is really safer for fire and
panic.
Two lines of exit should not converge so as to create
a congestion, and a flight of stairs should never end in a
corridor serving as an exit from another section of the
house unless the stairs end at a distance equal their own
width from the cross corridor. Also, where space will
permit, two separate stairways, each five or six feet wide,
will serve to better purpose than a single stairway of
the combined width of the two, and where it is absolutely
I 12
THE BRICKBUILDER
necessary to have a single wide stairway any width over
six feet should be provided with a strong center rail.
Inside of the auditorium itself care should be taken
that the exits from the balcony and gallery shall never
be downward but up toward the rear, and there should
never be steps down where two lines of exits converge.
This was a condition which existed at the Iroquois
Theater at the time of the fire, and which led to a great
loss of lives by reason of the people stumbling and be-
ing buried in heaps about a doorway. For similar rea-
son vomitories are not desirable. There are many cases
where they have been employed, but in the ideal theater
all the exits would be out
from the rear, and it is not
possible to so construct
vomitories that there
could not be very serious
congestion at the exits in
case of a panic.
The various theater fires
which have so shocked the
communities within the
last few years have, not-
withstanding their disas-
trous results, demon-
strated, without question,
that from a structural
standpoint a building can
be made fireproof. The
difficulty always is with
the fittings and furnish-
ings. They are of neces-
sity more or less intlam-
mable, and no satisfactory
device has yet been worked
out to fireproof fabrics
without a sacrifice of their
artistic value. But all the
fabrics and wood finish in
a modern fireproof theater
would never bring death
to an audience so long as
the individuals kept their
head. It is only when the
exits are blocked by un-
reasonable crowds that
those behind are scorched
by the flames from the
draperies and wood-
work.
A theater fire usually starts on the stage, and every
city has regulations requiring some form of fire curtain
intended to confine the (lames and at least a part of the
smoke to the stage. The much vaunted asbestos cur-
tain is sometimes a snare and delusion by not working
properly, or by working at the wrong time, but if in
proper order and running easily in metal grooves, it will
serve as a fairly efficient barrier against flames. Un-
fortunately, when an asbestos curtain shuts down on a
stage fire the conditions behind the curtain are made
worse and the actors are lucky if they get out alive. As
the stage hands are usually the first to discover the fire,
and as exit is far easier for them than for the audience,
FLOOR PLAN, WAGNER OI'KRA HOUSE. HEYREUTH.
For Distinguished Strangers. — A. Boxes. H Lounge. C. Balcony.
I). Anteroom. E. Staircase.
K. Dressing-Room. L. Scene Store. M. Chorus, a. Entrance to Stalls.
t). Entrance to Orchestra, c. Service Stairs, d. Entrance to Distinguished
Strangers' Boxes.
it is by no means sure that the fire curtain will close ex-
cept by the parting of the fusible links which hold it
open, for it is asking too much of ordinary human nature
to expect that stage hands would always sacrifice them-
selves to give a few moments respite to a panicky audi-
ence. As a matter of fact, no asbestos curtain has ever
been of much practical value except in the case of a
slight conflagration on the stage.
The asbestos curtain is very little used in Europe, its
place being taken by a screen consisting of a steel frame-
work covered with corrugated iron, the whole working
in tight grooves and serving as a very efficient fire stop.
Its value was demon-
strated within a short
time at the Drury Lane
Theater in London, where
a fire on the stage did a
great deal of damage to
that part of the house
without spreading beyond
the fire curtain. This
form of construction is
not required by law in
this country and is seldom
used, but it is far prefer-
able to asbestos.
Some cities require that
a fireproof curtain shall be
so marked plainly in
letters visible to the entire
audience and that it shall
be closed before and after
each performance. If the
fireproof curtain were to
be suddenly lowered dur-
ing an act, the audience
would be very apt to jump
at the conclusion that
there was danger from fire
and a panic would ensue.
There is no good reason
why a fire curtain should
not be treated like an or-
dinary act drop, so far as
appearance is concerned,
and there does not seem
to be anything gained by
labeling it as a fireproof
curtain. Of course, this
fireproof curtain, whether
of asbestos or steel, should in every case be automatic in
its action, so a sudden rise in temperature over the stage
will melt a fusible link and allow the curtain to descend.
Very few American theaters are so arranged as to
safely handle a panic-stricken crowd, and it is quite likely
that commercial requirements will always be a bar to
even a measure of success in this direction, but to illus-
trate what might be, there is a very excellent illustration
afforded by the theater which Richard Wagner built at
Beyreuth, where he had plenty of room and where the
mere construction was so cheap that he was free to give all
the desired space to exits and accessories. The theater
is without balconies or galleries, a single broad and deep
THE BRICKBUILDER
i'3
orchestra rising with a regular grade from the stage
front, and without aisles or columns or any obstruction.
The platforms of the seats are wider than in our average
theaters, and each row of seats constitutes an aisle contin-
uous from one side of the building to the other, so that
the time required to empty the theater is simply the
time required for the people to step out of one row of
seats. All these aisles lead to broad, easy foyers outside
of the main auditorium, and it is hard to see how even
the most panicky crowd could do itself very much dam-
age in this theater as far as relates to the matter of
exits. Of course there are many theaters abroad like the
Paris Opera House in which the proportion between the
Years 1791 i/ioe
1807/6
rsn-ze
1977-36
I837-+*
1847-50
1897-86
186778
ran 46
I8S7-98
390
100
too
1
/
/
/
eo
to
*
*o
so
20
to
(Number of fires shown at left )
DIAGRAM SHOWING NUMBER OF THEATER FIRES ACCORDING
TO DECADES FROM 1797-1897.
exit corridors and the seating capacity of the several divi-
sions of the house is so large that a crowd is dissipated al-
most instantly it emerges from the few rows of seats
served by any one aisle ; but we are never able to build
our theaters on that liberal scale.
It is usual to surround the curtain opening with some
form of water curtain. This consists either of a perfo-
rated pipe carried up the sides and across the head, through
which a strong stream of water can be thrown if desired ;
or, perhaps better yet, a fantail jet of large volume is
placed midway of each jamb and overhead, so that when
turned on these will throw a heavy spray across the en-
tire opening. Then, of course, every theater stage ought
to be thoroughly equipped with automatic sprinklers,
with automatic fire alarms, and with a standpipe on each
side with not less than fifty feet of hose ready for instant
use at each level. The use of the English alarm valve on
the sprinkler service is not desirable. The writer's ex-
perience has been that it will frequently be set ringing
by a slight water hammer and in several cases the start-
ing of the gong through no cause except sudden opening
or closing of a cock somewhere in the building has started
an insipient panic which was not easy to quell. There is
one device, however, that should be insisted upon in
every theater, and that is some form of automatic sky-
light above the rigging loft and controlled from the
prompter's desk, so that in case of any sudden rise of
Years
1876 '71 '78 '79 '80 81 BZ "83 84 88 8« 8J '88 89 90 '91 '82 '99 '34 '9S '96 '91
600
890
too
4A0
_l
900
t
r
050
Yi
\~
WO
\~_
i
p
Z60
r
\
r
\
200
700
90
80
10
eo
to
to
JO
T
\
T
I
T
T
... _i
^
j
3
n
J
I
L
/
\
'
\
/
1
\
\
10
1
\
/
\
][
N—
1
\
1
(Number of lives lost shown at left )
DIAGRAM SHOWING NUMBER OF LIVES LOST IN THEATER
FIRES FROM 1876-1897.
temperature the skylight will either open entirely by the
top revolving or sliding out of place, or else dampers on
the sides of a monitor will drop out so as to allow the
smoke and flames to escape at once. In the case of the
Iroquois Theater it has been stated that the automatic
ventilators over the stage were nailed up tight, the flames
consequently being driven out from the stage into the
audience, causing considerable loss of life. Had these
stage ventilators worked properly the course of the
flames would have been upward, and, while the panic
would probably have been quite as intense, the loss of
life from fire would have been greatly reduced. The
area of the openings in these skylights should be not less
than one-tenth of the floor area of the stage.
H4
THE BRICK1HMLI) E R
The lines which support the scenery over the stage
are almost universally in this country of manila rope.
As the ordinary stage fitting would include twenty or
thirty miles of this rope and as all of the ropes are
attached to wooden battens supporting the scenery, it
will be appreciated at once that if wire rope could be
substituted for the manila and all the battens made
throughout of metal, the combustible contents of the
stage would be limited to the cloth of the scenery itself.
Furthermore, there is no good reason why the scenes
themselves should not be constructed of iron. This use
of wire rope and metallic frames for scenery is, however,
something which has never yet been well worked out
and would be practical only when the scenery is operated
by power rather than by hand.
Theater fires present some interesting statistics.
One would naturally suppose that in the days before
so-called fireproof construction, when gas was used ex-
clusively about the stage, the fire hazard would be very
great, but the risks seem to have increased faster than
the number of theaters. At any rate, the advent of fire-
proof construction has not materially lessened the loss
of life. The two tables which are shown herewith are
taken from Sachs' Book on "Modern Opera Houses and
Theatres," and show that there has been a constant
advance during the last century in the number of fires,
while the loss of life, which was at a minimum about
1880, has been steadily increasing. This simply shows
that, notwithstanding all our attempts to have our thea-
ters fireproof, we cannot make the audience feel suffi-
cient confidence to avoid a panic. In the celebrated
Ring Theater fire at Vienna the loss of life occurred
before the performance had begun and when the theater
was only partially filled. In the Iroquois fire most of
the deaths could have been avoided if the exits had been
in proper order and the audience had not become panic-
stricken. If every theater were planned simply with a
view of securing the very best results for safety to
property and to persons the fire hazard would be
greatly reduced. The architect is seldom allowed to
provide the maximum accommodations in exits, and
when he arranges his approaches in what he believes
to be the best manner, if he puts in abundant lobbies,
ample stairways and easy approaches, the chances are he
would be considered extravagant and would not have the
chance to design another theater, and as our theaters are
controlled by private interests and must earn interest on
the investment, we continue to put up each year build-
ings which we know are not quite right. They come
within the law, but none of our theater laws in this coun-
try are at all drastic as regards provision for safety. The
requirements are whittled down to the utmost minimum
to start with, and seldom is a building erected in entire
conformity even with these minimum requirements.
THE ATHENEUM, NEW ORLEANS, LA. Stone Btothers, Architects.
THE BRICK BUILDER
"5
The Public Bath — V.
PLAN AND CONSTRUCTION.
BV HAROLD WERNER AND AUGUST P. WINDOLPH.
THE ideal public bath building for American cities is
essentially a modern problem and must be solved to
satisfy exacting and varying conditions. Ancient types
are not at all applicable, and while European models
offer valuable suggestions for the various forms of bath-
ing and for arrangement of the plant, they are not adapt-
able as a whole for our purposes.
The customary European practice of choosing a site
of sufficient dimensions to furnish most of the bathing
facilities on one floor is not desirable in this country,
where compactness and facility of operation are essen-
tials, because of the fact that our public funds do not per-
mit a large initial expenditure for the acquisition of the
site. Here baths are usually located in tenement sec-
tions where property is held at a high figure, and they
must therefore be economically planned.
The site for the bath should be easily accessible and
convenient to a public school ; should not be too near a
river, particularly if river bathing be available, and, if
possible, should be located on a corner, to allow for exits
and entrances on two streets, thus separating the sexes.
All of these conditions must be carefully weighed in
selecting a site. An important matter is the disposition
of baths at proper distances from each other, and in the
most populous sections it would seem desirable to locate
them not more than half a mile apart. A series of small
buildings equipped with showers grouped around a
larger central building, equipped with a pool as well as
showers, would be an effective arrangement. This would
differ from the English idea in that the minor establish-
ments would be considerably smaller and the buildings
more closely grouped.
SHOWER COMPARTMENTS SHOWING PIPING. VALVES, PIPING AND WATER DRUMS.
WEST SIXTIETH STREET BATH, NEW YORK.
No public building offers so many difficulties in the
matter of selection of site as the public bath. It obvi-
ously should be located in the most densely populated
section, but such a location does not necessarily imply its
success, for the character of the population may change
as well as the character of the buildings. Frequently
tenement houses are replaced by commercial structures,
or there may be an influx of some foreign element which
refuses to patronize the institution, and thus handicapped
the bath may prove a failure. On the other hand, some
of the native-born population have an aversion to the
public bath patronized by foreigners. One of the New
York City baths is situated on the dividing line between
colored and white populations, and the problem of keeping
order and superintending the institution is for this rea-
son a most difficult one. While the mission of the bath
is to promote homegeneity, it can hardly be expected to
solve the race question. If this bath had been placed
either in the heart of the white or the colored section, its
value to the community would have been greatly enhanced.
The exterior should express the purpose of the build-
ing, and while the architect may desire to design an
impressive exterior, he must not forget that excess of
ornamentation increases the initial cost, and that a pre-
tentious facade repels the poor and defeats the true pur-
poses of the building. The problem is in many ways
similar to that of the hospital; fundamentally it must be
treated from the standpoint of sanitation, as the mission
of the bath is to elevate the standard of cleanliness and
public health.
The plan must above all be simple in general arrange-
ment, providing liberal openings for light and air, as the
best results are not obtained by use of artificial light or
forced ventilation. The work of the institution is
greatly facilitated if the corridors are made direct and in
easy communication with the entrance halls. Ease of
supervision is an important factor. All parts of the
building should be accessible, so that if any part of
the equipment is damaged it may be quickly located
and repaired. There have been several cases where
u6
THE BRICKHUIL D E R
sudden failure in some parts
of improperly planned sys-
tems have resulted in great
damage to the building.
To facilitate the circula-
tion, and to provide for the
continuous movement of
large crowds in the summer
season the waiting rooms
should be planned of ample
capacity but not to en-
croach on the bathing hall
space. A fair ratio would be
about twenty-five per cent
of the total ground floor
plan, and in case the build-
ing has a second story of
showers this proportion of
waiting-room space should
be slightly increased. It is
customary to give to the
men's waiting room about
two and a half times the
space allotted to the women,
this being the average rela-
tive attendance of the sexes.
The staircases should be
so arranged in the waiting
rooms as to avoid converg-
ing lines of bathers and they
should be of easy runs and
ample width. The superin-
tendent's office is generally
placed between the men's
and women's waiting rooms, and it should be in instant
touch with every part of the building, either through
speaking tube or telephone. Occasionally we find the
superintendent's office provided with a separate staircase
leading directly to the bathing halls above, and it is de-
sirable to provide for direct communication with the
boiler rooms below.
In considering the form of bath to be used, what pro-
portion of shower, tub and plunge units should be
planned for in order to insure the best results, the prob-
lem often becomes very complex. Before proceeding
with the planning of the bathing halls and their equip-
ment, it may be well to emphasize the most important
factors which make for the ultimate success of the bath-
ing hall — sanitation, economy, popularity. What form
of bath best insures these results ?
The tub bath has been objected to from the stand-
point of sanitation, as it is the most difficult of all fix-
tures to keep clean, and owing to the space required and
the great amount of water consumed can no longer be
seriously considered in bath equipment. The principal
virtue of the shower bath is its sanitation, — its popular-
ity and economy are in question. The form of angle
valve in use to-day in shower compartments does not
control the water consumption, and as the valves are
under the bather's own control thay are frequently left
open, causing considerable loss of water. There are
sometimes bad cases of scalding in the compartments,
and another objection is the difficulty of properly super-
TYFICAL POOL AND CLEANSING
ROOM FLAN.
C. Preliminary Cleansing Room.
P Pool. R. Runway. T. Toilets.
vising a large number of bathers who crowd in the com-
partments and thus destroy its principal virtue, the iso-
lated bath.
Any form of bath must be popular and the shower
lacks popularity with the masses. Of all the baths the
pool best combines sanitation, economy and popularity.
Up to very recently the pool bath has not been truly
sanitary, but there is no reason why, with proper devices,
the pool may not be made absolutely safe. In England
the authorities maintain that if the pool is sufficiently
large and properly replenished it is an ideal form of bath.
London has over sixty public baths equipped with
pools, furnishing accommodations annually for millions
of bathers, and the death rate has shown a considerable
decrease in the last two decades, the time that most of
these baths have been in operation. Just what part the
pool is a factor in the general public health would be
difficult to determine, but the consensus of English
opinion is that a pool properly constructed should be in-
corporated in every bath house.
As to its economic value, the initial cost of the pool is
less than any other form of bath, — furthermore, the water
consumption, being under absolute control of the super-
intendent, is much less than in other forms of bathing.
It requires less supervision and also costs less to
maintain, as the waste lines and fittings are considerably
simplified.
The popularity of the pool bath has never been ques-
tioned. According to a table recently compiled in Eng-
land, the attendance for one year in the various forms of
bath is as follows :
Pool.
All
other baths
Birmingham,
302,000
1 26,000
Coventry,
57,000
31,000
Liverpool,
540,000
1 18,000
London (Islir
gton i,
224. 000
] 50,000
Sal ford,
154 000
47,000
In this country a
recent test in a public
bath showed a ratio of
three pool bathers to
one shower bather,but
what is still more sig-
nificant is the fact that
on certain days, when
the plunge bath was
not in operation, the
bath house was practi-
cally without patrons.
A most interesting
and gratifying sight is
to visit one of the
London public baths
on the day of a swim-
ming competition,
where the pick of the
swimmers of rival dis-
tricts and their nu-
merous adherents,
many of whom have
also earnestly trained
for these events, en-
thusiastically cheer flan and section of shower com-
their fellow swimmers partment, foreign bath.
THE BRICK BUILDER
117
in friendly competition.
Such a facility cannot fail to
promote manliness as well as
to elevate the general health
and moral tone of the com-
munity. The pool will be a
valuable auxiliary to modern
public school education when
the art of swimming is in-
cluded in the curriculum.
In proportioning the bath
units it is evident that the
pool should have the greatest
number with the shower
baths as auxiliary, in ratio
of three to two, and on a basis
of a hundred bath units the
ratio would be as follows:
Pool, 60
Men's showers, 26
Women's showers, 12
Toilets, 2
A building with this equipment could be adopted as
a type for all cities of the first and second class.
The pool room should be planned of liberal height,
with window openings so arranged as to avoid condensa-
tion and the much dreaded draught. The water area of
the pool should be proportioned to the dressing room
capacity, and the area of the pool should be sufficiently
large to promote sanitation. It is customary to plan the
length at least twice the width, preferably not over a
hundred or less than sixty feet.
The floor of the pool should
be properly graded, having a
shallow end for beginners and
allowing a deep place for
diving.
There are three different
forms of floor sections in use,
as shown in the illustrations.
The slope may be considered
preferable for baths of or-
dinary capacity, as it gives an
unbroken surface and easy fall
throughout. For the larger
pools the broken floor section
may be used. This is much
favored in Germany, as it has
the advantage of allowing a
level floor for beginners, who
invariably have a dread of a
sloping floor no matter how
gradual it may be. The depth
of the pool is frequently over
ten feet, to obviate all danger
in diving, but this plan re-
quires the heating of a large
volume of water.
It is desirable to arrange
the shower baths in longitu-
dinal lines for ease of super-
vision as well as simplicity
of piping, and it would be
SHOWER HALL, WEST SIXTIETH STREET BATH, NEW YORK
""si
Mar
-J-6
e' Pitch
nr
Longitudinal Section
TYPICAL SHOWER COMPARTMENTS, AMERICAN RATH
well to allow some additional
working space at the entrance
of the shower bath halls, to
permit an uninterrupted
movement of the bathers at
all times. While the shower
halls are frequently worked
to the limit of their capacity
in the summer season, in
winter the attendance falls
off rapidly, and arrangements
should accordingly be made
to shut off a row of showers,
a wing, or even an entire
floor, should the lack of at-
tendance warrant it. A col-
lapsible compartment might
be constructed which could
be removed in the dull sea-
son. This should, of course,
be done without affecting the
water-tight qualities of the
floor. The surplus bathing hall space could then be used
for assembly purposes. It has been noted that the Eng-
lish use their plunge rooms for these purposes during the
dull season.
There is little to say of the tub rooms and toilets.
If the former are considered necessary they should be
inconspicuously placed. The general practice of placing
the toilets directly in the bathing halls in an interior
position is not desirable, as it is far better to depend
on outside ventilation.
The laundry is not as yet
considered an integral part of
the American public bath, but
its real value will eventually
be recognized. The working
classes have an aversion to
publicity in their domestic af-
fairs and are reluctant to use
the laundry, but if it is prop-
erly planned with ample light
and air, its advantages and
conveniences become so ap-
parent that this feeling of
distrust is soon overcome. If
the problem demands the plac-
ing of the laundry in the base-
ment, the work rooms should
be high and the first tier of
beams well elevated above the
sidewalk, and it would be well
to keep the patrons of the
laundry from coming in con-
tact with the bathers. The
exact disposition of the wash-
ing, drying and mangling ma-
chines depends entirely on the
type of machines used, but in
any case it is well not to crowd
the machines and to allow
liberal working space.
The engine and boiler
2 Fi<
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ishtj Brass Ftpe
Holding Partttio
ble
■4-0
Marble Scat
Brajs Bracket
Bronze Wirt
Cr 1IU3
I I I
Bra jj Clothes
Moo is
Sheet Iron Door
7-0 Htyh.
I Ii
THE BR I CKBU I LPER
room is generally placed under the waiting rooms in
our large municipal bath houses, — in a place too re-
stricted, poorly lighted and with little means of direct
ventilation. The foreign baths have proved far more
liberal in their boiler and engine space. The severe
demands made upon this part of the building, the multi-
plicity of apparatus and pipes, require a liberal dis-
tribution of the entire plant, and the architect should
give the necessary time and attention to insure not only
the accurate placing of the various apparatus but the ar-
rangement of the various lines of piping and valves, as
the ultimate success of the building depends on this. In
the recently constructed baths in New York City, where
space was restricted, it proved advisable to excavate
under the sidewalk. This allowed additional source of
light and air, which was further assisted by window
openings on the rear courts.
Ample room should be provided for the numerous
lines of pipes, ducts and filters, also for the pump and
other apparatus required. A break in a too compact
space makes immediate repairs impossible, and often re-
quires the taking down of
a considerable part of the
plant. A liberal factor of
safety for overload should
be provided, as the demands
in certain seasons of the
year are severe.
A double set of pumps,
engines and dynamos are an
advantage, although one set
is sufficient to run the plant
under ordinary conditions .
The coal bins should have
sufficient storage for emer-
gency purposes, and the
boiler room should be'prop-
erly isolated from the rest of
the plant. The engineering
force should be provided
with locker rooms, a con-
venient work room and adjoining toilets. Emergency
ladders should be placed at accessible points.
The writers have noticed that some of the public
baths are not equipped with attendants' rooms; a room
for this purpose should be arranged on every floor or
wing of the building with proper locker and toilet accom-
modations.
Superintendent's living quarters is a much mooted
question, — whether it is advisable to provide for the
superintendent's quarters in bath buildings for cities of
the first and second class in this country. About one-
third of our institutions are so equipped. They should by
all means be provided for. They may be placed in an
upper story in order not to diminish the working capa-
city of the bath, and the cost is more than compensated
by the additional care and supervision which the building
receives. If possible, the living quarters should be pro-
vided with a direct outside entrance, affording at the same
time immediate access from the hall to the various shower
and bathing rooms of the building. The living quarters
are generally disposed over the waiting rooms, or, in case
of a second story of showers, above them.
FLOOR SECTIONS FOR POOL BATHS
We have discussed the planning and functions of the
public bath house and a few words on the construction of
the building may be of some value. The materials for
the building, as in the hospital, must be primarily se-
lected for their sanitary qualities, but they further re-
quire an ability to withstand the severe amount of wear
and tear received from the bathing public. The disin-
tegrating effects due to the steam and water must also
be considered, and the architect must bear in mind that
the waterproofing must be as nearly perfect as possible.
Eliminate as far as possible all openings for pipings,
standards or fixtures. It is safe to say that no bath
building yet constructed has not suffered more or less
from leakage.
The fittings throughout should be of the strongest
character and sufficiently heavy to withstand the hardest
usage. For this reason the spray and foot baths, used in
the modern Berlin Baths, with their exposed piping and
elaborate fittings, are not adaptable for our purposes.
The circulation of water in the bath may be likened
to that of the blood in the human system, — the main
rising lines to the arteries
and the network of branch
lines carrying the water to
the numerous bath compart-
ments in the remotest parts
of the building, to the veins.
Perfect circulation is most
essential, and, to further
this, the street supply must
be of sufficient pressure to
carry the water to the
highest levels without the
use of pumps. The street
sewers should be of suf-
ficient depth to drain the
lines by gravity. All piping
must be exposed, should be
direct as possible, and have
the controlling valves in con-
venient positions.
The proper cleansing of the surface water of the pool
is important, — a superficial spray has been provided for
the purpose, generally introduced under considerable
pressure through a perforated pipe. The movement of
this superficial current is further assisted by arranging
an overflow gutter at the opposite end of the basin. The
inlets of the pool are so disposed as to further this circu-
lation and keep an even temperature throughout the
pool. Considerable difficulty is encountered in produc-
ing a uniformly heated volume of water. To overcome
the cold spots there are various arrangements provided to
obtain these results. A common English method is to
increase the circulation by providing a return main from
the pool to the boiler and by gravity keep up a constant
circulation similar to that in the ordinary house boiler.
This method has the serious objection of re-using the old
water and from principles of sanitation cannot be com-
mended except in pools where a very moderate amount
of work is required. There are also various systems of
steam injection, either directly into the pool or else by
means of tapping the supply line at certain intervals
with injectors of live steam. This produces a rapid cir-
THE BRICK BU I LDER
U9
culation of the water, but
both systems are subject to
the noisy steam hammer, and
in the latter case the intro-
duction of live steam into the
pool frequently results in
severely scalding the bather.
The position of the heat-
ing coils, the proximity of the
skylights, are all considera-
tions which effect the tem-
perature of the pool.
Wtf have indicated in out-
line the extent of the modern
bath movement. It is evident
not compare either in size or im
TYPICAL PLAN OF LAUNDRY FOR PUBLIC BATH
that our institutions do
pressiveness with foreign
(concluded. )
bath buildings, but the value
of this facility lies not in pre-
tentiousness but in its sani-
tary and economic features,
and it is in this rational
direction that our baths have
shown progress. It may be
that in the modern civic
movement sufficient impor-
tance will be placed on this
much neglected subject to
allow the architect some lati-
tude for the realization of his
ideas, which will result in a
comprehensive system of public baths worthy of Ameri-
can communities and ideals.
PUBLIC BATH AT SELLY OAK, ENGLAND. Arnold Mitchell, Architect.
THE task of housing in one city hall the vast and
hitherto scattered municipal machinery of London
has fallen upon the shoulders of Mr. Ralph Knox of
Chelsea, a young architect previously little known to
fame. As the author of the successful design he has
shown great skill in economizing internal space within
an irregular area that fronts the south bank of the
Thames by seven hundred feet near the Westminster
Bridge. Public discussion has been chiefly directed to
the exterior. With the character of Somerset House in
mind he has chosen to rely for effect upon long, unbroken
horizontal lines and the great mass of the building. The
skyline is broken only by eight chimney stacks and a
central fleche. The design is generally felt to be a
worthy successor to the works of Inigo Jones, Sir Chris-
topher and Sir William Chambers.
IN Paris a society devoting itself to economical buildings
for the poor has opened an apartment house for large
families only. None with less than three children is ad-
mitted. The rents vary from $36.80 to $84.80 a year.
The building was immediately filled, and a census showed
that the ninety-four separate apartments sheltered six
hundred and twenty persons, of whom four hundred and
twenty-seven were children. Most of the tenements have a
large balcony upon which a good-sized living-room opens.
The partitions between the parents' and the children's
rooms extend only three-quarters of the height to the ceil-
ing. The window sills are so high as to prevent the chil-
dren climbing to them ; and at every stairway, in addition
to the regular steps, there is a llight of steps of half height
that the little folks can mount without effort. The (ire
escapes are unusually complete and commodious.
120
T UK H R I CK HI* I L I) E R.
Armories for the Organized Militia.
LIEUT. -COL. J. HOLI.IS WELLS.
{Of Clinton & Russell, Architects.)
IN designing a building to meet the requirements of a
military organization, the character and size of the
organization must, of course, be taken into account and
its needs must be studied.
An armory should be built as nearly fireproof as pos-
sible. It should be substantially built and have entrances
and exits, which, though ample, should be so arranged as
to be easily protected from the mob. There should be
enfilading towers with narrow windows so arranged for
rifle fire that streets at or near these exits may be cleared.
The building generally should, therefore, be designed
in a simple, straightforward manner, combining many of
the features of the mediaeval fortress or castle, and al-
though it is not anticipated that troops will have to stand
a siege therein, nevertheless many of the ideas of early
architecture may well be adopted in planning, for soldiers
may have to enter and leave their armories under adverse
circumstances. The roofs of armories should be easy of
access for the troops, and parapets and platforms should
be arranged for riflemen so that they may control all
surrounding streets and buildings. At least a portion of
the building should be higher than the roofs of the build-
ings adjoining, so that there may be no chance for dam-
age being done from them.
A well-selected hard-burned brick, carefully laid up
in cement mortar, is both substantial and economical for
front work. Granite, perhaps, is best adapted for special
trim of the facades and may be used to excellent advan-
tage for base, copings, band courses, and around windows
and doors, but beyond this, unless cost is not to be con-
sidered, it is not desirable to go. Troops at any rate are
simply a necessary evil, they are expensive to maintain,
and the buildings in which they are quartered should be
simple and in keeping with the purpose for which they
are intended, /. e. , for the housing and drilling of bodies
of men whose training is along simple, practical martial
lines and for the proper storing of quartermasters', com-
missary and ordnance supplies.
All exterior doors and windows at or near the level of
the street should be protected with heavy iron grilles and
gates, and double sets of heavy, hard wood doors, hung
on specially strong hinges, opening out, are necessary.
In planning the interior of an armory, the size of the
property determines the lay-out. Generally in the cities
and larger towns where armories are usually located the
cost of the property limits its area. If, therefore, it is
necessary that the building should be several stories in
height, a very excellent plan would be obtained as
follows:
The main consideration is the drill hall, which, if
possible, should approximate in size not less than 200
x 300 feet for a regiment of infantry, consisting of twelve
companies. The floor should be near the street level and
should open directly thereon. The hall should be lighted
and ventilated from the outside by windows high up in
the walls and above by a clere-story with adjustable side-
lights running nearly the entire length of the hall. The
clear height of this hall from the floor to the lower chord
of the roof trusses should beat least forty feet, except on
the sides and ends, where galleries for spectators may be
placed, and the height under the lowest point of these gal-
leries should not be less than twelve feet. Galleries
should be suspended from the roof trusses so that the
drill floor is not obstructed by posts. They should have
ample flights of stairs at the four corners of the drill hall
leading to exits to the streets.
Except for cavalry, wood floors are preferable gener-
ally throughout. The drill-room floor should be designed
for a total load of three hundred pounds per square foot.
The arches between the floor beams may be brick or hol-
low terra-cotta blocks brought up level to {he tops of the
beams, and on top of this may be laid 3x4 inch yellow
pine sleepers, beveled on the edges and fastened to the
I beams 16 inches on centers with strong wrought iron
clips. Between the sleepers and level with their tops lay
a good rich cinder concrete, and in order to avoid dust
through the flooring, lay a covering over the top of the
sleepers of hot asphaltic cement and three ply of roofing
felt turned up on walls and around all pipes, etc.
A very satisfactory flooring is a first quality clear,
kiln-dried, heart-face, comb-grained Georgia pine,
tongued and grooved, blind-nailed to each sleeper with
two twenty-penny wire nails. The floor strips should be
about two inches wide and two and one-half inches thick
laid very close and absolutely level. It should be through-
out of the very best selected stock, free from knots, stains
and perfectly sound. The best of care should be exer-
cised in selecting this material and in laying it. The en-
tire floor should be smoothly planed, scraped and sandpa-
pered to a satisfactory surface and on completion covered
with a hard finishing oil. No base is required around the
walls but a one and one-half-inch quarter round molding
of yellow pine may be run to obtain a neat finish.
It is unnecessary to plaster or even paint the interior
walls of the drill hall ; brick laid up in English bond
with white struck joints and light terra-cotta trims around
window and door openings have proven highly satisfac-
tory both from an artistic and utilitarian standpoint. In
fact, generally the staircase and entrance halls may be
treated in the same manner.
The roof over the drill hall is generally an interesting
problem. An excellent example of this is in the 71st
Regiment Armory at Park Avenue and 34th Street, New
York City, where the roof is carried by five pin-connected
trusses of modified Pratt type with inclined top and bot-
tom chords, the latter being curved to give an outline
suggestive of arch construction and secure an increased
clearance without involving an unnecessary height of end
column to develop large moments of flexure. The trusses
are 190 feet 4 inches long center to center of end piers
and are 24 feet deep in the center. The bottom chord
has a versed sine of about twelve feet and converges
from the lower end panel point to intersect the top panel
chord at the end pin where it is pin-connected to a steel
wall column. The ends of the bottom chords are extended
from the lower end panel point by false members tangent
THE BRICKBUILDER.
12 I
SEVENTY-FIRST REGIMENT ARMORY, PARK AVENUE AND THIRTY-FOURTH STREET, NEW YORK. Clinton & Russell, Architects.
122
T II E B R I CK B UILDER
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THE BRICKBUILDER
123
FOURTH FLOOR PLAN.
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FIRST FLOOR PLAN.
SECOND FLOOR PLAN.
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liASEMENT PLAN
BASEMENT MEZZANINE PLAN.
FLOOR PLANS, SEVENTY-FIRST REGIMENT ARMORY, NEW YORK.
Clinton & Russell, Architects.
124
T H E BRICKBUILDER
THE BRICKBUI LDER.
12<
SIXTY-NINTH REGIMENT ARMORY, LEXINGTON AVENUE AND TWENTY-SIXTH STREET, NEW YORK.
Hunt & Hunt, Architects.
126
T UK BRICKBUILDER
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FLOOR PLANS, SIXTY-NINTH REC.IMENT ARMORY, NEW YORK.
Hunt & Hunt, Architects.
THE BRICKI3UILDER
127
to them and curved to make tangent connections with
web plates projecting from the sides of the wall columns.
These members serve as knee braces uniting the wall
columns and trusses and completing the arched outlines
of the lower chords. The trusses are supported on 7^-
inch pin-bearings. At one end of the truss this pin en-
gages the top of the wall column and provides a fixed sup-
port for the truss. Here the connection plates, to which
the top and bot-
tom chords are
riveted, are ex-
tended below
the latter to
form jaws which
are field riveted
to the wall col-
umns and give
increased rigid-
ity to the con-
nection. At the
other end the
bearing pin en-
gages a pair of
16 x \Yi - inch
vertical link
plates about
four feet long.
The upper ends
of these links
engage a 7^-
i n c h pin
through the
cover plates of
the wallcolumn.
This arrange-
ment provides
a swinging sup-
port for the
truss and allows
longitudinal
movement to
correspond with
temperature va-
riations. The
end of the truss
projects inside
the column and
has clearance
there between a
pair of vertical
guide angles,
which engage
the lower edge
of the connec-
tion plates and prevent under transverse displacement.
The trusses are connected by longitudinal purlins in
vertical planes web-connected to them at each panel
point. The purlins are riveted trusses with a uniform
depth of about six and one-half feet; part of them have
the connections for the vertical suspension rods to carry
balcony and gallery platforms. Provisions are also made
to carry the gallery suspenders from the first and second
panel points at each end, where the vertical rods have nut
DETAIL OF LEXINGTON AVENUE FACADE.
SIXTY-NINTH REGIMENT ARMORY, NEW YORK
Hunt & Hunt, Architects.
bearings on the upper ends of vertical angles riveted inside
the bottom chord channels. Bent plates about six feet apart
are riveted to the top chords of the purlin trusses to form
inclined seats for the jack rafters, which are 7-inch
I beams receiving the floor system. The wall columns
which carry the roof trusses have the required cross-
sectjonal area built up with half a dozen 16-inch
cover-plates \\ and 58 inch thick. They are made
in two-story sec-
tions spliced to-
gether with
cover-platesand
horizontal dia-
phragms be-
tween flange
angles riveted
to the channel
webs. The
heaviest wall
columns have a
maximum load
of 168 tons and
a sectional area
of 24 square
inches.
The lower
chords of the
trusses are
secured trans-
versely at the
center and at
the quarter
points of each
truss by a pair
of inclined
inch sleeve-nut
rods in longitu-
dinal vertical
planes, which
have their up-
per ends con-
nected to the
lower flanges
of the purlin
trusses at the
adjacent panels.
These rodshave
eye-bar heads
drilled for 1-
inch bolts. At
the lower end of
the rod this bolt
engages lugs at
the foot of a
pair of vertical angles riveted across the face of the truss.
At the upper end the rod is connected by a pair of links
to a web plate projecting from the seat of the intermedi-
ate purlin. The end purlins have their bottom flange
angles extended and built into the brick gable walls.
Pairs of lug angles are riveted to them just clear of the
brickwork to receive the sway rods. All of the steel
and iron work in the drill hall and the ceiling is painted
three coats of light green.
128
THE BRICKBUILDKR.
Editorial Comment and
Miscellany.
THE DEVELOPMENT OF POLYCHROMATIC
EXTERIOR GLAZE DECORATION.
ALL who are interested in architecture and the ce-
ramic arts are familiar with the growth and develop-
ment of glaze decoration. The porcelain tower at Nan-
kin, built 833 B. C, was one of the best examples of
exterior polychromatic glaze decoration. The Assyrians,
Egyptians, Italians and Spaniards have all left many
beautiful examples of what has been done with colored
glazes applied to building exteriors and interiors — some
of them date back to 3,000 B. C.
The glazes mostly used by the ancients and during
glazed with every known color and texture, is within
the reach of every architect, and there is no reason why,
with all of our advanced methods of manufacture and
the discovery of the lost arts of glazing, more monu-
ments of architectural beauty, such as the Academy of
Music in Brooklyn, will not be erected.
This building of Byzantine architecture, modeled in
high relief and glazed in oriental tones, covers a city
block. While the glaze color treatment has-been criti-
cised by some, this is no reason why polychromatic
glazed exteriors should be condemned. Those who
criticise this sort of work, with an idea toward con-
demning it, stand in the way of architectural and ce-
ramic progress, and incidentally in their own light.
This is the only means of beautifying our cities with a
sanitary fireproof and weather-proof material. — Herman
A. Plusc/t, in the Keramic Studio.
MAIN HUILDING, UNIVERSITY OF MINNESOTA, MINNEAPOLIS, MINN.
Clarence H. Johnson, Architect.
Two hundred and fifty thousand mottled granite brick used for facing. Made by Twin City Brick Co., St. Paul, Minn.
mediaeval times were the transparent lead, and in some
cases, as in Lucca Delia Robbia's work, the opaque tin
enamels. The best examples of polychromatic glaze
work are to be found in the Mediterranean countries.
The clear air, colored skies and changing waters furnished
inspiration for the early ceramists, and they have handed
down to posterity records of color which will neither
fade away nor be destroyed by the ravages of time.
The Greeks, not satisfied with monochrome for their
beautiful marble temples and public buildings, embel-
lished them with various colored paints; it almost seems
a sacrilege to us, but what was the effect ? They have
stood the architectural criticism of centuries, and are
now being reproduced in more durable material.
Terra cotta modeled in every conceivable design,
THE Right Hon. John Burns has introduced into Par-
liament a bill which has for its object the scientific
planning and improving of cities and towns with the aid
and authority of the Government. The general welfare,
rather than that of the individual, is to dominate. The
growth and success of this idea in England and on the
Continent, the substantial sums contributed by individuals
there to further the propaganda, the inquiries started by
very influential persons here, the proposal to have foreign
experts lecture on the subject in this country ; these things
foretell a time, perhaps, when not only individual buildings
will be designed, but also their arrangement in groups,
and their relation to each other will follow a pre-ordained
plan, when localities will be improved with a view to the
public weal and not left to the fate of land speculators.
THE BRICK BUILDER
129
REFECTORY AND BOAT HOUSE, GARFIELD PARK, CHICAGO.
W. C. Zimmerman, Architect.
Roof of Green Glaze Tile made by Ludowici-Celadon Company.
THE TOLL OF CARELESSNESS.
DURING the last five years fires in the United States
have destroyed property valued at $1,257,716,955,
or an average of $251,000,000 a year. The tabulation by
underwriters shows that the greater number of fires come
from preventable causes, such as defective chimneys and
flues, fireplaces and heating and lighting apparatus.
Carelessness in construction and in maintenance and
protection of prop-
erty by owner or
tenant is responsible
for this waste of
property, says the
Boston Herald. The
human fault cannot
be eliminated en-
tirely, but competent, honest
inspection at the time of con-
struction and at stated inter-
vals thereafter should reduce
the percentage of prevent-
able fires. New laws are
needed to keep pace with de-
velopment of the builders'
craft. But the greatest need is better
enforcement of the laws that now
exist.
and hard wood floors. Each apartment is furnished with
regulated steam heat, hot and cold water, artificial re-
frigeration and a vacuum cleaning system. In each apart-
ment are five fireplaces with independent flues. There
are facilities in the basement for washing, drying and
ironing and for storage. Two safes for valuables are
built in the walls of each apartment.
The entire facade above the third story, including the
cornice, bay windows
and balconies, is of
mat glaze terracotta,
which matches the
lower stories, which
are of marble. The
terra cotta was fur-
nished by the At-
Terra Cotta Com-
APARTMENT HOUSE, PARK
AVENUE AND SIXTY-FIRST
STREET, NEW YORK.
PLANNED for one apartment on
each floor, except the first floor,
on which, in connection with the
basement, are two duplex apart-
ments. Rooms are finished in white
enameled wood with mahogany doors
BUILDING
OPERATIONS FOR MAY.
DETAILS FOR ST. CLARES CHURCH,
NEW YORK.
N. Serracino, Architect.
Made by Atlantic Terra Cotta Company.
OFFICIAL reports of
building operations in
forty-five leading cities throughout
the country received by The
America 11 Contractor, New York,
show somewhat of an improve-
ment as the season advances. The
aggregate loss, as compared with
May, 1907, is 25 per cent, whereas
the previous month suffered a de-
crease of 33 per cent, as compared
with 1907. Only ten cities reported
an increase, ranging from 1 to 165
per cent, while thirty-five show losses
ranging from 2 to 73 per cent.
I^O
III K BRICKBU I L DKR
burned, and the one just destroyed was erected three
years later.
HOUSE AT CLEVELAND OHIO.
Harlen E. Shimmin, Architect.
Roofed with Imperial Spanish Red Tile.
Made by Ludowici-Celadon Co.
APARTMENT HOUSE, MADISON AVENUE AND
EAST FIFTY-FIFTH STREET NEW YORK.
PLANNED for one apartment on each floor. The
halls are spacious; there are separate quarters for
servants, and additional rooms may be had by the tenants
when desired. The system of heating and ventilation
gives to each room a com-
plete change of filtered air at
short intervals without the
necessity of opening the win-
dows. Heat is supplied from
the street mains of the New
York Steam Company.
MRs',
R. OSCAR HAMMER-
EIN, who intends
to lift Philadelphia to the
honor of supporting perma-
nent opera, intends also to
give that city a demonstra-
tion of speed. Demolition
on the site was begun March 30, and the impressario de-
clares that the first performance of grand opera will be
given on the evening of November 17. Mr. Hammerstein
is also something of an architect, — has been, like many
other people, "his own architect." "One of the un-
published New York oddities of Hammerstein," says the
Philadelphia North American^ " was his acting as his own
architect of the Victoria Theater, and failing to note,
until a week before its opening, that he had not provided
for a box office in his plans."
PROBABLY only a few persons now living will be
able to see the Washington Cathedral completed,
but none can fail to be impressed with the design by the
late Henry Bodley of London and Henry Vaughan of
Boston. This, as exhibited at the Corcoran Gallery in
Washington during the last few weeks, is seen to be
based upon the recognized English precedents; and while
conservative of conception, it is destined to be a great
and lasting ornament when reared upon Mount St. Alban.
THE demand for buildings in Washington capable of
accommodating large gatherings of people seems
never to be adequately filled. The Tuberculosis Con-
gress has applied for permission to use the old Pennsyl-
vania Railroad Station at Sixth and B streets. Already
a portion of this has been claimed by the Treasury De-
partment for the storage of articles intended for the com-
ing exposition at Seattle, and the National Museum
also desires it for storage
until the museum's new
building in the Smithsonian
grounds is completed. Under
these conditions certainly ac-
tivity in public building at
Washington cannot easily be
overdone.
"T — III
1 ye
SPANDRIL OVER AN ENTRANCE.
Schmidt, Garden & Martin, Architects.
Northwestern Terra Cotta Co., Makers
IS will be a record
ear for new building
at 1'rinceton University. The
expenditures aggregate
nearly two million dollars.
The new physical laboratory
is now building, the laboratory of biology and geology
will be started this month, and soon, also, the Gothic
dormitory, presented by the Class of '77. In the near
future are to be started the freshman dormitory, pre-
sented by Mrs. Russell Sage; the John R. Thomson Grad-
THE famous Drury Lane Theater in London was en-
tirely destroyed by fire on March 25. The ruins of
this, one of the most celebrated playhouses in the world,
are full of memories. It is the third time that it has
been destroyed by fire. The original building, erected
under royal patent in 1663 by Thomas Killigrew, was
burned in 1672. Two years later, when the theater was
rebuilt, the architect was Sir Christopher Wren. Colley
Cibber and his associates managed it through palmy days
and later gave way to Garrick, who, with Peg Woffington
and Kitty Clive, made the house a landmark in London's
dramatic history. In 1791 the second house was torn
down and another, tinder the management of Richard
Brinsley Sheridan, was erected. In 1809 this building
BUILDING FOR I. O. O. F., BUFFALO.
Thomas W. Harris, Architect.
Light brick used in base and trim made by Kittanning Brick Co.
THE BRICKBUILDER
I31
uate College and an additional
dormitory to be built by several
graduate classes. Two new club-
houses are about completed and a
group of ten houses for members
of the faculty. Ten more faculty
houses are under construction.
DETAIL BY F. H. KIM-
BALL, ARCHITECT.
New York Architectural
Terra Cotta Co., Makers.
HOLLOW BLOCK WALLS
WITH OUTSIDE VENEER OF
BRICKS.
A SUBSCRIBER writes as
follows: "I have built for
myself a small house in which I
have used hollow terra-cotta build-
ing blocks for the walls with a
veneer of brick on the outside, —
all of the partitions and the foun-
dation being of hollow blocks. It
is two stories
and attic above
basement. I
have had no
d i ffi c u 1 1 y in
keeping it
warm in win-
ter and find it far cooler in summer
than any house I have ever lived in.
I have had a wide experience in build-
ing houses and firmly believe that I
have solved the problem in a most
satisfactory manner. The cost, it may
be added, exceeded very little that of
wood construction."
IN GENERAL.
The City Parks Association of Phila-
delphia in its endeavor to stimulate interest
in the development, not only of new parks
for the city, but in creating public senti-
ment in favor of making better use of what
the city already has in the way of open
spaces, has appropriated one hundred dol-
lars for a prize for a scheme of decora-
tion for the City Hall Courtyard and the pavements sur-
rounding this building. They have appointed John F.
Lewis, President of the Pennsylvania Academy of the
Fine Arts; David Knickerbacker Boyd, President of the
Philadelphia Chapter, American Institute of Architects,
and Milton B. Medary, Jr., President of the T-Square
Club, to act as a Committee and Jury of Award to
arrange an open public competition, to secure plans and
drawings with the above end in view. The Commission
has associated Prof. Paul P. Cret of the University of
Pennsylvania to assist them in carrying out this work.
In the entrance to Prospect Park at Ninth Avenue
and Fifteenth Street, and the Monument to the Prison
Ship Martyrs, Brooklyn will possess two works of the
late Stanford White that are distinctly his own. The
monument will be dedicated in October. It consists of
a Doric shaft of Newport white granite, rising from a
plaza, which has the impressive dimensions of an 1 8-foot
diameter at base and 14 feet at the necking and a
height of 150 feet. At the top a platform 20 feet square
constituting an abacus will support a bronze urn 28
feet high. The shaft is pierced by a well 9 feet in diam-
eter containing a stairway and elevator. The bones of
the prison-ship martyrs will be contained in brick vaults
under the monument.
The National Society of the Fine Arts, the Washing-
ton Architectural Club and the Washington Chapter,
A. I. A., invite competitive plans for the arrangement of
stands for spectators on the route of the inaugural pro-
cession. Three prizes are offered: First, $300; second
and third, $100, each. The amount of these prizes will
be increased if the funds available permit. The follow-
ing will act as a jury: J. R. Marshall, T. J. D. Fuller,
Frederick D. Owen, Frank D Millet, John B. Larner.
Further particulars may be had if desired by addressing
Percy Ash, Secretary, Washington Chapter, A. I. A.
At the annual meeting of the
Washington Architectural Club held
June 6 the following officers were
elected: Hector McAllister, President;
Leo J. Weissenborn, Vice-President;
Charles S. Salin, Secretary; Daniel
J. Lix, Treasurer; Louis A. Simon,
Francis B. Wheaton, Waddy B. Wood,
Directors.
The well-known group of dormi-
tories of the University of Pennsyl-
vania is to be enlarged by means of a
gift from an unknown donor, in-
creasing the capacity of the buildings
to eight hundred students.
The
Rocke-
feller
I n s t i -
tute at
S i xty-
DETAIL BY J. WARNER ALLEN,
ARCHITECT.
South Amboy Terra Cotta Co , Makers, sixth
Street
and the East River,
New York City, has
received an additional
$500,000 from its
founder, which sum
will be used for the
erection of a new
building near the
present institute.
On May 23 the
Hanna Monument was
unveiled at Cleveland.
It is the work of the
late Augustus St. (iau-
dens and is supported
by a pedestal designed
by Henry Bacon.
DETAIL BY HERMAN MILLER,
ARCHITECT.
Conkling-Armstrong Terra Cotta Co.
Makers.
112
THE BRICKBUILD E R
DETAILS BY L. A. GOLDSTONE, ARCHITECT.
New Jersey Terra Cotta C'>., Makers.
The North-
western Uni-
versity has re-
ceived a gift
of $150,000 for
a gymnasium
building.
T. Wendell
Bailey, archi-
t e c t , has
opened an of-
f i c e i n t h e
American Ex-
press Build-
ing, < )klahoma
City, Okla.
Manufactur-
ers' catalogues
and samples
desired.
Robert Bickel, architect, and C. I. Auten, civil en-
gineer, have opened an office as Architects and Engineers
in Loyal Guard Building, Flint, Mich. Manufacturers'
catalogues and samples desired.
Anthony J. Blix, architect, formerly of St. Cloud,
Minn., has opened an office in the Temple Court, Minne-
apolis.
Parker Fiske, of Fiske & Co., New York and Boston,
a graduate of the Massachusetts Institute of Technology,
is an enthusiastic student of the best brick architecture
found in this country and abroad. As a result of his
study of color and texture effects, which may be obtained
and which have been obtained by an intelligent and artis-
tic use of materials, his company will issue a series of
booklets, some of them illustrated, dealing with face
brickwork. The first two of these booklets, one entitled
" Fashions in Face Bricks" and the other "Some Good
Brickwork," have just come to hand and we are glad to
commend them as well worth study.
The terra cotta used in the Academy of Music,
Brooklyn, Herts cV Talent, architects, mentioned in Mr.
Plusch's article which appears in another column of this
issue, was furnished by the Atlantic Terra Cotta Company.
The Grueby Faience Company is now engaged in
enlarging its plant and bringing it up to date in all
respects to better meet the increasing demand for
architectural faience. Karl Langenbeck, one of the
leading chemists in ceramics in this country, has been
engaged as superintendent for the enlarged plant.
The architectural terra-cotta (polychrome) used in the
Bronx Church House, Bosworth cSc Holden, architects,
illustrated in the plate form of this issue, was furnished
by the Atlantic Terra Cotta Company.
NEW BOOKS.
Architectural Composition. By John Beverley Rob-
inson. An attempt to order and phrase ideas which
hitherto have been only felt by the instinctive taste of
designers. Illustrated by eighty-eight half-tone en-
gravings and eighty-five line drawings. New York:
I). Van Nostrand Company. Price, $2.50.
Kidder's Architects' and Builders' Pocket-Book.
Fifteenth edition revised. Illustrated with one thou-
sand .engravings mostly from original designs. New
York : John Wiley & Sons. Price, $5.00.
IJecoration of Metal, Wood, Glass, Etc. Edited by
II. C. Standage. A book for manufacturers, me-
chanics, painters, decorators and all workmen in the
fancy trades. New York: John Wiley & Sons.
Price, $2.00.
Compiled and de-
New York: H. M.
Tiik Commuter's Garden Record.
signed by Amy Carol Rand.
Caldwell Company.
Bungalows, Camps and Mountain Houses. Elaborately
illustrated and accompanied by full descriptive text.
New York: William T. Comstock. Price, $2.00.
The Architectural Annual.
This work provides ameans
for the intercourse of pro-
fessional ideas by word and
illustration of men who
make the Architectural
League of America what
it is, and to acquaint those
widely separated members
more closely with the
opinions of their contem-
poraries and the product
of their skill. A large por-
tion of the edition having
ing been subscribed for by
the members of the
League, the committee an-
nounce that the remaining
volumes may be obtained
from M. A. Yinson, 205
Caxton Building, Cleve-
land. Price, $2.00.
DETAIL FOR CAFE.
G. A. Mueller, Architect.
Made by Brick Terra Cotta
and Tile Co.
KIDDER'S ARCHITECTS' and
BUILDERS' POCKET-BOOK
FIFTEENTH EDITION, REVISED
The changes in this edition consist of the correction of all typo-
graphical errors reported to the publishers, and the rewriting of Chap-
ters XXIII and XXIV. This work has been done by Rudolph P.
Miller. Professor Alvah H. Sabin has also brought the section on
Paints and Varnishes up to date.
16 mo, xix 1703 pages, 1000 figures
Morocco. J5«00
NEW YORK : JOHN WILEY & SONS
Academy Architecture, No. 32
is the latest volume and largest
one ever published of it.
CONTAINS AN INTERESTING COLLECTION OF
ENGLISH HOUSES, SMALL CHURCHES AND MODERN
SCULPTURE.
FOUR FINE COLOR PLATES.
PRICE
Postpaid
$1.75
Twenty-six back numbers in stock. Price of full set
(except Nos. l to 6), $40.00.
n.
A. VINSON, AJ7laTJa°"ed s,"es
205-206 Caxton'Bldg.
CLEVELAND, 0.
THE BRICK H U I L D E R .
VOL. 17, NO. 6 PLATE 73.
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THE BRICKBUILDER.
VOL. 17, NO. 6. PLATE 75.
DETAIL Of FRONT ELEVATION. FORDHAM HOSPITAL. NEW YORK.
Raymond F. Almirall, Architect.
T H E B R I C K B U I L D E R .
VOL. 17, NO. 6. PLATE 76.
THE BRICKBUILDER.
VOL. 17, NO. 6. PLATE 77.
~<ECO/tD FLOog PLA/iJ-
■AMPltl-ANCi .
JTABL1: ' VLP//IS
W,^d
Hay - rr-.-s l-^ I f [ [ 1 I
l_ ill J _l J _i
NURSES HOME
AND
AMBULANCE STATION.
STABLE AND MORGUE.
FORDHAM HOSPITAL.
NEW YORK.
RAYMOND F ALMIRALL
ARCHITECT
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T II E B R ICKBU ILD E R.
VOL. 17, NO. 6. PLATE 7b
BRONX CHURCH HOUSE, FUL'I'ON AVENUE AND 171ST STREET NEW YORK.
BOSWORTH & HOLDEN, ARCHITECTS.
T HE BRICK BUILD E R.
VOL. 17, NO. 6. PLATE 79.
THE BRICKBUILDER.
VOL. 17, NO. 6. PLATE 80.
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VOL. 17, NO. 6. PLATE 81.
.■}IXTM Floor ■ PlA;N-
FLOOR PLANS,
BRONX CHURCH HOUSE.
NEW YORK.
BOSWOHTH & HOLDEN
ARCHITECT
FIFTH -Floor Plaw
THE BRICKBUILDER.
VOL. 17. NO. 6. PLATE 82_
APARTMENT HOUSE, PARK AVENUE AND 61ST STREET, NEW YORK
(ALL TERRA COTTA ABOVE THIRD STORY.)
William A Boring, Architm r.
THE BRICKBUILDER.
VOL. 17. NO. 6. PLATE 83.
THE BRICKBUILDER.
VOL. 17, NO. 6. PLATE 84.
THE BRICKBUILDER.
VOL. 17, NO. 6. PLATE 85.
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THE BRICKBUILDER.
VOL. 17, NO. 6. PLATE
THE BRICKBUILDER
Volume XVII
JULY 1908
Number 7
PUBLISHED MONTHLY BY ROGERS & MANSON
85 Water Street ... Boston, Massachusetts
Entered at the Boston, Mass., Post Office as Second-Class Mall Matter, March 12, 1892.
Copyright, 1908, by ROGERS & M ANSON
Subscription price, mailed flat to subscribers in the United States. Insular Possessions and Cuba
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ADVERTISING
Advertisers are classified and arranged in the following order :
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. II and III Fireproofing .......... IV
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Advertisements will be printed on cover pages only
CONTENTS
PLATE ILLUSTRATIONS
From Work by
OSWALD C. HERING; P. B. HOWARD; CHARLES BARTON KEEN; LITTLE & BROWNE
PAGE & FROTHINGHAM; PEABODY & STEARNS; WILLIAM G. RANTOUL;
WINSLOW & BIGELOW; WYATT & NOLTING.
LETTERPRESS
IAi.K
TOWN HALL, FROM THE COURT, LUBECK, GERMANY Frontispiece
THE AMERICAN THEATER — VIII Clarence II. Blackall r.33
ARMORIES FOR THE ORGANIZED MILITIA — II Lieut-Col. J. Mollis Wells < v>
HOUSE AT WINCHESTER, MASS Illustration 1 1 48
STANDARD ARCHITECTURAL BOOKS FOR OFFICES AND LIBRARIES-I Edward R. Smith 149
EDITORIAL COMMENT AND MISCELLANY ' 5"
n
THE BRICKBVILDER
VOL 17 NO 1 DEVOTED-TOTHE-INTEREJnr-Of-ARCHITECTYRE-INMATERIAU-Or-CLW-
6\<«« <«««««««« <T^Tr<«»<««^<««^<«»»»»»»»»»»»»»»»»»»»»»»»»7y^a
T.
x
The American Theater VIII.
THEATER LIGHTING.
BY CLARENCE H. BLACKALL.
THEATER lighting as understood to-day, and es-
pecially as elaborated in this country, is practically
a development of the last twenty years, and the possi-
bilities of the electric light have been utilized in such
manner as to completely change many of the effects,
both in the house and on the stage. In the old days the
term " theatrical "
was synonymous with
something cheap and
tawdry, but the elec-
tric light, with its
flood of illumination,
makes it no longer
possible to use silicia
in place of satin, or
jute in place of velvet,
and iu our best the-
aters the workman-
ship and the materials
must now be of the
best. And our houses
demand a degree of
illumination far be-
yond anything which
was conceivable with
gas, while, at the same
time, anything like a
glare in the eyes of
the auditors must be
studiously avoided.
Theater lighting is
really a specialized
science as well as an
art, which offers all
sorts of fascinating
possibilities. The de-
mand seems to be con-
stantly increasing for
more lamps, more illu-
mination ; and where,
a few years ago, lamps of small candle power were used
by the hundred, we now use high candle-power lamps by
the thousand. It is true, in a measure, that the amount
of light is often in inverse proportion to the moral stand-
ard of the theater, but every playhouse calls for, at least,
a brilliantly illuminated entrance and foyer. Indeed, the
whole exterior of a theater should be so designed as to
LYCEUM THEATER, NEW YORK AT NIOHT.
appear at its best at night. The Lyceum Theater, New
York, is an excellent example of what can be accom-
plished in this direction, and in a different way, the
Illinois Theater, Chicago, is very effective. The problem
of exterior design is complicated by the business neces-
sity for electric signs, which must be large and of strik-
ing appearance, and
must stand out at an
angle from the front
of the building so as
to catch the eye from
a distance. These
signs are often com-
bined with the canopy
over the entrance, and
they can hardly be too
brilliantly lighted; a
thousand lights are
none too much for a
large canopy and sign,
in addition to half a
dozen flaming arcs.
The manager will
always urge the archi-
tect to be lavish with
lights at the entrance,
for that is where it
pays.
For the auditorium
itself opinions differ.
Some prefer a subdued
effect with all the
lamps shrouded by
rich stained glass, as
in the Stuyvesant
Theater, New York,
where there is hardly
light enough to see to
read the programmes,
and faces cannot be
distinguished across the hall, but most theater goers seem
to prefer the cheerful brightness of the Keith houses, the
Hippodrome at Cleveland, or the Lyric, New York. But
on one point the American public is pretty well agreed:
there must be no central chandelier to blind the eyes of
balcony and gallery, and the attempt is always made to so-
distribute the lights as to give equal illumination every-
134
THE BRICKBUILDER
CEILING LIGHTS, COLONIAL THEATER, BOSTON.
where, and to kill all shadows. Manifestly, this is not
the most artistic treatment but it is what goes.
Even with this handicap, however, monotony can be
avoided, in a measure, by using the varieties of color
afforded by electricity. In this respect we have much
to learn from abroad. The former Eden Theater, in
Paris, had strong amber incandescents throughout the
house proper, white arc lights in the corridors and circu-
lations, and ordinary incandescents in the foyer, pro-
ducing a very interesting variety of effect. In the
King's Way Theater, London, the wall lights are all
enclosed in shades of a tender old-rose tone, while the
lights on the ceiling are screened from below by strong
amber opal glass. As a general rule, all electric bulbs
should be screened in some way, either by ground glass
or by an envelope of colored glass or stuff. Shades of
the Holophane prismatic type are admirable in some
cases, giving a diffused brilliancy without the slightest
glare, which is very satisfactory. The ceiling globes of
the Colonial Theater, Boston, are of this type, likewise
the discs enclosing the lights on proscenium moldings of
the Majestic Theater, Boston. Only rarely can arcs be
used for interiors. The great Albert Hall in London
has a splendid illumination from eight flaming arcs
hung from the top of the dome, which fill the whole
vast interior with a trembling, golden blaze, but the
ordinary theater is too small for such intensity. The
Cooper Hewitt mercury vapor lamp also offers some
most fascinating possibilities, which have thus far never
been utilized.
The outside display and sign lights and all of the
lights in foyers, lobbies and stairs are best controlled
from a switchboard near or in the manager's or the ticket
office. ' All the lights in the house proper are controlled
from the stage switchboard, and in the best houses are
connected through a dimmer by which they can be turned
up or down. The amount of light required is entirely
a matter of judgment and is radically modified by many
factors such as the tones of the decoration, the character
of the fixtures and the arrangement of the lights, but in
a general way an allowance of 0.02 candle power per
cubic foot, fairly well distributed, is a safe minimum.
There should be a preponderance of light at the back of
the house rather than at the front, and more light on the
walls than on the ceiling, and the lights of the proscenium
and the box fronts are best concealed or at least carefully
shrouded.
A few special points have to be borne in mind in
planning the electric work for a theater. All the exits
are usually required by law to be marked by an illumi-
nated sign. The lights for these signs should be on an
independent circuit, not controlled by any switchboard.
An improvement would be to fit these lights with some
form of simple storage battery which would be charged
through a bypass while the plant or the main supply is in
operation, and would come into operation only when the
main source of supply is cut off, thus giving illumination
for a period of an hour or two, amply sufficient to allow the
escape of an audience in emergency. The same system
could to advantage also be applied to furnish some slight
illumination for the exit corridors. A modification of
this system has been applied to the New Amsterdam The-
ater in New York. Then there should, in addition, be
installed on the main switchboard a safety switch which
is thrown into operation by the pressure of a push button
at any one of several points throughout the house, so
that in an emergency an usher or the manager in the foyer
can instantly throw on the lights in the auditorium.
Such a switch is inexpensive and is positive in action,
but is required, unfortunately, in only a few cities.
The stage lighting of the time of Shakespeare was
limited to a few candles set along the front of the stage.
The stage lighting to-day is one of the most intricate and
sensitively organized functions of the theater. The stage
electrician is a more important man than the stage car-
penter to-day and far more depends upon him. The intro-
duction of electricity has profoundly modified our ideas
of illumination, but the end is not yet. We still cling to
SIUYVESANT*THEATER, NEW YORK.
Showing Interior Lighting
THE BRICK BUILDER
r35
the intensely artificial scheme of footlights, which dis-
torts every natural shadow on the human face, falsifies
the effect of all the features and absolutely demands the
intensive and unnatural coloring which we have come to
associate with a theatrical makeup. A few attempts have
been made to illuminate the stage from the front or from
the sides in a more natural manner. Spot lights, over-
head illumination have tried to give a more natural as-
pect to the human face. But the difficulty of successfully
illuminating the stage from the front, while at the same
time keeping the house in semi-darkness, is a very ob-
vious one, and above all, the reluctance of the theatrical
profession to accept so glaring an innovation as the
omission of footlights and the diminution of grease
These lamps, by the way, are usually colored by a stain
applied to the outside of the glass, there being a practical
difficulty in obtaining bulbs colored in the glass of uni-
form tone at a reasonable cost. This stain has to be re-
newed at frecp^ent intervals and is a troublesome feature
of stage lighting.
The depth of the stage from the curtain line towards
the back of the house is arbitrarily divided into spaces of
about three and one-half feet called entrances, with a
space of about a foot and a half left between each en-
trance. Over these intermediate, spaces are rows of
lights suspended from the gridiron in such manner that
they can be raised or lowered, the cables supplying the
wires being suspended either from the first fly gallery or,
MAJESTIC THEATER, BOSTON, SHOWING INTERIOR LIGHTING.
paint and powder will undoubtedly long stand in the way
of a rational stage lighting.
In order to understand the system of stage lighting,
reference must be had to a typical stage plan and section.
The footlights are carried across the front of the apron,
the lamps being set at a slight angle, as shown by the
detail. For a 40-foot curtain opening a good allowance
would be to put in 48 white lights, or lamps with clear
glass globes, 48 reds and 48 blues, making all the lamps
of 32 candle power. The detail shows a typical construc-
tion of the footlight trough and hood, both of which are
lined with tin and painted with white asbestos paint, this
material giving a softer reflection than would be possible
from a polished surface, besides being much easier on the
actor's eyes. It is an excellent scheme to separate the
lamps by partitions, so that the colors will not mix.
better, from the gridiron itself. These rows of lights
are called borders, or border lights, and contain the same
number of 32 - candle - power lamps that are put in
the footlights. The footlights, however, are arranged so
as to leave a free space of not less than two feet at each
end of the apron while the border lights are made the
full width of the curtain opening. In some entrances the
whole frame of the border is suspended in such manner
that it can be tilted one way or the other so as to throw
the reflections either straight to the rear or more down-
ward. The inner surface of the reflector enclosing the
border lights is painted with asbestos white paint.
Opposite each entrance and about five feet back from
the line of the curtain there are arranged usually two
floor pockets, into which connections can be plugged for
either incandescent or arc lights. The incandescent lights
1 36
THE BRICKBUILDER
ILLINOIS THEATER, CHICAGO.
Showing Exterior Lighting.
are arranged in bunches of five 32-candle-power lamps
about a circular reflecting disk and mounted on an ad-
justable extension iron stand-
ard with heavy base which
can be moved about as desired.
This is called a bunch light.
The arc lights when used are
enclosed in a box fitted with
an adjustable lens or reflector
after the manner of search-
lights and are termed spot
lights. For illuminating back
drops additional light is some-
times required from the floor.
This is obtained by plugging
into one of the floor connec-
■ tions a cable leading to a row
of lights arranged on a long
strip of wood, this strip being
placed on the floor with the
lights up, and constituting
what is known as a strip light. On the proscenium wall,
each side of the curtain opening, there is a small gallery
raised eight or ten feet above the stage level, in which
are installed not less than two connections for spot lights.
These are usually made at a capacity of fifty amperes each,
and the reason for two connections is to allow for dif-
ferent colors being used at once. On each side of the
curtain opening, on the face of the wall towards the
stage, there will be a vertical row of twenty or thirty
32-candle-power lamps on a movable strip, constitut-
ing the proscenium lights or rows.
In some theaters the borders are furnished with four
colors, white, blue, red and yellow. Also for special
effects other colored lamps can be inserted in the
sockets of either the borders or the bunch lights. It is
usual also to provide for an independent circuit to the
center of the gridiron and connected to a long flexible
cable, to which can be attached a chandelier. Con- '
nections for fireplace or other local illumination are
generally made to one of the floor plugs in an en-
trance.
Most of our theaters are now equipped for moving
picture machine connections. There should be pro-
vSlctiom thro'
footl.ight
Tbough
vided a circuit of not less than fifty'amperes' capacity,
carried to the rear of the balcony to a plug outlet.
It will be readily seen that an equipment of this
sort calls for a total number of lights on the stage,
reaching as high as ten thousand lamps in some cases,
and necessitating a very heavy consumption of electric
power. It will also be appreciated at once that the load
would be a varying one, as the lights might be turned
off and on in a twinkling, and a thousand amperes
thrown off or on without any notice. A load of this
description would be very trying to an isolated plant.
Consequently, in nearly all of our city theaters the
current is supplied by the Edison Company as being
more regular and having a greater reserve under sudden
exigency. The fluctuation in the amount of current
required is shown by the annexed diagrams, the current
being taken from readings during different plays.
The switchboard required to control all this electri-
city is necessarily quite complicated. Each color on
the foots and borders is on two separate switches;
there is a separate switch for the bunch lights and for
the arc lights on each side,
and also for the spot lights on
each side. It is customary,
also, to control all of the lights
of the auditorium from the
stage switchboard, these lights
being lowered just before the
curtain is raised. All the
switches must also be ganged
together in such way that any
group of lights in the house
or in any part of the stage can
be turned on or off simulta-
neously. Furthermore, it
must be possible to control
absolutely the intensity of the
light at all these points. For this purpose dimmers are
used, consisting of some form of rheostat through which
the current is turned, cutting down the efficiency of the
lights and consequent illumination. These dimmers are
TYPICAL STAGE PLAN, FOR LIGHTING.
THE BRICKBUILDE R
K,7
usually for a three-wire circuit, and the dimmers them-
selves have to be ganged together. In the best equip-
ments there would be two separate dimmers for each
border and for each color on each border, and for the foots
as well. And these dimmers must be so arranged that
one set can be turned up while the other is being turned
down, and moved so carefully that there will be no sudden
drop in the light. It is customary, also, to put all the
house lights on a dimmer and drop them gradually,
rather than turn them off abruptly.
The construction of stage switchboards is a specialty
which is being constantly improved, and the best board
to-day may be out of date in a very few years. There
are at present several general types in use. Quite com-
monly, the dimmer con-
tacts are all exposed on
the face of the board, and
jack-knife switches are
used ; but in the most up-
to-date board nothing ap-
pears on the face of the
panel except lever handles,
which operate by rods and
by gearings to control the
dimmers and the switches,
all of which are on the
back of the board so as to
show no sparking. A
form of board has been
devised in which the en-
tire control is by a bank
of push buttons, connected
either electrically or pneu-
matically to the direct con-
trol of the switches and
the rheostats. The latter
board is the ideal one, as
it is extremely compact,
and can be operated with
ease by a single person,
but it has not yet been
perfected in such manner
that it can be depended
upon.
As a precaution, all
main circuits on the main
switchboard should not
only be fused but should
be equipped with circuit breakers. And every board
should be equipped with a volt meter, wired to use as a
ground detector, and should also be fitted with a record-
ing ammeter. Both of these devices would be pretty
sure to save their own cost in less than one year by the
stoppage of leaks and reduction of waste.
The switchboard is usually located on the back of the
proscenium wall at one side of the curtain opening, the
electrician standing in the line of the first entrance, where
he can see the stage. He is obliged, of course, to depend
largely upon cues in changing the lights and can not
rightly judge of the stage effect. In the Metropolitan
Opera House, New York, the first entrance is left entirely
clear on each side, the switchboard being located in the
basement under the center of the front of the stage.
.Stage. Fi-oosu -*■
TYPICAL STAGE SECTION, FOR LIGHTING
The electrician has a stand in the center of the footlights,
where a shallow screen a few inches high and hardly
wider than one's head allows him a full view of all of the
stage without his being visible to the audience. Right
at his hand is a master wheel controlling the ganged levers
of the dimmers, and the main switchboard is so near
that he can speak to the two assistants who work the
switches or individual dimmers as directed by him. This
is an excellent arrangement in many ways but has the
drawback of requiring the undivided attention of three
men during the whole performance.
The switchboard of the Metropolitan Opera House is
one of the largest in the country, controlling 11,488
16-candle-power lamps, besides motors, 44 arc pockets
and 228 incandescent
stage pockets ; lamps and
pockets distributed as fol-
lows:
4880 — 16 candle power
lamps for auditorium il-
lumination and entrances,
halls, etc.
700 — 50 candle power
whites in 8 borders, 1 foot
and 2 proscenium lights.
468 — 32 candle power
ambers in 8 borders, 1 foot
and 2 proscenium lights.
468 — 32 candle power
reds in 8 borders, 1 foot
and 2 proscenium lights.
468 — 32 candle power
blues in 8|'borders, 1 foot
and 2 proscenium lights.
150 — 32 candle power
in transparent border
light.
150 — 16 candle power
in paint frame border
light.
225 — 16 candle power
in working lights on stage,
in cellar and sub-cellar.
1025 — 16 candle power
in dressing-rooms.
vSixteen quadruple
stage pockets, for bunch
lights (sixty-four pockets),
four colors, white, amber, red and blue, 15 ampere capa-
city each.
Sixteen quadruple stage pockets, for transparencies
(sixty-four pockets), four colors, white, amber, red and
blue, 15 ampere capacity each.
Sixteen single stage pockets, for arc lights on stage,
30 ampere capacity each.
Six single auto pockets, three for each bridge, for arc
lights, 30 ampere capacity each.
Twenty-two single auto pockets, for arc lights, in fly
floor, 30 ampere capacity each.
One hundred single stage pockets, for musicians'
stands.
Switches are so arranged that almost any combinations
of light and shade can be made and any gradation of tone
38
THE HRICKBU1LDKR
or color produced. There are one hundred and sixteen
dimmers in all.
Stage lighting as an art, distinct from its scientific
function, presents a very interesting study. A few illus-
trations will show some of the possibilities involved in
this medium. In the play of " The Sleeping Beauty and
the Beast" the lighting effects were quite as important
as the scenery. In one of the acts, when Beauty pricks
herself with the magic bodkin and falls into her long
sleep, she drops on to a couch in the center of the stage
and from each side a strong beam of white light is con-
centrated upon her, while the lights of the borders are
dimmed successively from the rear, the footlights finally
dropping out and leaving the stage in almost complete
obscurity except for the star-
tling relief of the effect in the
center. In the play of " Ben
Hur, " a most striking and
novel effect was produced in
the last act. The stage was
filled with some two hundred
and fifty or three hundred
people, the hero and his
mother in the foreground
waiting for coming of Christ.
The people all turn toward
the quarter from which the
Lord is expected and a broad
beam of light is thrown down
from high up in the flies, at
first so broad that it mingles
with the general illumination
of the stage. As the borders
and footlights are slowly
dimmed the broad ray of light
becomes more evident. This
is narrowed down very slowly
while the borders and foot-
lights are dimmed continually,
until the light becomes a mere
pencil of vivid illumination.
As the lights on the stage are
dimmed to the vanishing point
the pencil of light is narrowed
down until it disappears. Any
one who has seen this light
will appreciate how striking
it is and how cleverly the
supernatural is indicated rather than shown.
In a play which was produced at the Garrick Theater,
Philadelphia, a short time since, sunrise effects were very
cleverly simulated by sheets of gelatine colored an even
gradation from deep blue green, through crimsons, redsi
oranges, yellows, and a pale, clear white light, which were
drawn upward in front of a box containing a bank of
strong lights. The color illumination was thrown from
each side upon the stage and in the course of a few minutes
all the varying effects of dawn were reproduced in a
most striking manner.
In the " Wizard of Oz," the effect of a cyclone is pro-
duced by dimming the lights on the stage and dropping
a thin gauze curtain across the front, upon which is pro-
jected the illumination from a stereopticon in front of the
gallery, with a circular slide upon which are painted a
dim representation of clouds and hurling masses of vapor
and dust. The trick of course is obvious to anyone who
is familiar with the theater, but the effect is carried out
very cleverly, and the kaleidoscope and stereoscope are
used in a variety of effects to help out stage delusions.
These illustrations might be extended almost indefi-
nitely but they are sufficient to indicate in a measure the
possibilities and scope of stage lighting. As was stated
in the beginning, however, the science and art of stage
lighting has yet to be perfected. Our effects are crude
as compared to what we could imagine, and the whole
system of footlights is radically wrong. .Some attempts
which have been made to produce a more rational illumi-
nation will be described under
stage construction.
R'
TABLE SHOWING ELECTRICAL CONSUMPTION IN AMPERES.
EPR ESEN TAT1 V E
BARTIIOLDT, whose
Public Buildings Bill carries a
total appropriation of $23,-
000,000, favors a change in the
method of appropriating funds
for Government structures.
Hitherto it has been the cus-
tom for the Treasury Depart-
ment to deduct from the ap-
propriation for a building the
expenses of the .Supervising
Architect's Office. In this
manner substantial sums have
been lopped off the amount
originally intended to be avail-
able for the buildings them-
selves, and greatly to the dis-
appointment of districts where
the buildings were to be lo-
cated. Mr. Bartholdt proposes
that appropriations for the
buildings be left intact by the
Treasury, and that the cost of
designing and superintending
them, aswell as other expenses
of the Supervising Architect's
Office, be provided for in the
appropriations for the main-
tenance of the Treasury De-
partment.
A
GREAT new boulevard one hundred and fifty feet
wide has been approved for execution in Paris. It is
to be absolutely straight and is to continue the Champs
Elysees to the forest of St. Germain, ten miles distant.
It will contain foot paths, wagon roads, electric tram
lines and speedways for automobiles, but is to have no
grade crossings. It is proposed to line a portion of the
boulevard with model tenements for the small wage-
earners. This improvement is supposed to be a part of
that magnificent scheme for the further improvement of
Paris which was recently laid by the Prefect of the Seine
before the Municipal Council. It represents several
years of study by experts, and is said to involve a total
expenditure of $80,000,000.
THE BRICKBUILDER
139
Armories for the Organized Militia- -II.
BY LIEUT. -COL. J. HOLLIS WELLS.
IN designing the floors for an armory, a live load of
seventy pounds per square foot may be assumed ex-
cept, of course, for the floor of the drill hall. The usual
hollow tile construction between floor beams, 3x4 inch
spruce sleeper and 2^ x 7/% inch comb grain yellow pine
flooring, makes a very satisfactory construction for the
floors.
A very good roof covering for large span construction
is of so-called plastic material, which, if properly laid
over five-ply of heavy roofing felt and well carried up on
the walls and parapets, will prove satisfactory and be ab-
solutely watertight. Of course everything depends on
to heat this space to 6o° F. when the weather outside
is o° F.
The lighting of the building is an important item and
may be best and most economically accomplished by
direct current generators located in the cellar.
For the drill hall, the system installed in the 71st
Regiment Armory has proven very satisfactory. The
area of the floor is about forty thousand square feet.
Suspended from the lower chords of the trusses, at a
height of about thirty-five feet from the floor, are
seventy-five (75) chandeliers, each comprising five
4 ^ -ampere arc lamps, with concentric diffusers
ARMORY AND GYMNASIUM, STATE UNIVERSITY, COLUMBUS, OHIO.
Yost & Packard, Architects.
the workmanship around gutters, valleys and the flash-
ings of the parapets, but with experienced superintend-
ence and competent workmen, the old trouble with leak-
ing roofs has been entirely obviated at very small sacri-
fice of time.
If possible, an armory should be equipped with a
heating, power and lighting plant so as to be absolutely
independent of all outside connections which might be
destroyed in time of riot and insurrection.
The heating plant may be economically installed on
the one-pipe system, by running trunk lines through the
cellar and taking off therefrom the vertical risers and
branches to direct plain surface radiators. Heating coils
should be run around the inside and just below the
windows of the clere-story, so as to avoid draughts. The
heating surface for the drill hall should be sufficient
such as are manufactured by the General P^lectric
Company. Beneath the galleries, the regular system of
carbon filament, 16-candle-power lamps are used to
destroy shadow. The remainder of the building
generally is lighted about thirty square feet of floor
space to each 16-candle-power of lamps, and diffu-
sion is obtained by the use of Holophane glass through-
out. A more modern system could be installed in place
of carbon filament lamps of high voltage, by using high
efficiency lamps, either Tantalum or Tungsten, and a
glassware for diffusion, treated by a process discovered
by Major Zalinski, U. S. A., retired, which, although more
expensive in first cost, is very much cheaper in operation,
and in every way more satisfactory in general results. In
designing fixtures for this type of lamp, however, it must
be remembered that the lamp must hang vertically.
140
THE BRICKBUILDER.
All plumbing should be substantial and the work-
manship should be of the best, for the wear and tear is
something appalling. An excellent method to obtain
sanitary wash rooms and toilets for the enlisted men is
to use absolutely nothing at all absorbent. The floors
should be tiled with vitreous tile, the walls lined with
white glass, having sanitary curves at base, and the
partitions may be of slate.
The wash room should con-
tain at least forty (40) strong,
porcelain basins, with both
hot and cold water compres
sion faucets. Water closets
and urinals should be isolated
from the wash room. The
best urinal to use is of solid
porcelain, similar to those now
in use in the Hudson Terminal
and other buildings in New
York City. Water-closets
should preferably be of the
siphon jet variety, with hard-
wood seats extra strongly at-
tached and without covers,
and all may best be flushed by
some approved flushometer
GALLER1 \Mi SECOND FLOOR I'LAN.
two sets of fire lines running up through the building,
with hose of sufficient length to reach all parts of the
building.
A plunge bath is a great convenience, and of course
there must be an ample number of showers for both
officers and men, six for the former and not less than
thirty for the latter. The hot water system should, there-
fore, be carefully controlled
with thermostats and mixing
chambers, with thermometers
attached to the showers.
Proper dressing rooms adjoin-
ing the shower and plunge
bath rooms are, of course, a
necessity. The partitions be-
tween showers may be of
thick, rough glass, supported
in iron frames, and the walls
and floors tiled.
These are some of the
necessary accessories for a
first-class armory building,
but, of course, much depends
on the ingenuity of the archi-
tect, or on the amount of
money available, as to just
BASEMENT II. AN. FIRST FLOOR I'LAN.
FLOOR PLANS, ARMORY AND GYMNASIUM, STATE UNIVERSITY, COLUMBUS, OHIO.
device. Avoid, by all means, cisterns and chain and
pull devices.
The water supply is necessarily from sources outside
the building. It would be well, therefore, to tap the
street mains from two or three points, and carry these
lines to a common point in the building, usually the
suction tank, where one is required. Both hot and cold
water should be supplied to all basins, slop sinks and
showers.
In order to protect from fire, it is well to install an
electric pump of a capacity of about two hundred gal-
lons per minute, this pump is also necessary to raise
water to the highest point of the building, into a roof
tank. A careful study of the water supply system
is well worth while, and its installation should be in
the hands of an expert. There should be at least
how much further one may go. These, however, are the
general requirements for a well-equipped building.
The colonel of a regiment is its administrative head,
and requires for his individual purposes two rooms, one
reception and one office, the former, a formal room in
which may be kept the colors aud regimental trophies,
this should be about 20 x 35 feet in size, but the office
may be much smaller.
The colonel also requires a well-equipped toilet room
and a large closet. The four adjutants should have
their locker room adjoining the colonel's quarters. A
room containing four hundred square feet will do for
this purpose, but just off of this should be the adjutants'
office. In this room is transacted the bulk of the civil
and military business of the regiment. There are at
times probably ten men on duty here, and officers and
THE BRICKBU ILDER.
SECOND, THIRD, FOURTH AND FIFTH Fi.OOK PLANS.
I UJ LLI LU
I4J ■
Mill Hall
l-r-fr
n n I, n p I, n n
FIRST FLOOR PLAN.
^^"""^^^^^T
Pitle &*Nr,r *». Ml -■ i • '
141
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■ irTl I
I1ASF.MENT PLAN.
ARMORY FOR FIRST CORPS OF CADETS, HOSTON.
William G. Preston, Architect.
142
THE BRICK BUILDER
THE BRICKBUILDER
H3
IlliM ILUuR I'LAN.
SKI OND FLCOR I'l.AN.
•44
THE BRICKBUILDER.
THE BRICKBUI LDER
*45
I s
K I
I I
I I
BASEMENT PLAN. FIRST FLOOR TLAN.
armory AT CHESTER, pa. Price & McLanahan, Architects.
SI'CON I) FLOOR I'l AN.
146
THE BRICK BUILDER
non-commissioned officers are in and out. Each of the
four adjutants and each of the four sergeant-majors
require desks, and the regimental clerk has his type-
writer in this room. About twelve hundred square feet
of floor space is, therefore, the minimum that should be
allotted to the adjutants' office, for with all the file cases,
safes and other paraphernalia, this room should not be
cramped. This suite of rooms, colonel's and adjutants',
should be on the same floor as the drill hall. The lieu-
tenant-colonel requires a room about three hundred
square feet, with ample closet room and toilet. This
room, for convenience sake, should adjoin the colonel's
reception room.
The board of officers' room may be placed on this
floor, and this should be a show room, of about fifteen
hundred square feet of floor space.
The three majors require two rooms, one containing
about three hundred square feet of space, and a locker
and dressing room of about two hundred square feet.
Each company should have three rooms: a parlor, a
locker room and a small store room. In
order to describe a well-designed armory,
from the standpoint of a militia man, it
might be well, perhaps, to refer again to the
new armory of the 71st Regiment, N. (t.,
New York. The site is particularly a fortu-
nate one, because Thirty-fourth Street is
some seventeen feet higher in elevation
than Thirty-third
V
SIXTY-FIFTH REC1MENT ARMORY, ISUFFALO.
Street, so that it
was possible to
place the drill-
room floor about
six feet above the
level of Thirty-
fourth Street, and
have two stories
below. In these
lower stories are
located the com-
pany parlors,
locker rooms and
store rooms. The parlors are 21x42 feet and are located
on the floor immediately under the drill floor. In wide
corridors off the company parlors, the rifles are kept in
oak racks, which have heavy plate-glass sliding front that
can be kept locked. The line officers' locker, dressing and
toilet rooms are also on this floor, as well as the offices of
the quartermaster, the library, recreation rooms and the
store rooms for the companies. These store rooms are
interior, and are ventilated at the top into the corridors,
into which fresh air is driven by means of a fan. The
quartermaster's office is divided into three parts, one his
private office, about 10x20 feet ; the office of the battalion
quartermasters, 10 x 20 feet, and a general room of
about one thousand square feet, in which the quarter-
master sergeants handle the clothing supplies, and have
their desks, closets and other appurtenances. The
library is 28 x 47 feet in size, and is well furnished
with bookcases, tables, comfortable chairs and divans, —
each company parlor and the library has a fireplace.
The recreation room is really a mezzanine gallery,
overlooking the gymnasium and is about 32 x 126 feet.
At one end are located six billiard and pool tables, and at
the other end games may be played and the men served
with soft drinks and cigars.
The gymnasium is two stories in height and is about
35 x 80 feet and opens directly into the theater, which
is 35 x 68 feet, so that both rooms may be used in con-
junction.
This theater has a gallery. There is an entrance
direct from the street into a lobby, off from which are
hat and coat rooms and toilets. Immediately adjoining
the gymnasium are four bowling alleys of regulation
length. The company locker rooms are located on this
lower floor, immediately under the parlors, and are each
entered either from the corridors or down a flight of
stairs from the parlor. A completely equipped kitchen
with ranges, refrigerator boxes, steam tables, soup
kettles, coffee urns, etc., is located here, as are also the
showers, toilets and wash rooms for the men, and the
large store rooms and work shops for the regiment, all
of which are fully equipped.
The boiler and engine rooms are also located
on this floor, as are also the ventilating fans and
motors, which supply fresh air to the corridors
and exhaust from the rifle and pistol ranges,
which are located in the extreme easterly end of
the two lower stories.
A description of these ranges is in order.
There is the standing range and the prone range,
which is mezza-
nined above the
landing. At each
range there are six
targets on a line.
A twelve-inch
solid brick wall
divides the gym-
nasium and the
theater from the
ranges, which are
about one hun-
dred and sixty-six
feet in length,
from the firing point to the targets. Heavy steel plates
protect the ends and the ceilings wherever necessary,
and by means of inclined steel plates with apertures
in them stray shots are held from passing down the
range.
At the extreme end of the range beyond the targets
are located twelve bullet catchers 4 ft. 6 in. in height
each. These catchers are made of half-inch steel plates
bent spiral in shape, so as to catch the bullets and allow
them to drop easily into pockets beneath.
In front of the targets are built masks of 10 x 10
inch spruce timbers, with openings through sheathed
with two-inch spruce planking spiked to the timbers.
The floors of these openings and masks extend over the
markers' pit up to the target frame so as to form a plat-
form. The object of these masks is two-fold : to protect
the markers in the pits, and to prevent richochet shots
from striking other targets than the one the firer
intended.
The frames for targets are of heavy spruce timbers
and have white pine pulley stiles and target frames with
George J. Metzger, Architect.
THE BRICKBUILDER.
'47
pulleys and cords. Each target has a double frame, one
to counterbalance the other, so that when one is up the
other is down. These frames must be accurately set and
are locked in place automatically.
At the firing point there are ash partitions with
splayed openings and hinged shutters. In these parti-
tions also are the holes and boxes for used ammunition,
brackets and apertures for the stationary telescopes, slid-
ing partitions which may be used to form compartments
separating one shooter from the other. The walls at the
firing point are sheathed with ash. Just beyond the par-
tition above described and about twenty feet toward the
targets there is erected a mantlet made of sheets of tin
of his telescope, spotting his own shot, but the value of
the shot is conveyed to the scorer by means of a very
ingenious contrivance, the basic patents of which are con-
trolled by the Western Electric Company. In this par.
ticular case one man scores for six.
In the pit there are five push buttons for each target,
and these buttons operate a small lamp which illuminate
vari-colored small discs, which are fixed in brass plates.
There are six of these plates and five discs in each plate,
each disc corresponding in color to the marking disc used
in the pit. These plates and discs are all contained in
what appears to be an ordinary roll-top desk. At the
moment the marker presses the button in the pit a small
DRILL HALL, ARMORY FOR FIRST CORPS OF CADETS, BOSTON. William G. Preston, Architect.
soldered together and fastened to 6 x 6 in. hemlock stud-
ding. This tin mantlet has apertures corresponding to
the openings in the partition at the firing point. Between
this partition and the mantlet are placed the ducts which
ventilate the firing point. The targets are brilliantly
lighted by electric lights and reflectors. At the firing
point each man controls his own light. By means
of telephones the scorer may communicate with the
marker. ,
A most interesting system of marking has been
adopted with most satisfactory results. After a man
has fired, the target is changed, the shot marked in the
usual way, by means of a disc, the man firing, by means
lamp is lighted at the firing point, and this light continues
to burn until the scorer pushes his button, which puts out
all lights on this particular target and indicates to the
man firing and to the marker that the shot has been
scored and the target cleared. This entire apparatus is
operated by a small motor generator set, and is compara-
tively simple and most satisfactory in operation.
The pistol range is located above the rifle range. It
has simply six lines of wires, which are to all intents and
purposes trolleys on which paper targets can be made
to travel back and forth.
This range, too, is protected at all points by heavy
steel plates.
i48
THE BRICKBU I LDKR
Will
rnn
THE BRICKBUILDER
149
A List of Standard Architectural Books
for Offices and Public Libraries.
BY EDWARD R. SMITH.
{Reference Librarian, Avery Architectural Library,
Columbia University. )
[It is the intention in this series to give a list of elementary and
fundamental books on architecture that architects, the younger men
especially, who contemplate the starting of a library, and librarians
who wish to add an architectural section, may be enabled to obtain
easily data which will be helpful. The parts of the series will be pub-
lished on two sides of one leaf of The Brickhuildek each month and
so arranged that the leaves may be easily lifted for separate binding.
The measurements of books will be given according to the metric
system. Key to description of books: .23x.16x.082 — length, breadth,
thickness; 14 + 1443 p. — number of pages; ill. — illustrations in text;
pi. — plates. The prices are those given at the date of publication with
certain easily recognizable exceptions. — Editors.]
THE professional bibliography is large. A broad
discussion would be interesting, and especially of the
monumental works which have been developed in every
country, and which are most desired by the collector in
the end. These give the greatest charm and value to an
architectural library; but before they are reached, the
student should become familiar with the less preten-
tious, but still important, books which may properly
underly the practical working of the profession.
Various excursions might be undertaken with profit ;
but for the present it will be wise to bind our steps to a
narrow and well-trodden path.
Some works of the standard elementary classes have
come into the market recently; but, for the most part,
the titles in our list are old friends, which have proved
their value by long acquaintance. They are inexpen-
sive also, and within the reach of almost every office and
library.
Dictionaries.
Joseph Gwilt, F. S. A., F. R. S. A. (b. 1784 d. 1863).
An Encyclopedia of Architecture, Historical, Theoreti-
cal and Practical; illustrated with about seventeen hun-
dred engravings on wood. Revised, portions rewritten
and with additions (in 1888) by Wyatt Papworth, Mem-
ber of Council of the Royal Institute of British Archi-
tects, etc. London & New York ; Longmans, Green &
Co. ; 1899; 8° (.23 x .16 x .082), 14+ 1,443 P> ill- 1 l pl->
cloth, 2 is.
Gwilt's Encyclopaedia is the earliest attempt to dis-
cuss in one volume all the elements of architectural in-
formation. The last of its nine editions, that of 1888 re-
printed in 1899, is too early to include all information
now needed; but in general matters, which underly all
architecture and which do not vary greatly with time,
Gwilt is useful. The little treatises which it contains on
geometry, perspective, conic sections, and especially
that on shades and shadows, a matter in which Gwilt
was much interested, may save one the trouble of carry-
ing special books on those subjects.
Russell Sturgis, A. M., Ph. D., Fellow of American
Institute of Architects; and many Architects, Painters,
Engineers, and other expert Writers, American and
Foreign. A Dictionary of Architecture and Building,
Biographical, Historical and Descriptive. New York and
London, the Macmillan Co.; 1901-02 (Later ed., 1905);
4to (.27 x .21 x 05), 3 vol., ill., 106 pi,; cloth, $18.00
net.
This book is, undoubtedly, the most convenient in its
field. Its editor has especially preserved his sense of
proportion. Occasionally an article is allowed the im-
portance of a monograph, but for the most part one finds
under the several headings simply so much as is needed
for immediate service and is not forced to make his own
abstractions. Space is thus left for an abundance of
entries, which cover the field of architectural inquiry
most completely. " Fitness for ready consultation " is
secured by many cross references.
The Architectural Publication Society (founded in
1848, dissolved after the completion of the Dictionary).
The Dictionary of Architecture. London, 1853-92; small
fol. (.38 x .28 x .06 to .035) ; 8 vol 2,300 p., text, ill., 223
pi. Detached essays and illustrations issued during the
years 1848-52. London, 1853; small fol. (.38 x .28 x
.03), various paging, ill., 28 pi. The entire work, includ-
ing the " Detached Essays and Illustrations," was issued
originally to subscribers only, in parts for ,£21. All
parts not distributed were destroyed. A copy was offered
by Batsford in 1900 for ^"17 10s. The Architectural Pub-
lication Society's Dictionary is the most extensive book of
its class. Although intended to deal thoroughly with
English matters it is perfectly general. An important
feature is the distribution of abundant bibliographies,
which show extensive research in periodical literature.
The "Detached Essays and Illustrations" consist of a
series of extended articles which are sometimes bound in
place with the other material.
Thomas Dinham Atkinson, A. R. I. B. A., Architect.
A Glossary of Terms used in English Architecture. Lon-
don, Methuen & Co., 1906; rsmo (.17 x . 1 1 x .025), 24
+ 320 p., 265 ill., cloth, 3s. 6d. net.
This little volume, illustrated by pen sketches, may
well be given a place on the shelves of a limited library.
Paul Planat, Director of Construction Moderne and
author of many works on architecture, etc. Encyclopedie
de TArchitecture et de la Construction. Paris, Dujardin
et Cie. No date, 4to (.27 x .2 x .05), 6 vol. in 12; ill., 640
pi., 360 fr. unbound.
This book is loosely made up in the characteristic
French way and its articles approach occasionally to the
type of monographs, but the plan of the work is broad,
and its tone decidedly modern, much space being given
to utilitarian and structural matters, with which the edi-
tor of Construction Moderne is especially familiar. The
illustrations are sketchy reproductions of more careful
originals, -but they are abundant and well selected.
Historical Manuals.
Alfred D. F. Hamlin, A. M., Professor of the History
of Architecture, Columbia University. A text-book of
the History of Architecture London and New York;
Longmans, Green & Co , 5th ed. 1904; crown 8° (.195 x
.14X.033), 25+453 p., ill., pi., cloth, $2. (College His-
tories of Art. )
Professor Hamlin's compact history covers the entire
field with balance and regard for proportion. The chap-
ter form is good for his purpose, a bibliography includ-
ing both general and special works, a discussion of
i5o
THE BRICKBUILDER
general development, a discussion of typical buildings,
and finally a larger list of monuments. The style is noted
as a model of clear condensation.
James Fergusson (b. iSocS, d. i8<S6). A History of
Architecture in all countries, from the earliest times to
the present day. 3d ed. R. Phenc Spiers, editor.
London; John Murray, 1891-99; Vol. 1, 1893; 8° (.2.5 x
.17 x .056), 5 vol., ill., 5 pi., 2 maps; £6 4s. Vol. 1 2,
History of Ancient and Mediaeval Architecture. Vol. 3,
History of Indian and Eastern Architecture. Vol. 4-5,
History of the Modern Styles of Architecture.
The " History of Architecture " is still the most use-
ful historical manual in any language. It is a source of
constant wonderment that the author managed to study
critically so much building; and still more, that he col-
lected such an unlimited supply of excellent illustrations,
all laboriously engraved on wood. Phenc Spiers's
revision has brought the old book pretty well up to
date.
Franrois Auguste Choisy: Professor of Architecture
at the Ecole des Ponts et Chaussees, Paris, and author of
many works on architecture. Histoire de l'Architecture.
Paris, Gauthier-Villars, 1899; <S° (.24 x. 17 x. 04), 2
vol., 866 ill. by J. Sulpis; 40 fr. unbound. A most
unique historical manual is this of Choisy, dealing
entirely with the development of types, and illustrated
exclusively by diagrams drawn in geometric projection.
In a work like this the individual monument counts for
little. The principles underlying groups of monu-
ments and their characteristic forms are under consid-
eration.
Banister Fletcher, F. R. I. B. A. (b. 1835 d. 1899).
Late Fellow of, and Professor of Architecture in Kings
College, London; and Banister F. Fletcher, A. R. I. B. A.
A History of Architecture on the Comparative
Method for the Student, Craftsman and Amateur.
4th ed. Revised and enlarged. London, B. T. Bats-
ford; New York, Scribner, 1901 ; 8° (.22 x .15 x .06),
42 + 1 + 521 p., 256 plates comprising 1,300 illustrations.
For the use of professors, lecturers and others the 128
plates of drawings of construction and monumental
detail contained in this work are issued as large lecture
diagrams (40 in. x 27 in.), and lantern slides of the
whole of the plates are also obtainable. Particulars of
these may be obtained from the author.
The Fletcher manual has a more definite form than
books generally of this class. Each chapter, or rather
subject, is cast according to a prearranged " System of
Classification": 1. Influences, 2. Architectural Character,
3. Examples of Building, 4. Comparative, 5. Reference
Books. The fourth heading is quite interesting, showing
in tabulated form the changes which occur in architec-
tural motives from period to period.
Russell Sturgis, A. M., Ph. D., F. A. LA., editor of
a "Dictionary of Architecture and Building." A His-
tory of Architecture; Vol. 1. Antiquity. New York,
the Baker Taylor Co., 1906; 4to (.27 x .18 x .048),
23 + 426 p., frontispiece, ill., pi. ; cloth, $5.00. Mr. Sturgis's
History of Architecture, of which only one volume has
appeared, promises to equal his Dictionary in usefulness.
It will replace the old treatise of Fergusson, than which,
of course, it is more scholarly and comprehensive. The
photographic cuts furnish a rare body of illustration.
Salomon Reinach : Apollo, Histoire ge'nerale des arts
plastiques. From the French by Florence Simmonds;
The Story of Art through the ages, an illustrated
Record. New York, Charles Scribner Sons, 1905;
8V (.215 x . 14 x .05), 11 +316 p. nearly 600 ill., cloth,
£2.00.
Reinach's Apollo seems too general to be mentioned
in an architectural bibliography; but the book is so
good and the architectural part so considerable that the
student may wisely add it to his collection.
General Manuals.
John Beverly Robinson, Member of the American
Institute of Architects. Architectural Composition.
New York, D. Van Nostrand Co., London, B. T. Bats-
ford, 1908; 8° (.22 x .16 x. 025), n+234 p., ill.; cloth,
Mr. Robinson's discussion of architecture along the
lines of simple principles stands almost alone in the
literature of architecture. It is concise, intelligent
and should be quite indispensable in an architectural
library.
Julien Guadet (b. 1834, d. 1908). Inspecteur ^ne'rale
des batiments civils, Professeur et membre du conseil
supc'rieur a l'Kcole des Beaux-arts. Elements et theorie
de l'Architecture; cours professc a l'Ecole nationale et
speciale des Beaux-arts; Ouvrage honorc d'une souscrip-
tion du ministre de l'instruction publique et des Beaux-
arts, Paris. Paris, librairie de la Construction Moderne,
1902-05; 4to (.27 x .20 x .04), 4 vol. ill. pi.: 100 fr.
unbound.
I'rof. Guadet's work should certainly be translated
into English. The architectural profession in America
is becoming dependent upon it as upon almost no other
book. It is a "complete body of Architecture" more
fundamental and thorough than any yet published.
Eugene Emmanuel Viollet-le-Duc (b. 1814, d. 1879).
Entretiens sur l'Architecture; translated by II. Van
Brunt, second vol. by Benjamin Bucknall: Discourses on
Architecture. Boston, James K. I >sgood & Co., 1875-81,
4to (.26 x . 18 x .045), 2 vol., 20 + 1 + 5 1 7 p., ill., pi. ; cloth,
$10.00.
The " Entretiens " of Viollet-le-Duc may well take a
place among our general works as a broad and thorough
discussion of principles in all styles and periods. It
is fortunate that we have such a good American trans-
lation.
Handbuch der Architektur, unter Mitwirkung von
Fachgenossen, hrsg. von J. Durm, II. Ende, E. Schmitt
und H. Wagner, various editions. Darmstadt, 1S80-96;
8° (.27 x . 19 x .04), ill., pi. Div. 1, Allgemeine Hochbau-
kunde; Div. 2, Die Baustile; Div. 3, Hochbau-construc-
tion ; Div. 4, Entwerfen, Anlage und Einrichtung der
Gebiiude. Price altogether about $186. More than 40
vols. ; not yet completed.
Although the Handbuch der Architektur is beyond
the reach of many of our readers, both on account of its
language and price, it is mentioned as a valuable book of
its kind; a glorified manual in which each chapter is de-
veloped into a special monograph by a specialist of stand-
ing. These monographs may be bought separately.
Some of them have passed through several editions and
might well be translated into English.
THE BRICKBUILDER
»$«
Editorial Comment and
Miscellany.
THE cost of building has now been substantially re-
duced by a number of causes. Steel and iron have
gone down, and, generally speaking, lumber is being sold
for 10 to 12 per cent less than a year ago. General con-
tractors are willing to take less profit than at any time
within the last few years and subcontractors are taking
work at figures to serve little else than to hold their work-
ing organization together. Although wages for labor are
nominally the same, competition among mechanics to
hold their places renders the labor better and, therefore,
cheaper. From the "American Lumberman" is taken
the following comparison of prices for building in 1907-
08 representing actual figures obtained by a party who
wished to build.
Masonry and grading,
Plastering,
Plumbing,
Heating,
Painting.
Lumber $4 to $6 a thousand less.
The 1907 prices were made during the latter
part of that year and the 1908 prices during June.
WITH the intention of
aiding tbe transaction
of real estate business in
New York City and State the
Legislature at Albany has
passed the Torrens Land
Title Registration Bill.
This provides for the State
to do what private compa-
nies have done since title insurance has been found nec-
essary by the great maze of transfers made in the subdi-
Per cent
1907
1908
of Decrease
>.329
$944
29.0
585
3*3
46.8
640
500
21.9
73°
57o
22.0
53°
400
24-5
DETAIL
BY
J.
GARAGE, CINCINNATI, OHIO.
Samuel Hannaford & Sons, Architects.
Exterior of White Mat Glazed Terra Cotta made and set by
Atlantic Terra Cotta Co.
viding and development of congested districts. The
scheme, which is already in operation in several states,
is scarcely more than an experiment. The marketability
of a title will only be increased by the owner's
taking the precaution to register it on the statute
books, which in most cases
he will not do; and, after all,
the efforts of a private cor-
poration to insure its patrons
against possible loss will al-
ways inspire such confidence
that private title insurance
business will thrive whether
there is state insurance or
not The cost of registrating
a parcel of land under the new law will be about fifty
dollars.
SOUTH AMBOY TERRA COTTA CO,
Warner Allen, Architect.
NEW York has followed the example of other cities in
installing high pressure water mains. The in-
ability of the Fire Department to cope successfully with
conflagrations there has operated to maintain high insur-
ance rates. The mains cover the district between West
Twenty-Third, Chambers, West Broadway and the Hud-
son River which has hitherto been one of great menace
to the city. The method of getting the water is inter-
esting. It is" supplied by the New York Edison Com-
pany, which is under contract to fill the mains with
water at high pressure within three minutes after an
alarm is given. The company is penalized $5,000 for
every minute's delay. As many as twelve of the enor-
mous engines at the company's riverside power plants
are coupled together and supply the pressure by which
engineers declare the water can be thrown to the summit
of the highest structure in New York.
WINDOW SEAT EXECUTED IN DULL GLAZED FAIENCE
BY HARTFORD FAIENCE CO.
Willard T. Sears, Architect.
IS there any limit to the skyscraper madness of New
Yorkers ? asks the Boston Herald. The Equitable
Life Assurance Society, not to be outdone by their com-
!5*
T II E U R I C K B U I L I) E \<
petitors in business, the Metropolitan Company,
are planning a 62-story building whose top will
be 909 feet above the curb on Broadway and
over 200 feet above the Metropolitan structure in
Madison Square. Engineering skill now fur-
nishes a reasonable guarantee of structural
safety. Fireproof construction and precautionary
devices for the elevators, reduce the possibility of
interior disaster to a minimum.
But there is an outside interest to
be considered. What is the effect
of the skyscraper upon the value
of the adjoining property ? What
will be the atmosphere in which
people on the lower levels must
live, when the streets become
narrow defiles between towering
precipices of steel and masonry ?
Does business growth demand
these abnormal structures, or is the public welfare being
sacrificed to gratify an ambition to outdo one's neigh-
bor's in spectacular
architecture?
V NORTHWESTERN TERRA (nil A
Toledana & Wogan, Architects.
to insure the attendant having proper super-
vision of all readers and visitors. There is
much to be gained by the public being per-
mitted to view the books themselves, to see
what books exist on a given subject and to
make comparisons between them. In a
great national library, the value of which lies
in its completeness, the open shelf arrange-
ment is manifestly inapplicable,
likewise it must not be adopted
for collections of unusually valu-
able or handsomely illustrated
works; but to render most service-
able the many thousands of books
of ordinary form, the library
should bring them into as direct
contact with its public as possi-
ble.
AT the annual
conference of
the American Li-
brary Association at
Minnetonka, Minn.,
the "open shelf
craze," as librarians
call it, was consid-
ered. A great num-
ber of thefts due to
this arrangement of
books was reported.
Not one objection
raised against it,
however, can be con-
sidered valid. Many
of the libraries
NEW MUNICIPAL BUILDING, WASHINGTON, D. C.
Cope & Stewardson, Architects.
Fireproofed throughout with Terra Cotta Hollow Tilt: by National Fireproofioj
which have adopted the open shelf were never designed
by their architects to have the books thus freely accessi-
ble to the public. Nearly all the thefts of books reported
could have been prevented by the planning of aisles so as
OFFICIAL building reports from some fifty leading
cities of the country for the month of June, re-
ceived by the Ameri-
can Contractor, New
York, show epiite dis-
tinctly that building
operations are im-
proving, the loss as
compared with June,
1907, being only 15
per cent. Substan-
tially the same cities
reported a loss of 37
per cent for March,
7,7, for April and 19
for May of the pres-
ent year, as com-
pared with the cor-
responding months
of last year. New
York shows a loss of
only 13 per cent, a
gain of 35 per cent in Manhattan, being offset by losses
in Brooklyn and the Bronx. The following figures
show the percentage of gain in leading cities: Balti-
more, 35; Birmingham, 57; Cincinnati, 5; Columbus,
HOUSE FOR MR. BLACK (CARTER, BLACK ,v AVERS).
Salt-glazed terra cotta blocks for foundation to first-floor beams; above that a heavily scored turra-cotta block.
the right shows the walls before the stucco finish was applied.
The illustration at
THE BRICKBUILDER
!53
DOUGLAS PARK REFECTORY AND BOAT HOUSE, CHICAGO. W. C. Zimmerman, Architect.
Roofed with Green Glaze Tile made by Ludowici-Celadon Company.
34; Grand Rapids, 32; Milwaukee, 62; Omaha, 4; St.
Paul, 43.
The percentage of loss in leading cities is: Buffalo,
11; Chicago, 6; Cleveland, 43; Detroit, 15; Hartford, 20;
Indianapolis, 55; Louisville,
53; Los Angeles, 50; Minn-
eapolis, 12; Memphis, 41;
Mobile, 34; New Haven, 59;
New Orleans, 32; Philadel-
phia, 5 ; Pittsburg, 47 ; St.
Louis, 36 ; San Francisco, 32 ;
Seattle, 2; Spokane, 53; To-
ledo, 54. Taking into account
the circumstance that the
presidential election occurs
during the present year, the
gradual decrease of total
losses from 37 per cent in
March to 15 per cent in June
is decidedly encouraging.
The decrease in the price
of structural steel seems to be
producing an effect, notably
in Manhattan, while the loss
in Chicago is but trifling.
WORKS OF THE NEW YORK ARCHITECTURAL TERRA COTTA CO
RAVENSWOOD, LONG ISLAND CITY, N. Y.
Showing the New Suspension Bridge which crosses the East River
it Blackwell's Island.
A COMPARATIVELY new problem for architects is
suggested by the preparations to erect a huge
clock on a roof-top in Jersey City, to
serve as a beacon for travelers upon
the river and harbor; also as an adver-
tisement of the concern providing it.
But why a roof-top? The dial of the
huge timepiece is to be twenty-eight
feet in diameter, thus exceeding by
five hundred and forty-four square feet
the area of the City Hall clock in Phil-
adelphia, which has long held the
world's record for size. That so large
an object should be supported in a
casual sort of way by a roof-top, shows
a lack of comprehension of the archi-
tectural possibilities at hand. A digni-
fied tower especially erected to support
the clock would greatly add to the im-
port and effect of the undertaking.
DETAIL BY WINKLE TERRA COTTA CO.
Widmann & Walsh, Architects.
IN GENERAL.
In the competition for the Springfield, Mass., City
Hall, eighty-three sets of drawings were submitted.
Edward Wanton Robinson
of the Hartford Faience Co.
has been elected a member of
the Royal Society of Arts,
England.
Louis Lenz, with H. C.
Koch & Son, Milwaukee,
Wis., has just returned from
a trip devoted to study,
through France, Germany
and Italy.
Robert Brown, architect,
for a number of years con-
nected with A. H. Davenport
Co., Boston, has resumed
the practice of architecture
with offices at 85 Devonshire
Street, Boston.
The Architectural League
of America will hold a com-
petition to obtain designs for
a seal. Two prizes are offered: first $25, second $10.
For particulars apply to H. S. McAllister, 729 15th Street,
N. W., Washington, D. C.
The St. Louis Public Library Board,
of which John Lawrence Mauran is a
member and Prof. F. M. Mann of
Washington University, consulting
architect, held a competition during
April for the selection of architects
for two branch library buildings. One
was awarded to Mariner & La Beaume
and another to Hellmuth & Spiering.
Of all the electric lighting schemes
appearing in New York at night the
Singer Tower enjoys the most novel
and impessrive. The structure ap-
pears amid a blaze of light which is
supplied from below and from the
surmounting cornice, many of the
'54
T II E H K I C KB U I L DE R.
DETAIL ISV NEW JERSEY TERRA COTTA CO.
Shampan & Shampan, Architects.
lights them-
selves being
hidden.
The draw-
ings submit-
ted to the
Bureau of
Buildings for
thesixty-two-
story build-
ing proposed
by the Equi-
table Life
Assurance
Society are
seventy in
number. ( >f
these thir-
teen large
drawings present the plumbing and drainage equipment
in which i,<;(>7 separate lavatories are shown and [69
drinking fountains for the tenants.
The collapse of several old buildings along the river
front at St. Louis, occasioned by the excessive rise in the
river, has resulted in renewed agitation by the news-
papers of the proposition for a park along the river front.
This matter has already received the attention of the
Civic League of St. Louis, which published during 1907
plans for just such an improvement.
Each year the Indian Industrial School at Carlisle, Pa.,
expends thousands of dollars for tools, appliances and
materials of construction, for theequipping of their shops
and the erecting of new buildings. Manufacturers' cata-
logues and samples are desired by the superintendent.
Conspiracy is a charge that is always difficult to prove
upon legal grounds, especially in Pennsylvania, witness
the acquittal of the Harrisburg Capitol grafters. Proof
of a sort may be wanting in the eyes of the gentlemen of
the law; but that there is guilt on the part of the men
recently tried is nevertheless the firm conviction of every-
one in the community. This feeling is only intensified
by the handshaking and Godspeed given the prisoners
by the Harrisburg Court.
The Grant Monument in Washington is to be placed
where the House of Representatives did not want it but
where Mr. McKim's Park Commission does. Objections
were made to the necessary sacrifice of some trees of
historical or scientific interest in the Botanical Gardens;
but the far greater consideration of the relation of the
monument to the full development of the city, and espe-
cially that section which will form the new and enlarged
Mall, has been weighed and has governed the placing of
the new monument.
Progress upon the Cathedral of St. John the Divine,
the corner stone of which was laid in 1092, is now
marked by the completion of the roof of the choir. ( >f
the chapels which surround this and which are intended
to represent the various racial elements of the New York
Diocese, the Belmont Chapel, officially known as
"St. Saviour's," is expected to be ready for services in
( )ctober. Good progress is also being made on the ad-
joining Chapel of St. Columba. Future
progress depends entirely upon the con-
tributions received, but funds already
in hand will render it possible to have
the crossing completed by a year from
next November.
The Twin City Brick Co. of St. Paul,
Minn., is placing upon the market a
new brick called the " Autumn Leaf,"
which resembles the variation in the
color of autumn leaves. Two build-
ings now in course of construction will
be faced with these bricks, a Fire
Engine House, St. Paul, and Insane
Asylum at Rochester, Minn. The color
effects are so combined in the indi-
vidual bricks that they impart a soft
rich tone to the entire wall. They
have practically been accepted for
several important building operations
in New York City and Philadelphia.
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WANTED — Architectural Draftsmen. Pay from $2.80 to $5 52
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Academy Architecture, No. 32
is the latest volume and largest
one ever published of it.
CONTAINS AN INTERESTING COLLECTION OF
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SCULPTURE.
FOUR FINE COLOR PLATES.
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H. A. VINSON, **rc!?na*an,,cd s'"es
205-206 Caxton Bldg. CLEVELAND, 0.
THE BRICKBU I LDER.
VOL. 17, NO. 7. PLATE 87.
HOUSE AT LEXINGTON, MASS.
Page & Frothingham. Architects.
THE BRICKBUILDER.
VOL. 17, NO. 7. PLATE
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THE BRICKBUILDER.
VOL. 17, NO. 7. PLATE 89.
TOWARD THE ROAD.
TOWARD THE GARDEN.
HOUSE. BEVERLY FARMS. MASS William G. Rantoul, Architect
1
THE BRICKBUILDER.
VOL. 17, NO. 7. PLATE 90.
STABLE AND GARAGE
WITH FLOOR PLANS OF HOUSE
HOUSE, BEVERLY FARMS, MASS.
WILLIAM G. RANTOUL. ARCHITECT
THE B R I C K B U I L I > E R .
VOL. 17, NO. 7. PLATE 91.
HOUSE AT DOVER, MASS. Winslow & Bigelow, Architects
THE BRICK BUILDER.
VOL. 17. NO. 7. PLATE 92.
HOUSE AT
OVERBROOK, PA.
CHARLES BARTON KEEN.
ARCHITECT
loor pli
r
r* *—i
Floor p
THE HRICKBU I LDER.
VOL. 17, NO. 7. PLATE 93
VIEW OF THE FRONT
HOUSE FOR HENRY C. FRICK. ESQ., PRIDES CROSSING MASS
Little & Browne, Architects.
THE BRICKBUILDER.
VOL. 17, NO. 7. PLATE 94
DETAIL. HOUSE FOR HENRY C. FRICK, ESQ., PRlDES CROSSING. MASS
Little & Browne, Architects.
THE BRICKBUILDER.
VOL. 17, NO. 7 PLATE 95
VIEW FROM THE SHORE.
END Of- MAIN DRIVEWAY
GARAGE AND POWER HOUSE
HOUSE FOP HENRY C FRICK. ESQ., PRIDES CROSSING, MASS.
Little & Browne, Architects.
THE BRICKBUILDER.
VOL. 17, NO. 7. pLATE %_
VIEW FROM THE ROAD.
HOUSE AT LEXINGTON. MASS.
Oswald C Hering, Architect
H&&,
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THE BRICKBUILDER.
VOL. 17, NO. 7. PLATE 97_
DETAILS OF ENTRANCES.
SECOND FLOOR PLAN.
FIRST FLOOR PLAN.
HOUSE AT LEXINGTON. MASS Oswald C. Hering. Architect.
THE BRICKBUILDER
VOL. 17, NO. 7.
PLATE
ft:#. •
HOUSE AT ROLAND PARK, MD.
WYATT & NOLTING, ARCHITECTS.
nk-
Q
F'R/t Floor. Plat
[M ftJ
yE-coND-FL°oR. Plan
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THE BRICKBUILDER.
VOL. 17, NO. 7. PLATE 99.
House at Dover, Mass.
P. B. Howard, Architect.
-J>£COS/D- fi.OO& -P/^A//-
PLANS AT RIGHT
HOUSE AT CONCORD.
PLANS AT LEFT
HOUSE AT DOVER
SMA3S
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HOUSE AT CONCORD, MASS Howard & Dudley, Architects.
THE BRICKBUILDER.
VOL. 17, NO. 7. PLATE 100.
HOUSE AT NEW HAVEN, CONN
Peabody & Stearns. Architects.
THE BRICKBUILDER
Volume XVII
AUGUST 1908
Number 8
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CONTENTS
PLATE ILLUSTRATIONS
From Work by
ANDREW, JAQUES & RANTOUL; CHARLES C. HAIGHT; LORD & HEWLETT; MURPHY &
HINDLE; GEORGE BISPHAM PAGE; PERKINS & HAMILTON;
PILCHER, THOMAS & TACHAU; POND & POND.
LETTERPRESS
APSES, CISTERCIAN MONASTERY, CHORIN, GERMANY Frontispiece
ARMORIES FOR THE ORGANIZED MILITIA — III .' Lieut.-Col. ./. ffollis Welh 155
THE AMERICAN THEATER — IX Clarence H. Blackall 163
STANDARD ARCHITECTURAL BOOKS —II Edward R. Smith 167
BRICKWORK IN EAST ANGLIA "69
EDITORIAL COMMENT AND MISCELLANY 17a
lw«<<<<<v<»<<<<<<<<<<<<<<<<<<<<<<K<<«{<^<<<<<<<'>>>>>>y>>>>>>v>>>>v>>>>>>>^>>>>>>>>>>>>>v>vv>>>vff^wyyHl
THE BRICKBVILDER
VOL. 17
DEVOTED -TO THE-lNTERE5TfOF-ARCHITECTVRE;-]N MATERIAU-OF-CLAY-
AUGUST 1908
g i<<<<< <<<<<<<<<<<<<<<<<<<<<^<<<<<«<<<<<<<<<<<««»»»»»»»»»»»»^»»»»»»»»»»»>Tyyna
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Armories for the Organized Militia — III.
BY LIEUT. -COL. J. HOLLIS WELLS.
( Concluded. )
THERE are three departments which have not as yet
been touched on. The Surgical Department may be
located on a floor above the colonel's quarters. This de-
partment requires not less than three rooms: one, the
main office in which the regimental surgeon has his locker,
the examining room, in which are the lockers of the as-
sistant surgeons, and the room for the hospital corps.
Ample locker and closet space must be laid out for this
department and they should also have a r.oilet room.
The ordnance officers require one room of about
three hundred square feet, and last, but not least, the
commissary should have plenty of room.
The social side of the National Guard officers' life is
not so great but that some consideration should be given
to his comfort. The commissariat is his chief delight
after his duties are over. The commissary should have
a small office and a large reception room, where the
entire board of officers may gather. It is not too much
to expect that he should have a pantry and small store
room with an ice box handy, and, of course, room for
other things.
The field music and the band should each have a couple
of rooms, located anywhere, the farther away the better.
The furnishing of an armory requires much careful
consideration. Nothing but the most substantial of
materials should be used. Imitations are expensive, the
real goods are cheaper in the long run.
Wood floors should have rugs or carpets in most
of the principal rooms. Cork carpet runners are satis-
factory in locker rooms.
Desks, tables and chairs should be specially built to
match the trim. Elaboration of detail is not necessary,
but it is a mistake to stint.
After the armory is built and furnished it requires
care, else it soon deteriorates. The state of New York,
after much experience, has decided that it pays to keep
its armories up, and working under section 177 of the
Military Code, no fault can be found with their up-keep.
It may perhaps be of interest to quote this section, which
reads as follows:
" There shall be allowed for each armory one armorer,
and if the armory be heated by steam one engineer;
there shall also be allowed for an armory occupied by a
regiment, by a battalion not part of a regiment, by a
battery of light artillery, by a troop, or by two or more
separate batteries or companies one janitor; and the
armorer, the engineer and the janitor thus authorized
shall be appointed by the ranking commanding officer of
the organization or organizations quartered in the
armory. Where a signal corps, troop, battery of light
artillery, or the headquarters of a brigade occupies a
portion of an armory such troop or battery of light artil-
lery shall also be entitled to an armorer and a janitor,
and such signal corps or brigade headquarters shall also
be entitled to an armorer, who shall be appointed by its
respective commanding officer, and such headquarters
and quarters shall be considered an independent armory,
upon the approval and certificate of the commanding
officer of the brigade within whose district such armory
is located, which shall be filed with the disbursing officer
of the county in which such armory is located. The
armorer shall, under the direction of the officer appoint-
ing him, take charge of the armory, arsenal and places
of deposit of the regiment, battalion, troop, battery,
company, signal corps and brigade headquarters, and of
all uniforms, arms, equipments and other property issued
under the provisions of this chapter therein deposited,
and discharge all duties connected therewith as shall be,
from time to time, prescribed by such commanding
officer. The special duty of the engineer shall be to
take charge of the heating apparatus, and the janitor
shall take care of the armory, the cleanliness thereof
and of the furniture, fixtures and property therein. To
provide for the proper care and cleanliness of armories
and arsenals and of the property therein deposited, the
commanding officer of a regiment, battalion, not part of
a regiment, troop, battery, company, signal corps, or
brigade, or the ranking commanding officer, where two
or more separate batteries or companies are quartered in
an armory, may appoint laborers as follows: for armories
or arsenals having ten thousand square feet of floor sur-
face, one laborer, where the floor surface exceeds twenty
thousand square feet, two laborers, and for each thirty
thousand square feet in excess of twenty thousand, an
additional laborer; such computation of square feet, to
include all drill-rooms, administration and meeting rooms,
drill-sheds, hallways, rifle range and lavatories, but ex-
cluding such cellar-rooms, boiler rooms and store-rooms
as are not included in the foregoing classification and
excluding armorers' and janitors' quarters. Before any
such appointment is made, the necessity for the employ-
ment of such laborer or laborers shall be certified by the
'56
THE BRICKBUILDER
commanding officer of the brigade, and such certificates
shall be filed in the office of the disbursing officer of the
county in which the armory is situated. A certificate of
the number of feet of Moor surface of each armory in
which laborers are appointed shall be made by the engi-
neer of the brigade and approved by the commanding
officer of the brigade within whose district such armory
is located, and filed in the office of the disbursing officer
of the county in which the armory is located. Such per-
sons so appointed shall receive compensation for the time
actually and necessarily employed in their duties, to be
fixed by the commanding officer appointing such persons
as follows: when employed in armories or arsenals
located in cities, armorers, janitors and engineers not
to exceed four
^> *-
dollars per day
unless the city
has a popula-
tion of less
than two hun-
dred thousand,
in which case
such compen-
sation shall not
exceed three
dollars per
clay, and two
dollars per day
in armories
not located in
cities; labor-
ers not to ex-
ceed two dol-
lars per day,
which com-
pensation, as
certified to by
the command-
ing officer ap-
pointing such
persons under
the provisions
of this section,
shall be paid
monthly, and
shall be a
county charge
upon the
h - ■
Ii
JfrVt
U U
^y LJ V L_l
BASEMENT I'LAN, FIFTH REGIMENT ARMORY, BALTIMORE.
Wyatt & Nolting, Architects.
by the pavilions and equipment rooms of the various
companies of the ist regiment of the state of Connecti-
cut, together with the naval battalion, signal and hospital
corps and machine gun crew, the executive offices of
the regiment being located on the second floor of the
head house over the main entrance, including the rooms
for the colonel, field and staff officers, library, meeting
rooms, etc. In the basement is located the gymnasium
for the use of the regiment, with necessary toilet, wash
and shower rooms for both privates and officers with a
plunge tank placed between the two series of rooms.
There are also quarters for the band, the armorer, and
large squad drill room, which would also be used on pub-
lic occasions, such as the inauguration ball in honor of the
governor, as a
supper room,
with necessary
kitchen and
pantry store-
rooms adja-
cent. The drill
shed is placed
on the first
floor, the base-
ment under
same being
reserved for
storage rooms
of the arsenal
department of
the state and
the various
companies of
the regiment.
A gun repair
and reloading
room is placed
in the subbase-
ment in con-
junction with
the firingroom
and ranges for
both rifle and
pistol practice.
Ouarters for
both the jani-
tor of building
and armorer
>
>
>
county in which such armory or arsenal is situated, and
shall be levied, collected and paid in the same manner
as other county charges are levied, collected and paid.
A commissioned officer shall not be eligible for appoint-
ment to and shall not hold the position of armorer,
janitor, engineer or laborer in any arsenal or armory."
State Arsenal and Armory, Hartford, Conn.
The building, as its name implies, is to be used for
the business offices of the military organization of the
state, containing in the central portion of the head house,
principally on the first floor, the offices of the adjutant-
general and his assistants, the quartermaster-general,
pay corps, medical department and pension department.
The remainder of the head house and wings is occupied
of the arsenal stores are placed in the roof pavilions.
The drill shed, which is the largest in the state, is 185
feet wide by 267 feet long, with an observation gallery
reached from second floor at the south end with returns
on the side opposite the head house wings. Each com-
pany has a parlor on the first floor with private stair from
each to the equipment room on the second floor above
and a tier of three small company officers' rooms reached
from the landings of these stairs. The building has
concrete foundations which, owing to the nature of the
soil, were very complicated and deep, particularly at the
south end. The roof pavilions are covered with slate
but the drill shed and the flat decks of the head house
are covered with slag roof. The drill shed is separated
from the head house by metal-covered doors and trim,
THE BRICKBUILDER.
'57
but the trim throughout the head house is quartered
oak with cement floors in all public passages and rooms,
with wood floors in offices and parlors. The floor of the
drill shed is of maple.
Armory for Second Battalion,
Brooklyn.
Naval Militia,
The armory for the Second Battalion, Naval Militia, is
situated at Fifty-second Street and New York Bay in the
Borough of Brooklyn. It was built by the city of New
York for the occupancy of the Second Battalion, Naval
Militia, of New York state. The building has been com-
pleted and occupied by the battalion only within the last
few months. The battalion is comprised of six divisions
somewhat sim-
ilar in charac-
ter and size to
the companies
of a regiment,
each division
having a dis-
tinct individu-
ality.
The appro-
priation for
the building
being moder-
ate and the
required ac-
commodation
and drill space
being large,
the most rigid
economy was
necessary
throughout.
For this rea-
son the build-
ing has been
made a practi-
cal working
armory with
the result that,
in proportion
to the accom-
modations fur-
nished, it has
cost less than
any armory built in New York in recent years
equipment, however, is complete and substantial.
The armory consists of an administration portion,
which is concentrated at one end of the drill shed. The
space under the drill floor is only partially excavated, and
it is used for storage rooms, magazine, boiler room and
rifle and revolver ranges. The drill floor is one of the
largest in the city. Its construction is of the mill or
slow-burning type. The administration portion of the
building is constructed fireproof. It contains a meeting
and locker rooms for each of the divisions of the battalion
and for its band, a general ward or meeting room and
public and private offices for the different officers of the
battalion.
The exterior of the building is of common brick with
> o
FIRST FLOOR PLAN, FIFTH REGIMENT ARMORY, BALTIMORE.
Wyatt & Nolting, Architects.
The
decorative features of terra cotta, and an effort has been
made in the design to avoid useless and archaic features
and yet give the building a distinctly military character.
An interesting feature of the drill shed is its equip-
ment with an officers' bridge, two military masts with
semaphores and other appliances for signalling. Another
interesting feature, and one which received special com-
mendation from the commission recently appointed by
Governor Hughes to investigate the armories of the state,
has been the standardization of the decorations in the
division rooms and other meeting rooms in the building.
These have been finished throughout with wainscots to
the ceiling of oak planks and with mural paintings in the
ward rooms showing the development of the warship
from the earli-
est times; and
in the other
rooms depict-
ing the most
im portant
events in the
history of the
American
Navy.
The paint-
ings through-
out are by
RalphT.Willis
and are of
very high
merit, — in-
deed, they are
oneof the most
in t ere sting
series of mural
paintings in
this country.
Fifth
Regiment
Armory,
Baltimore.
The build-
ing occupies a
plat approxi-
mately 310 x
360 feet, open
on all sides,
the main entrance forming the central feature on one
of the long fronts.
The drill hall, 200 x 300 feet, is central to the entire
building, and is surrounded on all four sides by smaller
rooms. The various headquarter offices, reading room,
board room and room for the hospital corps are in the
front, and are approached both from the drill hall and
from the entrance vestibule; the company's rooms,
twelve in number, are at either end, completely occupy-
ing the two sides of the building, the rooms are all
entered from the drill hall direct; the space between the
drill hall and the rear of the building is occupied by the
gymnasium, dressing room, rooms for the quartermaster
and ordnance.
There is no cellar under the drill hall and the
58
THE BR I CK BU I L I) E R.
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THE BRICKBUILDER.
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PIR5T FLOOR PLAN
5ECO-1D FLOOR PlVNJM
!) \SI MI"NT Pl-NN
ARMORY FOR THE CITY OF CAMBRIDGE, MASS.
Hartwell, Richardson & Driver, Architects.
i6o
THE BRICKBUILDER
entrance side: the space under the rear and the side rooms
is used as rifle range (three hundred feet long), general
heavy storage for quartermaster's department, bowling
alleys and billiard rooms, dining-room, kitchen, etc., for
the men, ambulance stable and the mechanical plant.
The drill hall is 106 feet high to
the center of the roof, with a wide
gallery on the two long sides.
In addition to the main entrance
there are three exits from the main
and basement floors.
The stairs are placed at the en-
trance and near the four corners of
the building. The general toilets
are placed near the four corners.
The contents in cubical feet,
about 6,000,000.
Cost, including architects'
fees, $300,000, or about five
cents per cubic foot. The
building is not fireproof.
Armory for the Second Bat-
tery, National Guard of
New York, N. Y.
Two years ago, as the result
of a competition among six New
York firms, Charles C. Haight
was selected as architect of
the Second Battery Armory,
National Guard of New York. The building is to be in
the Bronx to the east of the Third Avenue Elevated.
Here 166th Street is deflected by the spur of a rocky hill
and this is the site, an irregularly sloping rectangle
approximately 200 by 300 feet. Franklin Avenue is the
western boundary, and beyond, the
hill drops off abruptly to a street
below like a glacis at the foot of
a fortress. To the south on the
higher level is a continuation of
1 66th Street.
The problem demanded an un-
usually compact plan. The drill
hall alone was to be more than three-
quarters of the plot in area. In
shape, length rather than width was
desirable, so a hall the extreme
length of the ground seemed
best, and the narrow strip left
at the side suited the numerous
smaller rooms for administra-
tion and receptions, for officers
and men with their showers
and lockers, for meeting rooms
and so forth, with no shaft re-
quired to light them; but it
proved awkward in the case of
the wider squad room and
gymnasium on the third floor,
for it meant the superposition
of rooms -58 feet in width on
SECOND FLOOR PLAN.
BASEMENT PLAN.
FIRST FLOOR PLAN.
STATE ARSENAL AND ARMORY, HARTFORD, CONN.
Benjamin Wistar Morris, Architect.
THE BRICKBUILDER.
161
those of only 30. Accordingly the floor was con-
tinued beyond the inner wall as a cantilever, so that
the rooms project eight feet over the spring of the drill
hall roof. Furthermore, the area of the plot was insuffi-
cient for stables and gun room on the drill-hall level.
They were placed below it and joined to it by a passage-
way of easy slope, permitting guns and caissons to be
limbered below and driven up in proper formation.
As it passes the armory, upper 166th Street rises
twelve feet and this determined the levels of drill hall
and stables.
From the upper
level an arch,
way opens on
the drill hall
and from the
lower another
leads to the
stables, the two
floors being
each entirely
independent as
regards en-
trances or exits ;
the horses may
be taken out-
doors for exer-
cise without en-
tering the drill
hall, nor need
any service pass
through it, and
when drills are
not taking place
it may be
closed. Then,
too, on account
of the sloping
street and a
shallow area
part way along
them, the sta-
bles receive the
necessary sun-
light.
In aesthetic
expression the
armory is a de-
parture from
the " school "
type in the com-
plete elimina-
tion of heavy
cornices and
quoins and the
suppression of the high glass roof. The site suggested
the effectiveness of vertical masses, and these with a care-
fully studied sky-line gave the expression desired. Wide
piers where strength was needed and a multiplicity of
windows in the curtain walls between, the armory became
an idealized type of "mill construction," with the vital
difference that here the piers did not merge into a flat
cornice but rose above the curtain walls, a Gothic princi-
DETAIL l)F MAIN ENTRANCE.
ARMORY FOR TROOP C, BEDFORD AVENUE, BROOKLYN.
Pilcher, Thomas & Tachau, Architects.
pie evident in the city walls of Aigues-Mortes and Car-
casonne or in Warwick, Dover and other English castles.
The silhouette against the sky, prominent through the
building's high situation, has been perhaps the most
carefully studied element of the facade, and on it the
success of the exterior in a great measure depends. In
short, its merit is in the composition of its masses of dark
red brick with little or no ornament and a sparing use of
sandstone.
The programme required a sighting range and signal
station for com-
munication
with other
armories, and
to provide it,
the southwest
corner closing
theaxis of lower
1 66th Street has
been developed
as a tower over-
looking the city
to the west and
south. Lower
166th Street
ends at the foot
in a formal
flight of steps
connecting with
the upper level,
and since this
is the natural
approach, the
corner tower be-
came the prin-
cipal entrance.
A high vaulted
hall leads to the
" staircase of
honor, "and this
past the pri-
vates' to the
officers' quar-
ters and recep-
tion rooms, the
reviewing stand
and a spec-
tators' gallery
four seats deep
surrounding the
drill hall, all on
the second floor
level. The sev-
eral entrances
and stairways
for the public have been so arranged that a visitor's first
sight of the riding hall is from the gallery. It is a vast
hall, nearly a hundred yards long, with iron roof trusses
one hundred and sixty-seven feet in span. The gallery
is hung from the trusses by iron rods, so there are no
columns to interrupt the riding hall below. The roof is
of concrete plates with center skylights; the walls of ex-
posed brick; four staircases empty the gallery and they
I 62
T UK BRICK BUILD E k
are so arranged that in case of panic there can be no
possible confusion between spectators and the horses and
guns.
The third Hour is taken up by a general reception
and services necessary for receptions and battery re-
unions. The upper stories of the tower are given up
to additional officers' rooms, janitors' rooms and so forth ;
the basement contains, besides the gun room and stables.
•M
. I j-jfi=x.
FIRST REGIMENT ARMORY, ST. I."UIS.
Kames & Voting, Architects.
i-~ >
room, a squad room and gymnasium. Here are to take
place the chief social functions. Wide doorways con-
nect the rooms so they may be thrown together en suite,
and because of the high ground the windows overlook
surrounding buildings. At the brick are a small kitchen
the various store rooms, services and a seventy-five-yard
firing range, fitted up for both gun and small-arm fire.
The New York Armory Board appropriated $450,000
for the armory and the lowest estimate was within the
appropriation.
DRILL HALL, SEVENTH REGIMENT ARMORY, NEW YORK CITY.
Clinton & Russell, Architects.
vj
THE BRICKBUILDER
The American Theater- -IX,
THE STAGE.
BY CLARENCE H. BLACKALL.
I63
off stags.
ppokpt Side
I
j
p-.ll
a
THE real mystery of the theater lies behind the cur-
tain. There is the enchanted region which is so
alluring to the spectator and which holds so closely those
who have fallen under its sway. There is fascination
in the mere thought of going behind the scenes, and to
the uninitiated the processes by which seeming effects
are evolved have a very complicated appearance. Asa
matter of fact, the stage of the American theater is an
extremely simple affair. The beauty of it is that such a
variety of effects are obtained so easily and with what is,
after all, so very little machinery. The stages of thea-
ters abroad are, by comparison with ours, very compli-
cated, and in other countries a mass of machinery is em-
ployed which we find en-
tirely unnecessary, and in
fact a detriment rather than
a help, as will be seen by
comparisons which we will
make later.
There are a few terms
used in describing stage
fitting which require some
explanation. In the old
days, when traveling com-
panies and long runs were
unknown, a prompter was
stationed in the first en-
trance about in the position
now occupied by the switch-
board. Hence that side of
the stage was designated
" prompt side," and the op-
posite side of the stage was
called the " O. P." or op-
posite prompt side. The
prompter, as a feature in
American dramatics, has
practically disappeared, be-
ing replaced only in part by
the stage manager, who at-
tends to many other things
besides cues, and is not in-
frequently given a part in
the cast, but "prompt"
and "O. P." still remain as designations, the prompt
side being the side on which the switchboard is located,
— usually the right. In some theaters the switchboard
is on the left of the stage and there seems to be an un-
certainty in that case just how to apply the terms " P."
and " O. P." In the French theaters there will be found
still a protuberance in the center of the stage, in front of
the curtain line, resembling a huge cockle shell with the
back towards the audience. Towards the curtain it
reveals a stand on which is placed a copy in large print
of the music or the part that is being played and the
pages are turned by an unseen attendant from below.
Sometimes the prompter, or souffleur, reads the parts in
HI/STEP- fcUHNt,
TRAP FOP- -STOI
x-i
3"li
'£• v-
SLH7iRArtCL- .
OPCHEITBA PIT
FIG. I. TYPICAL STAGE PLAN.
an audible whisperand foreign artists seem to find this
personage quite indispensible. A souffleur's box has to
be rigged up quite frequently for grand opera and Sarah
Bernhardt's companies always have insisted on it, but it
finds scant favor here.
" Right " and "left " of stage refer to right or left
of the actors as they face the audience. " Up stage "
means the depth measured toward the rear from the cur-
tain line. The apron is the portion of stage beyond the
front of the curtain, often cut away underneath for the
orchestra. The distance measured up stage is divided
arbitrarily, as previously explained, into entrances,
spaced about seven feet on centers. The first entrance
. . i is formed by what are called
the "tormentors," which
are tlat pieces of scenery
braced up from the floor
and serving to mask in and
diminish the total width of
the stage opening. Draper-
ies suspended from above
corresponding to the tor-
mentors are called the
" tormentor draperies. " A
'' border " is a row of lights
suspended from the grid-
iron in front of each en-
trance, and the term is also
applied to a piece of
scenery hung from above
to simulate a sky line. A
"drop" is apiece of scenery
forming the back of the
scene and suspended from
above. A " flat " is a piece
of scenery mounted on a
light framework of wood
held by braces screwed into
the stage floor.
The "sink lines" are
the lines of the longitudi-
nal girders each side limit-
ing the movable portions
of the stage floor, including
a width across stage of one or two feet each side more
than the curtain opening. The sides of stage floor be-
yond the sink lines are called the wings, sometimes also
designated as the off-stage space. The excellent German
scheme of having an extension of the stage in rear is
seldom possible in this country on account of the limited
area of land usually available, but when circumstances
will permit, it is highly desirable. The extension should
be as wide and high as the curtain opening, can be used
for storage of properties and scenery and for lighting
effects, and for lack of a suitable English equivalent is
commonly designated by its German name, " Hinter
Buhne."
El
H
FOOTi,IG)'ITS >j
ill ," .
164
THE BRICK BUILDER
VHVtB i!17£ OF T»or
GauH3<*
i
I
"Cuts" are slots across stage, rarely used with
us. A carpet cut about six inches across is, however,
desirable, just inside the curtain line, permitting a carpet
to be drawn up over the stage floor from below and held
taut across the front by closing the hinged cover into the
carpet. Another cut at the extreme rear is desirable,
two feet across and the full width between sink lines, to
permit of lowering scenery and drops for storage under
the stage.
" Traps " are openings in the stage floor through
which a person can be raised or lowered out of sight.
" Bridges " are sections of the floor of a stage so arranged
that they can be raised to
varying levels. " Ar-
bors " are vertical poles
which work in transverse
slots running across the
stage, these arbors some-
times being on small
trucks under the stage.
To these arbors isolated
pieces of scenery can be
attached. The only ad-
vantage of these is that
for a transformation the
arbor and the scenery to
which it is attached can
be slid off at the sides
without the operator be-
ing seen.
Up to a comparatively
few years ago all flats and
side scenery were made
of uniform height, sliding
on trucks at the bottom
and in grooves at the top,
like an ordinary sliding
door. These grooves,
called "coulisses" on the
French stage, were ar-
ranged in groups under
each border, so that the
flats enclosed the en-
trances. Suchconstruction
is still in use in some of the
older vaudeville houses,
and occasionally for the
tormentors, but the
grooves constitute a
clumsy device at best and
our scenery is now either built up and lashed together in
box form, or braced to the floor with extension braces.
The stage in European theaters is habitually sloped
up towards the rear at the rate of one-half inch to the
foot. As a rule our stages are built level and the few
exceptions have not been satisfactory. The galleries on
each side of the stage from which the scenery is operated
are called " fly galleries." The light lattice floor over
the stage to which are attached the running blocks for
the scenery ropes is called the "gridiron," the space
above it to the under side of the roof being termed the
" rigging loft." The bridge connecting the two fly gal-
eries across the rear of the stage is called the "paint
I
->ALt
0 5 10
13
h m m
.JiroMP Fly Gallic
flDST ftY G^LLfDl
looTLIOm ToouGM
I "-
JiTTIOM TMOO BBIdU
FIG.
bridge." It is often omitted in theaters, as its sole pur-
pose is to serve the scene painter, who works with his
canvas suspended on a movable frame against the rear
wall, hoisting and lowering the whole scene as he needs
to reach any portion thereof.
The size of the stage is governed a good deal by the
character of the house, but it may be said in general that
while many stages are too small, none of them are
too deep and few of them are too wide. For vaude-
ville or for light dramatic performances a stage thirty feet
deep from the curtain line could be used, but the ordi-
nary theater to-day is made as near fifty feet as ihe cir-
cumstances will allow and
should never be less than
forty in depth. The usual
custom is for all of the
scenery for the given pro-
duction to be kept on the
stage as convenient for
us|e as possible. The
drops, borders, ceiling
pieces and even some flats
are suspended from the
gridiron, but there is
always a lot of scenery
which has to be stood on
edge against the wall sur-
rounding the stage. Con-
sequently when the total
width is more than ninety
feet the stage hands have
to do a good deal of walk-
ing to set and strike a
scene and a greater width
than that is not desirable
in any theater, except as
it may be planned spe-
cially for very large and
cumbersome perform-
ances.
The width of the cur-
tain opening is to a certain
extent a function of the
total available width of
the auditorium, but most
stage managers object
to excessive widths,
and forty feet is about a
fair average for a first-
class combination house.
For vaudeville or for stock houses presenting light
dramas or comedies it is too much. The height of
the curtain opening varies from thirty feet up. It was
formerly quite the custom to mask this opening by a fixed
drapery hung outside of the curtain, but of late years the
custom has been to lift the curtain entirely free of the
whole opening, showing no draperies at all except the tor-
mentor draperies. This means that the curtain must be
lifted the whole height of the opening, and the height of
this opening is, of course, a factor of the design of the
auditorium, but is usually not less than thirty feet. The
tendency of American practice is to make it too high.
The portion of stage floor between the sink lines must
^TAatr Tloob
TYPICAL STAGE CROSS SECTION.
THE BRICK BUILDER
«65
be so arranged that a trap or opening of any sort can be
cut at short notice in any entrance. The building laws
of most of our cities allow this construction to be entirely
of wood. The illustration (Fig. 4) shows a typical ar-
rangement. The beams are of hard pine, mill planed,
continuous for the whole span between sink lines, and
braced by 3 inch by 6 inch wooden uprights at three
points under each beam. The typical stage plan shows
an arrangement of traps which answers the usual require-
ments, namely, three in each of the first three entrances.
The square openings are called "star traps," the oblong
ones "grave traps," and for
each the construction consists
of a movable platform much
like an ordinary dumb waiter,
sliding up in four corner guides,
counter-weighted, and hoisted
by ropes attached to the bottom
of the frame and running over
wheels at top of the guides.
The stage floor over the trap is
cleated together, resting on
runs on the sides of the floor
beams. By dropping the out-
board ends of the runs the
flooring over trap can be slid
to one side under the adjoining
stage floor, allowing the trap to
ascend flush with the floor. It
is also usual to fit up the rear
entrances with bridges, three
in width to each entrance.
These are simply sections of
the floor resting on framework
which can slide up or clown in
guides below the stage and can
be set and held at any desired
height or depth, or can be set
on a slope sidewise. These
are used as a ground for stair-
ways, upper stories, moun-
tains, pits, etc.
It is perfectly possible to
build the stage entirely of iron,
and the greater ease with which
the wooden beams can be shifted
or cut is not in usual practice
of very great advantage, as the
bridges are fixtures in any case
and are better constructed if of
iron, and really very few plays
or operas are produced in these
days requiring set traps. In vaudeville houses, stages
are very commonly framed like any ordinary floor, with-
out reference to any possible traps or bridges. The
wearing floor in all stages is a single thickness of one
and three-eighths-inch matched rift hard pine.
Most of the foreign theaters and a few of the Ameri-
can ones have a very deep space under the stage, often in
several tiers. It is so much simpler and easier to raise
scenery than it is to lower it that the excessive under
stage is but little used and a depth of more than ten feet
is a detriment rather than a help. The best use for the
GfLIDIfLON
2^ Fly Gai_li.r.y
t^a^
T^OOPtQ L'lCHTi
FIG. 3. TYPICAL STAGE, LONGITULiIN AL SECTION
under stage space is for storage and for properties. The
stage of the Stuyvesant Theater, New York, has a large
elevator or lift in the center. While a scene is being
struck some of the stage hands collect all the properties
on the elevator, drop with them to the under stage, ex-
change them for the properties of the next act and are
back with the latter on the stage before the new scenery
is set, thus greatly reducing the confusion on the stage
and saving considerable time. In a play like Julius
Cesar the properties or movable accessories are quite
formidable as compared to the mere scenery, and every
foot of space under the stage
could be utilized. Ordinarily
the space under the stage is
only a rubbish hole.
The first tier of fly galleries
on ea side is set up sufficient-
ly from the stage to give a
height of at least 28 feet in the
clear underneath. The dis-
tance between fly galleries is
governed by the width of the
widest back drop that is likely
to be used. In practice it is
well to make this distance 52
feet as a minimum, depending
entirely of course upon the
kind of house. It is usual in
American theaters to have only
two tiers of fly galleries, the
second one often being set back
one foot farther from the center
than the first tier so as to allow
for play of ropes coming down
from above. It is a good idea,
however, when practicable, to
add a third fly gallery close to
the under side of the gridiron
for use in special emergencies
in shifting the ropes. The
front railing of the fly gallery
is formed by what is termed
the "pin rail." This is gen-
erally made with a double row
of heavy steel piping, in which
are fitted iron belaying pins to
which the ropes are hitched.
The detail (Fig. 5) shows a con-
struction for this purpose. The
working fly gallery is usually
on the O. P. side, which is also
the side from which the curtain
is operated. This is to enable the fly men to be able to
watch the stage manager on the prompt side and to re-
ceive signals from him. As will be seen later, nearly all
the leading ropes are carried down to one side and the
rail has to support the entire weight of all the scenery,
amounting in some instances to fifty or sixty tons. The
strain is all upward and consequently the front of the
rail has to be very heavily trussed.
It is an excellent scheme, where practicable, to set
back the pin rail on the fly gallery sufficiently to allow a
space not less than two and one-half feet outside, pro-
vStagk, Fiooja-
1 66
THE BRICKBUI LDE K
tected in turn by a light guard rail, from
which a spot light can be operated, sky
borders attached, panoramas carried
around and entangled scenery readily
reached by poles and straightened out.
The width of the fly gal-
lery need only be enough
to work the ropes, say
eight or ten feet.
The opposite fly galler-
ies of the first tier are con-
nected by the paint
bridge, which is supported
n the pin rail truss and
is usually made so that in
an et"°rgency it can be
ciuirely remov ' without
any serious acuity. It
is setoff one foot from the
rear wall and has a guard
rail only on the side
towards the curtain. This
paint bridge is not re-
quired to be very strong
but should be able to sup-
port a center load of not
less than two tons. The
paint bridge should be not
less than five feet wide. It can be set up, if desired, so
that the floor is on a level with the pin rail as it is better
to extend the pin rail clear through to the rear wall and
not cut it off to give access to the paint bridge.
The drops, borders, border lights, panoramas, etc.,
are all hung from the gridiron. The illustration (Fig. 2)
will make
clear the |,on pir
manner in
w h i c h the
scenery is
usually sup-
ported. Each
scene is at-
tached to a
wooden bat-
ten or strip
about four
inches wide
to which are
tied four
24 -inch
manila ropes.
1 1 1 1 1 r
FIG. 4.
passes over a pulley across to a
standing block on the side (Fig. 7 1
n whence all the four ropes for
each scene are led together down to
the pin rail and attached to a single
belaying pin. When the
ropes are not in use the
ends are brought together,
tied to a bag weighted
with sand and hoisted out
of the way. This is the'
usual attachment. A bet.
ter method is to have each
set of ropes permanently
fastened to a long 1 ' i -inch
iron pipe batten and lash
the scenery battens to this
piping. < If course for
very wide scenes as many
as six or seven supporting
ropes might be needed
ami on the other hand, for
small vaudeville stages
three is sufficient.
The gridiron is con-
structed with longitudinal
slots corresponding to the
lines of rigging. The
slots (Fig. 6) are formed with I beams spaced ten
inches apart, to which are clamped iron or wooden blocks
TYPICAL STAGE FRAMING PLAN.
spaced regularly six inches
curtain line to the back
the gridiron must be sus-
construction, and the floor
_1ca le
FIG. 5
Bach rope is led up to the gridiron,
DETAIL OF PIN RAIL.
,5c o.le
FIG. 6.
DETAIL OF GRIDIRON BLOCK.
FIG. 7.
DETAIL OF HEAD
BLOCKS,
on centers from the
wall of stage. All of
pended from the roof
.should be of lattice
work or grat-
ing about two
inches open,
so that extra
ropes can
be dropped
through
the gridiron
any whe r e.
Sometimes a
slat floor of
wood is used
over light
steel beams,
but as the up-
per portion of
stage has the greatest fire hazard, wood is not desirable.
THE historic plan of Washington which it is gen-
erally supposed Major L'Enfant left to posterity
should not be laid wholly to the credit of that French
Engineer. In a recently published " Life of Andrew
Ellicott," who was also a major of Washington's staff,
the plan of the city is given as Major Ellicott's
best known work. Ellicott succeeded L'Enfant in the
Washington work and carried out his own plans with
General Washington's commendation. The location of
the Capitol and the White House is conceded to
have been determined by L'Enfant; but otherwise
the share of the two majors in the details of the
city plan will always remain somewhat in doubt.
From a letter dated March 23, 1X02, from three later
commissioners to Mr. Dennis, chairman of a committee
of Congress, it is learned: "Major L'Enfant's plan of
the city was sent to the House of Representatives on
December 13, 1791, by President Washington for the
information of the house and afterward withdrawn
Many alterations were made therefrom by Major Elli-
cott with the approbation of the President and under
his authority. All the appropriations (except at the
Capitol and the President's House) were struck 01
and the plan thus altered sent to the engraver . .
being made partly from L'Enfant's draught and partlv
from material possessed by Ellicott."
THE BRICKBUILDER.
167
STANDARD ARCHITECTURAL BOOKS -- II.
Historical Mateuiai. by Place, Period and Style.
Prehellenic Antiquity.
f MCORGES PERROT, Professor in the Faculty of
V J Letters, Paris, member of the Institute ; and Charles
Chipiez. Histoire de l'Art dans l'Antiquite; translated
in the following series: A History of Art in Ancient
Eg y/>t, translated and edited by Walter Armstrong, B. A.,
1883; 2 vol. ./ History of Ancient Art in Chaldea and
Assyria, translated by Walter Armstrong, 1884; 2 vol.
A ///story of Ancient Art in Phoenicia and its Depend-
encies, translated by Walter Armstrong, 1885; 2 vol.
./ History of Ancient Art in Persia, translator not given,
1892; 1 vol. ./ History of Ancient Art in Sardinia,
fud(Ca, Syria and Asia Minor, translated by I, Gonino,
1892; 2 vol. A ///story of Ancient Art in Primitive
Greece, translated by I. Gonino, 1894; London, Chapman
■V 1 1 ill; New York, A. C. Armstrong, each volume, 4to
(.269 x 185 x .026), price 21 shillings. The " Histoire de
l'Art " of Perroi and Chipiez is quite general: but as pre-
hellenic art is mainly recovered by excavation, and there-
fore largely architectural, the book may be relied upon to
give a careful discussion of the architectural development
of each country studied. In the class of libraries to
which this list is recommended, Perrot and Chipiez will
cover sufficiently all early historic civilizations except
that of Egypt, for which special recommendations are
made. It will be better, of course, to buy the original
French work if this may be used to advantage. If not,
the English translation listed is a good substitute.
James Henry Breasted, Ph. D. ; Professor of Egyptol-
ogy and Oriental History in the University of Chicago,
Director of Haskell Oriental Museum, Director of the
Egyptian expedition of the University of Chicago. A
History of Egypt from the Earliest Times to the Persian
Conquest. New York, Charles Scribner's Sons, 1905; 8vo
( . 245 x .175 x .05), 29 1 034 p., frontispiece, 200 ill., pi.,
maps ; cloth, $5.00.
In many libraries Professor Breasted's book will give
is much information about Egypt as may be required
with unusual defmiteness. It is not ofen that any manual
leaves so clear an impression upon the mind. The half-
tone illustrations develop the most attractive qualities of
Egyptian art.
Francois-August Choisy, L'art de batir chez les Egyp-
tiens. Paris, Edouard Rouveyre, 1904; 4to (.28X.19X
025), 4 + 155 p., to6 ill. ; 20 francs, unbound.
The monograph by Choisy on Egyptian architecture is
leveloped on the same lines as the chapter on this stib-
ect in his " Histoire de l'Architecture " already de-
cribed; dealing entirely with principles of design and
onstruction. It supplements Breasted's book perfectly.
Classic Antiquity.
William J. Anderson (b. 1865, d. 1900), Director of
|ie Architectural Department of the Glasgow School of
rt; and R. Phene Spiers, F. S. A., F. R. I. B. A. The
architecture of Greece and Rome, a sketch of its Histor-
al Development. Second ed. revised and enlarged.
uidon, Batsford; New York, Scribner's, 1907; 8vo (.24
.253 x .045), 382 p., ill., pi. ; cloth, 18 shillings.
There has been an abundance of material on classic
architecture ; but until the appearance of this book it was
either crowded into general works or extended in special
monographs. This manual does very well the prelim-
inary work of clearing ground and presents that large
general view which is the best introduction to any subject.
Marie-De'sire-Hector-Jean-Baptiste d'Espouy, Pro-
fessor at the Ecole des Beaux-Arts, Paris. Fragments
d'Architecture antique d'apres les releve's et restaurations
des anciens pensionnaires de l'Academie de France a
Rome. Paris, Charles Schmid; without date (1890 -1905);
fol. (.47 x .325 x .04), 2 vol., 200 pi.; 300 francs, un-
bound.
Every year the Institute awards to some young French
architect the Grand Prix de Rome in Architecture, which
pays the expenses of further education in classic countries
for four years. During the first three years the recipient
of the prize is obliged to send for exhibition in Paris care-
ful drawings and restorations of some monumental frag-
ment. These "Envois de Rome" are stored at the
library of the Ecole des Beaux-Arts. Prof. d'Espouy has
undertaken to select from this mass and to publish those
drawings which are not only the finest in themselves but
which also illustrate most perfectly the development of
classic architecture. The renderings are by the best
French draughtsmen.
Francis Cranmer Penrose (b. 1817, d. 1903), D. C. L.,
F. R. S., F. R. I. B. A , F. R. A. S., F. S. A., President
R. I. B. A., 1894-1895. Investigation of the Principles
of Athenian Architecture, as the result of a recent survey
conducted chiefly with reference to the Optical Refine-
ments exhibited in the construction of ancient buildings
at Athens, illustrated by numerous engravings, published
by the Society of Dilettanti. New ed. London and
New York, Macmillan Co., 1888; fol. (.545 x .38 x .035)
10+101 p., ill., 42 pi. ; 117 shillings.
Penrose's book on Athenian architecture is not be-
yond the reach of a modest collection, and should cer-
tainly be secured by any one who is interested not only
in architecture but also in good books. It is probably
the most masterly architectural investigation yet pub-
lished. Ltitle has been added to our knowledge of the
Parthenon since Penrose left it.
George Dennis. Cities and Cemeteries of Etruria.
Revised ed. London, Murray, 1878; 8vo ( 235 x.165 x
.05), 2 vol., ill., pi., maps; cloth, 42 shillings. Re-
printed; London, Dent (Every-Man's Library), 1907;
2 vols., i2tno; cloth, 2 shillings.
The Architecture of Etruria derives its chief impor-
tance from the fact that it explains many leading charac-
teristics of the great Roman style which followed and is
partly based upon it. Dennis is the standard English
work on the subject.
Auguste Mau, Member of the Archaeological Institute
in Rome. Pompeii, Its Life and Art, translated by Fran-
cis W. Kelsey, University of Michigan, with numerous
illustrations from original drawings and photographs.
New ed. revised and corrected. New York and London,
The Macmillan Co., 1902; 8vo (.22 x .15 x .045), 25 +
557 + 2 p., frontispiece, ill., pi., plans; cloth, $2.50 net.
The most intimate impression we receive of Roman
art, and of Greek, too, for that matter, comes from the ex-
cavations of Pompeii, which are considered, quite suffi-
ciently for our purpose, in this excellent book.
1 68
T H E B RICKBUIL DHR
Rodolfo Amadeo Lanciani, Commendatore, Professor
of Ancient Topography, University of Rome. Ruins
and Excavations of Ancient Rome; a companion book for
students and travellers. Boston, Houghton, Mifflin &
Co., 1897; 8 vo (.2 x .14 x .045), 24 + 612 p., ill., 16
maps; cloth, $4.00.
Besides the monumental works upon which his repu-
tation rests, Prof. Lanciani has published in English
several lighter books which have enabled those who run
to read very easily, and with perfect appreciation of the
architectural history of the greatest of all cities. Of these
perhaps the most informing and most available for our
purpose is the " Ruins and Excavations."
Middle Ages.
Howard Crosby Butler, Professor of Art and Arche-
ology, Princeton University. Architecture and Other
Arts; Part II of the publication of an American Archae-
ological expedition to .Syria in 1899 1900. Architecture,
Sculpture, Mosaic and Wall Painting in Northern Cen-
tral Syria and the Djebel Hauran. New York, The Cen-
tury Co., 1903; small fol. (.37 x .29 x .04), 25+433 p.,
ill., pi. ; cloth, $20 00 net.
When de Vogue's book on "Syrie Centrale" was pub-
lished in 1865 it was discovered at once by all critics, from
Viollet-le Due down, that his revelations were vastly sig-
nificant in the study of media.- val architecture, for the
reason that the disintegration which befell Roman forms
in the dark ages is most logically worked out in the
table-land of Syria. De Vogue*'s work does not properly
come within the limitations of our list, but this fine
American book by Professor Butler replaces it perfectly
and is a splendid addition to any library.
Georg Gottfried Dehio, Professor in the University of
Strasburg, and Gustav von Bezold, Director of the Ger-
manic Museum, Niirnberg. Die Kirchliche Baukunst
des Abendlandes. Stuttgart, Bergstriisser, 1901; text
Svo (.24 x .165 x .03), vol. 1 2: pi., small fol. (..; x
.32 x .035). vol. 1 5; 296 marks, unbound.
Two leaders in the artistic life of Germany have
undertaken to publish a body of illustrations of the most
important mediaeval churches of western Europe. Their
drawings are not elaborate, or especially attractive, but
they are good, telling one in most cases precisely what
one wishes to know concerning the building in question.
There are plans of all important monuments.
Raffaele Cattaneo. L'Architettura in Italia del secola
VI al mille circa, translated by the Countess Isabel
Curtis-Cholmeley in Bernani ; Architecture in Italy, from
the sixth to eleventh century. London, T. F. I nwin,
1896; 4to (.27 x .2 x .04), 363 + 1 p., frontispiece, ill. ;
cloth, $2. 15 net.
The existence of an English translation enables us
to enrich our list with a notable book. Our readers will
find the line illustrations from early Italian ornament
most attractive and useful.
G. T. Rivoira. Le Origini della Architettura Lom-
barda e delle sue principali derivazioni nei paesi d'Oltr
Alpe. Rome, Loescher & Co., 1901-1907; 410 (.31 x .225
x .03-06), 2 vol., ill., 20 pi. ; 90 lire, unbound; 506 copies
printed.
It is a transgression of our self-imposed limitations to
introduce so unfamiliar a language as Italian; but
Rivoira's discussion of the Romanescpue style, in Italy
usually called Lombard or Byzantine, is so ingenious
and his splendid body of illustrations covers this suggest-
ive period so completely, that even a small library may
well give it space upon its shelves.
Arne Dehli, Associate of American Institute of Archi-
tects. Selection of Byzantine Ornament. New York,
Helburn, 1890; small fol. (.36 x . 29 x .035)., 2 vols., no text,
100 pi.; $20.00, unbound. Dehli's "Byzantine Orna-
ment" is intended for use on the office table, as a source
of suggestion in decorative design. The selections,
mainly from St. Mark's and the Ravenna buildings, are
well drawn in outline.
Charles A. Cummings (b. 1833, d. 1905), Member of
American Institute of Architects. A History of Archi-
tecture in Italy from the Time of Constantine to the
Dawn of the Renaissance, with nearly five hundred illus-
trations. Boston and New York, Houghton, Mifflin &
Co., [901 ; 8vo (.235 x .16 x .035), 2 vols., frontispiece,
ill. ; cloth, $750 net.
The late Mr. Cummings left a charming work which
covers this fascinating but vague period in a most sym-
pathetic and careful manner. It should be in every
American library.
Edouard-Jules Corroyer (b. 1851, d. 1904), Archi-
tecte, Inspecteur general des edifices diocesains. L'Ar-
chitecture romane; in Bibliotheque de l'enseignement des
Beaux-Arts. Paris, Maison (Juantin, no date. (1888);
1:1110 (.21 x .15 x .025). 320 p., ill.; cloth, 3 francs 50
centimes.
Edouard Corroyer was a pupil of Viollet-le- Due and
played an important role in the study and preservation
of French monuments. His little manuals on French
Romanesque and Gothic Architecture will be found use-
ful, that on Gothic Architecture has been translated.
Charles Herbert Moore. Development and Character
of Gothic Architecture. Second ed. rewritten and en-
larged. New York and London, The Macmillan Co.,
1899; 8vo (.24 x . 165 x .035), 28 + 454 p., ill , 11 pi. ; cloth,
$4.50 net.
American students have found in Professor Moore's
"Gothic Architecture" quite the best manual on this
subject in English. It is the starting point for all re-
search in the history of Gothic Architecture.
Edouard-Jules Corroyer. Architecture gothique ; trans-
lated by Walter Armstrong; Gothic Architecture. Lon-.
don and New York, Macmillan Co., 1893; i2mo(.2i x.15
x .025), 382 p., ill. ; cloth, $2.00.
See note on Corroyer; L'Architecture romane.
Eugcne-Emanuel Viollet-le-Duc (b. 1814, d. 1879).
Dictionnaire raisonne de l'Architecture franchise du Xle
au XVIe siecle. Paris, 1S54-68, latered., 1875; Svo(.245
x .16 x .035), 10 vols., portrait, ill. Table Analytique et
Synthetique par Henri Sabine. Paris, 1889; 8voM 20 + 387
+ 1 p. The price of this book in half morocco and with-
out the Table Analytique varied from £1 2s. to ,/."8 in
1907.
Notwithstanding the prodigious mass of literature
which is constantly appearing on the general subject of
mediaeval art, Viollet-le-Duc's great Dictionnaire still
leads the field. Not only is it an inexhaustible treasury
of information ; it is also a strong book by a great writer,
who appreciated fully the force of the historic movement
which he did so much to make intelligible.
THE BRICKBUILDER
169
Brickwork in East Anglia.
THE Eastern Counties of England — Norfolk, Suf-
folk, Essex — afford examples of a great number of
beautiful manor houses and other buildings constructed
almost entirely of brick, and counting among them the
earliest examples of such work subsequent to Roman
times. The bricks used by the Romans in Britain were
of large dimensions, being much longer and wider and
thicker than those of the present day, while the bricks in
East Anglian houses are smaller and thinner than the
standard brick of to-day. The reason for this is found in
the fact that the revival of brickbuilding in England
was coincident with the incoming of the Flemings into
the Eastern Counties in the fifteenth and sixteenth cen-
turies. They brought with them the traditions and even
the materials of the Neth-
erlands, for there seems
little doubt that in the first
instance the bricks used in
IIORHAM HALL, ESSEX.
the houses came over from Holland. As Mr. Edwin Gunn,
A. R. I. B. A., pointed out in a most interesting paper,
which he read before a recent meeting of the London
Architectural Association, materials for the manufacture
of brick and tile could be readily obtained in the Eastern
Counties, but their use was somewhat restricted by the
badness of the roads, which made the transit of any
heavy material in bulk a serious and difficult matter. As
a consequence, in most cases previous to the eighteenth
century, brickwork is found only in buildings of sufficient
size and importance to have justified manufacture on the
spot, or in such situations that the bricks could be brought
by water. In the smaller buildings its use is restricted
by bare necessity, and generally confined to chimney
stacks, wall base or nogging. Tile roofs were frequent,
but the builders were obviously more at home in their use
of thatch, and displayed none of the dexterity of the Home
Counties tilers, whilst tile-hanging is almost unknown.
HORHAM HALL, ESSEX.
The type of small domestic building in the Eastern
Counties which was most common in the Middle Ages
differs hardly at all in its constructive essentials from the
half-timbered buildings of the southern counties of Eng-
land. It has usually a base of brickwork or brick and
flint upon which is erected oak framing composed chiefly
of vertical studs, the narrow panels between being filled
with clay and straw. Each successive story overhangs
that below, and the panels are plastered flush with the
framing. An immense amount of work such as this re-
mains almost intact in such towns as Lavenham, Sud-
bury, Hadleigh, and in their adjoining villages. It was
also a very frequent practice to fill in the panels between
the timber framing with brick nogging, laid with most
charmingly-ordered irregularity in various forms of diag-
onal, herringbone and
checker patterns.
Wherever oak half-timber
construction of this form has
been usual, its stability and
durability have generally
proved to be very great.
But whilst its structural con-
dition remains good, its ex-
GIFFORDS HALL, STOKE-BY-NAYLAND.
I 70
THE BRICKBUILDKR
ternal appearance often takes an air of picturesque dilapi-
dation, which, though much appreciated by sketchers
and potographers, is distasteful to the mind of the owner,
who then proceeds to find a remedy. In Kent and
Sussex this remedy is generally tile-hanging, but, as
before stated, this is uncommon in East Anglia; it is,
in fact, in the early seventeenth century that the specially
individual characteristics of the district develop.
seen to have been rebuilt from the base upward is
evidence of this. In the later type detached Hues are
abandoned; or rather, they appear to coalesce into ribbed
chimney stacks, having a fine sturdy effect and the prac-
tical advantage of keeping the flues warm and preserving
their own stability.
Among the illustrations which accompany this paper
it will be noted what an outstanding feature the chimneys
II itt
^^^j^^fl^l
wft
GIKKORDS HALL, STOKE-UV-NAYLAND.
As already indicated, great proficiency in the use of
brickwork was attained at a comparatively early date in
the Eastern Counties It is only necessary to instance
such examples as Little Wenham Hall, East Barsham
Manor House, Oxburgh Hall, Great .Snoring Rectory,
Layre Marney, and other
similar buildings in proof of
this. In the smaller build-
ings, however, it is chiefly in
chimney stacks and wall base
that brickwork shows. The
capacity of the local brick-
layer to produce good results
with no other material than
common red bricks (of course
two inches thick) and plain
tiles was quite surprising. It
is astonishing to note the
variety of design extracted
from these simple materials as
used in the chimney stacks of
the early seventeenth century.
Earlier than this the usual
clusters of octagonal shafts,
often elaborately molded, are
most frequent, but from that
time onward a distinct local
type seems to have arisen, and
one which appears to have
many points in its favor.
Beautiful as all must admit
the clustered type of stack to deanery tower.
be, the single flues of which
it is composed offer the very greatest chance of down-
draught, owing to their large cooling surface, and, fur-
thermore, have great opportunities of falling into disre-
pair. The abundance of examples in which they may be
EAST BARSHAM, NORFOLK.
are, and in what diversity they are wrought. For the
rest, one sees how unostentatiously the brickwork has
been used in unbroken wall space, in conjunction wth the
oak framing or with stone dressings to windows, balus-
trades, string-courses and other parts.
Among the brick' built
houses which remain to tell of
the wealth and prosperity of
the Eastern Counties, at the
beginning of the sixteenth
century, East Barsham is the
most widely known. The
walling is of thin, red brick
( five courses, including joints,
rising to about one foot),
mellowed with age to a warm,
rich red, in which diaper work
is sparingly introduced. The
traceries, molded bricks and
wrindow heads exhibit no
characteristics unfamiliar to
the native craftsman, but here
and at Great Snoring Rectory,
close by, intermixed with this
native work is much ornament
in terra cotta, which betrays
a foreign hand — presumably
Italian. Prominent on the
exterior is the cluster of the
chimney shafts at the west
end, rising above a great pile
of brickwork, which, at one
time, formed the end wall,
containing the fireplaces to the hall and adjoining par-
lor, while other striking features are the molded brick
pinnacles at the corners of the towers and the panel
work on the main front of the house. Other fine
THE BRICKBUILDER
171
MOYNS PARK, ESSEX.
chimney stacks are to be seen on Thorpland Hall,
Norfolk.
Horhatn Hall, Essex, is another example of the old
brick house of East Anglia. Here, as usual, the walling
is of thin, red bricks, with dark gray headers sparingly
introduced to form a diaper in places, but with stone for
all the wrought work to porch, bay and window. The
porch gives access through the "screens" to the great
hall, which occupies the whole of the center of the house,
measuring about 46 feet by 24 feet, and 25 feet high, and
having a magnificent bay window, arranged in four tiers
of lights.
Another fine house is Moyns Park, in Essex — won-
derfully striking in the breadth of its effect, with the
great bays alternating with the gables. On elevation,
the features are apparently of the simplest character, but
MOYNS PARK, ESSEX.
the work is so well proportioned and so pleasingly dis-
posed that the result is truly a "joy forever," the more
so as the brickwork, after centuries of exposure, has
mellowed to a beautiful tone, which, with the lichen and
ivy, forms a color harmony of exquisite value.
Of the other houses shown, the illustrations may be
OLD HOUSE, MOYNS PARK, ESSEX.
MOYNS PARK, ESSEX.
left to speak for themselves. Hadleigh dates from
about 1500, and Giffords Hall from about the time of
Henry the Eighth, with a hall of much earlier date —
probably fifteenth century. They all testify to the
noble effect of brick building, to the charm of cunningly-
devised chimney stacks, and to the breadth of effect
which can be secured by plain wall space, appropriately
relieved; they are eloquent, too, of that quiet grandeur
which has grown round about them in the course of
centuries, wherein the hand of time has wrought its
kindest work.
I 72
THE BRICKBUILDER.
Editorial Comment and
Miscellany.
THE chief cause of the acknowledged monotony of
American streets is the practice of building solidly
to a uniform street
line. In every case
where an old land-
mark in the shape
of a public building
or venerable man-
sion, surrounded by
a bit of ground and
verdure, has been
razed for modern
buildings there is a
feeling of mute re-
gret. This is because
the only agreeable
spot of relief in an
otherwise solid street front has gone.
It is useless to complain of destiny in
the growth of cities, but it is natural
to *ish for some compensation to the
losses it causes. It is natural that
Martin's neighbor on Fifth Avenue
should protest against the projecting
summer garden and portico of the
restaurant; likewise the neighbors of
Sherry's, of the St. Regis, of the
Hotel Gotham and of the Waldorf.
And the Appellate Court may be right
in compelling the removal of all struc-
tures now existing beyond the house
line on either side of Fifth Avenue;
but a portion of the public, at least, is
interested in knowing what is to take
the place of these verdant terraces
which are truly an ornament to the
thronged thoroughfare. If for the
physical needs of the traffic the terraces
UNION STATION, WASHINGTON, D. C.
1 1 H Hurnham & Co., Architects
Fireproofed throughout with Terra Cotta Hollow Tile
by National Ki reproofing Company.
of the opposition, one of the city's leading dailies
declares that the wishes of the average taxpayer and
resident of Chicago have not been considered. How
weak a plea: The true attitude of that fraternity, — if
attitude it have, — is never ascertainable in such cases
when a few leaders are supplying the momentum for a
public improvement. Whatever change is proposed is
sure to meet with
the muttered criti-
cism, reluctance and
apathy of the aver-
age taxpayer and
resident. These
persons have never
actuated a public im-
provement of an
esthetic nature.
Radical changes in
cities are always
achieved by a dicta-
tor or a dictator
backed by a unani-
When the average
taxpayer and resident takes a hand
there will be time enough to consider
his wishes.
mous council.
THE findings of the Board of Award
of the New Sing Sing Prison
Competition are neither satisfactory
nor unexpected. While the successful
competitor may not have been foretold,
the unfortunate outcome is not sur-
prising in view of the unfavorable
circumstances which met the launching
of the competition. In the opinion
of some, these circumstances, which
caused some of the best talent in New
York state to hold aloof from the con-
test, had their origin in part in the
disagreement between the champions
of the "closed competition " and those
of the "open competition." At all
FAIENCE WALL PANEL
5 feet high, .} feet wide.
Executed by Hartford Faience Co
and gardens
must go, will
the city do
anything to
beautify the
Avenue by
other means?
Will it bring
a glimpse of
verdure to
asphaltum wastes, admitting the beauty of Nature to
Vanity Fair?
TH KRE is considerable agitation in Chicago over a
boulevard elevated upon a series of arches, and pro-
posed by Mr. Burnham and his associates for connecting
the north and south park systems. Voicing the sentiment
DETAIL BY NORTHWESTERN TERRA
COTTA COMPANY.
Toledano & Wogan, Architects.
events, it is
very satis-
fying to read
the protest
entered by
the State
Architect of
New York
and to note
his warm
approval of Warren & Wetmore's superb plan
DETAIL BY CONKLING-ARMSTRONG
TERRA COTTA CO.
A. A. Ritcher, Architect.
THE first skeleton skyscraper in New York City is
the Tower Building at 50 Broadway, which was
designed by Bradford L. Gilbert in 188S. The scheme of
transmitting the weight of walls and floors through
girders and columns to the footings was then a novel one.
THE BRICKBU ILDER.
i73
w • • ■ •
THE LAKESHORE PLAYGROUND SHELTER, CHICAGO.
1'erkins & Hamilton, Architects.
Exterior and Interior walls constructed of salt glazed hollov
Terra Cotta blocks made by National Fireproofing Co.
The building laws made no provision for such con-
struction. When a permit was applied for, the plans
were submitted to a board of seven examiners, who long
deliberated the matter and at
length approved the applica-
tion for a permit. The build-
ing was finished a year later.
Now it is being demolished to
give place to a new thirty-
eight-story structure designed
by Architect W. C. Hazlitt.
number of seats under cover was very close to 40,000.
There were numbered seats for 68,000 people and stand-
ing room with iron rails to lean against for from 40,000
to 50,000 more.
I N the preliminary competi-
DETAIL BY AMERICAN TERRA COTTA & CERAMIC CO
W. J. Frein, Architect
ARCHITECTS designing buildings in connection with
athletic fields may make interesting comparisons
with the vStadium at Shepherd's Bush, London, where
125,000 spectators
could watch 2,000 of
the picked athletes of
the world in the re-
cent Olympic Games.
The length of the turf
inside the running
track was 235 yards,
the breadth just under
100 yards. The swim-
ming pool was 109J/2
yards long by 50 feet
wide, with a depth of
12 feet in the center
for high diving. The
GARFIELD PARK REFECTORY AND BOAT HOUSE, CHICAGO.
W. C. Zimmerman, Architect.
Roofed with green glazed tile made by Ludowici-Celadon Co.
tion for the Springfield
(Mass.) Municipal Building
Croup, Evans & Bright of
Philadelphia and Louis R.
Kaufmann of New York were
the two winners who, by the
torms of the competition, are permitted to enter the final
contest along with five other firms invited to submit
designs and to be paid $400 each for so doing. These
firms are Cass Gilbert,
Hale & Rogers, Lord
& Hewlett, Peabody&
Stearns and Pell &
Corbett. The two
winners in the prelimi-
nary competition will
also be paid $400 each.
The final competition
will also be open to all
Springfield architects
who are able to qualify
professionally before
Prof. Warren P. Laird
of the University of
174
T II E H R I C K P. U I L H E R
Pennsylvania who
is the advisory
architect of the
Municipal Build-
ing Commission.
The two local
firms whose work-
is regarded as the
best will be paid
$400 each. ■
DETAIL BY F. M. ANDREWS,
ARCHITECT.
New York Architectural Terra Cotta Co.,
Makers.
WALL Street
is having a
building boom.
Within a fortnight
plans for three
skyscrapers have been announced. The Bank of New-
York Jias plans by Clinton cV Russell for a twenty-story
building of limestone and granite, costing $650,000, and
to be erected at the northeast corner of Wall and William
streets. Another is the 1,000-foot high building to
occupy a plot at Broad and Wall
streets. The cost is placed at $7,000,
000, and the area of the tower, it is
reported, is to be 100 by 80 feet.
Ernest Flagg is said to be the archi-
tect. The United States Realty Co.
plans a twenty-four-story building
for Nos. 67 and 69 and Nos. 89 to 91
Beaver Street.
DETAIL BY NEW JERSEY TERRA COTTA CO.
Clinton & Russell, Architects.
DETAIL BY SOUTH AM BOY TERRA COTTA
J. Warner Allen, Achitect.
CO.
REAL estate owners in New York, aroused at the
recent announcement of a $1.61 tax rate, are or-
ganizing for the purpose of keeping a strict watch upon
the making up of the annual budget, and of following
the manner in which it is
spent. Little effort is made,
they argue, to collect the
full tax upon personal prop-
erty, while the burden of
municipal extravagance in-
variably falls upon real es-
tate. Conditions may be
pretty bad in New York, but
the tax rate objected to is
much less than that in force
in many other American
cities.
Two New Park
Buildings, Chicago.
(See illustration, this number.)
SEWARD PARK, Chi-
cago, is named for Wm.
II . Seward, President Lin-
coln's secretary of state, the
Park Board having adopted
the names of Lincoln's cabi-
net officers as names for this
and future small parks.
DEAN BUILDING, SO. BEND, IND.
George W. Selby, Architect.
Brick made by Hydraulic-l'ress Brick Co.. St. Louis
The di-
mensions
of the
ground are
346 x 218
feet. It is
situated in
a densely
populated
district on
the North
Sidewhere
ground is
expensive
for park
purposes.
The site is not a large one, but cost $85,000, it being nec-
essary to wreck a large building which previously occu-
pied it. The building was erected at a cost of $85,000,
and its equipment (including outdoor improvements)
$15,000 more. Ample facilities are provided for gym-
nastic instruction for men, women
and children of all ages, both
summer and winter. A large
amount of play apparatus has been
installed for the children. Space
has been provided in the field for
games and a running track.
The building contains a large
gymnasium for men and one for
women, each 40 x 78 feet. Steel locker, toilet and shower
accommodations for men, boys under ten years of age
and women and girls are provided in three groups with
gymnasium connections from each, 400 steel lockers be-
ing installed in each group with separate toilets and
shower baths. The locker
groups are each on three
levels with upper floors con-
structed of 1 -inch glass in
iron frame and a small stair
connection is provided from
floor to floor. The roof
above each is of green glass
tile.
The central loggia, 40 x
60 feet, provides entrance,
shelter and lounging space
for a large number of people.
The assembly hall above it
(of the same size) is well ar-
ranged for entrance and exit
stairs on both sides — and
is intended for dancing and
entertainments.
Adjoining the assembly
hall is a free reading-room
and delivery station con-
ducted by the Chicago Public
Library Board. Below this,
on the first floor, are lunch
rooms and the director's
office.
The building is built en-
THE BRICKBUILDER.
175
tirely of brick both
inside and out, the
exterior being of a
rough wire-cut
brick with beauti-
ful variation of
color in reds and
browns. The in-
terior is of a
yellow vitrified
brick, the roof of
green enameled
tile.
The Lake Shore
Playground is used
entirely for a base-
ball field. The
portion to the east
of the building
for some three
hundred feet is
used for a play-
ground and an
athletic field for
men, women and
children. The
building contains
a rest-room, toilets
and shower baths for women and
separate equipment of locker, toilet and shower accom-
modations for men and boys under ten years of age
as well as a very large area
of outdoor observation and
shelter floor space.
similar work at
Pompeii. An
American com-
pany now proposes
to attack the task
with all the im-
proved methods of
modern mining.
The "Build
Now " campaign
is substantially as-
sisted by lower
prices for building
materials; but this
advantage is al-
most offset by high
interest rates, for
the money market
is not yet in con-
dition to back a
normal building
industry.
HOUSE FOR LLEWELLYN HOWLAND ESQ., PADANARAM, MASS
M il waukee's
Convention Hall,
of which the cor-
ner-stone was laid
August 1, has the distinction of being available for
use as a huge single auditorium, seating 8,594 persons,
or being readily divisible into several smaller halls each
separate from the other.
MASS
Phillip B. Howard, Architect.
Phe walls are buiit of two courses of hollow tile terra cotta blocks, the blocks in the outside course
measuring 12 in. x 8 in. and those on the inside 12 in. x 4 in. The walls are 9 in in thickness.
IN GENERAL.
Russell E. Hart, New
York City, winner of The
Brickbuilder's Competition
for a Theater Building, will
spend the coming winter in
study and travel in England,
France and Italy.
Wilson Levering Smith,
formerly with Parker,
Thomas & Rice, has opened
an office for the practice of
architecture in the Law
Building, Baltimore. Manu-
facturers' catalogues desired.
The following named
have been elected officers of
the Pittsburg Architectural
Club: Benno Jannsen, Presi-
dent; Richard Kiehnel, Vice-
President; Stanley L.Roush,
Secretary; James M. Mac-
queen, Treasurer; John T.
Comes, Chairman of Enter-
tainment Committee.
Excavation at Herculan-
eum has been intermittent,
and has lagged far behind
OFFICE BUILDING FOR DETROIT GAS CO.
John Scott & Co., Architects.
Exterior of white mat glazed terra cotta made by Atlantic Terra Co.
George F. Newton is the
architect of the Music Build-
ing now being erected at
Mt. Holyoke College. . . .
Delano & Aldrich are doing
the Music Hall which is the
gift of Mrs. Russell Sage to
the Northfield, Mass., Sem-
inary. . . . Another dona-
tion by Mrs. Sage provides
for a new dormitory at Prince-
ton, for which building
Frank Miles Day & Bro.
have been chosen archi-
tects. . . . Parish & Schroe-
der are the designers of the
$80,000 Dining Hall now
building on the campus of
the Mt. Hermon, Mass.,
school. . . . Shepley, Rutan
& Coolidge have the design
completed for the John Hay
Memorial Library at Brown
University. For this build-
ing $150,000 had been raised
when Andrew Carnegie
added as much more. Con-
struction is soon to begin.
The Metropolitan Life
Insurance Co.'s tower on
Madison Square, New York,
176
THE BRICKBUILDKR.
DETAIL BY BRICK, TERRA
COTTA & TILE CO.
Henrv C. Pelton, Architect.
is to have four of the largest
bells in the world. They are
to chime the quarter hours 650
feet above the pavement.
Since Warren & Wetmore's
plans were filed for the much
heralded Ritz-Carlton Hotel in
New York, it is reported that
the project is to be abandoned,
for the present at least. Mean-
while the management of the
Plaza Hotel in New York plans
to build a palatial hotel upon
American lines in both London
and Paris.
Plans for the restoration
of the famous old castle of
Heidelberg have been accepted
by Grand Duke Frederick of
Baden.
mark out the
design and
are about
one-eigh t li
inch in width.
The real
joints come
along certain
of these re-
cesses. The
recesses are
beveled and
filled in with
black cement
after the
panel is set,
thereby hid-
ing the joint
and giving a
mosaic effect.
UK 1 AIL BY MILLER & OPEL, ARCHITECTS.
Made by St. Louis Terra Cotta Co.
O. F. Semsch, chief en-
gineer for Ernest Flagg,
has supplied figures for an
imaginary skyscraper of the
maximum height permissi-
ble under the various re-
strictions of the New York
Building Code. The build-
ing would rise to a height of
150 stories; its walls would
be 12 inches thick at the top
and at the bottom 1 2 feet ;
they would withstand a wind
pressure of 30 pounds per
square foot their entire
height; the building would
cost about $60,000,000. The height of such a building,
it is declared, does not depend upon any structural
defects or the wind pressure to which it would be sub-
jected.
The new residence for James A. Blair, Esq., at Oyster
Bay, Long Island, Carrere & Hastings, architects, will
be built of " Real Roman Tapestry Bricks," furnished by
Fiske & Co., New York. These bricks are 18 inches long,
8 inches thick, 6 inches wide and run in a great variety
of color, from clear red to clear blue, with intermediate
shades of brown, purple, olive and weathered copper.
The terra cotta used in the Armory at Brooklyn of
which Pilcher, Thomas & Tachau were the architects
and the Naval Battalion Armory, Brooklyn, Lord & How-
lett, architects, was supplied by the Atlantic Terra Cotta
Company.
The two Park Buildings, Chicago, Perkins & Hamil-
ton, architects, illustrated in this month's issue, are
roofed with tile made by the Ludowici-Celadon Co.
The faience panel by the Hartford Faience Company,
illustrated in this issue of The Brickbuilder, is composed
of about five pieces. The black lines are recessed which
HOUSE AT COLUMBUS, OHIO
Julian & Julian, Architects.
Built i>( " Ironclay
The advantage of this over mosaic is the
ease with which the panel
can be set without the work-
men getting the pieces in the
wrong place.
Skyscrapers more than
twenty stories in height are
not profitable. The cost of
operating elevators sufficient
to safeguard the tenants
makes the cloud piercing
b u i 1 d i n g uneconomical.
Such were the opinions of
the building managers from
all the large cities in the
country who met in conven-
tion at the Auditorium, Chi-
cago, to discuss questions of
systematic management of
skyscrapers. The convention is the first of its kind ever
held and it probably will result in the formation of a
national association of building managers.
WANTED — An Architectural draughtsman, fully competent to
take charge of a small office, is desirous of obtaining a permanent
position offering opportunities. Address " W. R. C." care THE
BRICKBUILDER.
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THE BRICKBUILDER.
VOL. 17, NO. 8. PLATE 101.
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THE BRICKBUILDER.
VOL. 17, NO. 8 PLATE 102.
ARMORY FOR TROOP C, BROOKLYN, N Y.
Pilcher. Thomas & Tachau, Architects
THE BRICKBUILDER.
VOL. 17, NO. 8. PLATE 103.
THE BRICKBUILDER.
VOL. 17, NO. 8. PLATE 104.
T H E B R I C K B U 1LDER.
VOL. 17, NO. 8. PLATE 105.
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VOL. 17. NO 8 PLATE 106
THE BRICKB U I L I ) E R .
VOL. 17, NO. 8. PLATE 107.
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POST OFFICE, KANKAKEE, ILL.
Pond & Pond, Architects.
THE BRICKBUILDER.
VOL. 17. NO. 8 PLATE K
PARK BUILDING, SEWARD PARK, CHICAGO.
Perkins & Hamilton, Architects.
THE
VOL. 17, NO. 8.
BRICKBUILDER
PLATE 109.
THE BRICKBUILDER.
VOL. 17, NO. 8. PLATE 110.
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THE BRICKBUILDER.
VOL. 17, NO. 8. PLATE 112.
Sffe ~
VIEW FROM STREET
NAVAL BATTALION
ARMORY,
BROOKLYN, N Y.
LORD & HEWLETT, ARCHITECTS.
VIEW FROM WATER FRONT
THE BRICKBUILDER.
VOL. 17, NO. 8. PLATE 113.
THE BRICKBUILDER.
VOL. 17, NO. 8. pLATE m.
ARMORY AT HAVERHILL, MASS
Andrews, Jaoues & Rantoul. Architecis.
■First ■ Floor -Pl^ti-
THE BRICKBUILDER
Volume XVII SEPTEMBER 1908 Number 9
PUBLISHED MONTHLY BY ROGERS & MANSON
85 Water Street - - - Boston, Massachusetts
Entered at the Boston, Mass., Post Office as Second-Class Mail Matter, March 12, 1892. Copyright, 1908, by ROGERS & MANSON
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CONTENTS
Page
NEW YORK CITY HOUSES 187-210
TWENTY-FOUR PAGES OF ILLUSTRATIONS
FROM PHOTOGRAPHS OF HOUSES
AND PLANS,
REPRESENTATIVE OF THE BEST OF RECENT WORK
LETTERPRESS
I'AGH
CHURCH OF ST. HEREON, COLOGNE, GERMANY Frontispiece
SANATORIA FOR CONSUMPTIVES T. MacLaren 177
THE CONTAGIOUS HOSPITAL Edward F. Stevens 1X3
THE AMERICAN THEATER — X Clarence H. Blackall 185
CONVENTION OF THE ARCHITECTURAL LEAGUE OF AMERICA — REPORT 214
STANDARD ARCHITECTURAL BOOKS FOR OFFICES AND LIBRARIES Edward R. Smith 215
EDITORIAL COMMENT AND MISCELLANY 21S
i?8
THE BRICKBUILDER
<uoouiLai:— nrjCc
THE BRICKBUILDER.
179
powerful assistants in enabling
the body to throw off those
conditions which we call di-
sease. Not only daylight but
sunlight; indeed, fresh, pure
air must be sun warmed, sun-
penetrated air."
The ideal way to obtain
these conditions would ap-
pear to be a tent, well venti-
lated and provided with win-
dows for the direct admission
of sunlight, and the canvas
would permit of perfect pen-
etration of light. While a
NORDRACH RANCH SANATORIUM, COLORADO SPRINGS
tent, pure and simple, can be safely used by an individ-
ual and set alongside a residence, as is so often done,
the problem of using groups of tents as part of a san-
atorium is more difficult, owing to fire risks. In some
instances, tents with roofs of permanent material have
been used with very considerable success, and they
have the advantage of being economical, and the more
temporary parts, the canvas sides, can be easily and
cheaply renewed. The difficulties to be overcome in a
sanatorium composed of tents, however, are lavatory
conveniences, heating and administration.
Most sanatoria hitherto
built have been placed in a
haphazard fashion as regards
the obtaining of the maximum
of sunshine in the rooms. In
a paper on "The Orientation
of Buildings and of Streets
in Relation to Sunlight," by
William Atkinson, architect,
Boston, he gives diagrams
showing the proportions of
sunshine entering rooms fac-
ing the different points of the
compass, at the periods of
March and September, with
the following results: to the N. E. and N. W. 17-37, to
east and west 81-63, to the south 80-56 and to the S. E.
and S. W. 104-68. While considerations such as the con-
tour of a particular site, or shelter, or the avoidance of
cold winds in special localities, have influenced the placing
of a building, the fact of the greater proportion of sun-
shine from the southeast or southwest does not appear
to have been fully appreciated.
In looking over various plans of sanatoria few are
found to face southeast or southwest. Ruppertshain,
near Konigstein, Germany, faces southeast. Basel San-
DETAIL .Snowing R1B3
AlB JFAttS OF THI
QYP3UA\ COOF CLAB3,
PLA/^I.
Ve/MTIL-^.TOR.
DETAILS ^ROOTf
...;-.- .
QVP>3U^ 5LAB3
DETAILS
E.LEVATlO/1
5ECTICV1
NORDRACH RANCH TENT.
i8o
THE BRICKBU I LDER.
atorium, Davos, Switzerland, faces southwest, and the
center portion only of Hohenhonnef in the Siebenbirge,
Germany, faces southwest. In England, the King
Edward VII Sanatorium at Midhurst faces almost south,
with slightly projecting wings forming very obtuse
angles with center portion of building. These projec-
tions are evidently made with a view of obtaining some
shelter.
The only recent example nearly approaching the ideal
in respect of obtaining the maximum of sunshine in the
rooms, is that of " Heatherside " at Frimley, England,
by Edwin T. Hall, architect, plan of which was illustrated
in The Brickbuilder of April, 1907. This is a two-
storied building, the center part faces south and is mainly
tinuous porch runs in front of the rooms, of moderate
depth, just enough to protect and accommodate the patient
without excluding the sunshine from the bedrooms, and
to assist this the porch openings are made as wide and
high as possible. The intention is that patients will
nearly always sleep on the porch, and with this in view it
is made divisible by means of curtains made of heavy
canvas the full width of porch and extending from the
floor to a height of seven feet. The ends of curtains
next the walls are fastened tight with cleats and the
outer ends are fastened to rings in porch posts with straps
about one foot apart drawn tight to prevent flapping.
The openings in the towers at ends of sleeping porches
are provided with French windows to prevent the wind
*•*> m in
^ n n 1 j 1 1 > j
AGNES MEMORIAL SANATORIUM, DENVER, COL. Gove & Walsh, Architects.
administrative, containing offices, public rooms, twelve
beds for patients requiring special attention, and four
radial pavilions containing twenty-two patients' beds each.
Had these radical pavilions been set at angles of 45 de-
grees instead of slightly less, all rooms would have faced
exactly southeast and southwest. The radial pavilion
idea is excellent for administration and supervision.
As regards the windows in rooms, Dr. F. R, Walters
recommends that at least one-half of one side of each
room should consist of window space.
The type of plan of sanatorium
consisting of a corridor with rooms on
each side has been abandoned as not
conducive to the best results, and it
is further recommended that even
with the single line of rooms there
should be ample windows in the corri-
dor with corresponding openings in
the walls of rooms so that a thorough
circulation of air can be obtained.
But it is evident, if the starting point is
made to obtain rooms facing as nearly
southeast and southwest as possible,
that this would eliminate any possibil-
ity of the plan with a double row of
rooms.
Where climatic conditions permit,
open air sleeping porches should cer-
tainly obtain. From the fact that an open air sleeping
gallery is provided in the North London Consumption
Hospital and that in Colorado, sleeping porches are used
in zero weather it would scarcely seem that climatic con-
ditions imposed limitations on the idea.
The Agnes (Phipps) Memorial Sanatorium, Denver,
Col., was the first example on a large scale in Colorado,
of the hospital plan modified by the insertion of sleeping
porches. It consists of a central administrative building
connected by corridors to two two-storied pavilions con-
taining accommodation for forty patients each. A con-
DETAIL SHOWING PATIENT S UNIT, THE AGNES
MEMORIAL SANATORIUM, DENVER.
sweeping lengthwise of the porches, and at the same time
making comfortable little sun room?.
Important points in the construction of pavilions are:
1. The elimination of all wood trim in the rooms; all
corners and angles rounded ; floors of quarter sawed
yellow pine filled and varnished and the walls and ceiling
painted.
2. Wide door between room and porch so as to per-
mit of cot passing through.
3. Stud partitions between rooms doubled and insu-
lated with hair felt, making them
sound proof.
4. Rooms heated by steam through
direct-indirect radiator, and ventilated
through flues placed near the floor and
carried up to the attic where they
connect with galvanized iron ducts.
These ducts are proportioned to the
intakes and carried to the center of
the building, opening into a large
heated chamber directly under a cu-
pola.
The addition now being built to
the Glockner Sanatorium, Colorado
Springs, Col., provides sleeping
porches and a system of baths between
the rooms for the accommodation of
the better class of tubercular patients.
The sides of sleeping porches are provided with sashes
which slide down into pockets, and adjustable shades are
used inside to regulate the light. The doors between
rooms and sleeping porches are, as in the Agnes Memorial
Home, made wide enough for beds or cots to pass through.
The floors of corridors are deafened by means of a double
set of joists, clear of each other.
The plan of the proposed Sanatorium, Cragmor, Colo-
rado Springs, was prepared according to directions of the
late Dr. S. Edwin Solly and is designed to accommodate
the best class of patients, and as the climate of Colorado
THE BRICKBUILDER.
181
y
is peculiarly favorable to the open-air treatment, the
sleeping porches have governed the idea of the scheme.
The building will face southwest.
The center portion of the building contains on the
first floor mainly administrative and public rooms, and
the two upper stories, patients' rooms. The wings are
two story and contain patients' rooms, nurses' rooms and
dietary kitchens.
The unit of patient's suite
consists of a sleeping porch,
private bath and a room with
a fireplace, — this latter being
a dressing-room rather than a
bedroom, — the idea being that
patients will sleep on the porch.
Cross ventilation to the rooms
is obtained by the windows on
the two sides, and each bath-
room has a special ventilating
flue. To prevent stagnation of
air in the inner corners of sleep-
ing porches, vent flues in side
walls are proposed. To reduce
to the minimum the disturbance
of one patient by the coughing
of another, the sleeping porches
are separated both vertically and
horizontally. No porch is built
over another, and none adjoin,
each having aroom intervening.
The Cottage Sanatorium at Cragmor, Colorado
Springs, is an attempt at a compromise between the san-
atorium on hospital lines and the plan of a central build-
ing with single hut or tent accommodations for patients.
It consists of the central administrative building with
cottages for men and women placed on either side at
moderate distances from central building and from each
other and is possible of extension by simply repeating
the cottage buildings.
The problem lay in determining the arrangement and
the number of patients to be accom-
modated in the cottage unit and to
obtain sleeping porches with two open
sides. Each cottage is two stories in
height, the rooms have all good direct
light and are intended for dressing-
rooms rather than bedrooms. No at-
tempt has been made to obtain com-
plete isolation of sleeping porches,
and so far no complaints have been
made of the coughing of one patient
disturbing another. Should this occur,
patients so disturbing could be located
in the second-story corner suites. The
sides of porches are provided with ad-
justable curtains. The scheme has been largely experi-
mental, and therefore the utmost economy was observed
in construction, — the central building, for instance, being
an old cottage re-modelled and extended. All the build-
ings are frame, and the heating is by hot-air furnaces.
At present the principal accommodations are two cot-
tages containing eight rooms each.
In the Nordrach Ranch Sanatorium, Colorado Springs,
J Mn Rita' Quart ERA Die
D'tiinc Roon
Munac-s! Quarters Dietary
Kitcmem l> Toilet R*s
i
SUGGESTIONS FOR A SANATORIUM PLAN.
MacLaren & Thomas, Architects.
TYPICAL PLAN OF PATIENTS SUITES, GLOCKNER
SANATORIUM, COLORADO SPRINGS, COL.
George M. Brvson, Architect.
Col., patients' accommodations are provided entirely in
tents and the open-air treatment is here carried out to its
fullest extent. The following description is by Dr. John
E. White, President and Medical Director:
" The tent colony at the Nordrach Ranch Sanatorium
begins about 75 feet from the central building and con-
sists of nine 25-foot terraces, 200 feet long, running par-
allel to each other. Each terrace
accommodates eight Nordrach
tents, 25 feet apart. The ter-
races are supported with rough
stone walls and with the ce-
ment sidewalks, trees, lawns
and flower gardens, a very at-
tractive effect is secured. The
nurses' tents are located in the
village of tents and at the head
of every bed is an electric bell
which is connected with the
nurses' tents. There is also a
system of private telephones
connecting the various depart-
ments, one of which communi-
cates with the doctor's tent. In
one corner of the tent colony
there is a two-story frame build-
ing containing janitor's room,
outside lavatories for men and
women, together with coal and
woodbins. It is only possible
to carry out the open-air.treatment to its fullest extent in
a well-constructed tent. The ordinary type is not suffi-
cient, — there is not enough ventilation through the
canvas itself to supply the required amount of fresh air.
A tent must have special ventilating features. The Nor-
drach tent is octagonal in shape, with shingle roof, oiled
floor and strong army canvas on the sides. A galvanized
stationary ventilator, shaped somewhat like an umbrella,
fits into the apex of the tent and can be opened or closed
by means of a damper controlled by a cord fastened
usually to the head of the bed. In ad-
dition there are two good-sized win-
dows in each tent on opposite sides
of the octagon. The furnishings are
the same as would be used in a
chamber in the house, namely, a
white iron bed, plenty of soft, warm
bedding, a bureau, toilet table, rugs,
chairs and a stove. The wardrobe
washstand is built into the tent itself.
The fires are built by the attendants
before patients go to their tents at
night and the ventilators are closed
until after retiring when they are
opened and all have a deep, refresh-
ing sleep, with scarcely a cough, whereas if patients
were in the closed rooms of houses they would probably
cough all night. The fires are built again in the morn-
ing before patients arise, and tents are warmer and
more comfortable than the rooms in most houses. The
strongest winds never make the least impression on the
tents, as their octagonal shape renders it impossible for
the wind to get a purchase upon them. Our tent life is
182
THE BRICKBUILDER
more than satisfactory in every way, and the results that
we are obtaining are very gratifying."
The Nordrach tent illustrated while not exactly like
the one in use there follows closely its design but is
modified in construction with a view to making it a per-
manent and as nearly as possible fireproof structure
and requires only periodical renewal of the canvas sides.
A steel frame work of Ts and angles is proposed, with
hollow ventilated roof of gypsum slabs covered with as-
bestos shingles. The floor is formed of monolith. The
flue from stove is hollow concrete construction. In all
other respects it is similar to that described by Dr. White.
Groups of these tents could with advantage be steam
heated from a central system, and not only eliminate the
smoke from the colony but practically the only danger
from fire.
The following is a description of the Gardiner Sana-
tory Tent by Dr. C. F. Gardiner:
"The tent is
of dark khaki "'"'TM^™7'
twelve-ounce FLRtt 8c \ SfC7
duck, stretched
over an eight-
sided framework
of wood, without
any center pole
and without pegs
and guyropes, so
that it stands
firm, like a house.
The floor is
raised eight
inches from the
ground, and is in
sections so that
it can be easily
moved. The
lower edge of the
wall is fastened
several inches
below the floor
and one inch out
from it all
around. This is
to insure at all
times an inflow of air that is gradual and without
draughts, since this inch space in a circular tent repre-
sents an area of 520 square inches, and the hole in the
top for overflowing air has an area of some 177 square
inches. In this way the tent cannot be closed and is
ventilated automatically and constantly. There are
small shutters so constructed that they can partially
close the opening from within the tent in case of very
high winds. The opening at the top of the tent is
covered by a zinc cone, which can be controlled by
pulleys and rope within the tent, in stormy weather
being drawn to within an inch of the tent roof. The
heating is by a central draught, circular stove, which
burns either wood or coal and can be so regulated as to
keep a good fire without care, for ten hours. The
stove is of such a size as to thoroughly warm the tent
under any conditions and at the same time it is impos-
sible to overheat the air or interfere with ventilation.
The more heat used, the greater the displacement of
heated air upward, and a more rapid interchange of air
at once occurs. As the heated air can escape at the
top, the fresh air can always enter at the bottom of tent.
This is automatic and is not under the control of the
invalid. A small window, which does not open is used
in these tents. It is placed horizontally and is 1 foot by
6 feet. The floor being about eight inches from the
ground there is very little fear of dampness. It is, of
course, more comfortable and practical for an invalid to
live in tents during the winter in a climatic dry belt such
as Colorado, Mexico, Arizona and some parts of California,
but they have been used with success in Massachusetts
Oregon, New York and probably in many other places.
Sanatory tents, or, if preferred, sanatory tent houses,
can be used as part of a general sanatorium ; a main
building being used as a heating, dining and administra-
tion building, and surrounded by the tents."
Suggestions
OTTA/LS OF
/J//f OUTLET
*/X '/VLETS
GARDINER SANATORY TENT. SIZE FIFTEEN FEET.
for two types of
plan are here of-
fered, one being
a system of de-
tached cottages,
and the other
groups of tents,
the central build-
ing and infirmary
being the same
in either case.
Of the cottage
plan the unit
would be similar
to that of Crag-
mor Cottage San-
atorium, which
is two story and
accommodates
eight patients in
all. The cot-
tages are so
placed as to cause
the two open
sides of each
sleeping porch
to face south and east and south and west and the
rooms behind the sleeping porches are well lighted, es-
pecially those at either end, which have south and east
and south and west windows. The aspect of the cottage
unit having been determined by the foregoing conditions,
the placing of the units in their relation to each other has
been governed by the following considerations: far
enough apart so that the shadow of one will not strike
the other; ample circulation of air around each cottage;
clear views and privacy. The entrances to these cottages
being at the back confines traffic to that side, and thus
there is the desirable quiet in front of sleeping porches.
Nurses' quarters and a dietary kitchen are provided with
each group of five cottages. In certain climates the cot-
tages could, if necessary, be connected to each other and
to the central building by a covered way.
In the plan on tent system, the tents are arranged in
groups of fifty or sixty as a maximum. Each group of
.ows/z CJ1P
00TTSO J.//*£3 ^sTroMf />0J/r/O/Y of
THE BRICKBUILDER
183
tents is arranged around a kind of quadrangle, in the cen-
ter of which is a small building containing accommoda-
tions for two nurses, a dietary kitchen, bath and toilet
rooms. To this building would be connected the bells
from all the tents in one group.
Each group would to a certain degree be independent
of the rest of the institution. The tents are arranged
with a view to as little interference with each other as
possible, in regard to air, light or view. The tent sug-
gested would be the modified Nordrach Tent, as illus-
trated, 12 feet diameter and 25 feet on centers, with
windows placed on southeast or southwest faces.
The cottages or tents would be steam heated from a
central system. Both cottages and tents are placed on
radial lines, facilitating supervision, and large future ex-
tensions are obviously easy.
The infirmary building for the seriously ill would be
laid out on the principle of the cottage unit on a larger
scale. In the central building the rooms frequented by
invalids would have light on the southeast and south-
west sides. The power house and heating plant would
be as far removed as practicable from the sanatorium
proper, and the main entrance and drive thereto would
be at the back of the building, thus insuring freedom
from dust and noise, to all the frontages of the build-
ings.
The Contagious Hospital.
BY EDWARD F. STEVENS.
IN many states there is a law requiring cities or large
towns to be provided with hospitals for the care of
contagious diseases. In Massachusetts the statute reads
(Chapter 75, Section 40):
" Each city shall establish and be constantly provided,
within its limits, with one or more isolation hospitals for
the reception of persons having smallpox or any other
disease dangerous to the public health. Such hospitals
shall be subject to the orders and regulations of the
boards of health of the cities in which they are respec-
tively situated. A city which, upon request of the state
board of health, refuses or neglects to comply with the
provisions of this section shall forfeit not more than five
hundred dollars for each refusal or neglect."
Many cities and a few of the larger towns are provided
with commodious, well-planned contagious hospitals, while
others are provided with buildings hardly worthy of the
name of "hospital," and often called "pest houses, "where
those afflicted with contagious diseases are treated. These
buildings are usually old houses pressed into service in
the time of an epidemic, or buildings put up hastily
under the same pressure, with the argument that when
they are too much infected they can be burned down.
Some suburban towns have excellent? contagious hos-
pitals, but most of them can care for but two diseases at
a time, and if there are two cases of scarlet fever and one
of diphtheria in the hospital patients must be kept in
separate buildings and attended by separate nurses.
There must, of course, be a night nurse as well as a day
nurse for each disease. If, while these two or three iso-
lated cases are in the hospital, several cases of measles or
erysipelas develop in the town and ask admission to the
hospital, these newer cases must either have separate build-
ings or the older cases must be bundled out and, after a
thorough disinfection process, the new ones admitted; or
if a suspected case is brought in the patient may be kept
in the suspect ward for a day or two, then placed in the gen-
eral ward with others who have the disease he is supposed
to have, only to find after another day that there was a mis-
take in the diagnosis, but too late to prevent infection.
To guard against this last named difficulty and to
provide for the major and what might be called the
minor contagious diseases, the present policy would call
for a building with maximum capacity for each disease
and sufficient suspect wards for each department, each
with its own diet, toilet, linen and medicine rooms; also a
separate department for each sex. With the larger city
hospitals this can and should be carried out. But for
the town supporting a 50-75-bed general hospital and
with a need of a maximum 18-20 beds for all contagious
diseases such subdivision is impossible. How then can
the smaller communities provide adequate and safe care
for those intrusted to them?
The question has often arisen in the mind of the
writer, as it has doubtless with thousands of others, if
the attending physician can safely go from scarlet fever
to diphtheria, from measles to typhoid, from smallpox to
pneumonia, from one house to another, with apparently
perfect safety to the other patients, why cannot a nurse
or an attendant, with the same precaution, attend to the
wants of patients with different contagious diseases?
This was never satisfactorily answered until the writer,
visiting a hospital in Paris designed by Dr. Louis
Pasteur,— was shown a man ill with African sleeping
disease while in the adjoining bed was a man with
erysipelas, adjoining this a boy with scarlet fever, all
separated by glass partitions but visible and under the eye
of the attending nurse. Next to these patients wasa three-
bed ward with three boys convalescing from diphtheria,
and so on around the entire building, holding some
eighteen or twenty patients, all visible from the main
corridor yet separated from it and from each other.
The patient is taken directly to any room and whatever
the development of the disease is completely isolated from
all others. The nurse on entering the door puts on the
gown kept in that room, covering her other clothes and her
hair. After attending to the wants of the patient she
thoroughly cleanses her hands at the sink which is in
each room, removes her gown, taking all precaution and
observing all the rules of antisepsis. Should a patient
desire a bath the portable tub is wheeled into the room,
which is filled from the taps at the sink. The tub is after-
wards sterilized and ready for the next patient.
In the same way the food is taken into the room and
after the meal all dishes are sterilized before going back
to the diet kitchen shelves.
The general rule of the town and city boards of health
is to form a "dead line " around the hospital, forbidding
anyone to venture beyond "this sign." Not so the Pas-
teur Hospital. A narrow balcony surrounds each build-
ing and on certain days or hours the friends of patients
1 84
T H E BRICKBUI L I) E R
are allowed to go to the windows
of the rooms of their friends and
talk to them and see what their
condition may be without fear or
danger from contagion.
With these practical results be-
fore him the writer has endeavored
to work out a small hospital to ac-
commodate ten to twenty patients
where those afilicted with one con-
tagious disease can be cared for
without danger to those having
another.
The plan is to provide for
twelve to twenty beds, — half male
and half female. One room admits all patients.
Here the street clothes are removed, sent down a
chute to the disinfecting or fumigating room in the
basement. The patient can be bathed and clothed,
with the hospital gown, covered with a disinfected
sheet, placed on the wheel truck and taken to the
room assigned to him. The admitting
room is then closed, disinfected and is
- ready for the next patient.
In the same way one diet kitchen
provides food for all and one linen closet
the linen. The rooms may have all of
one disease or all different, the only di-
vision being the division of sexes in the
two ends of the building. The single
rooms may be used for either the more
virulent or suspect cases and the large
ward for convalescents. In the three
bedrooms special toilets would be pro-
vided. Adjoining this building could be
a small one-story building with kitchen,
dining-room for nurses, and sleeping and toilet rooms.
A hospital for contagious diseases was recently
planned for a near-by city, in which sixteen patients
will be cared for, and accommodation for four nurses
is provided on the second floor, the cooking being
brought from the main kitchen.
PLAN FOR ISOLATING HOSPITAL BUILDING.
Edward 1". Stevens. Architect,
MAIN BUILDING, FREEDMENS HOSPITAL, WASHINGTON, D. C. Price & de Sibour, Architects.
THE BRICKBUILDER
185
The American Theater — X.
THE STAGE {continued).
BY CLARENCE H. BLACKALL.
rHE accompanying illustrations of an actual rigging
loft (Figs. 8 and 9) and fly galleries (Fig. 10), will
serve to make this construction clear. The leading
blocks in this case are set in light frames on an angle,
the gridiron itself ending at the leading blocks. The
illustrations will also give one an idea of the quantity of
rope required, which is often many miles in total length.
In the fly gallery illustrated is shown the mechanism
for operating curtains, which is of a most primitive char-
acter, consisting simply of three drums operated by man
power. This is the usual arrangement. There are at
least three curtains in a theater, the outer one made of
asbestos or of steel, the next one, which is specifically
called the main curtain, and a curtain which serves as an
act drop. Some-
times a fourth cur-
tain is added in the
shape of a black
velvet drapery in-
tended to be low-
ered only when
quick changes are
to be made on the
stage. This is
really somewhat
cumbersome and is
not particularly
desirable.
The height from
the stage floor to the
rigging l°ft must
be such that any
drop or border can
be lifted entirely
free from the top of
the highest scene
which is likely to be
set on the stage.
As a matter of fact
the higher the
stage-space the better the stage manager is pleased. Few
scenes are ever more than twenty-five feet high. Conse-
quently a height in the clear of fifty feet would seem
to be sufficient, but sixty is a safe minimum and it -is
often made as much as seventy-five or one hundred.
With a proscenium opening of over thirty-five feet and
a height of gridiron of less than seventy, it is necessary
to lift the curtain above the top of the gridiron. In this
case the supports for the sheaves are either furnished by
the roof beams or bracketed out from the proscenium
wall. The method of supporting the curtains is pre-
cisely the same as for the scenery.
With the arrangements thus described the scenery
constitutes a dead weight, every pound of which is moved
by the pull of fly men. In European theaters the scenery is
almost always counterweighted, and it is becoming quite
generally the custom to counterweight the scenery in the
best of the American houses. In such case the leads
FIG.
RIGGING LOFT,
from each scene are brought to a rod on which are
theaded iron weights, the whole sliding in vertical
guides against the side wall of the stage, and operated
by an endless rope attached to the counterweight frame
and running over pulleys at stage level and at gridiron,
as shown by Figure n. \
In this case the hanging lines are carried over to the
side wall of stage, not to the pin rail, and a scene can be
operated from the stage level or from one of the fly gal-
leries. A simpler but less convenient way is to dispense
with the continuous hand rope, hitching the lead lines to
a counter weight at fly gallery level after the scene has
been hoisted in place and trimmed. This does not allow
the scene batten to be lowered to the stage, but the scene
can be hoisted to the gridiron if necessary, and the side
walls at stage level are kept free of ropes or weights.
Several attempts have been made to apply hydraulic
power to the operation of the scenes, and with perfect
mechanical success, but the cost is very large, and is
seldom warranted
by the results. In
the Metropolitan
Opera House, New
York, electricity
has been applied
very successfully to
moving portions of
the scenery. On
one of the left fly
galleries is a series
of drums, one for
each of five of the
lead lines in each
entrance. Any one
or more drums can
be thrown in right
or left gear with a
main shaft on which
is an electric motor.
At the stage level,
beside the prompt
stand, is a small
switch board with
colonial theatre, boston. a rheostat handle
and series of push
buttons, two for each drum. Pushing a button engages
a corresponding drum on the fly gallery into the main
driven shaft, so that the drum will either raise or lower
the scene, while the rheostat handle starts the motor and
regulates the speed. Any number of scenes can thus
be raised or lowered simultaneously or in opposite direc-
tions. There are two motors and sets of drums, one for
the curtains and the drops of the first entrance, and one
for all the rest. This very ingenious mechanism was
devised and installed by the Elevator Supply and Repair
Company, and is shown by Figure 12.
The Hippodrome, New York, also has a limited
electrical scene operating device. The ropes are led to
drums on the fly gallery, and the power is transmitted
from a mainshaft by beveled friction wheels, which are
thrown in by hand by an operator stationed in the fly
gallery. This theater also has five electric carriers
working on overhead trolleys suspended from the grid-
iS6
THE BRICKIU'ILDKR.
iron, used for shift-
ing heavy pieces of
scenery. Each has
a lifting capacity of
about twelve hun-
dred pounds.
In designing a
proscenium it is
quite customary to
keep the actual con-
structive wall back
a short distance
from the curtain
opening on each
side, building out
the lower portion
of the proscenium
of iron to withstand
hard usage and
carrying up the or-
nament of the pro-
scenium opening in
plaster. If proper
provision is made
therefor it is very easy to reserve a space immediately
over the proscenium arch and in front of the curtain
ropes, permitting of a light gallery to be thrown across
from fly gallery to fly gallery. This is often a conven-
ience in special effects and in repairing defects in the
curtain mechanism. It is also highly desirable at times,
to be able to reach the center of the space immediately
over a border light, and for this purpose, a device which
is quite common in Europe is sometimes used, consisting
of a light gallery not over a foot and a half in width
suspended from the rigging loft by light iron rods, the
borders being suspended in turn from this bridge, and
fed electrically by a cable leading out under the bridge.
The border reflectors take up about a foot and a half.
Consequently this
space cannot be
used for scenery,
and a bridge of this
kind might often be
a great convenience.
To show the
complexity of the
foreign stage as
compared with the
American, sections
are given here (Figs.
13 and 14) of the
upper portion of the
stage of the Court
Theater, Vienna,
which is, perhaps,
the most elabo-
rately equipped
stage in the world.
A stage construc-
tion known as the
Asphalia system
was devised in Vi-
enna some years
HEAD BLOCKS, COLONIAL THEATER, BOSTON.
FIG. IO. FLY GALLERY, COLONIAL THEATER, BOSTON.
since. The entire
depth ot the stage
is divided into sec-
tions about seven
feet deep, each sec-
tion extending the
whole width of the
curtain opening and
one or two feet be-
yond on each side
and being sup-
ported by hydraulic
plungers so that any
section of the stage
could be lifted to
any desired degree
or set at any angle.
Some sections were
supported on single
plungers so that a
piece of flooring
could be raised and
then turned to a
position at an angle
with the curtain. The only theater in this country which
has been equipped on this system is the Auditorium at
Chicago. It is a luxury of stage construction which is
appreciated to a limited extent by those who have it, but
the cost is so great and the result in the main is really so
little with our American methods of scenery building
that few theater managers care to pay for it.
The proscenium wall is usually carried down under-
neath the stage on the curtain line. The projecting
apron is generally open underneath so that for special
attractions the orchestra pit can be floored over, extra
seats put in, and the musicians stowed away under the
stage. This is a very unsatisfactory arrangement from
the standpoint of the audience, but means more profit for
the house and some-
times has to be en-
dured.
< >ne of the most
remarkable pieces
of scene building
was the ship which
was built for the
production of L'Af-
ricaine in the Paris
Opera House. The
stage represents a
cross view of an
East India liner
looking towards the
rear and the ship is
crowded with hun-
dreds of people. At
a given time the
ship is supposed to
strike upon a rock
and cants bodily to
one side, throwing
the mass and all
the people at a
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NEW YORK CITY HOU
208
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45 AND 47 EAST 53D STREET.
S. Edson Gage, Architect.
NEW YORK CITY HOUSES.
2 IO
THE B R ICKBU I L DER.
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Hiniimi i
THE BRICKBUILDER
21 I
sharp angle. The whole
floor is framed and bal-
anced upon a central
pivot.
The designing of
scenery is very largely in
the hands of specialists
who have grown up in the
business. Only rarely is
scenery designed by an
architect or one who" has
made it an artistic study.
The late E. W. Godwin of
London was an architect
who did a lot of very
interesting scenery for
Henry Irving. Mr. Frank
Chouteau Brown has de-
signed some very credit-
able scenery for the Castle
Square Theater, Boston,
and there are individual
scene painters throughout
the country who are
thoroughly artistic in tem-
perament and are con-
stantly trying to do good
work, but for the most
part the scenery which is
inflicted upon the public is
of very low artistic order.
The unrealness of the
stage seems to permeate the artists who do the scenery,
for seldom are they willing to even copy an architec-
turally good interior or a bit of real architecture, but
they seem to delight in impossible moldings, fantastic
constructions and bizarre combinations
of color. Only rarely do we find a bit
of scenery like the ballroom scene in
Erminie which Francis Wilson drew
pretty straight from the Royal Belvi-
dere Palace at Vienna. Ine ase of ope-
ation, in simplicity of construction and
in quickness of manipulation our stage
settings are way ahead of anything
that is done abroad, but we seldom
see here the character of artistic work
in scenery which is so marked a feature
of the productions of houses like the
Paris Opera House.
There is one difficulty with our
present methods of stage setting. They
take too much time, or if hurried, the
details of properties, lights, etc., are
apt to suffer. There is a device which
very materially reduces the time re-
quired between acts and offers some
most alluring possibilities, namely, the
revolving stage. This was tried to a
. limited extent in the old Madison Square Theatre, New
York, and on a small scale was used a good deal for the
♦'living pictures" which had such a vogue a few years
since in the vaudeville houses. It has not yet been fully
FIG. II. SECTION SHOWING COUNTERWEIGHT FOR SCENERY.
FIG 12. ELECTRIC SCENE HOISTS.
worked out in this country,
but in Germany it has met
with such favor and suc-
cess, that it seems more
than probable that it will
be adopted into the Amer-
ican stage traditions, and
for that reason it deserves
notice in this connection.
It is really so simple and
offers so rational a solution
of some of the greatest
difficulties of stage setting
that for some kinds of
plays little can be said
against it. One of the
best examples of its use
is afforded by the stage
of the Deutsche Theater,
Berlin, a sketch plan and
section of which are given
herewith (Figs. 15 and 16)
largely from memory.
The revolving portion
of stage consists of a cir-
cular platform about three
inches thick, sunk so the
top is flush with the main
stage floor, and mounted
on rollers running on a flat
iron track. The plan shows
a setting from Twelfth
Night, with two garden scenes and two interiors set at
the same time, while two more very effective interiors,
the Duke's palace and Olivia's house, are formed by
simple pleated drapery dropped in front of the set
scenes. The whole platform is rotated
by four men, with the leverage of
handspikes thrust into sockets in the
floor. Towards the audience the scene
is framed by adjustable inner tormen-
tors, and to change a scene the whole
stage is simply rotated, in full view of
the audience. The lighting is one of
the specially good features of this de-
vice. Of course sky borders would be
out of the question, and rows of border
lights could not be used to advantage
unless they could be masked by bor-
ders. Consequently, for the outdoor
effects, a plain white panorama cloth is
hung so as to entirely encircle the
stage, and is illuminated by four arc
lamps hung as shown by the sketch.
Behind the inner tormentor drapery is
a light bridge with a single row of in-
candescent border lights, also some
amber spot lights. The white back
cloth under the arc light takes a pale
blue tone giving a well nigh perfect illusion of outdoor
sunlight and blue sky.
( )ne scene can be set and thoroughly studied by the
stage manager while an act is before the public, and long
12
THE BRICKBUILDER.
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I II. 13. TRANSVERSE SECTION OF STAGE, COURT THEATER, VIENNA.
FIG. 15. SKETCH SECTION, REVOLVING STAGE,
DEUTSCHE THEATER, MERLIN.
t
,
"
FIG 14. CROSS SECTION OF STACK, COURT THEATER, VIENNA.
THE BRICKBUILDKK
21 3
waits can be absolutely avoided
by this device. It allows a free-
dom in scene setting and design
which is not possible with the
ordinary system, and the cost
is but trifling, while in prin-
ciple it is extremely simple. It
is not applicable to all stage
conditions, but for small dramas
and comedies, Shakespeare,
and, to a more limited extent,
for some operas it certainly
offers great possibilities. A
stage equipped with a revolver
could at the same time use
the ordinary setting, when de-
sired.
THE situation regarding
the Equitable's proposed
1000-foot skyscraper in New ,,I(;> ,£_
York City seems to develop
uncertainties. The plans
have been approved by the New York City building
department ; but the Tribune announces that the pro-
tests of thousands of the Equitable's policy holders
are causing the officers of the society to hesitate
before putting $10,000,000 of the policy-holders' money
into such a structure. "Some of the largest policy
holders," says that paper, "have submitted to the
society as an alter-
native proposal that
of selling the
present building
and site, which are
valued at anywhere
from $15,000,000 to
$20,000,000, and of
then erecting a
building much fur-
ther uptown, at a
cost for site and con-
struction of about
$5,000,000 or $6,-
000,000, the rest of
the money to be dis-
tributed among the
policy holders.
This, it is argued,
would appeal to all
that conservative
element of the
population who con-
stitute the principal
body of insured,
and would prove a
far more effective advertisement for the society than
any 100-foot-high building. "
largest institution of its kind in
the world. . It is to cover about
thirty acres of land, and the
cell-house, which is to harbor
two thousand prisoners, will be
surrounded by large air spaces,
and the height of the building
will be restricted to four tiers,
instead of eight or ten tiers, as
has been the custom. The aim
in the construction will be to
make the new prison spacious,
airy, well lighted, to provide it
with modern sanitary devices,
and to safeguard in every way
the health of its inmates. The
contrast with existing institu-
tions of its sort will be almost
startling. The idea in the new
construction will be not only
to provide for the security of
the prisoners, but for their
comfort and happiness as well
— something which would have
been deemed quite out of order in the old days. How
far an advance is to be marked appears in the fact that
enameled steel is to be used in the cells and all interior
walls will be of porcelain enamel, the same as bath tubs.
Each cell will contain a water-closet, wash basin, running
water, one bunk for prisoner and steel case for papers.
The dimension of the cell will be 6 by io feet on the
floor and 8 feet 6
inches in height.
SKETCH PLAN OK REVOLVING STAGE OF
DEUTSCHE THEATER, BERLIN.
ELECTRIC BRIDGE, COVENT GARDENS THEATER, LONDON.
THE French
Government
has at last decided
to put the lower for-
tifications of Mont
St. Michel under the
categoryof "historic
monuments" and to
be guarded as such.
This will preserve
that unique and
much visited island
against the en-
croachmen t s of
hotels and cafe's
that have proposed
various schemes to
improve the en-
trances to their
property at the ex-
pense of the beauty
of the islands.
T
HE new Sing Sing prison, which New York State is
to build in the highlands of the Hudson, is to be the
EXPERTS anticipate the timber famine for the in-
dustrial world thirty years hence. Other prophets
foresee an end to the coal supply and of iron. Happily
there are other materials of the earth the supply of
which is not threatened. The making of an infinitude
of clay products will likely go on forever.
214
THE BRICKBUILDER
The Annual Convention of the Archi-
tectural League of America.
TI 1 E Annual Convention of the Architectural League
of America was held at Detroit, September 17, [8,
19. In addition to the regular business sessions the
delegates were entertained at a banquet tendered them
by the Detroit Architectural Club which had in charge
the arrangements for the convention. Excursions were
also made to various points of interest about the city.
Frank C. Baldwin of Stratton & Baldwin, Detroit,
was elected president for the ensuing year, and Boston
was selected as the place for the next convention.
The following committees were appointed : — Educa-
cation, Prof. Newton A. Wells, Urbana, 111. ; Prof. C. A.
Martin, Ithaca, N. Y. ; Herman V. Yon Hoist, Chicago.
Traveling Scholarships, Prof. Percy Ash, Washington,
D. C. ; Albert G. Skeel and S. G. Gladwin, Cleveland.
University Fellowships, Prof. Emil Lorch, Ann Arbor,
Mich.; August G. Headman, Philadelphia; John T.
Comes, Pittsburg. Publicity and Promotion, Jesse N.
Watson, St. Louis; Alfred S. Alschuler, Chicago; John
M. Lyle, Toronto. Architectural Annual, Louis C. New-
hall. Boston; Charles Mason Remy, Washington, D. C. ;
L. C. Borie, Philadelphia.
N. Max Dunning, Chicago, Frank C. Baldwin,
Detroit, and J. P. Hynes, Toronto, were appointed a
committee to confer with the American Institute of
Architects and the Society of Beaux Arts Architects
with a view of obtaining closer affiliation and cooperation
in the educational work of these societies.
The Committee on University Fellowships reported
that but few applications had been made for the regular
university scholarships, the reason undoubtedly being
the lack of adequate general educational preparation.
The committee called attention to the recommendations
of last year by the committee on education, which urged
that all draughtsmen seek to complete the requirements
for entrance to college, in evening schools or by such
other means as may be available.
The report of the Committee on Education was in
substance as follows:
Early in the year the committee decided to send out a
letter embodying the following questions:
1. Do you think it practicable to arrange the work of
the office so that draughtsmen who wish to do so may spend
a certain number of days of each month in pursuit of a
definite course of architectural studies?
2. What, in your opinion, would be the best method of
organizing courses of study to meet the requirements of
the men whose time is largely occupied with office work?
3. If such courses could be organized what branches
of study would best supplement office work to give a well
rounded training for the practice of architecture?
4. Do you approve of the "Atelier" system and
would you be willing to cooperate with the Architectural
Club in your city or vicinity (a) in giving instruction
to classes which they may organize, or (b) in giving
financial aid toward the equipment of an atelier for the
study of architectural design and-kindred subjects'
5. If the plan of establishing "ateliers" or classes in
connection with the architectural clubs of the League
proves desirable and practicable, do you think that
periodical competitions organized by the League, possibly
In conjunction with the A. I. A., in a manner similar to
the Society of Beaux Arts Architects, might accomplish
any results not already accomplished by that societ)'
toward the development of native taste in architectural
forms and decorations.
Summary: — In taking up the questions in detail we
find:
1 . There is a strong trend of opinion against the
practicability of allowing draughtsmen to take time out of
regular office hours for the purpose of study.
2. It is the opinion of a large majority that such study
must be pursued outside of office hours; also, that such
study can never compensate for the lack of regular
school training.
3. There is a strong trend of feeling in the profession
that those men having the natural gifts of will and
talent, which are worth cultivating, will overcome the
difficulties standing in the way of educational training.
It is also evident from replies received that general
culture is considered as a first essential to the educational
equipment of the architect and that those special branches
of knowledge essential to successful practice of the art
may be included under three heads, Historical, Theo-
retical and Technical.
4. It is shown that more than 75 per cent of the
replies favor the "Atelier" system as at present organ-
ized by the Beaux Arts Society. These significant facts
appear, however; the "Atelier" system presupposes a
goodly degree of educational training and is best adapted
to aid in the development of skill in artistic designing
among draughtsmen who have already acquired what the
schools can give.
i. It would seem, from the replies received, that com-
petitions are considered as a valuable stimulant and aid
to progress and that there is a large body of draughts-
men throughout the country to whom the advantages of
the Beaux Arts competitions are not available because
of inadequate preparation or insularity of location.
There is a division of opinion as to the advisability of
organizing new or independent competitions by the
League. In any case such competition must necessarily
appeal to a lower grade of talent and preparation than do
the competitions of the Beaux Arts Society.
The report was adopted with the following recom-
mendations:
That the clubs put their energy to the stimulating of
an enthusiastic activity among its members, which will
banish from the club rooms the commercial spirit and
establish a closer relationship between the older and the
younger members.
That this can best be accomplished by the "Atelier"
system of working, in which the older men give their
time and energy to teaching the younger men by criti-
cism, or working shoulder to shoulder with them.
That the education of draughtsmen should include a
thorough training in design and in historical and techni-
cal knowledge, and to this end establish club "ateliers"
and maintain and require attendance upon classes in con-
struction, history of architecture and free-hand drawing
from cast and life.
On the (question of education which seemed to be the
(Continued on page 2ij .)
THE BRICKBUILDER
215
STANDARD ARCHITECTURAL BOOKS — III.
Historical Material by Place, Period and Style.
Middle Ages.
NOTWITHSTANDING the prodigious mass of liter-
ature which is constantly appearing on the general
subject of mediaeval art Viollet-le-Duc's great Diction-
naire still leads the field. Not only is it an inexhaust-
ible treasury of information ; it is also a strong book by
a great writer, who appreciated fully the force of
the historic movement which he did so much to make
intelligible.
Emile Male, Professor of the History of Christian
Art, Sorbonne, Paris. L'Art religieux du Xllle siecle
en France; Etude sur l'iconographie du Moyen Age et sur
ses sources d'inspiration. Ouvrage couronne' par l'Aca-
demie des inscriptions et belles-lettres (Prix Fould).
New ed. Paris, Armand Colin, 1902; 4to (.275 x.22 x
.035), 4 + 408 p., 127 ill.; 20 francs. There is danger that
the student, in considering medieval architecture, may
treat it as an isolated phenomenon, and not as part of a
world movement, into the temperament of which it is
difficult for the modern mind to enter. An occasional look
into Male's book will assist in the prevention of this lim-
itation of sympathy.
William Henry Goodyear, Director of the Art Depart-
ment of the Brooklyn Institute. Vertical Curves and
other Architectural Refinements in the Gothic Cathedrals
and Churches of Northern France and in the Early
Byzantine Churches at Constantinople. Brooklyn Insti-
tute of Arts and Sciences Museum — Memoirs of Art and
Archaeology ; vol. 1, No. 4; pamphlet. In a list of books
on Mediaeval Architecture we should certainly mention the
great accomplishment of Professor Goodyear in his
study of Architectural Refinements in medieval build-
ings. Of the, large amount of matter, however, which he
has published, the greater part has appeared in period-
icals and not in separate books. This pamphlet will serve
to introduce a most important subject. It is hoped that
a definite book will appear soon.
Barr Ferree, Member of the Socie"te' de l'histoire de
France, Paris, author of several works on architecture.
The Chronology of the Cathedral Churches of France.
New York, privately printed from the Architectural Rec-
ord, 1899; 8vo, pamphlet, 36 p. This little pamphlet
forms the fourth part (vol.3, p. 387) of a series of articles
on French Cathedrals published by the author in the
Architectural Record. (Vol. 2-8, 1892-1899.) Any chro-
nology of mediaeval architecture must be more or less
conjectural, but this attempt is, doubtless, as accurate as
any, and in its tabulated form is convenient.
Bell's Handbooks to Continental Churches. Six mono-
graphs uniform with the English Cathedral series; cloth,
2.s. 6d. For description of these books see the English
Cathedral series to follow.
George Edmund Street (b. 1824 d.1881) F. S. A., F.
R. I. B. A., Architect of the New Law Court in Lon-
don. Brick and Marble in the Middle Ages, Notes of a
Tour in the North of Italy. Second edition, London,
John Murray, 1874; 8vo (.23 x . 1 15 x .045), 26 + 415 p.,
ill., 63 pi., tables; 26 shillings. This is far from being a
technical treatise on the architecture of Northern Italy.
It is rather a memoir of many vacation trips in the region ;
giving the impressions of a great architect upon many
matters, not exclusively architectural. Even among
more modern special works on the region there is little
criticism more valuable.
John Ruskin (b. 1819, d. 1900). The Stones of Venice.
The usual bibliographical description is omitted. Un-
less the collector can indulge in one of the fine English
editions printed under the author's direction, it does not
much matter which of the many reprints he acquires.
It is difficult to read Ruskin in these days; the world
has outgrown his peculiar type of mind, but the fact
remains that of the many able men of his generation,
who helped to rescue and preserve the remnants of me-
diaeval art, Ruskin had the keenest appreciation of their
finest qualities. His best criticism of mediaeval archi-
tecture is as fine as any, and some of his best is in the
two books mentioned in this list.
John Ruskin. The Seven Lamps of Architecture.
See note to Ruskin's Stones of Venice.
Edmund Sharpe (b. 1809, d. 1877), M. A., F. R. I. B. A.,
architect and author of several important works on archi-
tecture. The Seven Periods of English Architecture
defined and illustrated. Third edition, London, Spon ,
1888; 4to (.25 x.155 x .015), 15 + 37+ 1 p., ill., 22 pi.;
15 shillings. Rickman's " Attempt to discriminate the
Styles of English Architecture " has not been included
in this list because, good as it is, his classification is
superseded by this of Sharpe. The form of Sharpe's
book is excellent, a careful description in text, and then a
series of beautiful plates giving inside and outside views
of one bay each from recognized models of the different
styles.
Edmund Sharpe. A treatise on the Rise and Progress
of Decorated Window Tracery in England. London,
Van Voorst, 1849; 8vo (.225 x .195 x .02), 2 vols, in 1,
ill., 66 pi. Volume 2 has title: Decorated Windows, a
scries of illustrations of the Window Tracery of the
Decorated Style of Ecclesiastical Architecture. The
two vols., bound together in half morocco were sold
in 1849 for 1 8s. 6d. Sharpe's Decorated Window
Tracery is an earlier book than the Seven Periods
but hardly less important. It has the same extreme
clearness of presentation both in the text and in the
excellent steel plates.
Francis Bond, M. A., Honorary Associate of the Royal
Institute of British Architects. Gothic Architecture in
England; an Analysis of the Origin and Development
of English Church Architecture from the Norman Con-
quest to the Dissolution of the Monasteries. London,
B. T. Batsford, 1905; 4to (. 27 x . 195 x .06) ; 2 + 782 p.,
1254 ill. ; comprising 785 photographs, sketches and meas-
ured drawings, and 469 plans, sections, diagrams and
moldings; cloth 31 s. 6 d., net.
Bond's Gothic Architecture has many interesting char-
acteristics. The merely historical part is brief and in the
rather rigid but useful form of a chronology. The
greater part of the book is made up of careful discus,
sions of various features, as vaults, choirs, transepts,
moldings, tracery, etc. These, with the abundant and
competent indexes, give the book the character of a
thorough encyclopedia of English Gothic Architecture.
Mrs. Schuyler van Rensselaer, author of Henry Hob-
2l6
THE BRICKBUI LDER.
son Richardson and His Works, etc. English Cathedrals ;
Canterbury, Peterborough, Durham, Salisbury, Lichfield,
Lincoln, Ely, Wells, Winchester, Gloucester, York, Lon-
don, illustrated with i 54 drawings by Joseph Pennell, also
with plans and diagrams. New York, the Century Co.,
1892; 4to (.275 x .19 x .045), 29 + 395 p., ill.; cloth,
$6.00. This book is frankly the work of an amateur for
amateurs, but the English Cathedrals invite this sort of
sympathetic treatment, and the extraordinary series of
illustrations by Joseph Pennel present the most delight-
ful impression of the picturesqueness of English Gothic
which is to be found in any book.
Edward S. Prior, M. A. A History of Gothic Art in
England, with illustrations by Gerald C. Horsley, and
many plans and diagrams. London, George Bell & Sons,
1900; 4to (.285 x .2 x .04), 14 + 465 p., ill.; cloth, 3rs.
6d., net. An interesting manual with good maps and plans.
Bell's Cathedral Series. English Cathedrals; an Itin-
erary and Description ; compiled by J. G. Gilchrist, A. M.,
M.I). ; revised and edited, with an introduction on Cathe-
dral Architecture by Rev. T. Perkins, M. A., F. R. A. S. ;
with thirty-three Monographs on the Cathedrals, and
eight Monographs on Abbeys and Churches. London,
George Bell & Sons, series current; 8vo (. 19 x . 13 x .01 ) :
profusely illustrated, plans, etc.; cloth, is. 6d. each.
These little monographs of the Bell series are extremely
convenient and thorough. If not the entire series a se-
lection is within the reach of any library.
Charles Eliot Norton, Professor Emeritus in the His-
tory of Art, Harvard University. Historical Studies of
Church Buildings in the Middle Ages; Venice, Siena,
Florence. New York, Harper & Bros., 1880; 8vo (.23 x
. 16X.04), 6 + 331 p. ; cloth, $3.00. Professor Norton's
book on the three great mediaeval churches of Italy, St.
Mark's in Venice and the cathedrals of" Siena and Flor-
ence, is a broad and sympathetic survey of historical con-
ditions which surrounded the conception and construction
of these buildings. It is most scholarly and interesting.
George Edmund Street. Some account of Gothic
Architecture in Spain. Second ed. ; London, John
Murray, 1869; 8vo (.24 x .165 x .05), 14 + 527 p., ill.;
30 shillings. There are several works with abundant
photographic illustrations of Spanish architecture, but
none of them take the place of this fine English book by
an architect greatly esteemed in his day.
Renaissance.
William J. Anderson. The Architecture of the Re-
naissance in Italy, a general View for use of Students and
others. Second ed. revised and enlarged ; London, B. T.
Batsford, 1898; 8vo (235 x .16 x .035), 18 + 1 + 135 p.
with 64 collotypes and other plates and 98 ill. ;.cloth, 12s.
6d. net. Anderson's Renaissance does for its chosen
style and period a work similar to that accomplished
by Moore's Gothic Architecture in its sphere. It is a
necessity in any library, and in many small collections
will do the greater part of the work. With d'Espouy to
supplement its illustrations, the period is well covered.
Marie-Dcsire-Hector-Jean-Baptiste d'Espouy. Frag-
ments d'Architecture du Moyen Ageetde la Renaissance
d'apres les releves et restaurations des anciens pension-
naires de l'Academie de France a Rome. Paris, Charles
Schmid, without date ( 1897) ; small fol. (.45 x .34 x .045),
4 + 5P, 100 pi. ; 150 francs. The notes on the Fragments
d'Architecture Antique of d'Espouy apply very well to
the present work. During the second and third years of
their pensionnate in Rome the winners of the Grand Prix
in architecture are obliged to send studies of mediaeval
and Renaissance architecture to Paris. From the accu-
mulation of these Professor d'Espouy has made this use-
ful selection.
Cesar-Denis Daly (b. 181 1, d. 1894), Editor of the
Revue General de l'Architecture. Motifs historique
d'Architecture et de Sculpture d'Ornament. First series,
Choix de fragments empruntes a des Monuments francais
du commencement de la Renaissance a la fin de Louis
XVI. Second series, Decorations inte'rieures empruntees
a des e'difices francais du commencement de la Renais-
sance a la fin de Louis XVI. Paris, Ducher et Cie.,
1870-1880; fol. (.45 x .34 x .045), 2 ser. in 4 vols., ill., 398
pi. ; 300 francs, unbound. To cover the period from the
end of the Gothic to the beginning of the modern eras in
France, there is nothing better than the Motifs Histor-
iques. Daly selected the most characteristic and beau-
tiful features of the French Renaissance and the styles
of the four Louis, engraved them beautifully and ar-
ranged them in such order as to present the chronologi-
cal development.
Claude Sauvageot, Director of l'Art Pour Tous. Pal-
ais, Chateaux, Hotels et Maisons de France du XV«
siecle. Paris, Morel, 1867; small fol. (.395 x .29 x .045),
4 vols., ill., 294 pi. ; $60, unbound. It may be said quite
truly that the French Renaissance appears at its best in
the minor buildings, which developed during the reigns
of the kings from Francois I to Louis XIII. These
buildings are full of charming details which are sug-
gestive in their application to modern work. The best
collection is this of Sauvageot.
Charles Thompson Matthews, M. A., architect. The
Renaissance under the Valois, a sketch in French Archi-
tectural History. New York, William T. Comstock,
1893; fol. (.435 x .335 x .03), 23 p., ill.; cloth, $15.
This monograph of Mr. Matthews is by an architect
for architects, and quite useful.
Lady Emilia Frances (Strong) Pattison Dilke (b. 1840,
d. 1904). Author of the Renaissance in France, etc.
French Architects and Sculptors of the eighteenth cen-
tury. London, George Bell & Sons, 1900; 4to (.2<) x
.2 x .04), 17 t-217 p., 42 pi.; cloth, 28 shillings net. The
works on later French architecture which we recom-
mend have been mainly technical, appealing to the
architect and practical designer. We may introduce a
book in a lighter historical tone. The eighteenth century
should be studied more than it is by American architects.
The literature of the subject is large, but for the most
part beyond the limits of our present endeavor.
John Belcher, A. R. A., and Mervyn E. Macartney.
Later Renaissance Architecture in England, a series of
Examples of the domestic Buildings erected subsequent
to the Elizabethan period, with introductory and descrip
tive text. London, Batsford; New York, Scribner's, 1901 ;
fol. (.49 x .385 x .045), 2 vols., 153 ill., 170 pi- ; $45 un-
bound. The English country house found a style well
adapted to its necessities in the fine classic type with
which the work of Belcher and Macartney is chiefly
concerned.
THE BRICKBUILDER
217
THE ANNUAL CONVENTION OF THE ARCHI-
TECTURAL LEAGUE OF AMERICA.
(Continued from page 2/4)
most important subject before the convention, we quote
some of the remarks made by the delegates:
Louis C. Newhall {Boston). "The most important
thing is that of education. The League is made up of
the younger men, and the educational work should be
more or less under the direction of the Architectural
League of America and the Beaux Arts Society of New
York, and perhaps some of the members of the American
Institute of Architects. I think the Institute should repre-
sent the professional end of it, so that membership in the
Institute should be an honor to be conferred for accom-
plishment. We should have a definite qualification for
our membership in the League, and no man should be
admitted unless he has had a certain amount of education
along certain lines, and then when he has attained that
education he will be in a position to take advantage of
what the League may be able to give him."
John M. Lyle (Toronto). "Speaking as a Beaux Arts
man I may say that the difficulty we have to contend
with is in the small towns. It seems to me that the
Beaux Arts system of education has accomplished some-
thing in the way of education, and has by the com-
petitive brought the weak and the strong men together,
and it has been found that the strong man will pull the
weaker man up with him always, but such an advantage
is hard to get in the small town. It works all right in
the larger cities. The Beaux Arts Society has been criti-
cised as trying to bring French architecture to America.
I do not think the members of the society have that
idea at all ; the idea is to establish the Beaux Arts System
of training here, not the architecture. It seems to me
that as Americans we have always had strong personali-
ties, but never any great number of men working
together in the same ideas. If you have too much indi-
viduality you are going to have pandemonium, and I
think the League should put itself on record as working
along some certain lines."
Emil Lorch (Ann Arbor). "There is no doubt
that when it comes to teaching, the Beaux Arts Society
is doing it the best of any society in the world, but is
that the way we are going to get American architecture?
In other words, if we take the architecture of Greece and
the architecture of Rome, will we have out of it an
American architecture in time? I say we cannot. We
want to foster something that is really our own, and we
must not forget that we, like the old Gothic architects,
stand on the brink of an era."
Herman V. Von Holst (Chicago). " I am very vitally
interested in education as it touches the nature of archi-
tecture. I think well of the Beaux Arts system, where
all the big men and the little men get together and where
it is the practice of the big men to uplift the smaller
minds; that to me is the essential process of education
among human beings, and I detest any reference to the
establishment of any system of education wherein such
a thing as examinations occurs; it suggests a thing that
is un-American. I do not like any suggestion of a system
of education that will put out a sort of examination that
men must cram for before they can accomplish anything,
and so I welcome that little hint as to the method of the
Beaux Arts Society, and I am heartily in favor of trying
to do something, as a member of this League, to system-
atize the educational efforts, that a man's ability may be
recognized, and a mark put upon him — a certificate, if you
like — to show what he is capable of. Of course we all
understand that we must have some foundation of edu-
cation, that a man must know something of the higher
.-nathematics, but with all this, I say let us be careful not
to establish a system of examination that will make a
man purely mechanical as an architect.
" Architecture, according to my idea is the most diffi-
cult branch of work that a human being can attempt,
because all work, all architecture, if it is perfect, must
be a perfect organism, which is a perfect unit. The
trouble now with our draughtsmen is that we have to
keep them shut up in stuffy offices, possibly, working by
electric light all day, and they do not get out into the
open, into the parks, etc., except, possibly, on Saturday
or Sunday, and with these constant surroundings where
can they get the true inspiration for their work ? I think
that the local clubs should, in the education which they
may establish, try to give the members, and cultivate in
the members a love of the out-door nature, and a healthy
feeling for it, and keep their own individuality alive by
joining the communities in trying to solve the problems
for better and more beautiful cities, which are the prob-
lems that all important cities in this country are setting
themselves to-day."
J. P. Hvnes ( Toronto). " You started out to discuss
the responsibility of this organization to education, and
that means we must fasten it down to some responsi-
bility of the clubs. Up to the present we have recog-
nized no foundation on which to build professional
knowledge ; some suggest a certain amount of office work,
others contact with architectural clubs, and I think that
everyone will recognize that we will not get it in this
way. It is the first duty of the architectural body to see
that a systematic education is laid at the start, and then
they may possibly be able to solve all the other questions.
In that respect I feel that this League and the clubs that
compose it have this very first duty to perform, but I
contend that it is not the duty of these clubs to supply
an architectural education for the community. The
clubs should take up some part of the Beaux Arts Society
training after they have a scientific and historical knowl-
edge on which to work. If we are to establish a national
style we must start on some educational basis first."
Prof. Newton A. Wells (Urbana). "The schools
have their field of endeavor, they must be technical and
they must give a general education; there is the high
school, the college, the university, and the technical
school, which teaches the higher mathematics and also
teaches th'e rudiments of design, but all that is educa-
tional work that should precede the work of the Beaux
Arts Society. There is, however, another class of men,
located in our various clubs, who have not yet risen to
the point, perhaps, where they are competent to enter the
Beaux Arts competitions. What we want to get at is
what to do and how best to do it, to pull along with the
Beaux Art Society and not to tread on its ground, and I
think we should keep in mind that the League is made
up of young men, beginners, and that we have the Insti-
tute always to look forward to; that we should not rival
it in its branch of the work, but willingly take our place
in the world's work and do what we can."
2l8
THE BRICKBUILDER
Editorial Comment and
Miscellany
THE GREAT DAILIES ARE LENDING A HAND.
A NET loss from business failures in the United States
of $252,000,000 in a year would create a panic. A
decrease in the value of all of the agricultural products
of the country for a year amounting to $252,000,000 would
lessen the purchasing power of the people and handicap all
industry and commerce. Carelessness which would result
in the loss of a quarter of a billion dollars from the United
States treasury would be a crime inconceivable. But the
losses by fire in the United States during the past four
years have averaged $252,000,000 each twelve months, and
CHAPIN & GORE BUILDING, CHICAGO.
Richard Schmidt, Architect.
the daily record of firescontinues without receiving special
consideration, except as there may be some startling
features that attract passing interest. A great conflagra-
tion startles the people and rouses them to some inquiry
as to causes and preventives. Public sentiment in the
mass is stirred and legislative bodies respond with stat-
utes and ordinances of salutary intent. But the fires still
continue. There is little diminution of the monthly rec-
ord of loss. The minor fires are as numerous as ever and
the greater losses come with startling regularity. Fifty
per cent of these fires are due to carelessness. The
Americans, showing the virtue of vigilance as a mass, are
not heeding the warning as individuals.
The American insurance underwriters have repeatedly
sought to avert this unnecessary waste. The National
t'OMMERCIAL I1LOCK, NEWBURY STREET AND MASSACHUSETTS
AVE., BOSTON.
Bowditcb & Stratton, Architects.
Fire Protection Association, originally organized by in-
surance interests, is an active force in the interest of fire
prevention, investigating important fires and giving pub-
licity to facts for educational and warning purposes.
With the continued increase in annual fire loss, the un-
derwriters have foreseen the time when insurance rates
would rise and when, in fact, insurance might become im-
possible. That is not an exaggerated fear. The San
Francisco calamity forced several insurance companies
out of business. In the last fifty years 1000 insurance
companies in the United States, or more than three times
COMMERCIAL BLOCK, HANOVER AND UNION STREETS, BOSTON.
Wheelwright & Haven, Architects.
THE BRICKBUILDER
219
the number of existing companies, have been
forced to withdraw. In the last ten-year period
the insurance business shows an underwriting loss
of 4% per cent of the premiums received. How
long will capital be attracted to the insurance
business, with its constantly increasing hazard and
loss? The American underwriters have made no
prediction, but much significance is attached to
the attitude of the foreign companies, who in the
past have carried a large amount of American in-
surance. From time to time they have been nar-
rowing the limits of their risks. Now it is said
that European companies are becoming so alarmed
over the increasing losses in the United States that
they are seriously contemplating withdrawal from
this country. A recent semi-official statement
from these quarters is attracting attention among
property owners. Investigation of the facts as
shown by the records indicates that the foreign in-
surance interests are not unnecessarily alarmed.
The loss in the San Francisco conflagration was
$350,000,000. If a fire in the congested portion of
New York city should cover an area as large as
that of the San Francisco fire, it is estimated that
every insurance company doing business in the
CORRIDOR IN THE HUDSON TERMINAL BUILDINGS.
Showing use of Guastavino glazed tile for ceiling.
HUDSON TERMINAL BUILDINGS, NEW YORK.
Clinton & Russell, Architects.
Upper walls of architectural terra cotta, gray interspersed with reddish hue.
Atlantic Terra Cotta Co., Makers.
country would be put out of business.
But is such a conflagration impossible'
Is New York city free from danger
spots, or is its fire fighting apparatus
equal to any test?
What are the conditions that exist
in the average American city? Chelsea
was swept by fire because for years
after it had been warned of the danger
of its "rag district" it tolerated the
tinder box which, once fired, created a
blaze which no apparatus could quench.
Unkempt dumps, piles of tinder fire
traps exist in other cities and invite the
conflagration fiend, but people refuse
to recognize the danger. The lack of
individual responsibility is even more
marked than is the absence of thought-
ful and careful public opinion. The
cigarette butt is still snapped away
without regard to where it may light.
The match is thrown down carelessly
or its snapping head allowed to lie un-
touched until some bootheel may crush
and ignite it. Men still hunt gas leaks
with matches, women pour oil on fires
to brighten the flame, money rs wasted
in cheap constructicn under the pre-
tence of saving it. In scores of ways
individual carelessness and reckless-
ness aid the fire fiend.
Conservation is the problem of the
future. Man's resources are exhaust-
ible. The discovery of new resources
and new forces is not endless. Man
must learn to save and make the most
of what he has. Waste must be
220
THE BRICKBUILDER.
TOURO INFIRMARY, NEW ORLEANS, LA. Favmt & I ivandias, Architects.
Brick made by Hydraulic Press Brick Co., St. Louis.
stopped. It is the problem of life. To save health
and strength for the later years of activity; to save
money and goods for the time of famine; to save forests
against the time of vanishing timber supply. Waste is
the evil of the day. Conservation is
the virtue of the future. The prevent-
able waste of 50 per cent of $252,000,-
000 a year is a national folly. It is
worse; it is a national disgrace. — Edi-
torial from the Boston lit raid.
BUILDING OPERATIONS FOR
AUGUST.
rpHERE is a loss of 10 per cent in
±. the aggregate building operations
of forty-two leading cities throughout
the country, as reported by the Amer-
ican Contractor^ New York, compared
with August, 1907 ; the previous months
of the year all presented a loss except
July, as follows: January, 44 per cent;
February, 33 per cent; March, 37 per
cent; April, 33 per cent; May, 19 per
cent; June, 15 percent. July showed
an increase of 3^2 percent. In the re-
port for August thirteen cities scored a
gain from 1 to 224 per cent and twenty-
nine show a loss from 2 to 89 per cent. The principal
gains are: Chicago, 25 per cent; Denver, 24; Indian-
apolis, 33; Louisville, 27; Syracuse, 25; Salt Lake City,
128; San Antonio, 224.
CHICAGO.
Shepley, Rutan & Coolidge, Architects
Made by American Terra Cotta and
Ceramic Co.
IX GENERAL.
Brooklyn's new Academy
of Music, which has cost
$1,300,000, was opened to
the public on September 16;
six thousand tickets having
been issued for the occasion.
The Brotherhood of Loco-
motive Engineers is to build
a new home for itself and
LIVE STOCK PAVILION, INDIANAPOLIS, IND.
Rubush & Hunter, Architects.
Roofed with red fire-flashed tile, made by Ludowici-Celadon Co.
office building' in Cleveland that will represent a total
outlay of a million dollars. "
The new Municipal Courts Building to be erected
near the City Hall of St. Louis will cost about $2,000,000.
Isaac S. Taylor is the architect.
The plans of architects Wood, Donn
& Deming for a large laboratory for
the National Bureau of Standards in
Washington are being estimated on.
Estimates are being submitted for
the new Public Library, St. Louis, Cass
Gilbert, architect. The cost of the
building, not including furnishings,
will be about a million and a quarter.
York & Sawyer, as architects for
John D. Rockefeller, have filed plans
in New York for the main hospital
building and isolation annex of the
Rockefeller Institute for Medical Re-
search.
Estimates having been obtained
upon the completed plans for the new
Grand Central Station, New York,
contracts for the superstructure of the
north wing are being signed. The
total cost will reach $20,000,000.
The Chicago & Northwestern Railway is clearing
four large blocks in Chicago for its magnificent new
$20,000,000 station, which is to be capable of moving
250,000 passengers every
twenty-four hours.
The big Pullman shops
near Chicago, it is reported
are to be razed and rebuilt
upon an enormous scale for
the manufacture of steel
palace cars. Sixty acres are
to be added to the area of
the Company's shops and
this involves the practical
remaking of the town.
The disastrous fires re-
THE BRICKBUILDER.
221
ported at several
English country seats,
notably Winston
Spencer Churchill's
and Lord Brassey's,
only go to show that
fireproof building ma-
terials can alone pre-
serve architectural
beauty as it is found
in the grandeur of an
aged pile.
In the wake of the
passing Fifth Avenue
MAIN BUILDING OF MINNESOTA AGRICULTURAL SCHOOL, ST. PAUL.
Clarence H Johnson, Architect.
Built of dark seal brown mottled brick, made by Twin City Brick Co.
tained on application
to the Director of Ex-
tension Teaching,
Columbia University,
New York City.
The two special
scholarships of the Ar-
chitectural League of
America in Harvard
University have been
awarded to W. H.
Larsen and George
Fox. The successful
competitors are Bos-
Hotel follows the Everett House, the old and well-known
hotel on the Union Square Plaza at the Fourth Avenue
corner. On this site a 1 6-story office and loft building
is to be erected at a cost of $650,000. The materials
are to be brick and granite with trimmings of
limestone and terra cotta.
Architects Hiss & Weeks have filed plans for
what is declared the largest apartment house in
the country. It will occupy the entire block
bounded by Broadway, Amsterdam Avenue,
86th and 87th streets in New York. It will be
twelve stories in height and will contain one
hundred and seventy-five apartments of from
nine to twelve rooms each. An important fea-
ture is the interior courtyard measuring 250 by
100 feet. The
building will
cost about
$3,000,000.
Columbia
University
will offer at
night, during
the year 1908-
1909, twenty
evening
courses spe-
cially adapted to the
needs of technical and
professional workers.
This includes work in
applied mechanics,
applied physics, ar-
chitecture, electric-
ity, fine arts, in-
dustrial chemistry,
mathematics and
surveying and struc-
tures. The work
begins on October
26, and continues for
twenty-five weeks.
A full description of
the courses is con-
tained in the An-
DETAIL BY WILLIAM STEELE & SONS nouncement of Ex_
CO., ARCHITECTS. . m f
tensionl eachinp-
New York Architectural Terra Cotta Co., f
Makers. which may be ob-
DETAIL BY HILL &
STOUT, ARCHITECTS.
South Amboy Terra
Cotta Co., Makers.
DETAIL FOR RACQUET CLUB,
ST. LOUIS.
Mauran, Russell & Garden, Architects.
Made by Winkle Terra Cotta Co.
ton men, Mr. Larsen being in the office of Shepley, Rutan
& Coolidge, while Mr. Fox is in the office of C. H.
Blackall. The award was made by Ralph Adams Cram,
representing the league, and Professor Warren and his
associates, of the Department of Architecture,
Harvard University.
The Committee on University Scholarships
announces that the Washington University of
St. Louis, Mo., has granted the League a scholar-
ship in architecture. This scholarship will en-
title its holder to four years of free tuition in
the Department of Architecture of the Washing-
ton University. Further information relative
to scholarships can be secured by addressing
Prof. Emil Lorch, Ann Arbor, Mich.
The T Square Club of Philadelphia announces
for the near
future the
publication of
volume two
of "American
C o m p e t i -
tions." The
splendid re-
ception given
volume one
by architects
has proven beyond a
doubt the real value of
this work ; and the T
Square Club has an-
nounced its intention
to continue the publi-
cation. The Committee
which has been ap-
pointed by the club to
carry on this work con-
sists of Adin B. Lacey,
editor; Alexander M.
Adams, treasurer; and
Virgil L. Johnson, cus-
todian of drawings.
The character of the
work will be the same
as last year, the title spear & company building,
fully indicating its con- pittsburg, pa.
tents. The tentative „ Charles Bickel, Architect.
Front of cream enameled terra cotta,
list of competitions in- made by Northwestern Terra Cotta Co.
222
THE BRICKBUILDER.
eludes for this year the Porto
Rican Capitol, New York State
Prison, Y. M. C. A., Pittsburg,
and the Municipal Office Build-
ing of the city of New York.
Architect Eli Benedict will
conduct the course in plan
reading and estimating at the
23d Street Y. M. C. A., New
York, during the coming sea-
son. Samples of building
materials are solicited.
DETAIL BY CONKLINr.-ARMSTRONG TERRA COTTA
Parkinson & Bergstrom, Architect--.
CO.
Lackey & Davis, architects, have opened an office
at 304 Market Street, Camden, N. J. Manufacturers
catalogues and samples desired.
A partnership has been formed for the practice of
architecture, to be known as Pond & Booth, between L.
M. Pond, late of New York City and
L. L. Booth, late of Poughkeepsie,
N. Y. Offices are located in Symons
Block, Spokane, Wash. Manufacturers,
catalogues are desired.
Several large building enterprises
are being started in Philadelphia : John
"Wanamaker has placed a $6,000,000
mortgage upon his store property as
security for a bond issue with the pro-
ceeds of which the 15-story modern
store building erected two years ago
and left incomplete along its southern boundary will be
immediately extended over the entire Wanamaker block.
The completed structure will be one of the most imposing
objects in the city, and it will contain forty-five acres of
Moor area. D. H. Burnham is the architect. . . . Work-
men are about beginning to demolish the old buildings
occupying the block immediately north of Washington
Square and to prepare this site for the enormous new
building for The Curtis Publishing Co. The plans have
been prepared by Edgar V. Seeler. . . . The Union
League Club has decided to erect at once a fine modern
building which is to occupy the half block remaining be-
tween the present club-house and Fifteenth Street. The
location is very valuable, on account of its close prox-
imity to the center of the city, and Horace Trumbauer,
who is preparing the plans, will therefore devote a por-
tion of the building to offices.
The Twin City Brick Company of St. Paul has been
awarded the contract to furnish the facing brick for the
new Minnesota State Prison Buildings at Stillwater,
Minn., Clarence H. Johnston, architect. Some 2,500,000
dark pink mottled bricks will be used.
Sayre & Fisher Co. will supply the bricks for the new
addition to the Astor Hotel, also for the new office
building to be erected at 43d, 44th streets and Broadway
for the Astor Estate. Their " Home Club " bricks were
used in the new apartment at the corner of 64th Street
and Madison Avenue.
The South Amboy Terra Cotta Company will furnish
the terra cotta for the following buildings: Lotus Club,
New York, Donn Barber, architect; apartment hotel,
F. |. Berlenbach, architect
in polychrome terra cotta.
98th Street and Riverside
Drive, William L. Rouse,
architect; addition to Yassar
College group, Ewing cV Chap-
pell, architects; Chemistry
Building, Rutgers College,
Hill, Stout & Williamson,
architects; office building,
Glenn Falls, N. Y., Marcus
T. Reynolds, architect; State
Armory, Hartford, Benj. Wis-
tar Morris, architect; Church
of the Assumption, Brooklyn,
Much of this work will be
NEW BOOKS.
The Buildini
DETAIL BY NEW JERSEY TERRA COTTA CO.
William E. Mowbray, Architect.
Mechanics' Ready Reference; Cement
Workers' and Plasterers' Edition.
By H. G. Richey, Superintendent
of Construction United States Pub-
lic Building. i6mo, vi + 458 pages.
193 figures. New York, John Wiley
& Sons. Morocco, $1.50 net.
House Painting; Glazing, Paper
Hanging and Whitewashing. A
book for the householder. By Alvah
IIortonSabin,M.S,authorof "Tech-
nology of Paintand Varnish." nmo,
v + 121 pages. New York, John
Wiley & Sons. Cloth, $1.00.
Academy Architecture, Volume 33, edited by Alex.
Koch, Architect, containing a selection of the most
prominent Architectural Drawings hung at the ex-
hibitions of the Royal Academy, London, and the
Royal Glasgow Institute of the Fine Arts, Glasgow,
Sculptures, American architecture. A review of in-
teresting Architectural subjects carried out or de-
signed during the last few years in England and
abroad. M. A. Yenson, agent Caxton Building,
Cleveland. Price, $1.75.
POSITION WANTED by architectural draughtsman. Have
been used to general office work. Would like position where there
is chance for advancement. Can furnish excellent references. Ad-
dress, "Central," care THE BRICKBUILDER.
A NEW BOOK for the ARCHITECT
"Das Moderne Bauformen"
1907
90 foil-page color plates - - 520 pages of halftones
Reproducing mostly RESIDENTIAL WORK
THE WORK OF THE PROMINENT ARCHITECTS OF
GERMANY, ENGLAND AND AMERICA
IS HERE REPRODUCED
X X
Bound in linen. Size 9 1-2 x 111-2
EXPRESS PREPAID, $10.00
V ^£ V
jns m% jni
M. A. VINSON, Dealer and Importer
205-206 Caxton Building - - Cleveland, Ohio
THE BRICKBUILDER
Volume XVII OCTOBER 1908 Number IO
PUBLISHED MONTHLY BY ROGERS & MANSON
85 Water Street ... Boston, Massachusetts
Entered at the Boston, Mass., Post Office as Second-Class Mail Matter, March 12, 1892. Copyright, 1908. by ROGERS & MANSON
Subscription price, mailed flat to subscribers in the United States, Insular Possessions and Cuba ....... $5.00 per year
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ADVERTISING
Advertisers are classified and arranged in the following order :
PAGE
Agencies — Clay Products ....... II
Architectural Faience ........ II
,, Terra Cotta II and III
Brick Ill
PA(.F-
Brick Enameled ......... Ill and IV
Brick Waterproofing ........ IV
Fireproofing ......... IV
Rooting Tile ......... IV
Advertisements will be printed on cover pages only
CONTENTS
PLATE ILLUSTRATIONS
From Work by
HERTS & TALLANT ; KEESEY & CRET ; LOUIS H. SULLIVAN
LETTERPRESS
PACE
CHURCH OP ST. GEREON, COLOGNE, GERMANY Frontispiece
SANATORIA FOR CONSUMPTIVES The work of Scopes <Sf Feuslmann 223
THE AMERICAN THEATER — XI. (THE END) Clarence H. Blackall 232
THE NEW BROOKLYN ACADEMY OF MUSIC 233
EDITORIAL COMMENT AND MISCELLANY 239
PROGRAMME FOR HOSPITAL BUILDING COMPETITION 244
/
EAST END, CHl'KCH OF ST. GEREON, COLOGNE, GERMANY.
lr<<<<<<<<^<<<<<<<<<V«^<V<V<<^<«<«<<<<<<<W>>>>>>>>^^
THE BRICKBVILDER
VOL. 17 NO. 10
DEVOTEDTO THE-INTERE5TJ-OP-ARCHITECTVRE-IN MATERIALi-Or-CLAY-
OCTOBER 1 908
Ck^«««««««««^<«««r««««'«««'««««»»»»»»»»»»»»»»»»»»»»»>»v»yn
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a
Sanatoria for Consumptives.
THE WORK OF SCOPES & KEUSTMANN.
THE tuberculosis sanatorium and hospital work here
illustrated was developed by Scopes & Feust-
mann, primarily through professional association with
Dr. E. L. Trudeau's Adirondack Cottage Sanatorium
at Saranac Lake, New York, and from the effort on the
part of this firm to design a proper type for a cottage
sanatorium.
A circumstance of great importance in influencing the
planning of sanatoria and tuberculosis hospitals lies in
the fact that about eight or nine years ago, physicians
treating tubercular patients in sanatoriums and health
In this cottage, beds can be wheeled directly from the
bedrooms to the porches. A still further advance was
made in cottages, K and L, where direct light was ob-
tained for sitting rooms and bath rooms, the shading of
the south bedrooms by the porch roof being avoided by
making the porch here a mere passage for connecting the
sitting and sleeping porches. Another advance in the
later type of cottage over the old one was made by pro-
viding windows in the clothes closets. A change in de-
sign was made in type M, in order to reduce the cost of
these cottages, which had been gradually increasing each
nRST FLOOR PLAN
SECOND FLOOR PLAN
PLANS, RECEPTION HOSPITAL, SARANAC LAKE, N. Y.
resorts began more generally to advocate out-door sleep-
ing and, particularly in acute cases, rest out of doors in
bed during the entire day. Prior to that time, patients
confined to their beds were compelled to remain indoors
just at the time when the need of the tonic effect of out-
door air was greatest.
The complete development of the cottage type, from
the inception of the Adirondack Cottage Sanatorium to
the present time, can be seen in the "Evolution of the
Cottage." (vSee page 224.) The first attempt to adapt
the plan of the cottage to the requirements of the treat-
ment now advocated (i.e., that no time be spent by the
patient indoors except for meals) was made in the cot-
tage plan I, in which the doors to bedrooms and sitting
rooms were made wide enough to wheel a bed through to
the porch. The inconvenience of this method has been
overcome in cottage J, designed by the late W. L. Coulter.
year. A more compact plan has been evolved, and the
transoms over the main porch provide direct light for
the sitting room. Of the cottages shown in the "Evo-
lution of the Cottage," plans I, K, L, and M were de-
signed by Scopes & Feustmann.
Reception Hospital at Saranac Lake. While the hospi-
tal is a purely local institution, designed especially to
meet peculiar requirements, it has, nevertheless, certain
features which would naturally commend themselves to
those who have under consideration the erection of small
hospitals for the treatment of tuberculosis, and more es-
pecially may this hospital serve as something of a model
when it is known that its plans have stood the test of
competition, and that they have had the personal super-
vision of those who have been pioneers in this country in
the open-air treatment of pulmonary tuberculosis.
The site is admirably adapted for the building, being
224
THE BRICKBUILDER
BR.
^
1
B.R.
rH
■ — trr^
Tib!
l.\ OLUTION
OF THE
COTT \i;k.
sixty feet above Saranac Lake and commanding a good
view of the surrounding country.
One of the chief objects of this design was to intro-
duce as much sunlight as possible into the patients'
rooms and still retain good ample porch area.
Rooms ten feet by thirteen feet six inches have been
provided for twelve acute and eight convalescing
patients. The twelve rooms for acute cases, which are
confined to the first and second floors, open directly on
to spacious, covered porches (one hundred square feet
being allowed each patient). Each room has two win-
dows, one of which is wide enough to admit a bed
being wheeled through. These windows give good ven-
tilation, together with ample sunlight, which is one of
the chief points in designing a building of this nature.
Eight rooms on the third floor are used for convales-
cing patients who use the lower porches for their out-
door cure.
The plumbing is separated from all corridors by two
doors. The entrance is well placed, giving all patients
the privacy which is desired. No provision is made for
internes' or doctors' quarters, because the hospital is
visited daily by Saranac Lake physicians.
Lean-tos and Shacks. To Dr. Herbert M. King,
physician-in-chief at the Loomis Sanatorium, Liberty,
N. V., belongs the credit of evolving from the sugges-
tion of an Adirondack lean-to, a type of structure
admirably adapted to the housing of incipient cases of
tuberculosis of the poorer classes. These were first used
at the charitable Annex connected with the Loomis Sana-
THE BRICKBUILDER
225
GENERAL VIEW OF FRONT.
WEST COTTAGE.
ADMINISTRATION BUILDING.
EAST VIEW, SHOWING DINING ROOMS AND SERVICE WINGS, VERMONT SANATORIUM, PITTSFORD, VT.
226
THE B RICKBUI LDER.
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VERMONT 5ANATOBIVM
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VERMONT SANATORIVM
PITT3FOBD VT
SCOPES anoEEVSTAWNN ARCHITECTS
SABANAC LAKE N Y
MEN'S COTTAGE
WCVWENtS COTTAGE
THE BRICKBUILDER
227
COVERED WAY CONNECTING ADMINISTRAT'ON BUILDING AND COTTAGES.
A COTTAGE PORCH.
A CORNER OF COTTAGE PORCH.
VERMONT SANATORIUM, PITTSFORD, VT.
228
THE RRIC KBUI LDER
M \IN LIVING ROOM.
DINING ROOM.
CORRIDOR, ADMINISTRATION BUILDING.
PATIENTS ROOM IN COTTAGE.
Ikli *J •
off wi m immi
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NURSES SITTING ROOM.
M W\ HALLWAY, ADMINISTRATION BUILDING.
VERMONT SANATORIUM, PITTSFORD, VT,
THE BRICKBUILDER
229
a
!3°
THE BRICK IUT I LDER
ONE STORY SHACK. FOR NEW YORK DEPARTMENT Ol
HEALTH, SARANAC L IKE, N. Y.
TWO STORY SHACK FOR NEW YORK DEPARTMEN1 OF
III \l III, SARANAC I.AKK, N. V.
ONE .WW SHACKS-
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THE BRICKBUILDER
231
torium. This method of housing for a portion of their
patients has been adopted by sanatoriums and tuberculo-
sis hospitals throughout the country, and in one instance,
near Baltimore, Md., a complete sanatorium has been
built in which the patients are housed in shacks. The
use of shacks only in a sanatorium is inadvisable in a
cold climate, and it is doubtful whether this system,
without further accommodations in substantial and
heated buildings, should be adopted in any but the
mildest climate. However, the possibilities of this
scheme of housing for low cost sanatoria may be seen
from the accompanying illustrations of shack and lean-to
types.
The Mary Lewis Reception Hospital, connected with
the Loomis Sanatorium, provides treatment for twenty-
eight advanced or acute cases of tuberculosis in separate
rooms. This building was designed for a well-to-do class
of patients, and every care and comfort required by a
tubercular invalid may be obtained here. There are a
total of fourteen porches for the twenty-eight patients.
These porches are so arranged as to afford any degree of
privacy, inasmuch as a patient can be wheeled in his bed
to any porch on the building. As in the Reception Hos-
pital at Saranac Lake, the same method of recessing the
south porch has been adopted to obtain ample light in
such patients' rooms as face on this porch. Light and
ventilation for all other rooms is obtained by separating
the porches. Sufficient north porch space has been pro-
vided for use in summer and for isolating patients.
In the third story are located the kitchen and pantry,
internes' quarters, examination and throat treatment
rooms, and a small operating room for cases of surgical
tuberculosis. There is no patients' dining room, as
all patients in this building are served in their rooms,
and when well enough to attend meals are transferred
to the main sanatorium.
The building is lighted by electricity, has a vacuum
steam heating system and direct radiation, an hydraulic
elevator, cold storage plant in basement, complete sys-
tem of call bells from rooms and porches, and local tele-
phones in all parts of the building.
The Vermont Sanatorium. The trustees of the Ver-
mont Sanatorium were familiar with Saranac methods
and desired a plant that would make it possible to adopt
in ever}' way the form of treatment advocated by Drs.
Trudeau, Baldwin, Brown, Kinghorn, Trembley, and
others of the Saranac school. It was required to pro-
vide accommodations for sixty to seventy-five patients
with present housing for thirty patients. All of these
were to be incipient cases of the working class, who
could afford to pay about $7.00 per week for complete
treatment.
The sanatorium consists of an administration build-
ing, to which are connected the men's and women's
cottages, by means of covered ways protected on the
north side by storm sash. The main building contains
medical and business administration, domestic arrange-
ments and dining accommodations, small library and
general living rooms, quarters for interne, and separate
coat rooms for men and women.
The second floor is mainly given over to the uses of
an infirmary, as it is necessary in any institution for in-
cipient tuberculosis to provide accommodations for
twelve to fifteen per cent acute cases. In the second
story over the medical wing is located the quarters for
the women staff. As this staff is usually composed in
part of ex-patients, a special porch is provided for their
use. There is also a patients' isolating porch on this
floor. The infirmary patients' dining room and diet
pantry, bath and toilet rooms, linen rooms and maids'
closet, and locker room for patients' outer clothing make
up the balance of the second story.
In further reference to the lockers, it may be of
interest to know that for obvious reasons it is not con-
sidered hygienic to place patients' clothing, except clean
linen, in closets off their rooms, unless a window can be
provided for ventilating such closets. This is usually
expensive and complicates planning. The lockers are
found to be perfectly satisfactory from the point of view
of the patient and gives the authorities better supervision
over the clothing.
In the dining and living rooms, where a large number
of patients may congregate, special ventilation is pro-
vided, but in the balance of the institution only direct
heating and natural ventilation is used.
Each cottage contains accommodations for twelve
patients in two stories. Each two patients have their
own porch directly connecting with their bedrooms.
The locker system for patients' clothing is also used in
the cottages.
It is proposed to enlarge the institution to- its full
capacity (seventy to seventy-five patients) by the addition
of shacks of the types adopted by the Department of
Health, New York City, and the Michigan State Sana-
torium. It is the intention of the management to gradu-
ate patients from the infirmary in the administration
building to the cottages, and from these cottages to the
shacks, as their improved condition shall warrant less
supervision and attention.
Medical and Observation Pavilion. Adirondack Cot-
tage Sanatorium. The most recent work of Scopes &
Fuestmann combines under one roof, for economical
reasons, what is now considered to be two essential units
in a cottage sanatorium for the treatment of tuberculosis,
namely, reception and observation quarters and medical
administration. Newly arrived patients are placed in
the observation quarters, located on the first floor, for a
period of ten days or two weeks, under the close super-
vision of a trained nurse, and allowed no latitude as to
their own movements until their exact physical condition
is ascertained. Here the patient receives first lessons in
self-restraint, and is taught at first hand what will be
required of him if he would regain health. After this
period of observation, the patient is housed in one of the
cottages of the sanatorium, at such distance from the
administration building (i.e., dining hall, etc.) as is best
suited to his physical condition. The medical adminis-
tration, second floor, contains a waiting room, examina-
tion rooms, drug room, clinical laboratory, X-ray room,
library, statistician's room, and private working room for
the physician-in-chief.
The problem of sanatoria for consumptives presents a
very broad field for further study, and we may look for
some interesting solutions as the architectural profession
becomes better acquainted with this special branch of
hospital designing.
23-
THE BRICKBUILDER
The American Theater
XI
STAC,]. ACCESSORIES
BV CLARENCE H. I'.I.ACKALL
IN the days of the stock theater company a great deal
of scenery had to be carried all the time. In these
days of traveling companies a theater is very apt to have
no scenery of its own at all, each company bringing every-
thing it requires even down to the most minute proper-
ties. Consequently the modern theater has little need
for a scene room and such a feature can be dispensed
with entirely in emergency, though it is well to provide
a space 16 by 20 or 30 feet and not less than twenty-five
feet in height, which will be termed a scene room and
will be used for all sorts of purposes. Then there should
be on the stage level a property room wherein are kept
the miscellaneous objects which fit out the stage dressing.
This should be at least 18 by 25 feet. There is required
also a stage manager's room which serves as a species of
office and is best arranged in close proximity to the
switchboard on the prompt side. For bringing the
scenery into the theater an opening is provided in the
rear wall, preferably on one side, being eight feet wide
and not less than twenty-five feet high. This door
should be in several sections to slide up. If the stage
floor is not on the level of the adjoining street there
should be a large lift strong enough to take up three tons
if necessary and finishing flush with the stage floor.
This is for the introduction of steam engines, horses, etc.
In the space under the stage there should be arranged
the locker rooms for the stage men, lavatories for their
use, and a waiting room which they can use when not
employed on the stage, and there should also be a store
room for the electricians' supplies, fitted with work bench
and lockers. No permanent obstruction can be placed
under the movable portion of stage, as it is never safe to
say where a trap may not be wanted.
"(ircen Room" is a term applied to a waiting room
reserved specially for the actors and actresses. In the
old theaters and to-day in European ones this is quite
a feature. Few American theater managers will give
the space required for this. It is, however, a very desir-
able function and one which should be included where
practicable.
Dressing rooms should be entirely away from the stage.
A very admirable device which has been adopted abroad
is to enclose the stage with brick walls on all sides, out-
side of which runs on three sides a broad corridor serving
the encircling dressing rooms, access being had to the
stage through a single door on each side near the curtain
line. This, again, means an arrangement in plan which
takes up a great deal of room and costs money. It is,
however, usual to provide at least two dressing rooms on
the stage level, each fitted with separate toilet and a closet
and used exclusively by the stars. Then on the level
either immediately above or below the stage there should
be two rooms for the chorus or the supernumeraries. Each
room is fitted with a long bench on one side for make-up
and with rows of wash basins in the center, preferably
of enameled iron. Individual dressing rooms are usually
arranged in tiers at the sides of the stage and above the
stage level. They should be about eight feet square, each
room being well ventilated but not necessarily receiving
daylight, and each room containing a ledge across one
side for make-up and an enameled iron basin with hot
and cold water. The dressing rooms are really the only
portion of the stage in which gas is required, the gas
being used for heating the grease paint. For a theater in-
tending to accommodate average combination shows there
should be not less than twenty individual dressing rooms
and the two supers' rooms should each be not less than
15 by 35 feet. This number of rooms could take care of a
company numbering as high as two hundred. Some
theaters like the New Amsterdam, New York, are able
to take care of over six hundred actors. A well equipped
theater should also have two rooms used for wardrobes,
each room being not less than 13 by 30 feet. It is usual also
to arrange for a stage carpenter's room somewhere about
the building. It can usually be tucked in almost any
corner not otherwise available and is sometimes even put
up on the side of the rigging loft. It should be at least
twenty-five feet long and not less than twenty-five feet
high, so that scenes can be stood up.
There is usually but one doorway between the stage
and the auditorium, preferably on the prompt side. This
is furnished with fireproof door and is supposed to be
used only by the manager coming from the front of the
house. The stage entrance is best placed on the rear
and if the configuration of the land permits it is better
to have the stage entrance through the basement so as to
check any possibility of drafts from the door to the stage
floor. At the doorway there should be provided a small
closet or recess for the doorkeeper, fitted with letter box
and key rack. Close to the stage door there should be
an elevator large enough to take up three trunks at once.
In planning a stage it is a good idea to bear in mind
that spectacular horse racing is not uncommonly repre-
sented and to arrange so that a team can get a start
either in a side street or in a property room and dash at
full speed across the stage, either running out through
a door into the street again or having plenty of space to
bring up in the wings.
There are a few American theaters which are provided
with a room to serve as a library, a place for study, and
where can be gathered the photographs, play bills,
posters, etc., which in time become so interesting and
valuable, but the unfortunate disappearance of the stock
company and the migratory character of most of our
attractions hardly encourage any provision for such a
room.
In designing the finish and fixtures for the portion of
a theater behind the curtain line, care must be taken to
have everything of the most simple, durable, unbreak-
able character. If a thing can be defaced or ruined it is
well nigh hopeless to expect it not to be. The dressing
room floors are best covered with battle-ship linoleum,
glued to the constructive concrete filling. In the corri-
dors this would not answer, as both linoleum and con-
THE BRICKBUILDER.
2 33
crete would in a single season be ruined by dragging
trunks and boxes across them. Rock maple flooring one
and three eighths inches thick pasted to the constructive
floors will give the best service. The stairs if of con-
crete should have a granolithic surface and the edges of
the treads protected by a steel nosing and a strip of
safety tread. Sanitary bases of tile or cement should be
used everywhere. All passages, also all dressing rooms
if the money holds out, should be sheathed at least three
feet six inches high. .Stairs should be made with wide
landings, remembering that cumbersome trunks and
properties will be carelessly carried over them daily.
The wall plastering is best of Portland cement, with all
corners rounded on a radius of not less than three inches.
The doors should be built without panels, flush on both
sides, like hospital doors, and glazing for all doors and
windows should be with wire glass. Moldings are best
omitted entirely, using perfectly plain wood casings
of the narrowest possible dimensions. All doorways
through which trunks are carried in any number should
be protected by steel angles on the edges. Walls and
ceilings of corridors and dressing rooms should be
enameled, and the woodwork varnished and left bright,
neither shellac nor paint being most suitable for this
part of a theater.
The worst kind of theater fire is one which starts on
the stage during a performance and spreads like a flash
to the mass of suspended, highly inflammable scenery and
rigging. In such a case the lives of the audience and of
the actors may depend upon the coolness of the men in
the fly galleries, and whether they have the nerve to
stand by till the asbestos curtain is lowered and the
blazing scenery dropped to the stage and smothered. It
is therefore highly important that there should be an
exterior fire escape for the sole benefit of the fly men, so
easy of access that they can fight the fire so long as
there is any hope and be sure of getting out alive.
A thoroughly well equipped theater should have a
complete dust removing plant extended to all parts of
the house with outlets and standpipes so arranged that
with a fifty foot hose all parts of all floors and walls can
be reached. Especially should such a system be put in
for the rigging loft, even if it is omitted everywhere
else. The accumulation of dust on a gridiron and the
scenery battens is something which must be seen to be
appreciated, and which can be removed without damage
to the scenery only by the pneumatic process.
There should be provided a billroom about 12 by 24
feet where can be stored the posters, bills, paste pots,
and various publicity adjuncts. This should be easy of
access from a rear street or passage, with separate
outside door.
The planning of a large theater, while a specialized
problem, is one which can seldom be solved twice in
the same way. Only in the most general manner can the
requirements be standardized. The very charm of the
problem lies in the great diversity of possible treat-
ments, and although it is preeminently an expert's work
in its practical details, such as sight lines, stage construc-
tion, and ventilation, once these points are rightly
established the rest is simply a matter of good, bad, or
indifferent architectural design. Most of the American
theaters are indifferent. Some are so frankly bad as to
be really quite hopeful as indicating only misdirected
energy, while there is a small number, larger each year,
of good, well-designed theaters, thoroughly worthy of
study, notwithstanding the commercial limitations. It
is not a problem which need be unreservedly turned over
to a specialist. It is the writer's opinion that a specialist
cannot be a good architect in the complete sense of the
term, and that in proportion as one narrows the scope of
his practise to a single class or kind of building, so is he
sure to narrow his ability to give even that problem the
best architectural solution. The architecture of a theater
should above all things be imaginative, and how can a
specialist let his imagination have free play ? The more
the theater problem is studied and solved by competent
architects as a part of general professional practise, the
higher will be the standard of art in our theaters, and
the less likely will it be that their design will be deliv-
ered to the mercy of a graduated stage carpenter or
scene builder. Gamier never was a theater expert, but
he managed to make the rest of the world sit up and
think; while there are several architects who do hardly
anything but theaters, who yearly grow less fit. The
theater is indeed a complicated problem, which unless
started just right is so altogether wrong that the best
architecture in the world can only make its failure more
lamentable; but its complications are not beyond the
comprehension of any well equipped architect who is
willing to take the pains to inform himself, and these
articles have been written in the hope of making a little
more easy the practical study and elucidation of this most
fascinating problem.
THE END.
The New Brooklyn Academy of Music
HERTS & TALLANT, ARCHITECTS
THE old Academy of Music, Brooklyn, was opened
to the public in 1859, and destroyed by fire in
November, 1903. It was the center of the civic life of
the city and served as a rallying point for many of the
great movements that have had such vital import in the
progress of American civilization.
.Soon after the destruction of the old building, a com-
mittee of one hundred was organized, a corporation was
formed, public subscriptions were invited, and within a
short time the site was purchased.
A competition for the selection of an architect was
decided upon and Professor Laird of the University of
Pennsylvania was engaged to serve as expert adviser to
the committee in preparing the program and Mr. Carrere
and Mr. Mead of the firms of Carrere & Hastings and
McKim, Mead & White respectively, consented to act
together with the advisor upon a jury of award which
was to pass upon the designs and plans submitted. Ten
firms of architects were invited to enter a paid competi-
tion. A preliminary program was prepared by the com-
2.H
THE BRICKBUILDER.
VIEW TOWARDS STAGE, OPERA HOI SI..
enium Arch had not been decorated at time photograph was taken.)
**tk
VIEW ! ROM STAGE, OPERA HOUSE.
\\ A< \ni\i\ 01 MUSIC, BROOKLYN, N. V.
THE BRICKBUILDER.
235
mittee and their advisors,
and submitted to the com-
peting architects who were
invited to attend a meeting
where the program was dis-
cussed in full, after which
discussion and by consent of
the competing architects a
final program was drawn up.
This program, complete and
accurate in every detail, can
well serve as a model for
future competitions. In the
three years required to ex-
ecute the work there have
been practically no modifica-
tions either in the plans or
specifications.
Of the ten sets of draw-
ings submitted, those by
Herts & Tallant were judged
the best, and they were se-
lected as architects for the
building.
Originally the facade was
designed for marble but it
was afterwards redesigned to
be executed in light color and
brick and polychrome terra
cotta. The exquisite har-
mony of the color scheme is
lost in the illustrations, but
the detail which is the best
spirit of the Italian Renais-
sance is easily apparent.
The building provides for
a variety of functions: edu-
cational, musical, dramatic,
and social, so related that
they form a single organism,
whose parts may be distinct
or operated together. The
principal parts :
plan is divided into four
The Foyer and Ball Room
Opera House
Concert Hall
The Offices and Lecture Halls of the
Brooklyn Institute of Arts and Sciences
Each of these divisions is, however, designed to serve
two or more purposes.
The building has a seating capacity of five thousand
persons divided as follows:
Opera House
Concert Hall
Banquet Hall
Large Institute Lecture Hall
Four Lecture Halls
each
2200
1400
600
400
100
The opera house will serve not only for grand opera,
but for large theatrical productions, oratorio, and sym-
phony concerts, also for political and educational meetings
of every description. With this in view every available
foot has been utilized, and every care taken in the ar-
rangement for compactness of seating and excellence of
sight lines.
While the Paris Opera House and other build-
ings of its type have a larger seating capacity
than the Brooklyn Academy of Music, it has long
since been demonstrated that all seatings -over
three thousand are practically worthless, and so
here the opera house has been laid out on the
lines of the standard American theater.
The concert hall is planned primarily for
chamber music and public lectures, and contains
the Frothingham organ which is one of the pre-
mier instruments in the United States, a gift to
the institution by the Frothingham family in
memory of their father.
The foyer extends along the entire Lafayette
avenue front of the building and has an area of
five thousand square feet. It has special carriage en-
trances at both ends. The ball room or banquet hall
which is accessible from both auditoriums is forty feet
wide and one hundred and eighty feet long, and is prob-
ably the most characteristic and distinctive feature of the
building. Connected with the banquet hall, beneath the
music gallery, at the west end, are the kitchens, service,
and store rooms arranged in tiers of three stories.
Provision is made for the executive offices of the
Brooklyn Institute of Arts and Sciences, lecture halls,
rooms for experiments and demonstrations in electricity,
chemistry, physics, photography, and studios for classes
in design and life. Thus is housed at once halls for
concerts, opera, drama, public lectures and meetings, and
the principal educational organizations of the Borough of
Brooklyn.
It will be seen that the separation of the two audito-
riums is complete, and that each distinctive function of
the building is thoroughly isolated. The building is
surrounded by a series of open air fire exits and fire gal-
leries, which open directly on the adjacent streets.
To William DeLeftwich Dodge was entrusted the
236
THE BRICKBUILDER.
EXTERIOR DETAILS EXECUTED IN ARCHITECTURAL rERRA COTTA, BROOKLYN ACADEMY OF Ml
entire mural decoration of the building', and here espe-
cially he has shown himself at his best.
The mechanical equipment of the building both as
regards the stage and the heating and ventilating sys-
tems is laid out along the same lines as the New Lyceum
and Amsterdam theaters by the same architects, but
shows a still further development in the matter of sim-
plicity and expediency. Particularly noticeable in con-
nection with the stage is the complete absence of the old
system of pin rail sup-
port for the suspended
scenery.
The construction of
the gridiron shows the
final step in the modern
revolution whereby this
portion of the building
is entirely constructed
of steel ; not only the
floor but also the
sheaves and lines being
of this material.
The building is
heated throughout by
the indirect system.
The air is brought in
from a central court
where it is free from
dust to an aperture two
hundred feet square,
passed through remov-
able cheese cloth
screens forty-six times
this area and forced
over steam coils on a
thermostatic control by
means of four large
comb fans, into spe-
cially constructed
plenum chambers.
From these dampers the
air enters the main audi-
toriums through mush-
rooms under each of the
seats, constructed with a
DETAIL OF ENTRANCE DOORS, B
damper in each, which can be operated from below so that
the floor air at any special point can be altered without in-
terrupting the audience. The foul air is exhausted from
the upper part of the auditoriums by a corresponding sys-
tem of fans, and discharged from a fan house at the front
of the building.
The electric lighting system shows special study in
regard to all the minor details. The ordinary exit lights
are in this building replaced by illuminated signs sup-
plied by special batter-
ies so designed as to
keep these lights burn-
ing for fifteen minutes
after all other lights in
the house have been
extinguished.
Special designs have
been made for the hard-
ware on the exit doors
whereby the simple
pressing of the audi-
ence within serves to
draw the bolts of all
the doors in the audi-
toriums so that it be-
comes impossible in
case of panic for the
audience to amass at
any one of these exits.
The exterior of the
building presents an
unusually interesting
example of polychro-
matic architecture. The
charm of the color
scheme suggests an
American moderniza-
tion of the art of medi-
eval Italy and rejuvena-
tion of the ideas of
Lucca Delia Robbia.
The basic and body
tone is of cream in
two shades — light and
ran . dark, the lighter tones
THE BRICKBUILDER
237
VIKW OF BALI. ROOM.
VIEW OK GRAND LOBBY.
BROOKLYN ACADEMY OK MUSIC, BROOKLYN, N. V
238
THE BRICKBUILDER
being used below and becoming heavier and richer as
they work up, encircling in green and yellow the five
majestic windows, topped by the splendid cornice.
The ornamentation of the large entrance doors is of
cream and yellow; the course above the doors is in green
and burnt sienna. In the cornice the various com-
mingled colors of blue, yellow, red, and sienna produce a
warm brown color effect.
Set in the cornice are twenty-two full sized lions'
heads of life-like coloring and with tongues of red.
In the background and between these lions' heads
are distinctive panels of red and blue with sienna shad-
ing. Over each of the large doors and on each side
colors on plaster casts made from the molds of the terra
cotta, and in this way the architects and manufacturers
worked together to obtain the special shades needed for
the desired effects. Sand-blasting was applied to special
parts of the finished work so as to obtain the proper
relation between such parts of the surface on which it
was desired to retain the glaze and the others on which
a dull finish was more effective.
This work has now stood for about a year and shows
little or no signs of fading. Should there be any
changes in the colors or should accumulated dirt mar the
detail it will be a simple matter to retone the whole work.
As a matter of interest it should be stated that the
VIEW TOWARDS STAGE, CONCERT HALL, BROOKLYN ACADEMY OF MUSIC.
thereof are cherub figures alternating in arrangement
with panels of ancient musical instruments. These are
in cream relief against a yellow background. In the
lower bands of the cornice are sienna toned flowers; in
another section of the cornice the ornament is yellow
with sienna background.
The broad strip of ornament which encircles each win-
dow shows beauty in design and color scheme and great
delicacy in the modeling of its relief. This comprises
a rich tone of green against which are placed cream
white and yellow flowers and buds.
Unusual care was taken in the execution of this work
to insure the best possible results, both artistically and
practically. The color scheme was worked out in water
architectural terra cotta was furnished by the Atlantic
Terra Cotta Company, and that the architects acknowl-
edge their indebtedness to them for an enthusiastic
cooperation.
The lettering in the brickwork was obtained by burn-
ing special tiles of brick-clay, upon each one of which a
raised letter had been modeled. Owing to the fact that
the letters had to be spaced at different distances, one
from another in every individual case, the architects
were obliged to lay out a full size detail of the entire
lettering and from this detail the exact sizes of the tiles
were determined; there were no two tiles of the same
size. This work was executed by Sayre & Fisher Com-
pany, and is, as far as known, unique in execution.
THE BRICKBUILDER
239
' r
Editorial Comment and
*
Miscellany.
THE HOSPITAL BUILDING COMPETITION.
ONE of the most charming bits of secular architecture
in Europe is the little hospital of the Ceppo at
Pistoja. It was designed at a period when the Italian
Renaissance was at its best, when ideals were high and
art was simple and fresh in
its motifs; when choice of
materials, adaptation of the
work of the craftsman to
the artistic thought and a
keen sense of the relative
fitness of things were all
combined to produce those
exquisite masterpieces
which have ever since been
the joy of the connoisseur.
It is so well proportioned as a design, the details are so
appropriately considered both as decoration in mass and
in their relative values, and above all the materials are
used so knowingly that it has ranked for centuries as a
classic example of the proper use of
burnt clay.
In selecting the problem for The
Brickbuilder competition we had
this Pistoja Hospital in mind. We
do not wish to see medieval condi-
tions merely assumed and unintelli-
gently copied, but there is certainly
a spirit in this building which seems
singularly appropriate to hospital
design, and no better standard could
be suggested for the use of terra
cotta. So we have asked for designs
for a hospital in burnt clay, and if
the bright minds which we hope will
attack this problem can combine
twentieth century needs with the
decorative spirit and style which
evolved the Pistoja Hospital, the re-
sults will certainly justify our hopes.
Be it understood, however, that the
last word is never uttered on matters
of architecture. A building may be totally different in
mass, scheme, color treatment, and detail from the
Ceppo Hospital while yet having all of its spirit. It
is by no means needful nor desirable to copy the
Italian model, but rather to draw from it the feeling
of fitness in the use of the material, the frank, natural
expression in design and perhaps suggestions in that
most uncertain phase of modern work, the use of color.
A hospital has long been
regarded and treated as a
lugubrious problem, breath-
ing miasma and germs,
suggestive of night shade
and hellebore, where good ▼
people die and autopsies detail by
are performed on their St
DETAIL BY NEVILLE & BAGGE, ARCHITECTS.
New York Architectural Terra Cotta Company, Makers.
DETAIL BY WILLIAM H. GRUEN,
ARCHITECT.
Winkle Terra Cotta Company, Makers.
bodies by pitiless scientists. But the hospital of our
problem should be a thing of beauty, whose prominent
features relate to sunshine and health, wherein unfortu-
nates become happy and regain health, where everything
is immaculate as well as comfortable. This is the idea
of the modern hospital, and from the architectural stand-
point it gains immensely in interesting possibilities by
giving it a light, joyous treatment.
The French, with the happy characterization of their
race, call the public hospital the house of God. The
patients are His guests.
We hope the contestants
will approach this hospital
problem not as if it called
for a hard, matter of fact
solution, but as an oppor-
tunity to adorn a civic tale
and to apply to it some
real architecture.
And just another sugges-
tion would we offer regard-
ing detail. A diaper treatment is not the only way to
suggest the use of burnt clay materials, and because we
are using a material which lends itself to small pieces,
geometrical pattern work is by no means indispensable
as indicating terra cotta. The Pistoja
Hospital has neither, nor has the
marvelous terra cotta work of Pavia
and north Italy any use for oil cloth
designs in burnt clay. Such features
have a distinct, if limited, applica-
tion. Pistoja gains its effect by
broad, unbroken wall surfaces and
shadows contrasted with condensed,
enriched, and strongly colored orna-
ment, and the lead is a most excel-
lent one to follow in studying our
problem.
The Brickbuilder has during the
past few years published consider-
able material in the form of illustra-
tions and articles which treat of
Hospital Plan and Design, and it is
likely that those intending to enter
this competition will find much of
interest in the work presented. The
following is a list of the numbers in
which the articles and illustrations are published :
1900 — November and December numbers.
1902 — March, May, June, and August numbers.
1903 — February, May, June, July, August, Sep-
tember, and December numbers.
1904 — February, March, April, May, June, July,
and August numbers.
1905 — March and August numbers.
1906 — January number.
1907 — April number.
1908 — April and June
numbers.
In connection with this
list it should be stated that
the numbers cannot be sup-
plied, they beingoutof print.
•JH
BARNET, HAYNES & BARNET, ARCHITECTS.
. Louis Terra Cotta Company, Makers.
H°
THE BRICKBUILDER.
KI REPROOFING WORK IN THE NATIONAL MUSEUM, WASHINGTON, I). C.
THE BRICKBUILDER
241
A CORREC-
TION.
Our attention
has been called to
the fact that John
A. Tompkins, 2d,
was associated
with Grosvenor
Atterbury as ar-
chitects for the
house, 18 East
75th street, illustrated on page 188 of The Brickbuilder
for September, and that Stowe Phelps was associated
with Mr. Atterbury
as architects for the
houses, 105 and 107
East 73d street, illus-
trated on page 189 of
the same issue of
The Brickbuiluer.
— Eds.
1 B^\-s^ '"'* -
"^ r;
v^
Bfc i-^"
'"
DETAIL FOR RAILWAY STATION,
WATERBURY, CONN.
McKim, Mead & White, Architects.
South Amboy Terra Cotta Company, Makers.
DETAIL BY ALBERT RANDOLPH ROSS,
ARCHITECT.
Brick, Terra Cotta and Tile Company, Makers.
RESTRICTING
SKYSCRAPERS.
The building code
revision commission
of New York City
has recommended a
restriction to 350 feet
as the maximum
height for future
buildings in that
city. This limit is
to be permissible
only for structures
facing on parks and
plazas. On ordinary
streets the limit is to
be 300 feet, and on
streets only forty-
five feet in width the
height cannot exceed
135 feet. Of course
for September,
1907. Greater
New York, which
presents about
twenty-five per
cent of the total
con st rue t ion,
shows an increase
of 14 per cent
over the same month last year. Twenty-eight cities
show a gain of from 1 to 201 per cent and 17 show a loss
of from 1 to 57 per cent. The principal increase occurs
at: Birmingham, 137 per cent; Cleveland, 52; Denver,
113; Kansas City, 47; Louisville, 38; Milwaukee, 56;
Mobile, 23; New
Haven, 39 ; Paterson,
201 ; Salt Lake City,
51; St. Paul, 86;
Syracuse, 75 ; Wor-
cester, 39. The in-
dications are that
henceforth an in-
crease in building
operations may be
expected, and, cur-
rent therewith, a
gradual increase in
the price of building
material. Parties
who contemplate the
erection of buildings
of any sort whatever
will profit to the ex-
tent of from 10 to 20
per cent by taking
advantage of the
present low prices
and starting opera-
tions at once.
INTERIOR OF A CONFECTIONER S SHOP, liOSTON.
A. B. Le Boutillier, Architect.
Showing floor of pale green glaze tile, made by Grneby Faience Company.
FI REPROOFING
OF THE NATION-
A L MUSEUM,
WASHINGTON.
these are only recommendations, but they consider that
people who are forced to live and do business on the lower
levels have right to a reasonable amount of light and air.
BUILDING OPERATIONS FOR SEPTEMBER.
According to official building statistics from forty-
five principal centers of construction, throughout the
country, reported
by the American
Contractor , New
York, building op-
erations for Sep-
tember, 1908, show
an increase in the
aggregate of seven
per cent as com-
pared with substan-
tially the same cities
On another page there is illustrated an especially
fine example of fireproof construction in the New Na-
tional Museum at Washington, Hornblower & Marshall,
architects. The importance of safeguarding this build-
ing and its contents from destruction by fire has led
to a careful consideration of the whole matter of fire-
proof construction, with the result that hollow terra
cotta blocks have been employed. Every part of the
work has received
the closest scrutiny
from the architects,
government inspec-
tors, and the con-
tractors, with the
result that the
building is consid-
ered to be abso-
DETAIL BY J. K. JENSEN, ARCHITECT. llltely lndestrUCtl-
New Jersey Terra Cotta Company, Makers. ble by fire. The
244
T II E BRICKBUILDER
Competition for a Hospital Building.
First Prize, $500. Second Prize, $200. Third Prize, $100.
COMPETITION CLOSES JANUARY 16, 1909.
PROGRAnriE.
THE problem is a Hospital Building. The location may be assumed in any American city of about 30,000 inhabitants. The lot con-
tains about five acres and lias a frontage of 300 feet on the main avenue, leading to the city, which runs east and west. The part of
the lot on which the building is to be placed is practically level.
It is to be a block hospital with three floors above the basement. The height of the first and second stories is to be not less than 12
feet. No one floor above the basement is to contain more than 10,C00 square feet, exclusive of sun rooms and approaches. The length of
the structure, including sun rooms and approaches, cannot exceed 160 feet.
The following should be provided for in the plan :
Two ten bed wards for each sex in the Medical Department; two ten bed wards for each sex in the Surgical Department: and in con-
nection with each of these wards two one bed rooms. Two ten bed wards for each sex in the Children's Department. A Maternity Depart-
ment to accommodate six patients, two of which are to be in private rooms, and in conjunction with this department a delivery room and
baby room.
In conjunction with the wards there should be provided service rooms or diet kitchens, nurses utility rooms, linen rooms, broom and
medicine closets, clothing rooms and toilet rooms.
In addition to thj private rooms provided for in connection with the open wards there should be at least eight private rooms for single
patients.
Operating and accident rooms, with their adjuncts of anaesthetic, sterilizing, bandage, instrument, nurses' work room, reception, and
recovery rooms, also surgeons' dressing room and X-ray room.
Single bed rooms tur at least twenty nurses; nurses' parlor; suite for superintendent and head nurse; bed room for two internes;
reception room for patients; laboratory; drug room; cooking class room; kitchens; store rooms; laundry; bed rooms for fourteen
domestics — four being males; dining room for staff and nurses; dining room for domestics; toilet rooms; small out-patients department ;
autopsy room ; boiler room ; fan room, and such other features as may suggest themselves to the designer.
The exterior of the building is to be designed entirely in Architectural Terra Cotta, employing colored terra cotta in at least portions
of the walls.
The following points will be considered in judging the designs ;
A. Frank and logical expression of the prescribed material.
B. Rational and logical treatment of the exterior.
C. Excellence of plan.
In awarding the prizes the intelligence shown in the constructive use of terra cotta and the development or modification of style, by
reason of the material, will be taken largely into consideration.
It must be borne in mind that one of the chief objects of this competition is to encourage the study of the use of Architectural Terra
Cotta. There is no limitation of cost, but the designs must be suitable for the character of the building and for the material in which it is to
be executed.
DRAWINGS REQUIRED.
( in i me sheet, at the top, the front elevation drawn at a scale of S feet b i the inch. In the title of this elevation state which point of the
compass it faces. On the same sheet, below the front elevation, the four floor plans drawn at a scale of 16 feet to the inch.
On a second sheet, at the top, the elevation of secondary importance drawn at a scale of 16 feet to the inch ; immediately below half
inch scale details of the most interesting features of the design. The details should indicate in a general manner the jointing of the terra cotta
and the sizes of the blocks. The color scheme is to be indicated either by a key or a series of notes printed on the same sheet with the
secondary elevation and details, at a size which will permit of two thirds reduction.
The size of each sheet (there are to be but two) shall be exactly 36 inches by 24 inches. Strong border lines are to be drawn on both
sheets one inch from edges, giving a space inside the border lines 22 inches by 3-t inches. The sheets are not to be mounted.
All drawings are to be in black ink without wash or color, except that the walls on the plans and in the sections may be blacked-in or
cross-hatched.
Graphic scales to be on all drawings.
Every set of drawings is to be signed by a nom de flume or device, and accompanying same is to be a sealed envelope with the nom
d.< flume on the exterior and containing the true name and address of the contestant.
The drawings are to be delivered flat at the office of THE BRICKBUILDER, 85 Water Street. Boston, Mass., charges prepaid, on or
before January 16, 1909.
Drawings submitted in this competition must be at owner's risk from the time they are sent until returned, although reasonable care
will be exercised in their handling and keeping.
The prize drawings are to become the property of THE BRICKBUILDER, and the right is reserved to publish or exhibit any or all of
the others. Those who wish their drawings returned may have them by enclosing in the sealed envelopes containing their names, ten cents
in stamps.
The designs will be judged by three or five well-known members of the architectural profession.
For the design placed first in this competition there will be given a prize of $500.
For the design placed second a prize of $200.
For the design placed third a prize of $100.
We are enabled to offer prizes of the above-mentioned amounts largely through the liberality of the terra cotta manufacturers who are
represented in the advertising columns of THE BRICKBUILDER.
This competition is open to everyone.
THE BRICK BUILDER.
VOL. 17, NO. 10. PLATE 115.
THE BRICKBUILDER.
VOL. 17. NO. 10. PLATE 116.
VltW OF BANKING ROOM.
NATIONAL FARMERS' BANK, OWATONNA, MINN.
Louis H. Sullivan. Architect.
THE BRICK BUI LDER.
VOL. 17, NO. 10. PLATE 119.
GAIETY THEATER, FORTY-SIXTH STREET AND BROADWAY, NEW YORK.
Herts & Tallant, Architects.
THE BRICKBUILDER.
VOL. 17, NO. 10. PLATE 120.
THE BRICKBUILDER.
VOL. 17, NO. 10. PLATE 123.
LONGITUDINAL SECTION THROUGH OPERA HOUSE.
BROOKLYN ACADEMY OF MUSIC, BROOKLYN, N Y.
.Herts & Tallant, Architects.
THE BRICKBUILDER.
VOL. 17, NO. 10. PLATE 125.
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BROOKLYN ACADEMY OF MUSIC, BROOKLYN, N Y.
Herts & Tallant, Architects.
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THE BRICKBUILDER
VOL. 17, NO. 10.
PLATE 121.
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BROOKLYN ACADEMY OF MUSIC, BROOKLYN, N Y
Herts & Tallant, Architects.
THE BRICKBUI LD ER.
VOL. 17, NO. 10. PLATE 122.
VIEW AT CORNER OF LAFAYETTE AVENUE ANO ST FELIX STREET.
BROOKLYN ACADEMY OF MUSIC, BROOKLYN, N Y
Herts & Tallant, Architects.
THE BRICKBUILDER.
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INTERNATIONAL BVREAV OF AMERICAN REPVBLICS
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BROOKLYN ACADEMY OF MUSIC, BROOKLYN, N. Y.
Herts & Tallant, architects.
THE BRICKBUILDER.
VOL. 17, NO. 10. PLATE 128.
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THE BRICKBUILDER
Volume XVII NOVEMBER 1908 Number II
PUBLISHED MONTHLY BY ROGERS & MANSON
85 Water Street ... Boston, Massachusetts
Entered at the Boston, Mass., Post Office as Second-Class Mail Matter, March 12, 1892. Copyright, 1908, by ROGERS & MANSON
Subscription price, mailed flat to subscribers in the United States, Insular Possessions and Cuba ....... $5.00 per year
Single numbers .................... 50 cents
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For sale by all news dealers in the United States and Canada. Trade supplied by the American News Company and its branches.
ADVERTISING
Advertisers are classified and arranged in the following order :
PAGE
Agencies — Clay Products ....... II
Architectural Faience ........ II
„ Terra Cotta II and III
Brick Ill
PAGE
Brick Enameled . . . . . . . .Ill and IV
Brick Waterproofing ........ IV
Fireproofing ......... IV
Roofing Tile IV
Advertisements will be printed on cover pages only
CONTENTS
PLATE ILLUSTRATIONS
From Work by
HENRY BACON; WILLIAM A. BORING ; MAGINNIS, WALSH & SULLIVAN; MAURAN,
RUSSELL & GARDEN ; RENWICK, ASPINWALL & TUCKER ; LOUIS C.
SPIERING ; R CLIPSTON STURGIS.
LETTERPRESS
PAGE
THE FRANCISCAN MONASTERY OF THE TRINITY, DANTSIC, GERMANY Frontispiece
COURTHOUSE PLANNING Thomas M. Kellogg 245
THE DEPARTMENT STORE PLAN John Lawrence Man, an 252
ENGLISH BRICKBUILDERS The work of R. II W/ Schuliz 256
THE GOVERNMENT TO TEST BURNT CLAY BUILDING MATERIALS 260
EDITORIAL COMMENT AND MISCELLANY 262
PROGRAMME FOR HOSPITAL BUILDING COMPETITION 266
THE FRANCISCAN MONASTERY OF THE TRINITY, DANTSIC, GERMAN V
tH«<<<<<<<<<<<<<<«<^<^<V^VVVV^V<<<<<<<<<<<<<'>>>>>>>>>>>>VV>>>>>>>>>>>>v>>>>>>>>>>>>>V>^>>>>>>>>>>>>W
THE BRICKBVELDER
VOL. 17
DEVOTEDTO THE-INTEREJIf-OP-ARCHITECTVREIN MATERtALJ-OF-CLAY-
NOVEMBER 1908
il 1
X
m
Courthouse Planning.
BY THOMAS M. KELLOGG.
IN every country the degree of progress is measured
to a great extent by its method of administering
justice. The existence and maintenance of law courts,
and the gradual growth and increase in their scope and
power, has been one of the strong and undeniable indi-
cations of the advance of civilization, tending towards an
increase of personal liberty and an assurance of the
rights of individuals to hold and enjoy the possession of
property, and to maintain their civil rights under the
protection of established laws.
The rapid growth of our own country and its marvel-
ous development have been largely due to its ability to
adopt and carry out from its infancy a system of wise
and effective self government. In the pioneer days,
when new settlements were being continuously formed,
an element of lawlessness usually existed which threat-
ened the safety and happi-
ness of each community to
as great an extent perhaps
as the encroachments and
depredations of the Indi-
ans. To overcome this
tendency it was necessary
to deal summarily with each
offender, and justice was
administered with a stern
hand. Few laws were rec-
ognized, or even existed,
but an inherent faculty of
logic, based on common
sense, together with the
stern necessities of self-
protection combined with the early American character-
istic of fair play, formed the principles of justice as then
administered.
Thus our first courthouses came into existence, con-
sisting usually of a crude log hut of a single apartment.
Jails were seldom needed in those days, as there existed
no sentimental prejudice against capital punishment,
which was considered the only prompt and efficacious
method of disposing of the guilty, as well as setting a
wholesome example to others. As the settlements grew
in importance and population, the schoolhouse and the
courthouse kept pace with progress; and the latter gained
all the more prominence owing to the interminable dis-
putes and misunderstandings resulting from the govern-
ment grants of land, and the difficulty of securing
satisfactory titles to the various claimants.
THE OLD COURTHOUSE AT ST. LOUIS.
As villages were transformed into cities the demand
for all public improvements increased in proportion, and
the church, the schoolhouse, and the courthouse grew
relatively in importance, as became the dignity of civil-
ized communities. Then came the conflict with the
mother country resulting in an independent nation, and
the various states were subdivided into counties, each
county seat having its courthouse. Naturally the build-
ings began to assume more pretentious proportions, and
the courthouse became the gathering point of the people
from all the surrounding country, attracted as much by
idle curiosity and the opportunity for political discussion
as by the more serious interests to be settled by
judge and jury. It will, therefore, be seen that the
architectural character of our courthouses and other
public buildings has, from the earliest days to the
present time, been propor-
tionate to the growth and
importance of the various
communities. And yet,
the simplicity and dignity
which usually marked the
buildings of colonial days,
especially in New England
and certain portions of the
South, gave a charm and
individuality to the archi-
tecture sadly lacking in
many of our modern and
more pretentious struc-
tures. One cannot but
have an occasional feeling
of regret, and at the same time recognize the fact, that
our architecture must necessarily keep pace with progress
in wealth and prosperity.
A modest brick colonial courthouse, with its simple
and dignified portico of wood, needs the setting and
surroundings, and even the atmosphere, to which it is
adapted, being sadly out of place in one of the crowded
thoroughfares of our larger cities, hemmed in by ruth-
less and ungainly skyscrapers. Due allowance must
also be made for the steadily increasing demands for
space and expansion, and our modern courthouse of the
average requirements must, therefore, of necessity be
radically different from its simple and charming proto-
type of colonial days. At the same time certain funda-
mental principles governing the successful design of any
building of a public or monumental character should be
246
THE BRICKBUILDER
closely adhered to. Every
effort should be made to
frankly express its purpose,
both in plan and exterior.
The site and its stirround-
ings should be carefully
considered, and the char-
acter of the building con-
form to local conditions,
with a view to making the
most of the material at
hand.
The study of the ap-
proaches should not be neg-
lected, nor postponed until
the building is completed,
THE OLD MIDDLESEX COUNTY COT RTHOUSE AT EAST
CAMBRIDGE, MASS.
features of the interior to
which they give access.
The circulation of halls and
corridors should be direct
and unmistakable, leading
without confusion or un-
necessary distance both to
the staircases and eleva-
tors as well as to the vari-
ous departments of the
building.
After observing these
preliminaries, which are
more or less general in
character, it may be in
order to consider the more
COURTROOM FLOOR, MIDDLESEX COUNTY COURTHOUSE, EAS1 CAMBRIDGE, MASS.
on the plea of economy or lack of time
setting to an otherwise
beautiful building is often
hopelessly sacrificed and
lost owing to a lack of that
attention to this important jjjj
feature at the beginning,
which might have proved
its necessity and secured
its adoption.
The nature of the site
and its surroundings should
also, to a certain extent, de-
termine the distribution of
the entrances to the build-
ing, all of which should be
governed by the impor-
tance of the streets upon
which they face, and the
An appropriate
COURTHOUSE, 1829.
salient and distinctive features relating particularly to
the average modern court-
-f.-T Ti-'i -"_'=?",,,■ ._?;-'- house. These requirements
;_' ' ' ""-_,: :':'--' i^^BB*-.-.: lV1" necessarily vary largely
with the locality and the
population, and the extent
of territory which the
building is intended to
serve, and must, in any
case, be governed by the
amount of funds availa-
ble.
Reference to two distinct
types of buildings will per-
haps serve as a partial
illustration of general
courthouse requirements ;
one, a county courthouse,
and the other a combined
THE BRICKBUILDER
247
courthouse and postoffice building for the United States
Government.
The county building, with the exception of jail quarters
in the upper story, is devoted exclusively to court pur-
poses, with the usual county offices in conjunction there-
with. The first or ground floor contains those depart-
ments whose business directly concerns the public,
namely, the recorder of deeds; surrogate's offices, where
wills are probated and registered ; the auditor and tax col-
together with a judge's room adjoining each; also jury
and witness rooms, offices of the prosecutor, a bar con-
sultation room, and library.
On the third floor are two minor courtrooms for civil
cases, each with its judge's room adjoining, together with
additional jury and witness rooms, a jury dormitory with
private toilet, and a room for the grand jury, the latter
connecting directly with the prosecutor's offices on the
floor below by means of a private stairway. This floor
COUNTY COURTHOUSE AT CAMDEN, N. J.
Rankin, Kellogg & Crane, Architects.
lector; and sheriff. In addition to these are the offices of
the county clerk, and a large meeting room and offices
for the board of county freeholders.
In the basement, directly below the sheriff's offices, is a
large apartment for conducting sheriff's forced sales.
This apartment is provided with a separate outside en-
trance, also an inside stairway connecting the sheriff's
offices with the salesroom. Adjoining the sheriff's office
is a receiving room for prisoners, with a separate private
entrance opening on the most retired and least important
street and connecting with a prisoner's stairway and
elevator which communicates directly with the criminal
court above, and continues up to the jail in the top
story.
The second floor contains the three principal court-
rooms: the criminal, the supreme, and the circuit courts,
also contains a large gallery for the public opening into
the criminal court below, which, on account of its size
and importance, carries up through the two stories.
The top floor is devoted entirely to the jail, with space
for about one hundred and fifty prisoners, in addition to
offices for the warden and physician, a large kitchen, and
an infirmary, together with suitable bath and toilet ac-
commodations, both for staff and prisoners.
It does not, however, seem an ideal arrangement,
either physically or morally, to combine a courthouse
and jail in one building, and it was only for economic
reasons that it was done in this case. It is probable that
in the future there will be sufficient demand for addi-
tional space in the courthouse proper to justify the re-
moval of the jail to a separate building, where it properly
belongs.
248
THE BRICKBUILDKR
THIRD
FLOOR
PLAN.
SECOND
FLOOR
PLAN.
FIRST FLOOR PLAN.
CO! \TV COURTHOUSE, CAMDEN, N. J.
Rankin, Kellogg & Crane, Architects.
D
THE BRICKBUILDER
249
UNITED STATES COURTHOUSE AND POST OFFICE BUILDING, INDIANAPOLIS, IND.
Rankin & Kellogg, Architects.
-5°
THE RRICKBUILDER
The Federal or United States courts are, for purposes
of economy in building and convenience of administra-
tion, usually located in the post office buildings of the
larger cities. They are erected and equipped under the
immediate control of the United States Treasury Depart-
ment through the office of the Supervising Architect at
Washington, and until a few years ago were entirely
confined to that office. By a comparatively recent act of
Congress, commonly known as the Tarsney Act, the Sec-
retary of the Treasury has been empowered at his dis-
cretion to employ architects in private practise to design
for future accumulation. Toilet accommodations for the
public, for male and female witnesses, and for employees
of both sexes must not be overlooked.
It will be seen by comparing the needs of the county
building with those of the court requirements of the
federal building that, while differing in minor details,
they are quite similar in many respects. Each has its
trials by jury, and therefore requires practically the same
arrangement of jury and witness rooms ; the library is of
equal relative importance ; the United States marshal
coincides with the county sheriff ; the United States
PLAN OF COURTROOM FLOOR, COURTIIOI si AND POST OFFICE, INDIANAPOLIS, INI).
and supervise the erection of work of this character in
conjunction with the office of the Supervising Architect.
Several prominent and many minor buildings have already
been successfully completed under this arrangement.
The general requirements for the Federal Courts are
similar in character to those of the county buildings, and
each is proportionate in extent to the amount of territory
to be served. They usually consist of two, and some-
times three, large courtrooms, each with private rooms
for judges ; a large and important library, centrally lo-
cated ; one or two consultation rooms for the bar ; and a
proportionately generous allotment of office space for the
United States district attorney, marshal, and clerk of
each court, besides rooms for male and female witnesses,
jury rooms, a prisoner's room, controlled by the bailiff,
and one or two cells for confining refractory prisoners.
A smaller courtroom is usually provided for the settle-
ment of petty cases without a jury, also a room for the
grand jury, together with stenographers' rooms, and am-
ple space for files and documents, making due allowance
clerk with the county clerk ; and the United States district
attorney with the prosecuting attorney of the county.
Considerable leeway is permissible in the relative loca-
tion of the various departments, both in the federal and
county buildings, these being in many respects governed
somewhat by local conditions. The judge's private room
should invariably be directly accessible to the court ros-
trum by a separate private doorway. The jury and wit-
ness rooms, while not necessarily directly adjoining the
courtroom, should be in close proximity, as should also
the offices of the district or prosecuting attorney. The
library bears a most important relation to the various
courtrooms, and should, therefore, be centrally located
so as to be readily accessible to each court. The grand,
jury room should be so placed as to be within easy access
to the offices of the prosecuting attorney, although, ow-
ing to the amount of space usually required for the court
offices it is commonly allowable to place the grand jury
room on the floor above, connecting with the offices of
the prosecuting attorney by means of a private stairway.
THE BRICKBUILDER
251
It seems hardly necessary to call attention to the im-
portance of fireproof qualities in a modern courthouse.
The nature of many of the documents, such as those per-
taining to deeds and wills, is such that their loss or de-
The architectural treatment must also come in for its
full share of careful study. Dignity and simplicity, well
defined proportions, purity of detail, and appropriate ma-
terial will all do their part towards securing a successful
COURTROOM, COURTHOUSE AND POST OFFICE, INDIANAPOLIS, IND.
struction would be indeed a serious matter. Careful
attention should, therefore, be given to this feature, and
the building so planned that the structural units are sim-
ple and straightforward, and the steel columns, beams,
and girders amply protected throughout with suitable
fireproof covering.
COLOGNE CATHEDRAL CRUMBLING.
So much has been written of late about the unsafe con-
dition of the cathedral at Cologne that the report of
Dombaumeister Kertel, which was published in the Zen-
tralblatt der Bauverwaltung will be read with interest.
The "report says that the building as a whole is sound
and safe. The investigation has shown, however, that
much of the outer part of the dome is in bad condition.
Not only the ornamental parts, but the flat stone walls,
have suffered more than even the experts knew. It is
result. But to all these characteristics, which appear
necessary, there must be added that inherent quality,
difficult to describe, but always to be closely striven for,
without which all efforts are futile, but which, when at-
tained, will enable the observer to determine correctly the
character of the building and the purpose of its erection.
remarkable, says the architect, that the signs of decay do
not appear only on the very old parts, but are seen on
those of the last century, and in some places which were
repaired only twenty years ago there are unmistakable
signs of decay. Nor are these ravages confined to one
kind of stone. All the various kinds employed in the
structure have been attacked, and the disintegration seems
to begin not on the surface, but to work outwardly. The
rapidity of the process is shown in the gallery on the
north side, which is rapidly falling away, while five years
ago it was intact.
252
THE BRICKBUILDER
The Department Store Plan.
BY JOHN LAWRENCE MAURAN.
PRIOR to planning the Grand Leader Department
Store Building, herewith presented, it was the good
fortune of the writer to make a voyage of discovery
among the department stores of the country in company
with clients whose sole object was to incorporate in their
own plans the best ideas obtainable. We saw not only
the innermost workings, but heard at first hand the de-
tails of each manager's pet hobby, and what follows must
be judged in the light of the above preamble.
Probably no architect ever designed a department store
unaffected by the hobby or caprice of his client, and
while this statement is likely true of every class of
work, it is here almost fundamental, for the department
store proprietor, or manager, has of necessity studied
what appeals most strongly to his particular class of
trade, or has worked up into a feature the "meet me at
the fountain " type of advertising dodge.
With this in view as accounting for divergencies be-
tween conclusions written and those expressed in the
typical plans, the first considerations in sequence are:
First: Shape of lot and relation to principal abutting
streets and alleys.
Second: Type of show window for combined display,
first floor lighting, and summer ventilation.
Third : Character of trade — exclusive or mixed.
Fourth: Access to floors, including character and loca-
tion of accessory appliances.
Fifth: Detail considerations of heating, ventilation,
lighting plant, cash and bundle systems, etc.
1 (iscussing these considerations sequentially, it may be
said of the first, that here indeed the architect will find
that each site presents its own particular problem, but in
general his plan should be as nearly rectangular as pos-
sible, the entrances of ample size and duplication on the
principal street fronts — one or more groups depending
on the length of the fa<;ade and the importance of the
thoroughfare. A casual study of resulting aisle arrange-
ment will convince the client, as well as the architect,
that a corner entrance is expensive in floor space, window
effectiveness, and circulation of incoming and outgoing
shoppers. The service and freight elevators, delivery
entrances, and canopy should, if possible, be located on
an alley or on the least important abutting street.
The floor plan should be as open and generous as pos-
sible, giving extensive perspectives unbroken by stairs,
elevators, etc., and never marred by an irregular or
eccentric columniation. The size of lot and type of con-
struction must govern column centering, but the plan
shown is close to accepted spacing.
The second consideration may provoke a heated argu-
ment between architect and client, starting with a matter
of taste, but proof positive may be easily adduced to show
that the unbroken shell of plate glass front has gone to
stay. The best "merchandiser" recognizes the differ-
ence in dignity as well as the value of show window
division, in the visible pier or column, and is ready to let
his competitor indulge in the expanse of flimsy glass
underpinning.
Many effective show windows are constructed without
enclosures other than draperies concealing the back shelv-
ing, but in most of our cities atmospheric conditions
enforce the need of tight wood or wood and glass en-
closures, and reference to the plan will indicate the
means of access for the window dressers, while intercom-
munication from window to window is maintained
throughout the paneled false work at the rear of struc-
tural outside columns back of the heating and ventilating
pipes which it conceals. The windows should have the
single sheet of plate glass extend from an average of ten
to eighteen inches above grade to a height of ten feet six
to twelve feet above grade in order to secure ample tran-
soms in first lloor. These transoms should be hinged at
the bottom and mechanically operated in series, for in
summer weather no artificial ventilation can produce the
necessary air movement. Ample plug socket capacity
should be furnished for holiday display to supplement
the accepted transom bar concealed reflector.
Even in our largest cities it is a serious question
whether the highest class of trade can be catered to
exclusively — the well to do spend much of the year out
of town and it is conceded that the middle and poorer
classes respond most quickly to the bargain sale advertise-
ments, so it would seem safest to assume that the
internal planning, the location of staple goods, the dis-
position of elevators, and the deft combination of refined
appearance and atmosphere with those "features" which
attract the bargain hunter without repelling the fastidi-
ous, will most successfully meet the requirements of our
third consideration.
It is hard to over-estimate the importance of careful
study under the next heading, for the life blood of a suc-
cessful department store must course through all depart-
ments, i.e., the higher percentage of customers induced
(not forced) to go to the upper floors, the more successful
the plan. Generally speaking the basement should contain
the cheaper grades of advertised bargains, ingress and
egress to be furnished by broad, easy stairs either from
the vestibule or from the main floor on the main en-
trance artery so as to interfere as little as possible with
the general circulation, or by both. Elevators and esca-
lators to the basement are of minor importance, but not
so the upper floors to which they are indispensable.
< )pinions differ widely as to the value of an escalator
as a trade factor, but certain it is that the broad step
type is practical as a novelty and a real relief to the
elevator service on busy days. The escalator need
ascend only and its usefulness seems to reach its climax
at the third floor. Its location should be on the main
cross aisle off the center where it will interfere as little
as possible with the general perspective.
Stairs should never be featured to the extent of central
floor location, but should be broad, easy, and attractive,
adjacent to the elevators, and this brings us to the crux
of the matter: In some stores otherwise successful
elevators have been grouped radially out in the floor,
destroying perspective, confusing passengers, and mutil-
THE BRICKBUILDER
254
THE BRICK BUILDER
THE BRICKBUILDER
255
ating the scheme of aisle circulation which must be
maintained. Others have placed banks of elevators of
few units near entrances with the hope of facilitating
access to upper floors, and in some cases have placed
them modestly behind tight partitions. A careful survey
of the situation must lead to a very different plan. Un-
less the ground be nearly square and of considerable
area one bank of as many units as possible located about
the center of the long (perhaps blank) wall opposite the
principal street will give the best results. With a
square plan and two principal streets the accompanying
plan seems to be the best commercial solution. The
object is to lead customers seeking upper floors past as
many display counters as possible to an ample number
of elevator units where they can get quick service with-
out suffering the annoyance of being hustled from one
over-worked bank to another equally crowded. Most
shoppers are not clever, and everything must be made
clearer than daylight so this one large bank (or two at
the most) becomes familiar by usage and should be
evident to the stranger by having a polished wire glass
enclosure through which the cars may be seen and each
attractive floor be revealed, in passing, to the occupants.
Every safety appliance on the elevators is money in the
owner's pocket.
Much might be written covering the multitude of
matters under the fifth heading which at best can only be
treated here more or less superficially. Every depart-
ment store should be sprinkled (the system either exposed
or concealed by a suspended ceiling) and ample fire escapes
provided, preferably of the enclosed concrete stair type
shown on the plan. If power or heat cannot be secured
from outside service companies, it seems unwise to en-
croach to the necessary extent on the valuable basement
space, but rather to locate the plant in a sub-basement,
or better still — as was done in the building here shown
— place it under a separate roof across the street. Here
is generated the steam for operating the dynamos for
lighting, elevator, ventilating motor, tube system motor,
etc., while the exhaust is used for heating. A large
storage battery has been found economical for lowering
the elevator peak and for elevator and scrub service light-
ing after hours. A large coal supply either at hand or
nearby is essential to avoid shutdowns.
Artificial ventilation for at least the basement and first
floor is essential, and so much data exists that no further
comment is necessary except a word of warning that the
client usually expects too much in the way of cooling in
hot weather, for it is impossible to produce the cooling
effect of air movement, even though the temperature be
lowered, except by dangerous and expensive induced cold
draughts — hence the previous reference to the need of
transom auxiliaries in the first floor. The resulting dust
practically prohibits them in the basement.
The open light well is almost the only opportunity
presented for a display of the designer's skill on the in-
terior, but truth compels the writer to state that its value
seldom offsets the tremendous fire risk and loss of floor
space.
It is a self evident proposition that the top floor should
contain the stock room and almost equally axiomatic that
on the next floor below may be located an attractive and
well conducted restaurant, for no other lure is so certain
to tempt the suburban or " professional " shopper up
through the departments requiring this publicity. The
location of the writing room, manicure, and hairdresser,
as well as the office gives opportunity for multiplying the
effectiveness of this device.
The hospital rooms with physician and trained nurse
have passed from the novelty to the necessity stage in
the larger department stores. Not only must the shopper
be furnished free with all the comforts of home in the
modern store, including public telephone service, but the
home staying purchaser must be permitted to order by
telephone from the clerk in each department, so this in-
dividual counter telephone service is no less important
than the modern bundle wrapping and cash register
station localized in every store unit. The necessity of
ample, attractive lavatories for men and women cus-
tomers on almost every floor is second only in importance
to the obvious economic need of the same local accom-
modations for employees. The saving of time is the saving
of money and so it is as essential also to provide separate
elevator service and a special restaurant for the employees,
as it is to have automatic dummy elevator service for the
replenishing of stock, and the spiral package chute to the
delivery room.
It is obvious that the concentration of the freight and
employees' elevators, the dummies, chute, and other ser-
vice accessories should be located on or near the service
street or alley, for speed is a competitive argument. Un-
less the abutting streets are highly congested, or all of
great importance, it is seldom economical to have stock
or delivery wagons enter the building — the most effective
handling being by freight elevator after unloading, to the
stock room, thence by freight and dummy to the selling
floor, thence by chute or freight to the package room
where distribution is made into the wheel trucks or
"buggies," these in turn being raised to the shipping
platform by a sort of freight escalator combined with
fixed stairs, while a one story lift takes care of furniture
and other bulky goods.
Outside the universal ice water system there are so
many details of special problems which happily are not
universal, such as the photograph gallery, cold storage
for furs, and soda water fountain, that it seems unneces-
sary to dilate upon them, while artificial store lighting
and other technical problems have been admirably
treated in many available papers.
Each store is after all a special problem, but it is hoped
that the solution may be assisted at least by the experi-
ences herein recorded.
HARTFORD has done even more than erect the
largest and finest stone arch bridge in the world.
By this improvement it has gained a remarkable river-
side park half a mile in length, lying thirty-five feet
above the water and serving as an approach to the bridge.
From this promenade a fine view of the Connecticut
River northward and southward is obtained ; but that
which delights the Hartfordites is that the worst tene-
ments of the city have been removed to make way for
this beautifying of the riverside. Hartford's example
ma)- well be followed by many other municipalities in
America, and that rare possession for a town, a water-
side park with fine building sites behind it, obtained.
256
THE BRICKBUIL D E R .
English Brickbuilders.
THE WORK OF R. WEIR SCHULTZ.
ANYONE familiar with the architectural profession
of to-day will know that deep reading, erudite
research, painstaking measurement, diligent study of
old work, do not necessarily result in the production of
good design, even when associated with initial aptitude
and ability. There are many names that remind us of
that fact very forcibly —
names of men whose abil-
ity is unquestioned, men
who have had a university
training, men who are wide
in their knowledge though
narrow in their sympathies.
The reason is, perhaps, to
be found in the self-con-
sciousness of these archi-
tects, which commits them
to such productions as are
considered "individual."
In truth, this is no other
than a cultured affectation,
and it ends in failure. A
certain proportion of archi-
tects, however, trained in
this school of thought, do
rid themselves of the taint
— possibly through an in-
telligent intimacy with good construction as well as a cul-
tured knowledge of design. Mr. R. Weir Schultz is one
of these men; an architect, moreover, whose work is the
more surprising, when we remember that he had de-
voted great study to archeology and ancient architec-
ture— particularly that of the Byzantine period. As a
rule, when an architect becomes wedded to archaeology
UNIVERSITY 5ETTLEMEN1
in any form, he lapses into vagaries, loses touch with the
present, and stifles his natural tendencies, in the ex-
cessive study of the past. That fault is nowhere dis-
played in Mr. Schultz's work. It is essentially modern,
while scholarly, broad in treatment, eminently adapted
to its needs; displaying, too, an appreciation of the
craftsman's work, whether
in wood, plaster, or brick.
His houses are essentially
English in feeling. They
suit their environment;
they do not shout at you ;
they compose well and they
are planned in a manner
that does not engender the
thought that architect and
client have been at greatest
pains to do everything in
the opposite way to what is
considered usual by the ordi-
nary sane man. This is a
point that needs emphasiz-
ing, because in the work of
some architects who have
achieved a sort of reputation
there is an incessant display
of modulated eccentricity.
Mr. Schultz is very happy in his general schemes and
in the design of his brickwork detail, and the results
which he has achieved by the contrivance of small em-
bellishments with plain bricks used in many novel ways
are most pleasing. The accompanying illustrations
clearly show this.
Pickenham Hall, a large country house in Norfolk, is
ENTRANCK FRONT, PICKENHAM HALL, NORFOLK.
THE BRICKBUILDER.
257
GENERAL VIEW OK I'KKGOI.A, HOUSE AT FELIXSTOWE.
a typical example of his work. The whole is carried out
in red brick, running five courses to the foot, the roof be-
ing covered with red tiles, hand-made in the old manner.
Over the entrance are figures and carving in stone, this
work having been modeled from the architect's sketches.
The whole design is sturdy in effect, while the variety in
some of the brick enrichments is astonishing. The total
cost of this house was about $100,000.
Another good example of Mr. Schultz's work is the
house at Hever, " How Green." This has been erected
on a site overlooking the
valley of the Eden, the plan
being the outcome of the re-
quirements to get as much
sun as possible into the
rooms. The walls are built
of red bricks, with tile-
hanging and roof tiles. The
windows have oak frames
and leaded lights, the bal-
cony and porch are of oak,
and there is an oak stair-
case, with oak linings to
walls of same and of
the hall. In the hall is
an interesting fireplace of
brick, with some old tiles
introduced effectively.
With the exception of some
. "&W
••' . * -;• •3" •!*, ~ ?/* '5" .
JO »*
,
WATER HASIN IN PERGOLA, FELIXSTOWE.
modeled plaster friezes in the library, drawing room,
and dining room, and some carving to chimney-pieces,
the interior of the house is finished quite simply. The
garden is a notable feature, having been laid out from
Mr. Schultz's design. It is a very pleasant place, and
makes the scheme complete.
Mr. Schultz, it may be mentioned, gives special atten-
tion to his garden schemes, recognizing how essential it
is that the surroundings of the house should be included
in the architect's design, in order that an harmonious re-
sult may be secured. As
one of many examples, we
may turn to the pergola
which has been erected
under his direction at a
house at Felixstowe; and
in particular we may note
the scheme of a water basin
carried out with brick,
shells, bottle-ends, and
drain-pipes, which occurs
in the length of this per-
gola; the treatment is novel
and effective both in form
and color.
At Tylney Hall Mr.
Schultz has carried out a
considerable amount of
work, included in which is
258
THE BRICKBUILDKR
AkllKN FRONT.
JUHX'i
TJU
13
PICKENHAM HALL,
NORFOLK.
DETAIL OK FRENCH WINDOW AM) HOOD.
Dl I AIL OK EAST KI.KVAI ION.
THE BRICKBUILDER
259
a high water tower, built of brick,
with half-timbering' in the top por-
tion and a thatched roof, while
numerous other treatments in the
garden testify to the vigor and
variety of his design.
A curious little building is the
University Settlement Hall at Car-
diff, which has been erected in con-
nection with the dockers' movement.
A very plain and cheap building
SOUTH FRONT, "HOW GREEN, " HEVER, KENT.
''■
PLAN, " HOW GREEN.
was required, and this Mr. Schultz
has provided, securing also as much
architectural quality as was possi-
ble in the circumstances. The hall
accommodates six hundred persons
and cost $9,000. The walls are of
red bricks, pointed inside and out,
having in the gable at the front a
small panel by Mr. W. Goscombe
John, A. R. A. It is the roof, how-
ever, which attracts chief attention.
HALL FIREPLACE, "HOW GREEN."
DETAIL OF BAY WINDOW, SCALERS HILL.
:6o
THE BRICKBUILDER.
This is built up of deals
of small scantlings bolted
together and carrying
boarding, which is cov-
ered with felt and laid
over with tiles. This is
a very economical form
of roof and Mr. Schultz
has used it in other small
halls, such as the village
hall and reading room at
Shorne.
These few notes, with
the accompanying illus-
trations, serve to indi-
cate the character of Mr.
Schultz's work. It is
preeminently English
(though the architect
happens to be Scotch)
and while based on the
models which add so
much charm to the Eng-
lish countryside is full
of fresh life and imbued
with modern feeling.
The houses, moreover, are eminently suited to live in
as well as to look at, and are free from those foibles
WATER TOWER, TYI.XEY HALL.
GARDEN GATEWAY, TYLNEY HALL.
which so frequently mar the work of architects of out-
standing ability.
THE GOVERNMENT TO TEST CLAYS AND
BURNT CLAY BUILDING MATERIALS.
AN investigation of clays and clay products needed in
Covernment work is to be undertaken at once by
the United States Geological Survey, Technologic
Branch. A ceramic section has been created, with A. V.
Bleininger of Champaign, Illinois, as ceramic chemist.
This is an important extension of the structural ma-
terials investigations which have been carried on for
several years with a view to determining the nature and
extent of the materials belonging to or available for use
in the building and construction work of the federal
Government and ho<v' these materials may be used most
efficiently.
With the growing scarcity of timber and the consequent
increase in price, federal officials in charge of the con-
struction work, which now amounts to $40,000,000 an-
nually, have been looking about for desirable substitutes,
such as clay products. The enormous fire losses of the
country have also been an incentive in this direction, the
federal engineers realizing more than ever before the need
for more definite knowledge concerning the fire resisting
properties of structural materials. All this has led the
Government to take up a general investigation of the
clays and clay products.
The importance of the clay industry is seen when it is
realized that the value of such in 1907 was $149,697,000,
a gain of fourteen per cent over the previous year.
Mr. Bleininger, the ceramic chemist, in speaking of
the plans for the work of his section said: " First, it is
intended that it should do the testing of clay products
such as common and pressed brick, paving brick, hollow
tiles and conduits, sewer pipe, fireproofing, terra cotta,
enameled bricks, and glazed tiles, floor and roofing tiles,
fire brick, electric porcelain insulators, and other struc-
tural goods submitted for this purpose by the construction
bureaus of the Government. Though standard tests of
most of the above materials do not exist as yet, the work
of the division would tend to fix and unify the methods
of testing of the burnt clay products, thus insuring the
highest quality of ware obtainable in the industry for the
construction work of the Government. It is in no way
intended that the testing be done arbitrarily without due
regard to the just claims of the manufacturers, but it is
proposed to aim for results beneficial to both the Govern-
ment and the conscientious manufacturer.
" The second part of the activity of the new section is to
consist in evolving standard tests of clays for the purpose
of determining the use to which they are best suited,
thus assisting in the development of the clay resources
of the country and avoiding the great money losses
caused by ill-advised investments in low-grade clay prop-
erties. This field is an extremely important one and was
urged upon the LTnited States Geological Survey by the
American Ceramic Society and the National Brick Manu-
facturers' Association, the two leading organizations de-
voting their attention to these lines.
" The standardization of clay testing is proposed to be
carried on in cooperation with the English and German
investigations so that finally international standards may
be adopted.
" The third class of work to be entered upon deals with
the general manufacturing problems, the solution of
which would mean the elimination of much loss, or would
lead to greater efficiency and perfection. There might
be mentioned the important question of ' white wash '
or effloresence appearing on brick walls, a difficulty caus-
ing serious annoyance and loss to manufacturers and
users of bricks by marring the beauty of many
structures.
" In all of these investigations the .Survey will consult
with an advisory committee composed of a number of
leading clay manufacturers and technologists, so that
the needs of the industries will be served in the best
manner."
THE BRICKBUILDER.
261
HOUSE FOR AMOS L. SCHAEFFER, ESQ.
ENGINEER OF PUBLIC SERVICE COMMISSION, NEW YORK CITY.
SQUIRES & WYNKOOP, ARCHITECTS.
AS shown by the illustrations the walls of this house
are built of hollow tile terra blocks with stucco
finish on the exterior.
The foundation walls to grade are of local stone.
All walls up to the second story level are 10 by 12 by
12 hollow terra cotta tile. These are laid on end and
figured twelve inches including joint. Story heights are
therefore in even dimensions of feet. These blocks are
so made that they can be broken in six inch lengths. The
second story construction is similar except that the tiles
are eight inches thick instead of ten inches as in the first
story walls. In this house there are three interior bear-
ing walls and the framing is parallel
with the long dimensions of the
building for end sections and parallel
with short side for middle section.
All openings are formed with 2 by
4 studs as a rough nailing for wood
door jambs and to form the bottom
of concrete lintels and these studs
are left in place. The window open-
ings are not rebated, but the window
box shows complete on the exterior
and has a head the same width as
the jamb. It is secured in place by
nailing to wood blocks in the tile
wall. The joint is packed with
oakum and has given no trouble.
The trim on the inside covers the
joint and a mold on the outside
covers the stucco joint.
The exterior walls have a finish-
ing coat of stucco in the water of which is mixed ten
per cent Anti-Hydro waterproofing. The interior walls
were waterproofed with a coat of Universal Compound
waterproofing, and the plaster for the finish was applied
directly to the tile.
The dining room, living room, and hallways are
wainscoted or decorated with woodwork which is
secured to wooden nailing blocks put into the tile walls
before plastering.
The architects of the building have built several
houses of this type, and have found that they can
build more easily and quickly than with other mater-
ials; that the walls are in all respects weatherproof,
and that it is a comparatively inexpensive construc-
tion. The average cost for ten houses which they
have built is 21 cents per cubic foot.
A HOUSE BUILT OF HOLLOW TILE TERRA COTTA BLOCKS WITH EXTERIOR FINISH OF STUCCO.
262
THE BRICKBUILDER
Editorial Comment and
Miscellany.
WOOD STILL PRINCIPAL MATERIAL USED IN
BUILDING CONSTRUCTION ACCORDING
TO GOVERNMENT REPORT.
Great as the advance in fireproof construction has
been during the last ten years there has been no letup
in the use of lumber, and both architects and builders
find themselves so dependent on wood to-day that they
are compelled to admit that the forests of the country
are likely to be the chief source of building material for
many years to come.
" The use of cement, terra cotta, brick, and stone, with
a framework of steel, will make it possible soon to do
away with wood entirely," is a remark often heard, and,
indeed, when one stands on lower Broadway and looks
up at the towering skyscrapers, the statement seems to
contain much truth. As a matter of fact, however, the
popular idea that fireproof materials will do away with
the need of using lumber in a comparatively few years is
a very erroneous one. All of the various fireproof
materials going into the approved construction of the
more substantial buildings are used in greater quantities
now than the world dreamed of a few years ago, yet the
heavy demand for lumber continues.
That wood predominates is shown by the annual build-
ing records. Of the permits used for buildings erected
last year, approximately 61 per cent were constructed of
wood, and the remaining 39 per cent of fire resisting
material, according to a report issued by the Oeological
Survey on operations in forty-nine leading cities of the
country. These figures are the more significant when it
is realized that they only represent the building activi-
ties in the largest cities; they do not take into account
the construction of dwellings, stores, and other buildings
in the thousands of small cities and towns scattered over
CITY-INVESTING BUILDING, LOWER BROADWAY, NEW York.
Francis H. Kimball. Architect.
All the terra cotta work by the New York Architectural Terra Cotta
Company.
and not included in the forty-nine cities on which the
reckoning is made.
In towns and small cities wood is usually the pre-
dominating building material and it is safe to say that if
the statistics had included figures for all places of what-
ever size, the percentage of wooden construction would
have been much greater. These figures, as a rule, are
only for the corporate limits, and the suburbs of these
cities have each very large amounts to be added. The
cost, also, is relatively higher in these cities than in
towns nearer the base of the supply.
A FIKKPI.ACK FACED WITH GRUEBY TIl.E.
A MORE BEAUTIFUL BOSTON.
Within a comparatively short time the Charles River
basin will be usable for the newer purposes for which it
has been made, and when the new roadway on the south-
ern side is completed and provision is made for perma-
nent headquarters for aquatic sports and for pleasure
craft, then it will be shown whether Bostonians are
alive to an unrivaled opportunity which nature, applied
science, and the civic imagination of a few far-seeing
citizens have provided for them. Certain it is that with
completion of the basin an important new chapter in the
improvement of Boston will have been written, and an
example set that other American cities, similarly sit-
uated, are likely to imitate.
The record which Harrisburg, Cleveland, Buffalo, St.
Louis, St. Paul and Minneapolis, Hartford and Spring-
field have made during the past few years in utilizing
their river fronts for parks, boulevards, and fine residen-
THE BRICKBUILDER
263
tial districts
shows that the
era of relegat-
ing riparian
lands wholly to
comm e r ci al
and transpor-
tation uses has
passed. Had
foresight and
wealth come
earlier the ex-
pense of the
process of res-
toration and
appropriation
would have
been less to
taxpayers. But
cost what i t
may, the high-
grade Ameri-
can city of the
future will not
be reconciled to factories and tracts where
parks and driveways should be. Commerce
will have to share the territory, more than it has in the
past, with those who have
in mind the promotion of
physical health, municipal
adornment, and the people's
recreation.
1
\M ■ ... '. flfi
EK W. < JM
H^B t ^1
£2flH "^*1*^^J*" V^E
DETAIL BY CHICKER-
ING & O'CONNELL,
ARCHITECTS.
Atlantic Terra Cotta Com-
pany, Makers.
DETAIL BY DAVVSON & MC-
LAUGHLIN, ARCHITECTS.
Atlantic Terra Cotta Company,
Makers.
THE Illuminating En-
gineering Society, or-
ganized to advocate systems
of artificial lighting less
destructive to the eyesight
than the ordinary incan-
descent burner, recently
held a meeting in the St. Gabriel's Park Branch of the
Carnegie Libraries
in New York.
The building was
lighted according
to designs prepared
by a distinguished
member of the so-
ciety and which
have been adopted
for the lighting of
similar buildings in
the future. Among
the i nnovations
may be named the
following : A lamp
for a reading table
outwardly resemb-
ling the ordinary
green-shaded
burner, but pro-
vided with a re-
flector which equal-
ized theamount
of light, so
that a book
placed upon the
outermost edge
of the table re-
ceived quite as
much light as
the one directly
under the
lamp. Another
sort of reflector
over the book
racks makes
the illumina-
tion there uni-
form, so that
titles on the
lower shelf
may be read as
easily as those
nearest the
light. An en-
tirely different
arrangement is employed to light reading
matter in a horizontal position from that
in a vertical position. No incandescent lights are left
unshaded ; and there is a
careful distinction made
between local and general
lighting so that no power
need be lost in supplying
general illumination where
light is needed only for
reading purposes.
DETAIL BY CHICKER-
ING & O'CONNELL,
ARCHITECTS.
Atlantic Terra Cotta Com-
pany, Makers.
DETAIL BY CLINTON & RUSSELL, ARCHITECTS
Conkling-Armstrong Terra Cotta Company, Makers.
CHURCH OF CHRIST, SCIENTIST, SOUTH BEND, 1ND.
S. S. Beman, Architect.
Roofed with Ludowici-Celadon Tile.
MADISON Square
Garden has been
placed upon the market
for sale. The stockhold-
ers, meeting November 12th, decided to bring to an end
what they describe
as twenty years of
carrying the prop-
erty pro bono pub-
lico, without a cent
of profit to them-
selves. Of the
three parts which
comprise the build-
ing, the arena has
been d e pended
upon alone to carry
the investment.
Without it many of
the events that
have become insti-
tutions of the New
York twelvemonth
would have been
impossible. The
building was the
first i mp or t an t
M
THE BRICKBUILDER
work of the late
vStanford White,
and it was one
of the first un-
dertakings that
gave impulse to
the architectural
improvement of
New York. The
more unfortu-
nate, therefore,
is the declara-
tion of the di-
rectors that
Madison Square
Garden can
never be made
a paying institution, it being too far removed, in their
opinion, from the amusement seeking population and
the main thoroughfares. From another point of view, a
building with the function of an arena cannot earn an
amount sufficient to justify such an outlay as the very
ornate architectural character of the Garden and the
cost of its central location have required. The fate of
this, one of the most beautiful structures of New York
or any other city, will probably be to afford a site for a
purely mercantile building, occupying the whole of a
once distinguished block.
DETAIL BY JAKVIS HUNT, ARCHITEl I.
American Terra Cotta Company, Makers.
ARTISTS' GUILD, ST. LOUIS.
This building which is illustrated in the plate form
of this number is built of paving bricks laid up with big
white joints. Green enameled bricks in English size, and
orange colored faience, have been used in the pattern
work of the walls.
BUILDING OPERATIONS FOR OCTOBER.
Building operations took a decided upward turn dur-
ing the month of October. Official reports from some
fifty cities compiled
by The American
Contractor, New
York, show an aggre-
gate gain of 18 per
cent, as compared
with ( )ctober, 1907.
Twenty-six citiesshow
an increase in build-
ing operations of from
2 to 236 per cent, and
twenty-four show a
decline of from 2 to
78 per cent. The
principal gains were :
Chicago, 25 per cent ;
Dallas, 52 ; Denver,
65 ; Des Moines, 46 ;
Grand Rapids, 103 ;
Mobile, 244 ; New
York, 69; Philadelphia,
58; Salt Lake City, 55.
i.l l AIL l:\ SCHW Ak I / a
i, Ross, ARCHITECTS.
New Jersey Terra Cotta Com-
pany, Makers.
DETAIL BY HELMLE & HUBERTY,
ARCHITECTS.
South Amboy Terra Cotta Company,
Makers.
IN GENERAL.
Under the administration of
the Board of Extension Teach-
ing, Columbia University an-
nounces the beginning of its
second year of Evening Tech-
nical Courses, which will in-
clude teaching in architectural
draughting, architectural prac-
tice, architectural engineering,
and history of architecture.
These classes are intended for
draughtsmen from and in and
about New York — the object
being to give a complete archi-
tectural education to those men
who are unable to profit by
regular courses in architecture
at the universities.
The contract for the erection
of the new passenger station
of the Chicago and Northwest-
ern Railway Company has been
let to the George A. Fuller
Company. The contract com-
prises the expenditure of ap-
proximately $5,000,000, and
stipulates that the new depot
shall be completed within two years from the time work
is begun. The station is to be one of the largest in the
world, covering, with the train shed, ten acres of floor
space devoted to the public use. Its total cost, inclusive
of the cost of the ground upon which it will stand, will
approximate $20,000,000. The train shed will be 840
feet long and 320 feet wide, and will contain 16 tracks,
each with a capacity of fifteen cars.
The house at 5 East 51st street, New York, Percy
Griffin, architect, was by mistake illustrated on pages 199
and 203 of The Brickbuilder for September. This house
is owned by John A. Melcher, Esq., and is not one of the
group of houses on West 74th street, which belongs to
the Clark Estate, as it would appear from the illustra-
tion on page 203.
The Government has bought for $450,000 a block im-
mediately west of the new Union Station at Washington,
and will use it
as a site for
the new city
post office.
The first
two of the
new group of
buildings for
the Bellevue
Hospital,
New York,
were put into
use Novem-
ber 5th'. They
are known as
DETAIL l:s HKNin ('. PELTON, A lit H I I It i.
Bl i< k Terra Cotta and Tile Company, Makers.
THE BRICKBUILDER.
265
DETAIL EXECUTED BY ST. l.OUIS
COMPANY.
TERRA COTTA
"Pavilions A and B, " and together will accommodate
about four hundred patients. The buildings were started
in 1905, and their cost has been about $1,000,000.
McKim, Mead & White are the architects.
Augustus B. Higginson and E. Russel Ray have
formed a copartnership for the practice of architecture,
under the firm name of Higginson & Ray. Offices,
McKay Building, Santa Barbara, Cal.
W. Siwart Smit, General Manager of the Twin City
Brick Company, St. Paul, Minn., is making a tour of
Europe for the especial purpose of getting new ideas for
color, shape, and sizes of bricks.
The Twenty-third Annual Convention of the National
Brick Manufacturers Association will be held at Roches-
ter, Feb. 1 to 6, 1909. The headquarters will be at the
new Seneca Hotel.
The Western Brick Company of Danville, 111., has in
four years increased its annual product from five to
twenty-five millions. Their specialty is a medium priced
facing brick.
They will
place upon the
market during
the coming
year a number
of new shades.
Their bricks
are made from
shale which
makes them
highly vitri-
fied and im-
pervious.
The Twin
City Brick
Company is
now construct-
ing a large
stiff-mud
plant for the
manufacture
of a new
patent inter-
locking facing
block This
AN OFFICE BUILDING AT DETROIT. uiui_k.. inis
Albert Kahn, Architect. material gives
Exterior of Enameled Brick, Made by American * e e^ect
Enameled Brick and Tile Company. of terra COtta
and is manu-
factured in all
the colors of
their facing
brick. The
cost of con-
struction with
these blocks
will be little
more than
that for
frame. Ar-
chitects and
builders who
have seen
these blocks
have e x -
pressed the
opinion that
this type of
construction
meets a de-
mand which
has existed
for years.
The new
material will
be placed on
the market
April 1, 1909.
DETAIL BY WILLIAM J. BRINKMAN,
ARCHITECT.
Northwestern Terra Cotta Company, Makers.
TO DRAUGHTSMEN : I have an opening for a first-class
man at designing and general preliminary work. Permanent
position for the right man. R. H. HUNT, Chattanooga, Tenn.
WANTED. High class architectural designer, -well up in
modern designing and rendering and familiar with the best class
of work in the smaller cities. State experience and salary
expected and give references. FULLER AND PITCHER,
Architects, Albany, N.Y.
INDOORS AND OUT. I have a complete file of perfect
copies of INDOORS AND OUT (the 27 numbers issued)
which I will deliver to any address in the United States for
$10.00. Money must accompany order. Address, I. CSb O.,
care THE BRICKBUILDER.
A book that ivill assist you in the Hospital Competition
" The Organization, Construction
and Management of Hospitals ';
By MEYER J. STURM, Architect, Chicago, and
ALBERT J. OCHSNER, B.S , F.R.M.S., M.D.
Professor of Surgery, University of Illinois, Chicago
The Cleveland Press, Chicago, Publishers
A GOOD BOOK FOR EVERY LIBRARY
AN OPINION
"'The Organization, Construction and Management of Hospitals' has been
placed in our library, and I can say that we consider it a very valuable addition. I
have had a good deal to do lately with hospitals in the way of caring for competi-
tions, and I am very glad to have such authority to refer to as this work repre-
sents."— F. W. Chandler. Boston, Mass.
(Professor Chandler is the head of the architectural department of the Massa-
chusetts Institute of Technology of Boston.)
600 pages, 7% x 10H ■ 340 illustrations. Cloth hound, $7.00.
Half morocco, $8.00. Sent express prepaid on receipt of price.
Sold by
205 Caxton Building
M.
A. VINSON
CLEVELAND, OHIO
I WILL BUY "Brickbuilder," August, 1898, April, 1899.
"Brochure Series, " complete volumes or odd numbers. Stale price.
266
THE BRICKBUILDER
Competition for a Hospital Building.
First Prize, $500. Second Prize, $200. Third Prize, $100.
COMPETITION CLOSES JANUARY 16, 1909.
PROQRAnriE.
THE problem is a Hospital Building. The location may lv assumed in any American city of about 30,000 inhabitants. The lot o >n-
tains about five acres and has a frontage of 300 feet on the main avenue, leading to the city, which runs east and west. The part of
the lot on which the building is to be placed is practically level.
It is to be a block hospital with three tloors above the basement. The height of the first and second stories is to be not less than 12
feet. No one floor above the basement is to contain more than 10,000 square feet, exclusive of sun rooms and approaches. The length of
the structure, including sun rooms and approaches, cannot exceed 160 feet.
The following should be provided for in the plan :
Two ten bed wards for each sex in the Medical Department; two ten bed wards for each sex in the Surgical Department; and in con-
nection with each of these wards two one bed rooms. Two ten bed wards for each sex in the Children's Department. A Maternity Depart-
ment to accommodate six patients, two of which are to be in private rooms, and in conjunction with this department a delivery room and
baby room.
In conjunction with the wards there should be provided service rooms or diet kitchens, nurses utility rooms, linen rooms, broom and
medicine closets, clothing rooms and toilet r< ii mis.
In addition to the private rooms provided for in connection with the open wards there should be at least eight private rooms for single
patients.
Operating and accident rooms, with their adjuncts of anesthetic, sterilizing, bandage, instrument, nurses' work room, reception, and
recovery rooms, also surgeons' dressing room and X-ray room.
Single bed rooms for at least twenty nurses; nurses' parlor; suite for superintendent and head nurse; bed room for two internes;
reception room for patients; laboratory; drug room; cooking class room; kitchens; store rooms; laundry; bed rooms for fourteen
domestics — four being males ; dining room for staff and nurses; dining room for domestics ; toilet rooms ; small out-patients department;
autopsy room ; boiler room; fan room, and such other features as may suggest themselves to the designer.
The exterior of the building is to be designed entirely in Architectural Terra Cotta. employing colored terra cotta in at least portions
of the walls.
The following points will be considered in judging the designs :
A. Frank and logical expression of the prescribed material.
B. Rational and logical treatment of the exterior.
C. Excellence of plan.
In awarding the prizes the intelligence shown in the constructive use of terra cotta and the development or modification of style, by
reason of the material, will be taken largely into consideration.
It must be borne in mind that one of the chief objects of this competition is to encourage the study of the use of Architectural Terra
Cotta. There is no limitation of cost, but the designs must be suitable for the character of the building and for the material in which it is to
be executed.
DRAWINGS REQUIRED.
i in 'lie sheet, at the top, the front elevation drawn at a scale of 8 feet to the inch. In the title of this elevation state which point of the
compass it faces. On the same sheet, below the front elevation, the four floor plans drawn at a scale of 16 feet to the inch.
On a second sheet, at the top, the elevation of secondary importance drawn at a scale of 16 feet to the inch ; immediately below half
inch scale details of the most interesting features of the design. The details should indicate in a general manner the jointing of the terra cotta
and the sizes of the blocks. The color scheme is to be indicated either by a key or a series of notes printed on the same sheet with the
secondary elevation and details, at a size which will permit of two thirds reduction.
The size of each sheet (there are to be but two) shall be exactly 36 inches by 24 inches. Strong border lines are to be drawn on both
sheets one inch from edges, giving a space inside the border lines 22 inches by 34 inches. The sheets are not to be mounted.
All drawings are to be in black ink without wash or color, except that the walls on the plans and in the sections may be blacked-in or
cross-hatched.
Graphic scales to be on all drawings.
Every set of drawings is to be signed by a twin de plume or device, and accompanying same is to be a sealed envelope with the now
de pliimi on the exterior and containing the true name and address of the contestant.
The drawings are to be delivered flat at the office of THE BRICKBUILDER, 85 Water Street, Boston, Mass., charges prepaid, on or
before January 16, 1909.
Drawings submitted in this competition must be at owner's risk from the time they are sent until returned, although reasonable care
will be exercised in their handling and keeping.
The prize drawings are to become the pn iperty of THE BRICKBUILDER, and the right is reserved to publish or exhibit any or all of
the others. Those who wish their drawings returned may have them by enclosing in the sealed envelopes containing their names, ten cents
in stamps.
The designs will be judged by three or live well-known members of the architectural profession.
For the design placed first in this competition there will be given a prize of $500.
For the design placed second a prize of $200.
For the design placed third a prize of $100.
We are enabled to offer prizes of the above-mentioned amounts largely through the liberality of the terra cotta manufacturers who are
represented in the advertising columns of THE BRICKBUILDER.
This competition is open to everyone.
1
i
E
8
THE BRICKBUILDER.
VOL. 17. NO. 11. PLATE 129.
ST. AGATHA SCHOOL, EIGHTY-SEVENTH STREET AND WEST END AVENUE, NEW YORK.
William A. Boring, Architect.
THE BRICKBUILUER.
VOL. 17, NO. 11. PLATE 130.
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THE BRICKBUILDER.
VOL. 17. NO. 11. PLATE 131.
DETAILS OF EXTERIOR ST. AGATHA SCHOOL, EIGHTY-SEVENTH STREET AND WEST END AVENUE, NEW YORK.
William A. Boring, Architect.
THE BRICKBUILDER.
VOL. 17. NO. 11. PLATE 132.
I -4 s«g
jl I [_ __ Porrof or 4#r* y | iVw *r^/r ~-
(3) -n]_nVATloW-CVv|-AY1.3-3A^D-4 -
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^rcno/J or-BAY-
QaJ -AXL5--4-
DETAILS OF EXTERIOR, ST. AGATHA SCHOOL, EIGHTY-SEVENTH STREET AND WEST END AVENUE, NEW YORK.
William A. Boring, Architect.
THE BRICKBUILDER.
VOL. 17. NO. 11. PLATE 133.
THIPE FL.-'-'K PLJUH-
ECLECTIC SOCIETY BUILDING, MIDDLETOWN, CONN.
Henry Bacon, Architect.
THE BRICKBUILDER.
VOL. 17, NO. 11. PLATE 134.
BASEMENT PLAN.
FIRST FLOOR PLAN.
THE BRICKBUILDER.
VOL. 17. NO. 11. PLATE 135.
THE BRICKBUILDER.
VOL. 17, NO. 11. PLATE 136.
THE BRICKBUILDER.
VOL. 17, NO. 11. PLATE 137.
I* • • • • 4
THIPDFLOOP PLX.2V-
CLX33 ROOM
Fourth ■ Ft oor Pla,tv-
Secojvd Floor Plats
PLANS, FRANKLIN UNION, BERKELEY STREET, BOSTON.
R. Clipston Sturgis, Architect,
■BASEPIETST ■ PL APS-
U ET
First -Floor Flak-
THE BRICKBUILDER.
VOL. 17, NO. 11. PLATE 133.
MUNICIPAL BATH HOUSE, NORTH BENNETT STREET, BOSTON.
Maginnis, Walsh & Sullivan, Architects.
THE BRICKBUILDER.
VOL. 17, NO. 11. PLATE 139.
THE BRICKBUILDER.
VOL. 17, NO. 11. PLATE 140.
FIRST FLOOR. fUUI '^ OLXONB FLOOR. PLAN
BLIC BATHS, CARMINE STKEET, NEW YORK.
Renwick, Aspinwall & Tucker, architects.
THE BRICKBUILDER.
VOL. 17, NO. 11. PLATE 141.
LIVING
ROOMS.
GRILLE
ROOM.
RACQUET CLUB, ST. LOUIS.
Mauran, Russell & Garden, Architects.
THE BRICKBUILDER.
VOL. 17, NO. 11. PLATE 142.
OF_COND FLOOR PLAN
FIRST FLOOR PLAN
RACQUET CLUB, ST. LOUIS.
Mauran, Russell & Garden, Architects.
THE BRICKBUILDER
Volume XVII
DECEMBER 1908
Number 12
PUBLISHED MONTHLY BY ROGERS & MANSON
85 Water Street ... Boston, Massachusetts
Entered at the Boston, Mass., Post Office as Second-Class Mail Matter, March 12, 1892. Copyright, 1908, by ROGERS & MANSON
Subscription price, mailed flat to subscribers in the United States, Insular Possessions and Cuha
Single numbers .............
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To Foreign Countries in the Postal Union ................
SUBSCRIPTIONS PAYABLE IN ADVANCE
For sale by all news dealers in the United States and Canada. Trade supplied by the American News Company and its branches.
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ADVERTISING
Advertisers are classified and arranged in the following order :
I'AGE
II
II
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PAGE
Brick Enameled . . . . . . . . .111 and IV
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Advertisements will be printed on cover pages only
CONTENTS
PLATE ILLUSTRATIONS
From Work by
HENRY BACON; CLAUDE BRAGDON; WILSON EYRE; A. W. LONGFELLOW; MAURAN,
RUSSELL & GARDEN; SHEPLEY, RUTAN & COOLIDGE;
WOOD, DONN & DEMING.
LETTERPRESS
PAGE
CHURCH OF ST. CATHARINE, BRANDENBURG, GERMANY Frontispiece
THE DENOMINATIONAL CHURCH — I C. Howard Walker 267
THE DEVELOPMENT AND FINANCING OF APARTMENT HOUSES IN NEW YORK— I. Elisha Harris Janes Tib
SUGGESTIONS FOR ARCHITECTURAL STU DY IN WESTERN FRANCE — I Frederii X- Reed 279
EDITORIAL COMMENT AND MISCELLANY 285
lw««<<<««<<<<v<<^«^<v«<<v<<^««<<<<«<w^v^
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THE BRICKBVILDER
VOL. 17 NO. 12
DEVOTTDTO THE-INTERE5TJ-Of -AR.CHITECTVRMN MATERIALJ-OF-CLAY-
DECEHBERL1908
)i^«^«^^<^««<<^<««<«<«««««^«<«v>»»»»»»»»»»»»»»»»»»»>»»v>»yiS
T.
X
The Denominational Church — I.
]!V C. HOWARD WALKER.
THE church in America which is neither Episcopalian
nor Catholic, which has deliberately abandoned
ritual and traditional ceremony, the church which in its
advocacy of simplicity in forms of worship has at times
approached a formal austerity, has naturally thrown
aside tradition of plan and incidentally developed new
characteristics of plan pro-
duced by novel conditions.
This has been especially
the case in the United
States where church edi-
fices, simple as all pioneer
work must be perforce of
economy, retained this de-
sire for simplicity, partly
because it was a protest
against luxury, partly be-
cause it formed its own
precedent, and at the time
that the meetinghouse be-
gan to require further de-
velopment in accordance
with growing needs, there
were in the land few if any
church buildings which
would serve as either stand-
ards of merit or sugges-
tions of advance. The
whole condition of non-
traditional church architec-
ture has been chaotic, as is
manifest in the results, for
it is evident that the
churches in America are
not its crowning architec-
tural achievement.
Let us compare for a mo-
ment the conditions deter-
mining the architecture of
the Roman Catholic church, the Church of England,
and its American brother the Episcopal church with the
conditions influencing the edifices of all other denom-
inations. With the former the facts are positive, the
architecture traditionally either of a classic type derived
from adaptations of Roman basilicas, or Gothic, from
the established forms of the cathedrals and churches of
the middle ages ; in both cases developed from the
necessity for impressive ritual, processional functions,
THE OLD CHURCH FACING THE GREEN, LEXINGTON, MASS.
occasional accommodation of the entire public, and con-
stant and continuous occupancy by some portion of the
people. The church therefore is initially conceived at
its maximum capacity, with each detail absolutely de-
termined by the exigencies of a service elaborated to the
finest minutiae, and at the same time is capable of per-
forming the service to the
many or the few.
This was accompanied
by a practically unlimited
exchequer from gifts or
tithes, which, in the earlier
days when the architecture
was in its apogee, were ob-
tained as often by coercion
as by persuasion, or else
from sympathetic piety.
Associated with these two
conditions of definite type
and adequate means for
erection of the building,
and partly occasioned by
both, was the existence of
a body of church archi-
tects, either ecclesiastics or
laymen, and of guilds of
masons, carpenters, etc.,
whose chief efforts for suc-
cessive generations were
devoted to church building.
These architects grew up
within the cloister walls or
under the church protec-
tion, they believed relig-
iously in the work they were
doing, loved it, gloried in
it, were in awe of it. They
were monks, priors, bishops,
prelates of all classes, plan-
ning the work for the glory of God, and not daring to
build less well than their predecessors, and as assistants
they had workmen with as great religious fervor as
themselves, and often with the fanaticism which gives
ecstasy to the uncultivated, and they never dreamed of
doing their work inefficiently or ignorantly, nor of in-
troducing novel experiments without good and sufficient
reason. Little wonder that the results of the efforts of
these men should have produced a church architecture,
268
THE BRICKRUILDER
ARLINGTON STREET (UNITARIAN) CHI RCH, BOSTON.
Arthur Gilman, Architect.
whether classic in style or Gothic, which has become the
source to which all turn for precedent and which has
established tradition.
Compare with this the anomalous condition of the
churches in America, which have not recognized or
desired to recognize this tradition. Denominations
which from desire for freedom of thought have with-
drawn from the parent church, are at first antagonistic to
it even to avoiding reminiscence in architecture. Of
many sects, and small groups of people, instead of entire
communities, limited therefore in the number of indi-
viduals in each church and consequently with compar-
atively little money, and with no coercive powers to
obtain it, the sole income coming not from fixed tithes
but from an optional pew rental and the contribution box,
the possibilities for fine church building have grown but
slowly and only with the increasing prosperity of certain
individuals among the parishioners. For it is a recognized
fact that intellectual capacity is often disassociated with
religious conviction, and with constant religious fervor.
The intellectual idea produces the desire at least for
a mental control which may create powerful sustained
action, but seldom ardent enthusiasm of expression.
Therefore the building of churches is no longer from
a wave of thankfulness such as created Santa Maria Delia
Salute and the Redentore in Venice, but is a deliberate
effort of a comparatively small body of men working
within limited bounds and assisted by occasional munifi-
cence. As compared with the epochs of great building
the opportunities are slight. The architects of the
great churches were a part of the church body ; the
builders were sympathetic with the architects ; both
knew and understood the traditions and their causes.
The traditions of the denominational church can be
summed up in one phrase, Freedom of Thought. It re-
quires either a sense of wrong or a certain amount of
conceit to break away from tradition, and in either case
the first impulse is to avoid the forms in which the tra-
dition is expressed. Christianity at first avoided the
forms of paganism, the denominational church avoided
the forms of ecclesiasticism. In America the early
church and the town hall were sometimes one, and often
could be mistaken for each other. Limited in numbers
and in funds, avoiding tradition and with no influence of
existing churches about them, without architects of
ability, and with all sorts of local novel conditions be-
coming associated with the church in order to give it life-
blood, what wonder that the expression of architecture
in the denominational churches of America should be
crude and chaotic.
Here is the spectacle of small communities of people
each attacking a serious problem without previous
knowledge or experience, and trying at the same time
that they make ends meet, to appear to be doing a
greater piece of work than their conditions justify.
The immediate result of such an attitude of mind is un-
intelligent imitation; imitation of materials to reduce cost,
imitation of plans of larger work which when reduced be-
come inadequate, imitation of some piece of architecture
that has been seen, regardless of whether it is at all
related to the conditions or not, and as a natural conse-
quence, diminutive cathedrals in wood, little St. Peter's in
concrete. Here was a chance if ever one existed to work
de novo, to take the conditions of the problem and the
FIRST BAPTIST CHURCH, COMMONWEALTH AVENUE, BOSTON.
H. H. Richardson, Architect.
THE BRICKBUILDER
269
materials and funds at hand, and while associating with
them some symbol of the church to denote the purpose of
the building, work out a solution with simplicity.
Occasionally churches are to be found in which this
was done, but as a rule crude affectation is altogether too
conspicuous.
Assuming that the desire is to build the church simply
and of materials at hand, what are the essential features
of its plan ? The denominational church is focused upon
its pulpit, not upon the altar; it is almost entirely free
of ritual, and requires little provision for processional
functions other than wedding and funeral ceremonies.
Its congregation meet at stated times and are seated in
rented fixed seats, not entering and leaving the church
at all hours. Next in importance to the pulpit is the
organ and choir, which choir is small, and excepting upon
FIRST CHURCH (UNITARIAN), BOSTON.
Ware & Van Brunt, Architects.
certain festivals, takes comparatively small part in the
services.
As a result of these conditions, the chancel as such
ceases to exist, and becomes merely a niche, the raised
altar does not appear, the communion table being placed
on the level floor, and the elevated pulpit becomes the
principal point in the church. As the ritual, which is
used by the congregation, has grown less in importance,
the sermon, to which the audience is to listen, has become
of more importance, and it is desirable that each person
should be able to readily see and hear the minister. All
intercepting piers, columns, etc., have therefore become
eliminated and the aisle is no longer the cathedral aisle,
but the name is merely applied to the passage between
the rows of seats, and the body of the church becomes a
large audience hall with a niche and platform at one end.
Partially from tradition, partially from simplicity of
CHURCH AT ST. LOUIS.
Peabody & Stearns, Architects.
treatment, this hall is in most cases rectangular in plan,
but it often takes the polygonal or the circular form of
an auditorium, and it is becoming usual to slope the
floor so that each individual may see as well as hear
readily. Manifestly the limitations of size of this
audience room are influenced, first by the distance at
which a normal voice can be easily heard, which is some-
what over seventy feet, and next by the length of span of
the roof trusses, of which the cost increases rapidly beyond
forty feet. It is important that this room should be as
well proportioned within as without, and it has none of
the details of deep embrasures, piers, columns, etc., of
CHURCH AT BOSTON.
C. Howard Walker, Architect.
2-JO
THE BRICKBUILDER
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THE BRICKBUILDER
271
the ecclesiastical churches. It has already been men-
tioned that the great churches were planned for maxi-
mum requirements, so that the entire community could
be accommodated during great religious functions, and
the comparison should be made between them and these
other churches, each of
which has a comparatively
small fixed congregation.
But associated with any
church is religious instruc-
tion for the young, which
has developed into the
Sunday school. In the
cathedrals pupils are taught
either in the body of the
cathedral between services
or in the chapels, but in
the modern American
church a .Sunday school is
necessary, a large room
without fixed seats accom-
modating a number of
somewhat more than half the congregation. It has been
found that if the Sunday school can be so planned that
it can be opened into the church that it will increase the
capacity of the church at exceptional times and allow a
smaller church to meet all desires. Instead, therefore,
WINDEMERE PRESBYTERIAN CHURCH, CLEVELAND.
J. Milton Dyer, Architect.
great height of exterior wall. The next development in
this arrangement comes from the subdivision of the
Sunday school room into class rooms. Sometimes these
rooms are merely adjacent rooms to the main Sunday
school room, at times the class rooms only exist, and
these are as far as possible
arranged to increase the
seating capacity of the
church by opening into it
with folding or sliding
doors. As the class rooms
do not require as great
height as the church, they
may have either other class
rooms or galleries over
them opening into the
church. It is evident there-
fore that the class rooms
are becoming to the mod-
ern American church what
the chapels were to the
ecclesiastical church, that
is, adjacent cells to the main cell, but that they are used
for a very different purpose.
As manifestly these class rooms will be of no benefit
as parts of the main auditorium, unless they are within
easy hearing distance of the speaker, the whole tendency
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MAIN FLOOR PLAN.
CHURCH OK THE MESSIAH, ST. I.OUIS.
Mauran, Russell & Garden, Architects.
of the pupils being taught in the church, the Sunday
school is practically an isolated portion of the church
which may be thrown into it. This method of increas-
ing floor area and seating capacity has in the smaller
churches taken the place of galleries, which required
has been to concentrate the masses of the plan near the
pulpit, to broaden and shorten the church, and to have
the class rooms in pseudo-transepts. But all traditional
type of plan might as well be abandoned if this desire is
paramount to the church authorities, for there is no doubt
272
THE BRICKBUILDER
in regard to the best mutual relation of cells for this pur-
pose. Either the body of the church should be an octagon
or a hexagon with the class rooms opening from each of
the sides, or it should be a < rreek cross with the class rooms
in the transepts. Galleries can be used with either type.
In all churches of this character, light can be obtained
above the class rooms or from the ceiling. It will be
obvious that a church of the character described covers
large ground area, and would cost considerably more
than one where the Sunday school was placed under the
church in a high basement.
This second type of church, the one with a basement,
high out of ground, is a development of the necessity for
economy both in
regard to land and
to area of building,
and is difficult to
treat satisfactorily
as far as the ex-
terior mass is con-
cerned, not so
much because of
the height of wall
but because the
basement window
openings being
short in height,
require greater
breadth than those
above to give ad-
equate light, and
the church wall
seems set up on
legs. If there is
marked slope to the
land on which the
church is set, ad-
vantage can be
easily taken of the
change in grade,
but upon a level
lot these high base-
ment churches re-
quire very careful
proportioning to
obtain even a toler-
able result, and if
sufficient land can
be acquired there
will be much
greater probability of good architectural proportions
where it is not necessary to have the basement high out
of the ground. Here however, as in many other con-
tingencies relating to the church in America, lack of
funds goes far to jeopardize aesthetic results.
There has grown up in the church a social life which has
little to do with the religious life of the congregation, ex-
cepting that it leads to an interest in the church as a factor
in everyday life. In place of saints' days and the accom-
panying processions and pageants and the celebration of
other events in the church calendar, there are now social en-
tertainments, fairs, socials, etc , which require many of
the appurtenances of a well appointed dwelling, with the
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additional necessity of space for a larger number of
people than would be present in all except very large
houses. In place of the refectory of the monastery is
the dining room, and while the kitchen is no longer of
the size or capacity of the monastery kitchen, it is fully as
necessary and quite as efficient. This department of
church life is now almost wholly left in charge of the
ladies of the congregation, and the fact that women have
entered so largely into church organization in recent
years has tended to enlarge this portion of the church
plan. Not only is the dining room necessary but it has
become nearly as large as the church and is becoming
the center of a separate nucleus in the plan, the secondary
factors being the
kitchen, men's and
women's coat
rooms and adjoin-
ing toilet rooms,
and a ladies' parlor.
The ladies' parlor
is also practical as
a committee room
for the standing
committee of the
church and to a
certain extent oc-
cupies the same
relation to the
modern church
that the chapter
house did to the
cathedral. Either
the dining room or
the large Sunday
school room is ar-
ranged with a large
platform or stage,
in connection with
which are dressing
rooms so that
private theatricals
can be readily
given, and the
whole department
is much more sec-
ular than religious
in its character.
For this reason if
for no other, it is
less closely related
to the body of the church than is the Sunday school,
and in the natural development of the plan is somewhat
isolated. There are three obvious methods of planning:
one to place this portion, the social portion of the church
plan, in the basement of the church, another to place it
in a separate wing of the church, the third to place it
over the Sunday school. Each of these methods is prac-
ticable and is influenced by the character of the lot and
the limitations of expense. Placing these rooms in the
basement, unless the church is on a side hill, is open to
the objections already stated of a stilted, badly propor-
tioned and perforated base to the building. It must be
remembered on the other hand that these rooms, with
HURCH, CHK M <>.
Shaw, Architect.
THE BRICKBUILDER
273
the exception of the ladies' parlor, are seldom used with-
out artificial light, and need by no means have so much
outside light as is ordinarily given them.
There seem to be no positive objections to the other two
methods, excepting that the dining room is much more
accessible on the ground floor than in the second story.
This brings up the question of circulation. The cir-
culation in the church is, from the mere reverential
attitude of mind, gradual and without haste, and a large
number of entrances and exits for the church seating
four hundred or five hundred people is unnecessary ex-
cepting in case of emergency. It is well, however, to
desirable. The vestibules however, provided the egress
be direct, need not be as large as those of the church.
The vestibules of the dining room and its accessory
rooms should be ample, especially about the coat rooms.
Staircases are in many cases governed by more or less
admirable state laws. It is needless to say they should
be broad, not less than 4.6 nor more than 7.0 wide and
not more than 7.0 in height between landings.
American churches have no income from tithes, they are
dependent upon pew rentals and contributions, both of
which are fluctuating. They are, however, free from
taxes. In small communities where land is to be ob-
METHODIST CHURCH, ST. LOUIS.
T. C. Link, Architect.
have ample space in the vestibules, both because at these
points the converging streams of people from the differ-
ent aisles meet at the end of the service and are apt
to linger, and must necessarily wait for carriages in
rainy weather, and also because the main vestibule at
least is used as space in which to arrange wedding and
funeral processions. In the smallest church there
should be more than one direct entrance and exit in case
of panic, even where the windows are near the ground.
In any large church a door opening into the vestibule at
the end of each aisle is desirable. The circulation in the
Sunday school is more rapid, and immediate egress more
tained at small price, the burden of initial expense and
also of cost of salaries and maintenance is much less than
in large cities, yet these churches are proverbially poor,
and in building, every possibility is compassed to obtain
the most for the least money, both in superficial area
of plan, character of materials, and cubical contents. Yet
few church societies are content to eliminate a tower
from their design, and a tower is a luxury of considerable
cost. It has, however, come by tradition to be especially
symbolical of a church edifice. Its original purpose
being to elevate the bells so that they could be heard at a
long distance to call to service, in many cases in American
74
T HE BR1CKBUILD E R .
churches it has entirely lost
that function and merely
stands as a symbol announc-
ing the church. Often, how-
ever, it has the additional
purpose of carry ing^a clock.
It is so individual a note in
Christian civilization that it
will probably^never lose its
significance, and will never
be abandoned and, as in the
case of the New Brattle
Street church on Common-
wealth Avenue in Boston,
will be kept as a monument
even if the church itself is
removed. Many of the classic
churches, however, are with-
out towers, or if possessing
them, they are built inde-
pendently of the church as
campanile or bell towers.
In the cathedrals, however,
they became incorporated
with the walls of the church, and occurred not only singly
and in pairs at the west end but also at the ends of the
transepts and at the crossing of the transept and nave.
In each of these positions the smaller churches have
imitated the cathedrals, and towers have been placed
indiscriminately where it was considered that they would
compose well in the general mass. They appear over
porches, in angles, invading the interior at times, and
since the appearance of the omnipresent iron girder,
unapparent on the plan. It is obvious that a tower
should be apparently strong
at its base and that its
corners especially should
be adequately solid, also
that it should not seem
heavier at the top than at
the bottom, and that it
should appear to start from
the ground if possible. Its
walls therefore are thicker
than those walls of less al-
titude, and even if it be
built with steel construc-
tion it must have this evi-
dence of third dimension
to insure appearance of
stability. If it is not on a
prominent axis of the
church, it should not be
too much buried in the
body of the church without
a well announced reason,
but gains in effect by ap-
parent isolation. The tower
at the crossing of transept
and nave which occupies
the position of the classic
dome, is, if of masonry, an
expensive structure and
BAPTIST CHURCH, si \ I I I E, « kSH
Marsh & Russell, Architects.
SECOND BAP1 IS! CHURCH, ST. LOUIS
Mauran, Russell <Sr (iarden, Architects.
usually out of scale, except-
ing in large buildings.
Up to this point we have
considered the exigencies of
plan of the denominational
church, which can be rapidly
summed up as follows: An
audience room with or with-
out galleries without inter-
ruption of sight or sound,
and with all persons within
hearing distance of the pul-
pit, which is the focus of the
church ; a shallow apse or
niche back of the pulpit,
which will accommodate
visiting clergy, etc., and
upon which may be the
organ and choir though these
can be in a gallery at the
side or at the other end. A
Sunday school department
which is often arranged so
that it will supplement the
church, but which may be in a separate building or in
the lower story. A social department which is adjacent
to the church and which may be in a separate wing, or
in the basement or over the Sunday school.
There are of course minor rooms, such as the choir
room, minister's study, in some cases a baptistry, etc.,
which can be accommodated in any good plan.
The exterior of the church is necessarily an expression
of its plan, or should be; as a matter of fact it is not
usually as closely related to the plan as could be de-
sired, all sorts of ingenious
devices ostensibly orna-
mental being added to the
structure. Many of the
early churches were simple
halls with a good porch on
the main axis, a tower or
belfry over the porch, good
eaves or cornice, and well
proportioned windows.
The colonial churches,
strongly influenced by the
London prototypes by Sir
Christopher Wren and his
pupils, were of this descrip-
tion. Many of them exist
to-day and are usually
known as meetinghouses,
and are pleasurable to look
upon. They were of stone
or of brick with wood
trims, as cut stone was be-
yond the means of the
builders, and frequently
were entirely of wood, and
in that case, frankly and
simply of wood without any
effort to imitate other ma-
terials in the best examples.
THE BRICKBUILDER.
275
A product of the Georgian period and of classic
tradition, their details and proportions were based on
the study of the orders of architecture, they were
symmetrically planned and developed, and they are
to-day the best churches of their kind. There is
no attempt at imitation, for the wooden forms while
adapted from stone are thoroughly characteristic of
wood, and no effort to produce the bizarre in general
effect. There are in England and in France small
churches of equal sincerity in another manner, both
built before the
classic revival. Those
of England are brick
or stone with small
square towers on the
axis and with wooden
porches of heavy oak
beams, while those
of France, also of
stone and with wood
porches, are often
without towers, a
wooden spire covered
with slate over the
crossing of transept
and nave occurring
instead and with small
tourelles in which
staircases mount to
galleries. The gen-
eral character resem-
bles^Gothic work.
During a later epoch the American
church became heavier in detail, its
wooden structure was made to
imitate stone even to the reproduc-
tion of buttresses in wood, but it
has been reserved for the last four
decades to produce the harlequin
churches in which all materials are
used with ostentation and insin-
cerity. There are of course
churches frankly imitative of good
examples, such as Arlington St.
Church, Boston, and the North
Church in Portsmouth adopted from
Wren and St. Paul's in Boston, a
classic temple, and also the work of
able individual architects, such as
Upjohn and H. H. Richardson,
whose training and genius made
them capable of creation, but the
vast majority of the work done for
church societies throughout the
country has been a bad adaptation
of small means to a poor end.
Especially is this evident in the
introduction of minor details which have not been under-
stood. Gothic architecture, under whose name the worst
work has been produced because it seems to have greater
freedom than does the formulated classic, is at its best
the very apothesis of fine stone construction. There is
not a superfluous factor in it, nor a stone that is not do-
FIRST PRESBYTERIAN CHURCH,
SYRACUSE, N. V.
Tracy & Swartwout, Architects.
Ballantyne & Evans, Associated.
ing its work. In the process of its evolution, it produced
vaulting with its ribs, tracery, buttresses, flying but-
tresses, pinnacles, each absolutely necessary in its place,
and each of which has been imitated as being merely
ornamental. It was true some few years ago that of all
the flying buttresses tucked in to fill spaces in American
churches not one was necessary, not one doing any work,
and it is equally true of many of the buttresses and
pinnacles. The chief criticism that can be made is the
excessive use of structural forms in so-called Gothic, of
which the designer is
ignorant of the pur-
pose, and of classic
details in classic arch-
itecture, of which he
has lacked knowledge
of proportional rela-
tions which have been
established for cen-
turies. In this re-
spect the denomina-
tional church is much
more unfortunate
than is the ecclesias-
tical church, for the
latter has studied its
traditions and learned
from them, both
among the clergy and
architects, while the
former having no
church building tra-
ditions has not studied at all but
has put together a farrago of odds
and ends.
Also the points for focusing
effort have been ignored. Orna-
ment has been considered essential,
where in fact its purpose should be
merely to embellish work already
admirable. In superabundance it
is vulgar, and when diffused it is
ineffective. Restraint in the use
of ornament is an indication not of
paucity of imagination but of justice
of perception. Especially is this
the case where means are made to
meet ends. A simple sincere build-
ing with its ornament focused at
its entrance, at the tops of its axial
or important openings, and on the
terminations of its towers or struc-
tural points has distinction and
contrast which place it far above a
crude but elaborated mass. Espe-
cially should all heavy detail be
eliminated. No detail at all is
better than burdensome detail.
Buttresses should not occur unless they have an
apparent purpose of resisting thrust or of stiffening long
surfaces of wall. They are too often used as merely
ornamental factors.
( This article will be con t inn til in January, i cjny. )
276
THE BRICKBUILDER
The Development and Financing of Apartment Houses in
New York — I.
BY KI.ISHA HARRIS JAM'S.
AROUND 1860 there was little between the tene-
ment houses for the poorest and a few so-called
high-class apartments, expensive and large. From these
limits the extensive building and many types of apart-
ment houses have evolved. But, while the changes in
the size and number of rooms have been caused by
the demands of the tenants and many small conveniences
have been added due to the keen competition among
owners and agents, it is a peculiar fact that the hygienic
improvements have been caused more by sanitary regu-
lations than by any other reason. The periods of devel-
than seven rooms and one bath. At the present time it
is not uncommon to find suites of from eight to twenty
rooms with two or three baths and one for the servants,
besides wash basins between the chambers. Formerly
there was one minimum size room for the servant, not
much more than a closet; now, in some instances, there
are three servants' rooms, and liberality in other ways,
with large pantries, separate laundries, steam clothes
dryers, cold refrigeration, separate service elevators, etc.
Small conveniences are carefully considered, such as
house telephones, public telephone service to each apart-
I. APARTMENT HOUSE PLAN.
Janes & Leo, Architects.
opment have been marked: first, by the organization of
the municipal Hoard of Health in the early sixties,
which formulated the sanitary regulations governing
these buildings; second, by the transfer of this authority
to the Building Department and its supervision of these
buildings; and, finally, by the new Tenement House
Law of 1900.
Fifteen years ago there were some large apartments
which had been built by capitalists or estates, a few con-
taining "duplex apartments, "or those extending through
two stories; aside from these, there were few of more
ment, mail delivered by electric carriers, elevators run-
ning all night instead of until twelve o'clock, uniformed
hall boys in attendance, and many other details for the
comforts of the tenants.
The advent of the Tenement House Law was a new
era in apartment house building; and although opposed
and condemned by some of the owners, builders, and
operators, who were not easily convinced of or were
unable to foresee its advantages and who thought their
property and business would be ruined, its benefits
were beyond description, and the conservative and
THE BRICKBUILDER
277
shrewd ones realized that it was to their profit and
a blessing to the tenants. The majority of arguments
against it could be sifted down to opposition on account
of some selfish interest of the opponent. The specula-
tive builder accustomed to small rooms, narrow courts
and dark halls, found that a larger lot with a smaller
percentage of building and more generous lay-out of
rooms would be required, and he was frightened. An
FIG. 2. APARTMENT HOUSE PI AN.
Janes & Leo, Architects.
operator who purchased plots to divide into lots of cer-
tain size to be laid out on the old lines, feared that he
would not have purchasers, or would have to divide his
property to a disadvantage. The owner was doubtful
lest the larger building and its additional expense would
not have its corresponding increase in rentals. Of
course no law is perfect and some have apparently suf-
fered from it, but the proportion is infinitesimal compared
to the number who have been benefited by it. A few
had to make sacrifices. At the same time many who
were sure they were to be injured received benefits
in a way that they did not then, and possibly do not
now, appreciate. Just prior to the passing of this law,
on account of the ease with which building loans and
mortgages could be obtained, a multitude of speculative
builders had started buildings with practically no capi-
tal, or had undertaken two or three operations before
finishing the first, being spurred on by the success
of their predecessors in this line and encouraged by
the operators, who in their greed had but the one idea
of selling their properties for large profits. Apartments
were springing up like mushrooms. The natural econ-
omic result was a great increase of supply over demand
and of many buildings carried along on extended credit
while waiting for purchasers. This condition, had it
continued much longer, would have been the cause of
many failures and foreclosures.
The new law was responsible for a great relaxation
in building operations for almost two years, allowing the
demand to meet the supply and stopping the frantic
building speculations. Another and great benefit of the
new law to all concerned was that its provisions were so
carefully drawn that they virtually took the place of
first-class architectural services. It is well known that
the majority of apartments were and are designed by a
class of architects who, on account of their lack of
training and low charges, gave little or no study to the
distribution and lighting of rooms and halls, to general
design, or to taking advantage of special conditions.
As long as they complied with the few requirements of
the then existing law it was satisfactory. Their work
consisted simply of a set of working plans to file with
the Building Department, from which the builder com-
pleted the work without their details or supervision.
The result was poorly designed buildings with dark,
dingy, ill-ventilated rooms. But now by reading the
requirements of the
new law and by fol-
lowing its provisions,
which are obligatory,
it might be said to
require more study
to make a poor apart-
ment house than to
make a good one.
The only way the
architect can go
astray is in the eleva-
tions and by using
poor judgment in the
sequence of rooms.
Take one clause as an
example:
"In every tene-
ment house hereafter
erected, . . . every
public hall shall have
at least one window
opening directly
upon the street or
yard or court. Either
said window shall be
at the end of such
hall with the planes
of the window at
right angles to the
axis of said hall, or
there shall be at least
one window ... in
every twenty feet in
length or fraction
thereof of said hall.
"The aggregate area of window to light or ventilate
the stair halls shall be at least eighteen square feet for
each floor.
" In every such house there shall be in the roof
directly over each stair well ... a skylight of not less
than twenty square feet in area."
fig. 3.
APARTMENT
PLAN.
HOUSE
278
T 1 1 E B RICKBUILD E R
If you abide by the provisions, which you must do,
you cannot plan a hall to be dark if you try. In general,
it has resulted in well-lighted and ventilated apartments,
very desirable, and easier to rent at higher rentals.
The law was not necessary for the expensive high-
class apartments, and studying many of those built
under the old law you would find little of serious change
in the planning, as good light and ventilation were essen-
tial to commanding a high rent. The principal differ-
ences were in the shape of courts and in minor details.
lighting and ventilation has trifle larger and as many
rooms as the old houses on a similar size plot. To be
noted in Figs. 3 and 5 are the simple straightforwardness
of the plans, the small amount of corridors and the few
angles in the walls, features which show in most of the
buildings erected under the new law and which are
directly due to its provisions.
All conscientious builders were thankful for the law.
It is mandatory in every way, no discretionary powers
are given to the commissioners. The framers appreciated
FIG. 4.
IPARTMENT HOISE PLANS.
Ernest Flagg, Architect.
Figs. 1 and 2 are good examples of the above, and are
here illustrated.
In both, the side courts would have to be wider, but
the center ones are larger than required, otherwise the
same area could be covered and little change in the
arrangement would be necessary. The great change
was in the cheaper apartments and tenements.
Fig. 3 shows one of the new type of cheap apartments.
Fig. 4 shows one of the best types of tenement houses
under the old law and from this they vary through all
degrees of poor lighting and arrangements; and Fig. 5
shows a plan by Ernest Flagg of a tenement house under
the new regulation; this with its excellent provisions for
the class the)' had to deal with. If one wishes to spend a
few hours in the Tenement House Department, studying
the types of people having business there and listening to
their questions, noting how they are trying to evade regu-
lations, and the amount of the clerks' time they consume,
one can then comprehend why it takes so long for the de-
partment to act on plans and violations. The innocent have
to suffer for the selfish, dishonest, and pig-headed ones
who try to circumvent the law and who think they have in-
fluence or can argue to have the law modified or suspended
for their special case. These developments and require-
ments, however, have changed but little the general
methods by which the apartments are built and financed.
THE BRICKBUILDER
279
Suggestions for Architectural Study in Western France — I.
BY FREDERICK REED.
BRITTANY is a land of legends and superstitions.
Her individuality never changes and her people are
ever loyal to the life and art of the past. By intermarry-
ing and speaking their own language they have clung
tenaciously to traditions and customs with a devotion un-
known to the neighboring provinces thereby furnishing
a striking contrast to the rest of France. Here also, as
nowhere else, the quaint and attractive dress of the
Breton-folk harmonizes with the picturesqueness of the
architectural ruins. This simple peasantry with white
caps and heavy wooden sabots lend a dignity to their
field labor and a nobility to their homes that are as im-
pressive as their timber houses stained by time or their
speechless menhirs of Druidic origin. The solidarity
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DOLMEN OF THK BATHS NEAR SAUMUR.
of the French republic to-day is an outgrowth of this
Brittany and the other ancient provinces that still retain
their own individual characters. Such an antithesis en-
ables us to enjoy all the more a country where the me-
morials of a pre-historic time are linked to the luxury of
a modern art by the monuments of a strong and artistic
architecture of the middle ages.
In order to facilitate the work of any desiring to travel
and study the architecture of western France let us in-
clude the provinces of Anjou and Maine with Brittany.
Anjon and Maine connect Brittany to Paris and by treat-
ing the three as one
we may to advantage
take Paris as our start-
ing point. In tracing
the architecture of this
region from the reign
of the Gallic tribes to
the present era we pass
through a develop-
ment of some twenty
centuries. We have
in there markable
alignments of dolmens
and menhirs around
Carnac a wonderful
example of the great
ingenuity and skill of
the cathedral at angers. a pagan race. In time
WW' l&M
all Gaul became subservient to the classic Romans who
brought with them laws that meant enlightenment as
well as subjection.
After the Roman
period came the
Normans with a re-
sistless energy that
endowed the northern
part of France with
countless institutions
that live to-day.
Feudalism arose and
enriched the country
village as well as the
cities and towns.
These mediaeval lords
crowned the hilltops
with impregnable
castles of splendor
and fortified the cities
with walls and towers.
The peasantry be-
came prosperous and
lavished their savings
in magnificent churches with their calvaries and ossua-
ries. This developed love for grandeur accepted eagerly
the spread of the renaissance. As a result, we find to-day
within a short radius, a dolmen of fabulous antiquity, a
Gothic cathedral of the purest art, a chateau of feudal
splendor, and an old timber house most picturesque.
There is considerable interest attached to a visit of the
Carnac region with its vast megalithic monuments. Men-
hirs, dolmens, and tumuli remain in such abundance —
in spite of the fact that the vast majority have been con-
fiscated by the natives — that we are amazed at the skill
and arduous labor that must have been necessary to
a medleval and feudalists
remnant.
chateau of angers.
erect such powerful monuments in pre-historic times.
vSome attribute these works to the Druids whose temples
of worship were found in the freedom of the forests. At
any rate we seem to feel an endeavor to imitate by these
crude geometrical rows of stone those ancient cloisters
of trees. The alignment at Kermario consists of over a
thousand rough uncut pillars in ten rows, while that of.
Menec has eleven rows with even more stones. Surely
these are remarkable memorials of a barbaric age when
28o
THE BRICK BUILDER
CHURCH OF ST. JOSEPH
ANGERS.
such huge bodies had
to be handled with
the sole assistance
of rollers.
In the dolmen of
Corcorro at Plou-
liarnel we have one
of the largest in Brit-
tany. The chamber
measures twelve by
twenty- four feet, and
originally contained
antiquities of great
value. At Locmaria-
quer near by is the
chief dolmen of Mane
Lud with a grotto
underneath. Here
also are two very
large tumuli with
vaulted chambers
upheld by stones thirty-five feet high. Implements and
Roman relics of all kinds were found
in the various tombs. An extremely
interesting fact exists at Bossenno
near Vannes. The old brick and tile
of the Romans are found to be in as
excellent a state of preservation as if
recently made. A proof of their dur-
ability is evidenced by the natives
who use these Roman tile for the clos-
ing of water channels in preference to
the modern tile which last only a few
years.
One of the few monuments of the
Carlovingian period exists at St.
Philibert de Grandlieu. Here is the
earliest Christian church of stone and
mortar, dating from the tenth century.
The chief ornamentation of this
church consists of three rows of red
brick alternating with one of stone.
Another fragment of great interest is the convent of St.
Martin at Angers,
which is supposed to
be a relic of the ninth
century.
The romanesque
style furnishes some
excellent edifices
among which one of
the best examples to
be found anywhere in
western France is the
eleventh century
church of St. Sauveur
atDinan. Especially
noteworthy is the
portal with its fine
carving. The round
church of St. Croix
at Qui m perl e' is
an old street of dinan. modeled after the
A QUAINT OLD STREET IN
DINAN.
A FEUDAL PORTAL AT DINAN
church of the Holy
Sepulcher at Jerusa-
lem. Besides the
above, the eleventh
century produced the
cathedral at Laval
and Locamaria at
Quimper, both splen-
did monuments to
this style. The city
of Angers contains a
rich collection of
romanesque work in
the ruins of the richly
sculptured St. Aubin,
the remarkable
bishop's palace, and
the ancient hospital
of St. Jean. Of the
modern buildings at
Angers the churches
of St. Laud, nineteenth century, and La Trinite, six-
teenth century, present the regular
Angevin style. The twelfth century
has left us the wonderful central tower
of St. Sauveur at Redon and the
abbey at Fontevrault, which is lavish
in sculpturesque ornament. Main-
towns like Chemillc, Loctudy, Le
Mans, Prc-en-Pail, and Cunault have
splendid examples of the romanesque,
while Brest possesses a very interest-
ing church of the transitional style in
St. Matthieu.
The intermingling of the Romance
*_,'■ » and Prankish races have left in these
provinces an architecture vastly differ-
jfii jt ent in character to Normandy on the
north and Poitou on the south. We
discover the influence of both these
people, but so modified as to impress
one of the skill of the native archi-
tects. The cause for
this change is attrib-
uted to the abundance
of granite and the
scare ity of other
stones. On account
of the difficulty expe-
rienced in cutting the
granite we have many
structures which,
while Norman in char-
acter, still possess an
individuality of their
own. Yet in, the vari-
ous churches of a later
period we see how
even the hardness of
the stone did not pre-
vent the spires and
facades from being
richly decorated.
A.N OLD STREET OF DINAN.
THE BRICKBUILDER.
2»I
There are noted examples
of the wonderful adapta-
bility of ornament in the
noble towers of the well
known fourteenth century
churches at St. Pol-de-Leon.
Nantes and Le Mans in the
twelfth century provided
several ecclesiastical build-
ings with most lavishly
sculptured portals.
The town of Chartres
possesses one of the finest
Gothic cathedrals in Eu-
rope. One cannot help but
admire the simplicity and grandeur of this edifice, with
her magnificent spires of harmony and proportion. At
Lamballe there is an especially fine
interior which merits careful study.
Besides the churches just mentioned,
the thirteenth century has produced
the splendid examples of monastic
architecture at Beauport, the old priory
at Lehon, the cathedral at Dol which
ranks as the finest monument of un-
decorated Gothic in existence, and the
cathedral at (Juimper whose beautiful
spires adorn the finest and largest
church in Brittany.
The fourteenth century Gothic has
several churches of great nobility. The
best examples are found at Trcguier
whose cathedral cloisters are well pre-
served and the most extensive to be
found in these provinces, and at Quim-
perlc whose church, St. Michel, is
graced with lacelike decorations. At
Le Folgoet there is a fine type of the
fifteenth century style with elaborate carvings of natural
forms. Of
later Gothic
the church at
Hennebont
has an orna-
mental spire
three hundred
feet hi gh ,
while the
churches at
Le Croisic,
Graces, and
Guerande
contain some
extraordinary
sculptures.
One of the
greatest
charms of
western
France lies in
the beautiful
stained glass.
Nearly every
ALONG THE PICTURESQUE CANAL AT DINAN.
SOUTH PORTAL, CATHEDRAL AT
CHARTRES.
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DETAIL OF WINDOW AT CHARTRES.
town glories in relics of
this celebrated method of
symbolic art. We can only
select a few of the finest
examples for mention,
although we would recom-
mend that particular atten-
tion be paid to this style of
art, for it is a portrayal of
mediaeval archaeology. The
most ancient glass is that
of the eleventh century at
Le Mans, while the cathe-
dral at Angers has some
magnificent work of the
twelfth, thirteenth, and fifteenth centuries. Chartres
has never been surpassed in the color and brilliancy of
the early thirteenth century glass. The
large and majestic rose window in the
west front has an individual charm on
account of the boldness of design and
the clear depth of its coloring, while
the Jesse window ranks equally as well.
This cathedral at Chartres possesses
over a hundred windows of most superb
effects. The cathedral at Dol has the
large window of the choir filled with
choice stained glass of the thirteenth
century, while Paimpol has a superior
rose window of the fourteenth century.
Of the fifteenth century the noted ex-
amples are found at Alenqon, La
Faouet, and Fougeres. The chapel of
Cran near Gourin has six remarkably
well preserved windows of the six-
teenth century which rival Ploermel's
celebrated glass of the same century.
Of modern glass little of commenda-
tion can be said, although St. Malo, Quimper, and Le
Mans possess some very good examples, while the
Chapelle Royale at Dreux contains some magnificent
windows by Wattier, Delacroix, Flandrin, and Lariviere.
In Brittany are
found a number of
mediaeval castles
which illustrate the
tremendous power
that opulence and
temperament exerted
in the direction of
military architecture.
The feudal lords built
chateaux for fortifica-
tions as well as
homes. There is no
more imposing relic
of a Breton fortress
than the chateau de
Sucinio, thirteenth
century, whose crene-
lated towers have
narrow openings and A renaissance clock tower,
breaches constructed chartres.
iSi
THE BRICKBUILDER
DETAIL OF FAMOUS GOTHIC
ST A 1 IKS AT I'll \K I' RES.
for the mouths of can-
non. Combourg of
the thirteenth century
is another well pre-
served monument of
this style. There are
four crenelated towers
joined by an equal
number of batiments,
all of which form the
enclosure of a grand
old court. The castle
at Vitre, founded in
the eleventh century
and reconstructed in
the fourteenth, also
portrays the powerful
influence everywhere
felt from the feudal system. The entrance is flanked
with machicolated towers whose massive strength is most
impressive. On the interior is an exceptionally finished
tourelle of the sixteenth century renaissance. This castle
at Vitre is, like Carcassonne,
in Southern France, an
eminent monument to the
genius and skill of the
middle ages. At Nantes
we have a powerful fortress
of Francis II, with six of
the seven original towers
remaining.
In the chateau of Josselin
we find an example of the
severest type of military
architecture. An exquisite
facade of the early renais-
sance faces the river with
its three round towers built
solidly on a rock founda-
tion. The court is treated
in the late ogival style when
ornament was at its greatest exuberance. Charles I X and
Henry III built at Kerjean the largest chateau in Brit-
tany, having an enclosure of some forty thousand square
yards. The castle is purely Breton in character, as seen
in the monumental entrance and the one conspicuous
feature is the chapel, which has a superior campanile.
VIEW OF CHARTRES.
OI.I) HOl'SE AT CM AK I RE
The last chateau
worthy of special
mention is La Bretes-
che, which has been
well restored in the
same style as the
original. Two of the
eight massive round
towers at the entrance
show how impregna-
ble they must have,
been in former years
with their walls
nearly ten feet thick.
Mediaeval and mili-
tary architecture has
still a greater claim
on this part of France, for feudalistic remains of great
importance are scattered everywhere. At Cucrande is
another Aigues Mortes whose massive walls and several
entrances are guarded by machicolated towers of strength
and picturesqueness. Towns like Tonquedec, Brest,
Chateaubriant, Angers,
Elven, and Mayenne have
admirable examples of me-
diaeval castles with massive
donjons, beautiful keeps,
machicolated towers, and
crenelated walls. Nowhere
in northern France can be
found a better walled town
than Fourgeres, while St.
Malo, Ploermel, Laval, and
Yannes all have military
towers and frowning ram-
parts. Dinan, whose thir-
teenth century walls extend
over a mile long, has three
celebrated gateways. ( )ther
famed entrances are Porte
Cuillaume at Chartres, the
ancient city gates at Rochefort-en-Terre, Porte Mordelaise
at Rennes, and the great fortified gateway at Hennebont.
In contrast to these ruined bulwarks of feudalistic
days we have a modern example of military architecture
at Brest which has one of the most spacious and safest
roadsteads in the world. This remarkable fortress har-
bor is fourteen miles long and seven miles in width, with
A FF.riMI MON1 MEN! W < HARTRES.
THE CHATEAU OF COMBOURG
THE BRICKBUILDER
283
DETAIL OF PORTAL, CHATEAU JOSSELIN.
a narrow en-
trance three
miles in ex-
tent. The
outside of this
naval port is
commanded
by modern-
ized fortifica-
tions contain-
ing some five
hundred
guns, while
the roadstead
itself is se-
curely pro-
tected by the
city forts.
France is
justly proud
of her chief
naval station,
which is one of the most important military ports in the
world.
The renaissance work
throughout these provinces
assumes quite a provincial
air. There are many curi-
ous and admirable examples
that are both ingenious and
decorative. Doubtless the
finest type and one that
merits marked attention is
the chateau at Josselin.
The one facade especially
noteworthy faces the court
and presents a long row of
two-story dormers, which
pierce the steep roof from
a position directly over the
wall. Besides Josselin there
are other chateaux of pure and
graceful renaissance located at St.
Ouen, Mezanger, and Laval.
The greater part of the renais-
sance art was developed in minor
work. We see touches of superior
and exquisite workmanship in the
cities, where the small houses are
adorned with a novel and ex-
tremely rich ornamentation.
Chartres has several mansions that
are remarkable, both on the ex-
terior and interior. In rue des
Ecuyers is a charming sixteenth
century staircase, and in la rue du
Grand-Cerf is a maison of consid-
erable merit throughout. The
Hotel de Prince at Angers,
the Hotel du Grabatoire and the
Maison Tambour des Pompiers at
Le Mans are among the finest
monuments of domestic renais-
sance. For
other speci-
mens of this
style we have
illustrious
buildings at
Rennes, Pont,
Scor f f, and
C hateau -
briant.
On the
church at
Solesmesthere
is an excep-
tional array of
sculpture.
This little
abbey is
ranked as one
of the para-
mount exam-
ples of renais-
sance, and deserves a visit.
DORMER WINDOW OF CHATEAU JOSSELIN.
CATHEDRAL OF DOI.
NORTH FACADE OF ST. COVENTIN AT
QUIMPER.
Another church of like im-
portance is St. Armel at
Ploermel, with choice works
of art in the portals of
Francis I. Besides the
above the interior of the
cathedral at Nantes, the
wooden staircase in La
Trinite at Angers, the or-
nate pulpit at St. Thcgon-
nec, the splendid carvings
at Guimiliau, and the tower
and spire at Landivisiau,
all are elaborate works of
the renaissance.
There are many examples
of fine carvingin this section
of France, both in stone and
wood. Some superior work
is seen in the tombs at Nantes ; the
early renaissance tomb of the Duke
of Brittany ranks among the best
monuments in existence, while the
worthy tomb by Boitte is equally
famous as a work of modern re-
naissance. Other meritorious
tombs are found in the Chapelle
Royale at Dreux, Solesmes, Ploer-
mel, and Quimper. Among the
statues of importance maybe men-
tioned the one of Victor Masse by
Mercie, that of Jean de Cheverus
by David dAngers at Mayenne,
and the war monument by Crank
and Croisy at Le Mans. St. Brieuc
has many statues by Oge, and
Nantes has a fine group by Driol-
let. For figure sculpture the west
portals of Chartres form the fa-
mous series of early Gothic
statues.
284
THE BRICKBUI LDER
\ DOCUMENT BUILDING FOR THE EDISON ELECTRIC ILLUMINATING COMPANY, BOSTON.
Winslow & Bigelnw, Architects.
\ I noi'OLATE FACTORY, MILTON, MASS.
Winslow & Bigelow, Architects'
THE BRICKBUILDER
Editorial Comment and
Miscellany.
THE .Springfield (Mass.) Municipal Building Commis-
sion chose on November 28 the design of Pell &
Corbett of New York from among the ten in the final
competition for the group of buildings to be erected on the
north side of the Court Square extension. The design
proposes three structures: in the center a clock tower 274
feet high ; upon the right or east a municipal office build-
ing; upon the left a town hall capable of seating 3,000
persons. Each of these buildings has a frontage of 115
feet and they are 92 feet distant from each other. In the
center of this space is the clock tower. The entire cost
of the group is estimated at $1,100,000. Other firms in
the final competition were: E. C. & G. C. Gardner, Kirk-
ham & Parlett, and George R. Pyne of Springfield; Cass
Gilbert, Hale & Rogers, and Lord & Hewlett of New
York ; Peabody & .Stearns of Boston ; and Lewis R.
Kauffman and Evans & Bright of Philadelphia.
285
WARREN & WETMORE have begun legal proceed-
ings to have set aside the award made by the Com-
mission of Award for the new .Sing Sing State Prison to
Architect William J. Beardsley of Poughkeepsie. Many
architects in New York and even a member of the Com-
mission of Award have asserted that there was unfairness
in the manner in which the decision was made. Warren
& Wetmore's designs, it will be remembered, were con-
sidered second best; and that firm's attorneys, in en-
deavoring to have them declared the winner, maintain
that the new prison cannot be built after the Beardsley
design for $2,000,000, which is the amount of the appro-
DETAIL BY J. E. O. PRIDMORE, ARCHITECT.
Northwestern Terra Cotta Company, Makers.
priation. They also declare the action of the Commis-
sion of Award was unconstitutional, inasmuch as the law
creating it was a local law and defective as to title. It
will be interesting to watch the judgment of the court on
the first point in the plea of Warren & Wetmore's at-
torneys, for there has been no little doubt upon the gen-
eral question whether an architect's plans imply an
accurate guarantee that they can be carried out for a
pre-determined sum.
LANTERN FOR RODEF SHOLEM SYNAGOGUE, PITTSBURG
Palmer & Hornbostel, Architects.
Made by Rookwood Pottery Company.
SECOND BAPTIST CHURCH, ST. LOUIS.
The problem called for an auditorium capable of seat-
ing not less than twelve hundred people, with the nec-
essary accessories, such as pastor's room, clerk's office,
reception room, foyer, lobby, stair halls, and vestibules ;
a room for prayer-meetings and the general and social
gatherings of the congregation during the week, to take
care of at least four hundred persons; a large sized room
for a ladies' parlor; a boys' club; a dining and entertain-
ing room, with kitchen, serving rooms, and provision for
a stage; a Sunday school room capable of accommoda-
ting one thousand, and living quarters for the caretaker
and his family.
The auditorium was placed at the corner of Kings-
highway and Washington avenue. The secondary build-
ing, or chapel, was placed to the south at a distance from
the southwest corner of the lot, approximately sym-
metrical with the position of the church at the north.
Connection was obtained by an open loggia on the west
and a closed one on the east, thus forming a courtyard
or cloister, while, as the crowning feature of the whole
composition, and upon the axis of the court on the east
was placed a campanile (a special gift) which unifies the
whole scheme.
In detail the church is planned as a basilica with
vaulted side aisles and clerestory, but with the addition
of a large western gallery and corresponding to it on the
east the choir and organ loft, baptistry, and pulpit plat-
form, and back of these dressing and toilet rooms, clerk's
office, pastor's reception room, and a study.
Instead of one central entrance, two have been pro-
vided with vestibules and lobbies directly connected with
the stairs to the gallery, thus leaving space for the foyer
286
T II E BRICK BUILDER
^ f
ADMINISTRATION BUILDING, PARENTAL SCHOOLS,
FLUSHING, L. I., N. V.
C. B. J. Snyder, Architect.
Roofed witli Ludowici-Celadon Tile.
room stretching across the west front and underneath
the gallery. This room, it is believed, will be the gath-
ering place of those who desire to greet their friends
before and after service, while
on occasions of large attend-
ance it can readily be made a
part of the auditorium by low*
ering the sash of the glazed
partition of separation.
The decorating and glass of
the auditorium find their strong-
est note in the treatment of the
supporting columns of the
clerestory, which are of a green
scagliola resting on black mar-
ble bases and plinths and
crowned by capitals of old gold.
No memorial windows are
used, so a uniform and geomet-
rical design was adopted for all
the windows of each kind, the
only variation being the con-
ventionalized representation of
the fruits and flowers of Pales-
tine, which are used in the tympana of the main aisle
openings.
The general tone of the glass used is opalescent of
various warm shades, while the painted ornament of
the interior is of tones of green and dull red picked
out with orange upon a
warm gray background,
all done in a flat way
suggesting mosaic and
in "drawing following
closely the early Italian
renaissance rather than
Gothic.
The woodwork of the
room is of fumed oak
of a soft brown color,
not dark, nor with any
suggestions of yellow,
but rather of a grayish
DETAIL HV NEW YORK AKCHI- , . . /
ro ural terra cotta tone- Springing from
company. the clerestory walls and
Neville & Bagge, Architects. resting on large corbels
DETAIL BY KIRKHWI & PARLETT, ARCHITECTS.
New Jersey Terra Cotta Company, Makers.
done in dull gold, are the cased and paneled wood trusses
following the curve of the two great arches, while the
ceiling thus divided into bays is further subdivided into
oblong plastered panels by molded purlins and rafters,
the whole treated in a large way in tones of brown to
harmonia» with the wood, thus producing an effect of
great size and simplicity.
In the study of the exterior design a controlling factor
was the early adoption (for local and climatic reasons) of
brick as the principal material, and naturally the motif
was found in the superb brick architecture of Lombardy
and north Italy in general.
The question of color was always a controlling factor,
and its application in this instance is as follows: The
base course at grade is of dark red Missouri granite; all
other stone, which includes only the door jambs, sills,
and shafts of columns, is of a rich yellow sandstone from
Minnesota.
The brick selected was all of one burning and ranges
from a rich, almost purplish brown to palest buff,
and was laid in the following
manner : The darkest bricks
were used at the base in all
cases, and as the building
progressed in height a uniform
shading was carried out, the
lantern of the campanile having
the ultimate degree of lightness
of color. In the turning of the
archesan effect
of voussoirs
has been ob-
tained by the
juxtaposition
of light and
dark bricks in
groups, and
patterns,
diaper, and
other details
have been
worked out in the same way, giving
great variety and interest, and always
harmony of effect.
The terra cotta where used is of the
same color and texture as the Minnesota
sandstone. The roofs are of red tile.
The courtyard has been laid out as a
formal garden with an oblong pool term
inated at the base of the campanile by a
low wall fountain and surrounded by a
molded curb of white stone.
The campanile is of the following di-
mensions: Base, 25 feet 6 inches by 25
feet 6 inches, height, 215 feet. Above
the molded base course the die rises to
a height of . 30 feet with a straight
batter of 9 inches, above this the shaft
is 105 feet high constructed with an
entasis of 9 inches, making it 18 inches
smaller at the balcony stage. The
octagonal lantern is 18 feet 6 inches in
diameter, and 21 feet high, and the
\
V-
DETAIL FOR A
MANTEL.
Lord & Hewlett,
Architects.
C 0 nkling- Arm .
strong Terra
t'.itta Company,
Makers.
THE BRICKBUILDER
287
whole is terminated by a cylin-
drical drum with a conical roof
and iron finial, the top of which
is 215 feet from the ground.
NEW ROOKS.
The Cosmo-Studio Co., 437
Fifth avenue, New York, have
just issued the first volume of
their new work entitled "Cosmo
Collection," which consists of
duotone and hand colored re-
productions of the most famous
paintings and sculptures from
all the schools of the world ;
architecture; portraits of peo-
ple of permanent fame, their
homes, and associated historic
scenes; and popular subjects.
Each picture is graphically de-
scribed. The editor-in-chief
for the work is George Hall
Baker, M.A., Librarian Emer-
itus Columbia University, with
whom are associated as art
editors Harry W. Watrous,
N.A., Secretary Academy of
Design, and Will H. Low, N.A.
The advisory board having in
charge the publication of this
work includes Charles de Kay,
chairman, founder of the Na-
tional Arts Club; Justice David
J. Brewer, United States Supreme Court; Frederick B.
McGuire, director, Corcoran Gallery of Art; Halsey C.
Ives, director, St. Louis Museum of Fine Arts; Charles
M. Ffoulke, regent, National Academy of Art, Washing-
ton, D. C. ; Glenn Brown, secretary, American Institute
of Architects; Dr.
Ira Remsen, presi-
dent, Johns Hopkins
University; Fred-
erick Dielman, presi-
dent, National
Academy of Design;
John M. Carrere of
Carrere & Hastings.
If one may judge
the whole work by
the standard set in the
first volume it is safe
to predict that this
collection will surpass
in excellence any-
thing of its kind
which has ever before
been published. It
constitutes an epi-
tome of the world's
DETAIL BY HEI.MI.E * HfBERTV, , , . .
architects. best productions in'
South Amboy Terra Cotta Company, architecture, sculp-
Makers. ture, painting, and
kindred arts. Perhaps the chief
value which a work of this sort
would have for the architect is
the concise description of the
subject which accompanies each
illustration. These descriptive
articles are furnished by men
known throughout the world as
authorities in matters of art.
IN GENERAL.
DKISCOLL STORES, BOSTON.
Peabody & Stearns, Architects.
Front of white mat glaze terra cotta, Atlantic Terra Cotta
Company, Makers.
Codman & Despradelle have
been chosen as architects for
the new Brigham Hospital
which is to be built near the
Harvard Medical School group,
Boston. The selection was
made by competition, in which
many of the leading firms were
participants.
The Texas State Association
of Architects has been organ-
I , i/.ed with the following officers:
J. E. Flanders, Dallas, presi-
dent; James Wahrenberger,
San Antonio, first vice-presi-
dent; A. O. Watson, Austin,
secretary-treasurer. The object
of the association, as stated in
the constitution, is "to unite
in one common fellowship the
architects of the state of Texas
to combine their efforts so as to
promote the artistic, scientific, and practical efficiency of
the profession, and to cultivate and encourage the kindred
arts and to correct unprofessional practices, and to help
the cities of the state in securing proper building and
sanitary laws."
Wheelock, Joy & Wheelock, architects, Birmingham,
Ala., will dissolve their copartnership January 1.
S. Scott Joy will take offices in the Farley Building, and
desires manufac-
turers samples and
catalogs.
Emil John and
M. A. Schmidlin
have formed a co-
partnership for the
practise of archi-
tecture, with offices
in the Monadnock
Building, San
Francisco.
The Western
Brick Company
have removed their
executive offices
from the Builders' detail by wii.i.iam h. gruen,
Exchange to the architect.
Indiana Pythian Winkle Terra Cotta Company, Makers.
288
tup: brickbuilder
Building, Massachusetts avenue and Pennsylvania street,
Indianapolis.
Carter, Black & Ayers of New York will supply the
brick for the new Nassau Hotel at Long Beach, L. I.,
L. R. Kauffman, architect; the new Carlton House and
the Ritz-Carlton Hotel, New York City, Warren & Wet-
more, architects; the new Martin Building, Broadway,
TO DRAUGHTSMEN : I have an opening for a first-class
man at designing and general preliminary work. Permanent
position for the right man. R. H. HUNT, Chattanooga, Tenn.
WANTED. By an architect in the South, a draftsman for
general office work ; one competent to supervise work. A
good chance for the right man. Address, stating experience
and salary expected, " Columbia," care The Brickbuilder.
A SENSIBLE GIFT
A GLOBE, MAP, OR ATLAS
is most practical. Will afford profit and pleasure to the
entire family for years. Send for catalogue and price
list.
Enclose this ad with 5 two cent stamps and we will send
POCKET MAP OF MANHATTAN
RAND, McNALLY &> COMPANY
New York City
New York, Townsend, Stcinle & Haskell, architects. Har-
vard bricks will be used in the Ritz-Carlton Hotel, and the
general effect in the bond and jointing was studied from
panels which were laid up especially for the purpose.
This firm will place upon the market by the first of the
year a new stiff-mud red brick of very rich color, made
from Bradford shale.
The bricks used in the Second Baptist Church, St.
Louis, Mauran, Russell & Garden, architects, illustrated
in this issue, were made by the Hydraulic-Press Brick Co.
A SPECIAL ISSUE OF
The English Architectural Review
(London) illustrating
RECENT ENGLISH DOMESTIC WORK
will be published in December, 1908, in England, and will be distinct from
the ordinary issues of the Review. The illustrations will be accompanied by
plans and short descriptive notes in English, French, and German.
The ivort of over ^(i prominent architects of England ivill be shoivn.
Edited by MERVYN E MACARTNEY, K.R.I.B.A., F.S.A.
The publ shers sjy : —
" The enquiries for this issue, both from the United Kingdom and abroad, are
already very numerous, and the examples given, not being the work of one particular
school of architectural design, or limited to houses of a particular class, may he ac-
cepted as forming the most complete and representative collection of Modern English
I >omestic Work that has yet been published. The book may be confidently recom-
mended to architects and the very large public which, at the present time, is
interested in artistic houses and house-building.
"As the edition must be strictly limited, orders should be received as early as
possible."
/V/, 1', bound in liiwible cioth, $2*25. Sent, express f>aid, on receipt of money.
VI. A. VINSON,
Representative of " The Architectural Review," London.
205 CAXTON BLDG., CLEVELAND.
Annual subscriptions to "The Architectural Review," $4.00.
Competition for a Hospital Building.
First Prize, $500. Second Prize, $200. Third Prize, $100.
COMPETITION CLOSES JANUARY 16, 1909.
PROGRAMME.
The problem is a Hospital Huilding. The location may be assumed in any
American city of about 30,000 inhabitants. The lot contains about five acres and has
a frontage of 300 feet on the main avenue, leading to the city, which runs east and
west. The part of the lot on which the building is to be placed is practically level.
It is to be a block hospital with three Moors above the basement, lhe height of
the first and second stories is to be not less than 12 feet- No one Moor above the
basement is to contain more than 10,000 square feet, exclusive of sun rooms and
approaches. The length of the structure, including sun rooms and approaches,
cannot exceed 100 feet.
The following should be provided for in the plan :
Two ten bed wards for each sex in the Medical Department ; two ten hed wards
for each sex in the Surgical Department; and in connection with each of these
wards two one bed rooms. Two ten bed wards for each sex in the Children's De-
partment. A Maternity Department to accommodate six patients, two of which are
to be in private rooms, and in conjunction with this department a delivery room and
baby room.
In conjunction with the wards there should be provided service rooms or diet
kitchens, nurses utility rooms, linen rooms, broom and medicine closets, clothing
rooms and toilet rooms.
In addition to the private rooms provided for in connection with the open wards
there should be at least eight private rooms for single patients.
Operating and accident rooms, with their adjuncts of anesthetic, sterilizing,
bandage, instrument, nurses' work room, reception, and recovery rooms, also
surgeons' dressing room and X-ray room.
Single bed rooms for at least twenty nurses; nurses' parlor; suite for superintend-
ent and head nurse; bed room for two internes; reception room for patients;
laboratory ; drug room ; cooking class room ; kitchens ; store rooms ; laundry ; bed
rooms for fourteen domestics — four being males; dining room for staff and
nurses; dining room for domestics; toilet rooms; small out-paiients department:
autopsy room ; boiler room ; fan room, and such other features as may suggest
themselves to the designer.
The exterior of the building is to lie designed entirely in Architectural Terra
Cotta, employing colored terra cotta in at least portions of the walls.
The following points will be considered in judging the designs:
A. Frank and logical expression of the prescribed material.
B. Rational and logical treatment of the exterior.
C. Excellence of plan.
In awarding the prizes the intelligence shown in the constructive use of terra
cotta and the development or modification of style, by reason of the material, will
be taken largely into consideration.
It must be borne in mind that one of the chief objects of this competition is to
encourage the study of the use of Architectural Terra Cotta There is no limitation
of cost, but the designs must be suitable for the character of the building and for
the material in which it is to be executed.
DRAWINGS REQUIRED.
< >n one sheet, at the top, the front elevation drawn at a scale of 8 feet to the
inch. In the title of this elevation state which point of the compass it faces. On
the same sheet, below the front elevation, the four Moor plans drawn at a scale of
16 feet to the im h.
On a second sheet, at the top, the elevation of secondary importance drawn at a
scale of 16 feet to the inch ; immediately below half inch scale details of the most
interesting features of the design. The details should indicate in a general manner
the jointing of the terra cotta and the sizes of the blocks- The color scheme is to
be indicated either by a key or a series of notes printed on the same sheet with the
secondary elevation and details, at a size which will permit of two thirds reduction.
The size of each sheet (there are to be but two) shall be exactly 36 inches by 24
inches. Strong border lines are to be drawn on both sheets one inch from edges,
giving a space inside the border lines zi inches by 34 inches. The sheets are not
lo be mounted.
All drawings are to be in black ink without wash or color, except that the walls
on the plans and in the sections may be blacked-in or cross-hatched.
(iraphic scales to be on all drawings.
Every set of drawings is to be signed by a nom <U plume or device, and accom-
panying same is to be a sealed envelope with the nom dt plume on the exterior and
containing the true name and address of the contestant.
The drawings are to be delivered Hat at the office of THE BRICKBUILDER,
B5 Water Street, Boston, Mass., charges prepaid, on or before January 16, 190*3.
Drawings submitted in this competition must be at owner's risk from the time
they are sent until returned, although reasonable care will be exercised in their
handling and keeping.
The prize drawings are to become the property of THE BRICKBUILDER,
and the right is reserved to publish or exhibit any or all of the others. Those who
wish their drawings returned may have them by enclosing in the sealed envelopes
containing their names, ten cents in stamps.
The designs will be judged by three or five well-known members of the architec-
tural profession.
For the design placed first in this competition there will be given a prize
of $500.
For the design placed second a prize of $200.
For the design placed third a prize of $100.
\\> ire enabled to offer prizes of the above-mentioned amounts largely through
the liberality of the terra cotta manufacturers who are represented in the advertis-
ing columns of THE BRICKBUILDER.
This competition is open to everyone.
THE BRICK BUILDER.
VOL. 17. NO. 12. PLATE 143.
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THE BRICKBUILDER.
VOL. 17. NO. 12. PLATE 144.
THE BRICKBUILDER.
VOL. 17. NO. 12. PLATE 145.
DETAIL OF BRICKWORK AND MEMORIAL DOORS.
FIRST UNIVERSALIST CHURCH, ROCHESTER, N. Y.
Claude Bragdon, Architect.
THE BRICKBUILDER.
VOL. 17, NO. 12. PLATE 154.
Firlt floor plun
/ Country Hoci jc Jor
MP Rachm. 5 J Randolpi i
«' Cbcstrjol t llll .Philadelphia .Pa
Second foe plan
Wll-,oi>r.>.r.- Architect
•)i-,(-Wlr,<.,tSI P1..UR,
35 w 2W i1^<l, New Yo'^GU
THE BRICKBUILDER.
VOL. 17. NO. 12. PLATE 155.
HOUSE, BROOKLINE, MASS.
SHEPLEY, RUTAN & COOLIDGE, ARCHITECTS.
5EC0S1V • PLOOR ■ PL7KN-
THE BRICKBUILDER.
VOL. 17. NO. 12. PLATE 156.
HOUSE AT WASHINGTON, D. C.
Wood, Donn & Deming, architects.
FRONT OF HOUSE.
REAR OF HOUSE.
HOUSE AT THOMPSON. CONN. Shepley, Rutan & Coolioge, Architects.
THE BRICKBUILOEF
DECEMBER,
1903.
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THE BRICKBUJILDER.
VOL. 16, NO. 6. PLATE
MAIN ENTRANCE FEATURE, WAR COLLEGE. WAR COLLEGE AND ENGINEER POST, WASHINGTON D. C.
McKim, Mead & White, architects.
THE BRICKBUILDER.
VOL. 16, NO. 6. PLATE
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VOL. 12. NO. 12.
LDER.
PLATES 92 and 93.
THE BRICKBUILDER.
VOL. 17. NO. 12. PLATE 146.
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DETAIL OF BRICKWORK, INTERIOR OF CHURCH AND PLANS.
FIRST UNIVERSALIST CHURCH, ROCHESTER, N. Y.
Claude Bragdon, Architect.
THE BRICKBUILDER.
VOL. 17. NO. 12. PLATE 147.
*>'• '
oROUND FLOOR PLAN.
SECOND BAPTIST CHURCH, K1NGSH1GH WAY BOULEVARD, ST. LOUIS.
Mauran, Russell & Garden. Architects.
L
THE BRICKBUILDER.
VOL. 17, NO. 12. PLATE 148.
DETAIL OF ONE OF MAIN ENTRANCES, SECOND BAPTIST CHURCH, ST. LOUIS.
Mauran, Russell & Garden, architects.
THE BRICKBUILDER.
VOL. 17. NO. 12. PLATE 149.
VOL.
THE BRICKBUILDER.
17, NO. 12. PLATE 150.
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THE BRICKBUILDER.
VOL. 17, NO. 12. PLATE 151.
TOWN HALL AT LANCASTER, MASS.
A. W. LONGFELLOW, ARCHITECT.
THE BRICKBUILDER.
VOL. 17, NO. 12. PLATE 152.
TOWN HALL,
LANCASTER, MASS.
1
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OF PLATFORM,
ST
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i LTI'ER PART OF PORTICO i
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SECOND FLOOR PLAN.
A. W. Longfellow,
Architect.
BASEMENT PLAN.
FIRST FLOOR PLAN.
?
THE BRICKBUILDER.
VOL. 17, NO. 12. PLATE 153.
NATIONAL CITY BANK OF NEW ROCHELLE, N. Y.
Henry Bacon, Architect.
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