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OF THE AMERICAN INSTITUTE OF ARCHITECTS

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EDITOR

Ioseph Watterson, FAIA

ASSTSTANT EDITOR

Donald Cantv

ASSISTANT TO THE EDITOR

Marilyn E. Ludwig

TECHNICAL EDITOR

Eric Pawley, rreASSISTANT TO TECHNICAL EDITOR

Margaret H. Phillips

ADVERTISING MANAGER

Mary H. Ranta

ART DIRECTOR

Wolf Von Eckardt, Hon lltASSISTANT ART DIRECTOR

Marilyn S. Housell

CIRCULATION ASSISTANT

Julie MartinSECRETARY

Janet R. Williams

The Journal ol the American In-stittte of Architects, official organ

of the Institute, is published

monthly at The Octagon, 1735

New York Avenue, N, W,, Wash-

ington 6, D. C. Editor: losephWatterson, nxe. Subscription inthe United States, its possessions,

and Canada, $5 a year in ad-vance; elsewhere 56.50 a year.

Chapter Associate members, $2.50,Students, $2.50, Members of Asso-ciatiorts ol allied professions, 92,50(by special grcup arrangement).Single copies 759. Copyright, 1962

bv The American Institute ofArchitects. Second class postage

paid at Washington, D. C. Change

of Address: Notily The Octagon,giving both old and new addresses.

Allow four weeks. Official address

of the Institute as a N. Y. Corpo-ration: Il5 E. 4Ath Street, NewYork, N.Y. Printed in Vl/ashington,D. C. by Judd & Detweiler, Inc.

Opinions expressed by contributorsare ,tot necessarily those of AIA

<A

57

8 Letters to the Editor12 Urbanisms (Urban Design 62-63)14 News

116 Woff Von Eckardt, Hon tre,: Allied Arts

CONFERENCE ON AESTHETIC RESPONSIBILITY33 Introduction by the Editor34 Philip WiIl, "Ir, nere and Richard llt. Snibbe, erl: Introduction35 First Panel: What Are Our Esthetic Values?

William Wilson Atkin, Eric Larrabee, Robert Beverly Hale, Jo Mielziner,Nathan Cabot Hale, David Amram, Dr Leonard Carmichael; Discussion

44 Second Panel: What Are the Esthetic Responsibilities of Government. Busi-ness. and Institutions?Daniel P. Moynihan, Jerome Belson, Dr David W. Barry, Erwin Wolfson,Herman D. Hillman, Dr Burnham Kelly; Discussion

August Heckscher: The Challenge of Ugliness (Luncheon Address)Third Panel: Who Is Responsible for Ugliness?

Martin Williams, Dr John L. Schimel, Russell Lynes, Ad Reinhardt,Joseph P. Coogan, Samuel Ratensky, Dr Paul Goodman; Discussion

65 Richard W. Snibbe, ere: A Plan for Action

THE PROFESSION67 Overseas Diplomatic and Consular Buildings77 Dudley Hunt, lr, are: Comprehensive Architectural Practice81 Robert F. Hastings, rere: Comprehensive Practice-Industrial Buildings88 1962 R. S. Reynolds Memorial Award

THE INSTITUTE92 lohn Scacchetti, N^: NcARB-Administering the Licensing Law94 William H. Scheick, ere: Stvles and Critics95 Library Notes96 Book Reviews98 The Editor's Page: Who Is Responsible for Ugliness?

I 18 Corporate Members120 Calendar120 Necrology

TECHNICAL99 Perry E. Borchers, Jr, trt: Architectural Photogrammetry

103 Peruy E. Borchers, Ir, au; Choice of Station and Control109 Perry E. Borchers, Ir, ttt: A Three-Dimensional Record of Byzantine and

Baroque Architecture

THE COVERA detail of the Museum Cultural Center at Le Havre, winner of the 1962R. S. Reynolds Memorial Award. Story and more photos appear on page 88

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THE AMERICAN INSTITUTE OF ARCHITECTS

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OfficersPresident

First Vice PresidentSecond Vice President

SecretaryTreasurer

Executive DirectorRegional Directors

Central StatesFlorida

CalilorniaTexas

IllinoisPennsylvania

East CentralNew York

New EnglandOhio

North CentralLVestern Mountain

Middle AtlanticMichigan

Gulf StatesNorthwest

South Atlantic

Executive DirectorSecretary to the Executive Director

Legal Counsel

Director. Administrative ServicesComptrollerMembership

PersonnelPurchasing Agent

Director, Public ServicesEditor ol the Journal

Assistant EditorAssistant to the Editor

Advertising Manager of the lournalPublic InlormationInstitute Relations

Assistant Art DirectorExhibil Services and Foreign Visitors

Awards Services

Director, Professional ServicesChapter and Student Afiairs

Architectural-Building I nlormation Serv icesProlessional Practice

Research SecretaryAssistant to Research Secretary

EducationHistorianLibrarian

Technical SecretaryConsultant on Contract Procedures

Henry L. Wright, rerA, 1125 W 6th Street, Los Angeles 17, CalifJ. Roy Carroll, nere, 6 Penn Center Plaza, Philadelphia 3, PaArthur Gould Odell, Jr, reu, 102 West Trade, Charlotte, N CClinton Gamble, rare, PO Box 2465, Ft Lauderdale, FlaRaymond S. Kastendieck, FAIA, 128 Glen Park Ave, Gary, IndWilliam H. Scheick, en(Terms expire 1963)

Oswald H. Thorson, xt,2l9 Waterloo Bldg, Waterloo, IowaRobert M. Little, neIe, 2180 Brickell Ave, Miami, FloridaMalcolm D. Reynolds, rere, 916 Kearny St, San Francisco, CalifReginald Roberts, ere, 2600 N McCullough Ave,

San Antonio, TexWilliam Bachman, xe.,7lll State Line Ave, Hammond, IndWilliam W. Eshbach, eIe, 1519 Walnut St, Philadelphia, Pa

(Terms expire 196.4)

James Allan Clark, ara, Henry Clay Sta, Box 57, Lexington, KyMorris Ketchum. Jr. nen. 227 E 44th St. New York N YJames Lawrence, Jr, rere, 711 Boylston St, Boston, MassGeorge B. Mayer, FAIA, 616 The Arcade, Cleveland, OhioJulius Sandstedt, ere, 135 Market St, Oshkosh, WisR. Lloyd Snedaker, xt, 12 Post Office Pl, Salt Lake City, Utah(Terms expire 1965)

Charles M. Nes, Jr, rere, 2120 N Charles St, Baltimore 18, MdAdrian Nelson Langius, rere, 131 Lewis Cass Bldg,

Lansing 13, MichG. Scott Smitherman, ere, 961 Jordan St, Shreveport, LaRobert L. Durham, FAIA, 1100 Denny Way, Seattle 9, WashWilliam Ernest Freeman, Jr, ere, 226 W Washington St,

Greenville, S C

1735 Nrw yoRK AVENUE, N w, wASHINcToN 6, D c

William H. Scheick, .ueMabel DaySamuel Spencer

J. Winfield Rankin, Hon ereWilliam G. WolvertonFlorence H. GervaisJane DoughertyMarvin MayeuxMatthew L. Rockwell, AIA, AIPJoseph Watterson, FAIADonald CantyMarilyn E. LudwigMary H. RantaDonald CantyKenneth C. Landry, ereMarilyn S. HousellAlice Graeme KorffFaynetta W. Nealis

Theodore W. Dominick, erlM. Elliott Carroll, ere,Theodore W. Dominick, AIA (Acting)Robert J. Piper, ereEric Pawlev. ereMargaret U. nnillpsMaurice William Perreault, ereHenry H. Saylor, retlGeorge E. Pettengill, Hon ereRobert J. Piper, en (Acting)William Stanley Parker, rale

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8

Letters

A Monumental FailureEDrroR, Journql of the AIA:

We must assume that the result of the [FDRMemoriall competition proved the chosen projectsuperior in originality and design to the otherentries. The question whether it is desirable toexecute the chosen design in its present form has

been questioned by many well-qualified critics.The Jury stipulated that a statue or bas-relief

of Roosevelt must be added to the project. Thisdemand points out one weakness of the present

design: the absence of a reference to the memo-rial's intent.

Kidder Smith, in his recent book on European

architecture, remarks on the greatness of the

Fosse Ardeatine in Rome, commemorating the

slaughter of 335 Italians during the war, and the

superfluous statue of three bound men adding an

incongruous and unnecessary explanation. TheMemorial should be strong enough without a

pictorial illumination clearly demonstrating it as

an afterthought.Much has been said about the colossal scale

of the project. The weakness of scale shows quiteclearly in the photographs of the model, wherehundred-foot trees dwarf the human observers.

Most of the photos have been taken from heightsof 150 feet or higher, points of view rarely as-

sumed by the contemplating people. A micro-lensposition within five feet of the ground would give

a truer picture of the actual appearance to the

human eye. Roosevelt's words engraved way be-yond the reach of vision become a surface orna-ment or must be increased to enormous size, inproportion to the distance from the observer.

The unarticulated and repetitious forms of themonument have little to recommend in model-size.Blown up to 170 feet, their emptiness would be-

come overwhelming. Human scale could express

the warm compassion for mankind which Roose-

velt's image meant to the people. To confuse big-ness with greatness is a cruel mistake of monu-ments the world over. Stonehenge stands sixteen

feet and less above ground. The chapel in Ron-champs has an area of forty by eighty feet.

It must be accepted that the useful memorial,the school, hospital or library, is not the purpose

of this monument. But by denying it a utilitarianfunction, it takes on the obligation of a great

work of art in order to do Roosevelt justice. Theprize-winning architects must be encouraged to

develop their original thought to a point where

an added Roosevelt statue becomes superfluous

and redundant. Trellised roofs and garden struc-

tures may be incorporated with water surfacesand protecting walls which could carry the en-graved words of the President, scaled down tothe human level and reading eye. Reduced heightsof the slabs may blend into the surrounding trees,not breaking the silhouette of the green belt ortower over the water's edse. Roosevelt deservesa smaller monument.

i:iilt5itisrwAlD' AIA

The Population ImplosionEDIToR, lournal of the AIA:

Your Editor's Page in the April lournal de-serves, and is herewith given, laurels and com-mendations. The preservation of the richer ele-ments of our achitectural heritage and the preser-vation of our diminishing open spaces go handin hand. And in spite of all that architects, land-scape architects and conservationists have said

and written on the subject-are inadequately em-phasized.

What makes this whole subject so critical todayis the return from rural areas to the cities, buteven more the population explosion, which in turnproduces an implosion (to borrow a word fromthe AEC) which tends to destroy architecturalmilestones and open spaces alike.

It is gratifying to realize that thinking people

-not only among the design professions, but in

government circles as well--are becoming moreand more aware of the diminishing resource ofopen space. Eggers and Higgins found how littlethere was left in the Astor-Cooper Square area,

worked out a plan to do something about it bybreaking down the fences and opening up blockinteriors for central malls, thereby creating the

only open spaces in the area other than the streets

themselves! They argue-quite rightly-for thehuman approach to urban renewal, which wouldpreserve the integrity of the neighborhood when

at all possible.This, of course, might well be pushed a step

further. Neighborhoods could be analyzed, theirboundaries defined and themselves preserved.

But intervening, transitional areas might betterreceive the attentions of the bulldozer, leaving

open space for sun, air, transit and the like, whileretaining the islanded neighborhoods intact.These, with their schools, churches, libraries, and

such should be as far as possible from the inter-neighborhood areas which, in spite of their open

and pleasant appearance, must necessarily bear

the noise and danger of the transit arteries'LYNN M. F. HARRISS, ASIA

Washington, D.C.(Continued on Page I0)

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"Constancy is the foundation of virtues."-Francis Bacon

The virtues of superior architecture-the excellence ofline and mass, of color and of function-reflect not onlythe architect's ideas, but their execution as well. Every ma-

terial part of a building must be constant to the specifica-

tions, and constant through time as well, or the ideas willbe unfulfilled and their virtues unexpressed.

In order to provide the necessary constancy, the QualiryVerification Council of the Porcelain Enamel Institute has

undertaken a program of quality research and certificationfor architectural porcelain enamel. The QV program Pro-vides for unannounced inspections by an independent con-

sultant to verify the continuing capability of participatingcompanies to meet the established QV standards.

As a result, the architect may specify Quality Verifiedarchitectural porcelain enamel from any certified member

of the QV Council. He will find that constancy bears the

QV label.Certif ied members of the Quality Verif ication Council currentlyinclude: ATLAS ENAMELTNG CO., lNC., St. Louis, Mo.; CALORICCORPORATION, Architectural Porcelain Div., Topton, Pa.i CHAL-LENGE STAMPING & PORCELAIN CO., Grand Haven, Mich.i DAVID-SON ENAMEL PRODUCTS, lNC., Lima, Ohio; THE ERIE ENAMELINGCO., Erie, Pa.; ERVITE CORPORATION, Erie, Pa'; INDUSTRIAL

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Lgttefs Gontrnued)

Criticism for a CriticEDrroR, Iournal ol thc AIA:

It is good that the lournal should publish bookreviews. But please don't conform to the bad cur-rent American practice which converts criticism ofbooks into editorials about whatever the critic isthinking of. A book review should be a bookreview.

A particularly bad current example of this prac-tice is Sibyl Moholy-Nagy's irresponsible accountof the collected works of Montgomery Schuyleras brilliantly edited by William H. Jordy (Iournal,April, 1962).

There might not be much virtue in publishingsuch diatribes an)nvay, but if they were clearlymarked as editorial then one might be tempted toreply. One might suggest to Mrs Moholy-Nagy thatall the architectural wisdom and sensibility of twohundred years was not compressed into one quar-ter of the twentieth century; that Charles FollenMcKim was a very considerable architect; thatNew York will be more diminished by the loss ofPenn Station than Chicago by the loss of the RobieHouse. One could say that Schuyler sheds consid-erable light on architecture and his time, and thatwe cannot and should not want to erase this timefrom architectural history. One could also com-ment on whether the minds of the young people do

need such zealous protection by their elders. Hav-ing somehow indoctrinated her students so that"they know damn well what modern architectureis," Mrs Moholy-Nagy finds it dangerous "to chal-lenge their untried convictions with volume aftervolume." I supposed it was the duty of a teacher

to assist students to arrive at their own convictions.. . . Of course, if they have been shielded fromthe counter-argument all the time, they may in-deed be as tender as Mrs Moholy-Nagy seems tothink. . . .

But since her diatribe was not published as an

editorial, one cannot do any of these things. One

can only express sorrow that the lournal did notdemand and obtain a serious and informative ac-

count of a serious and well-edited work.JOHN E. BURCHARD

Cambridge, Mass.

BDrroR, lournal ol the AIA:My review . . . represents a full month of con-

scientious work and numerous rewritings to arrive

at the fairest possible evaluation. No invective, noteven the highly personal one of the Dean, can

diminish either this effort or its results'SIBYL MOHOLY-NAGY

New York Citv

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A regular column conducted by our

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Problems with "701"?

In several states, notably Wisconsin and Kansas,

a problem has arisen regarding the selection ofconsultants under the "70I" provision of the Na-tional Housing Act. This Act is administered boththrough the HHFA and through certain local state

agencies which provide their own list of qualifica-tions in the development of a roster of "approvedconsultants."

Recently one of our outstanding members tookexception to the "planning" activities of such a

State "Division of Community Planning." These

activities, partially financed through the use of"701" funds, provide for services to local com-munities which include "preparation of base

maps, studies of past, present and future trendsin population growth," etc. When these services

are concerned with the minutiae of informationwhich is largely inventory in nature, there are

few architects who would be interested. But when

they concern physical concepts resulting from as-

sembled information. the architect is almost ex-

clusively involved. In the words of Mort Hoppen-feld, "to be truly significant, design must be an

integral aspect of the planning process." Thisconcept has not been stressed sufficiently by the"701" program.

In states where qualifications are necessary toseparate out the incompetents from the consultantrosters of the state "701" programs, architects

have taken exception when they have not been in-cluded merely by virtue of being architects.

Occasionally membership within the AmericanInstitute of Planners is cited as a prerequisite tothese lists. Be assured that this fact is not an open

sesame to "70l" practice, and be assured also thatthis is not a membership building service of the

AIP. Our liaison efforts with the latter group in-dicate there exists more than a halfway inclina-tion to develop "team" PlaY.

We see the professions of architecture and cityplanning at extreme ends of a long continuumwhich lies between. In the middle are many dis-

ciplines: landscape architecture, sociology, eco-

nomics, law, civil engineering. We should talkmore of the similarities between architecture and

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News

School Shelter Competition

AIA, in response to a request from the Depart-ment of Defense. has contracted to conduct a

national competition for the design of an elemen-tary school incorporating a fallout shelter.

The competition, which provides for cash prizestotalling $55,000, including a $15,000 nationalgrand prize and regional prizes, is open to archi-tects and engineers registered in the US and tofaculty members and graduates of architecturaland engineering schools. A spokesman stressed

that because of the scope of the design problem,collaborative participation by architects and engi-neers is encouraged.

In a statement on the design competition, Steu-art L. Pittman, Assistant Secretary of Defense,said "It is self-evident that a nationwide progra^m

to make [fallout] shelter available cannot succeed

without the continuing support of qualified archi-tects and engineers.

"The ideas generated by these creative people,through a national design competition, will stimu-late thinking and a desire among other responsiblepeople to take positive and specific action.

"The results of this competition will show poten-tialities of public shelter in connection with onlyone of the many community facilities-schools.The features necessary for a public fallout shelterare present, or can be created at low cost, in manyschools. . . Because of the interest which archi-tects and engineers have already demonstrated incivil defense efforts, I am sure that this competi-tion will draw forth many useful ideas."

In addition to the national grand prize, a firstprize of $4,000 will be awarded in each of theother seven civil-defense regions; and in all eightregions second and third prizes of $1,000 and

$500 will be given.

For copies of the program and registrationforms, write: A. Stanley McGaughan, AIA, Pro-fessional Adviser. National School Fallout Shelter

Design Competition, 1735 New York Ave, NW,Washington, D C.

Product Literature Awards

Forty manufacturers and eight associates tookawards in the 1962 Building Products LiteratureCompetition, sponsored jointly by the Instituteand the Producers' Council.

Top awards winners were Marble Institute ofAmerica, Koppers Company, Inc, Owens-Corning

(Continued on Page 16)

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Fiberglas, US Steel, Portland Cement Association,and American-Saint Gobain Corp. All receivedExceptional Merit awards for literature rangingfrom reference handbooks to space advertising.

Entries were judged by a Jury of Awards includ-ing D. Kenneth Sargent, rlrn, Edgar H. Berners,FAIA, Marcellus Wright, Jr, FArA, and R. LloydSnedaker, erl.

Mayan Architecture Exhibit

Clint Mochon, AIA, Milwaukee, has notified theIournal office that he has prepared an exhibit ofMayan architecture which he will make availableto any school of architecture on a rental basis.

The exhibit consists of twenty panels, approxi-mately thirty inches square, containing largephotographs of Mayan architecture. Accompany-ing the exhibit is a collection of background mate-rial on the specific buildings and the architecturaldevelopments of the periods they represent. Forfurther information about the exhibit, contact MrMochon at lIl2I West Oklahoma Avenue. Mil-waukee 19, Wisconsin.

In Appreciation

The Institute wishes to express its gratitude toMr H. Leslie Hicks of Texas Granite Corporationfor the company's generous gift which enabledseventy-five student delegates to the Dallas Con-vention to attend the Fiesta of the Six Flags. Thegift was made jointly with the Cold Spring Gran-ite Company, of which Texas Granite Corporationis a subsidiary.

Church Architectural Conference

The Church Architectural Guild and the De-partment of Church Building and Architecture,National Council of Churches, jointly sponsoredthe 22d National Church Architectural Conferencewhich met in Cleveland in late March.

Anthony Ferrara, AIA, was reelected presidentof the Guild, with Milton Grigg, FnIr,, as vice-president; Walter J. Wefel, Jr, AIA, as secretary,and P. John Hoener, AIA, treasurer.

One hundred and fifty-two church building de-signs were submitted to the conference for con-sideration for the 1962 church architecturalawards. The jury (The Rev Dr Hugh T. Kerr,Professor of Systematic Theology at Princeton, DrRobert Iglehart, Chairman of the Art Departmentat the University of Michigan, and Paul Hayden

(Continued on page 18)

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Kirk, ren) commented: "The majority of the en-tries sufiered from both the indecision of the state-ment of the problem and the lack of an honest in-terpretation and use of forms and materials by thearchitects. The complete disregard for simplicityand obvious quest for the sensational was mostapparent."

Awards of merit were made as follows: Birkertsand Straub, for University Reformed Church, AnnArbor, Michigan; Stewart and Richardson, forWestminster Presbyterian Church, Eugene, Ore-gon; W. D. Over, for Scottsdale CongregationalChurch, Scottsdale, Ariz; Dalton, Dalton Asso-ciates, for St Anselm Roman Catholic Church,Chesterland, Ohio; Wright and Gillfilten, forBethany Lutheran Church, Columbus, Ohio; ttrerkVisnapuu and Robert C. Gaede, for CommunityChurch, Chesterland, Ohio; Curtis and Davis, forSt Francis Cabrini Roman Catholic Church, NewOrleans, and also for Immaculate ConceptionChurch, Marrero, Louisiana.

Mr Lavanoux, as excutive secretary of the Li-turgical Arts Society and editor of its magazine,has crusaded for thirty years for more worshipfulchurch edifices.

Franzen Honored

Ulrich Franzen, AIA, has been named winner ofthe annual Brunner Memorial Prize in Architec-ture of the National Institute of Arts and Letters. -

The prize was conferred at the Joint Annual Cere-monial of the National Institute and the AmericanAcademy of Arts and Letters in late May.

The Brunner Prae is given to an architect whoshows promise of contributing to architecture as

an art. The award was established in honor ofArnold W. Brunner, distinguished architect and

town planner, who served for many years as

treasurer of the National Institute of Arts and

Letters.

Bush-Brown to Head School of Design

Dr Albert Bush-Brown, author, editor, architectural historian and critic, has been named tosucceed Dr John R. Frazier as president of RhodeIsland School of Design, following Dr Frazier'sretirement.

Dr Bush-Brown is at present Associate Pro-fessor of Architectural History, and ExecutiveOfficer of the Department of Architecture, MIT.

He was the author, in collaboration with DrJohn E. Burchard, of last year's best-selling book,

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With the-::blessing and support of the Boartlof Directors of the Institute, the New york Chap_ter AIA appointed a Design Committee. whichplanned and produced an all-day conference on"Aesthetic Responsibility.'' Staged in some stylein the Grand Ballroom of the Hotel plaza. itwas well attended by architects. the public andthe press.

Because of its importance as a ..pilot project...and because of the stimulating nature of themajority of the shorr ralks gi;n, i;; irr'"rtpresents the conference almost in full. Onlv oneof the nineteen panel speakers was * ur"hit..,.and he spoke as afl educator. It was purnoselvplanned as an opportunity for the wett_informea

iut.ul. to a-sk the architect ..Who is responsiblefor ugliness?" In order to compress it into theIournal, it was necessary to cut portions fromthe addiess of nearly

"u"ry ,p.u[er. Similarly,

the question and answers were cut do*n. tto*_ever, no scheduled speaker has been omitted.

Officers and members of other chapters woulddo well to study the Conference caiefully_forthe ugliness that lies all about us is certainly theconcern of the architectural profession.

Introduction by Philip Will, Jr, FAIA

Past President, American Institute ol Architects; Moderator

) It is my immediate task to tell you why we

happen to be here today. Every profession has a

responsibility for a facet of the public welfare, a

responsibility beyond the daily routine of its call-ing. As the doctors are responsible for the nation's

health and the lawyers for the rule of law, so are

the architects assuming responsibility for our man-made environments and environments in harmonywith the aspirations of man.

Such a burden, however, is too heavy and broad

to be carried alone by the small band of men and

women who compose the architectural profession'

It must also be carried by others. Not just the de-

sign professions, but all the men and women who

share our concern.

The seed for this Conference was planted al-most a year ago at the national convention ofThe American Institute of Architects. A NewYork resolution was passed favoring the creationof committees on design within the various chap-

ters of the AIA.I'm sure you know what happens when a

soldier suggests something in the army. MrSnibbe in New York was appointed volunteer incharge and Chairman of this pilot Design Com-mittee.

A lot of work ensued and this Conference is

the result.That tells you how we happen to be here to-

day and here, to tell us why, is Mr Snibbe. {

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Introduction by Richard W. Snibbe, AIA

Chairman, Design Committee, New York Chapter, AIA

) This Conference was conceived for the pur-

pose of inspiring community activity to fight our

country's ugliness.

We must engage in this struggle if we are to

develop culturally as well as scientifically. We are

fighting immensity, the corporate mind-a totalmachine society, in defense of our democratic

life.We are fighting the pressure for cheapness in

the midst of our greatest period of prosperity'

We have never been richer and poorer at the

same time. More production and consumption

seem to lead to lower standards of workmanship

instead of longer-lasting and more beautifulproducts and buildings.

We believe that broad citizens' Committees on

Esthetic Responsibility must be established

throughout the nation to arouse public awareness

of esthetics, to re-educate people to see, to bringpressure on everyone responsible for our visual

environment to stop this desecration of our

country.I have here in my hand the essence of today's

Conference-the thoughtfully prepared talks you

are about to hear. I have read them all and there

is a great deal of distilled thought and effort here'

These are the words of businessmen, educators,

public officials, writers, artists. We have not in-

cluded at this conference the architects and lec-

turers heard at almost every gathering sponsored

by architectural groups. Why? Because today we

need new thoughts and a new realization of

esthetic responsibility that will lead to action'

Architects speaking to architects will not bring

this about and so I particularly welcome, among

the audience, the artist, the interested private

citizen, the banker, the representative of industry

and all others outside my profession who directly

or indirectly help decide what our esthetic values

shall be. {

What Are Our Esthetic Values?

William Wilson AtkinArchitectural Book Editor, W hitney publications

) Slums, being robbed or mugged by an addict with a $25-a-day habit, shelters, ,.Gun-

smoke," Park Avenue nouveau: we don't have any esthetic values.We cannot even begin to develop any esthetic values as long as we are a society

that believes in war and spends fifty-eight per cent of its income supporting that activity. {

Eric Larrabee

Managing Editor, Horizon Magazine

> I would like to direct myself to a rather narrow topic, which is the tri<ornered rela-tionship between the architect, his client and the builder. Doing so on the grounds thatthe standards which prevail, which is the topic for the first panel, are in many real sensesa by-product of this relationship and the way in which it controls what architects can andcannot do, the way in which it is frozen and determines some of their power.

Obviously enough, the client andthe builder possess very great pow-ers. The client has the power tochoose to do or not to do. thebuilder has the power to saywhether or not it can be done. Thearchitect's position is seemingly astrong one, but in practice I thinkit is often disposed to be weak. Thearchitect has the creative power,the power to shape the construc-tion, and he has certain legalpowers to approve or not to ap_prove the final result. But in factwhat he often becomes is a brokerbetween conflicting interests and aman who struggles to reconcile theirreconcilable. Now among the rea-sons why this is, there seem to memany that have to do with habit.with custom, with the temper ofthe times, with changes that havetaken place in our society and thathave not been fully absorbed intothis three-cornered relationship.

For one thing, in an inflationarvperiod like our own, the client isalmost by definition a man who hasan exaggerated idea of what he can

get. If you were to ask the averageclient to describe to you a five mil-lion dollar building, I am certainthat he would describe one thatcould be built, if at all, for ten mil-lion. And the process of buildingsuch a building is, of course, theclient's education and he blamesthe architect for his progressive dis-covery of his own lack of realism.What this process is like you allknow too well. The architectstruggles to bring the building with-in a budget. When the bids comein, it is over the budget and thejob of hacking and mutilating be-gins. And what goes, in the opinionnot necessarily of the architect, butcertainly of the client and the con-tractor, is what can be spared. Thisis more than likely to be what weall prize the most, everything thatgives a buitding or a projeit thequalities of beauty, amenity andhumanity, the quaiities that wouldperhaps save us from the swamp ofugliness in which we find ourselies.

In this respect the architect isthe only custodian of the public's

esthetic needs. And his position ismade, oftentimes, virtually impos-sible from the very start. I feel thatI can say this as an editor, becauseeditors are in a somewhat similarthree-cornered relationship. Westand between writers and the pub-lic. But I must say in sadness bycomparison it seems to me that edi-tors have an accepted authority andresponsibility. We are lucky in thisrespect. If it is our professionalopinion that something is unread-able or uninteresting, the chancesare that our views will prevail. If anarchitect says that a building is un-lovely or socially undesirable, whatare the chances that his view willprevail?

These chances seem to me todavto be made somewhat worse bv thlintrusion into this triangle bf afourth party, whose arrival on thescene has not wholly been noticed,certainly not by the public. He goesunder many names. I think of himprimarily as the consultant. Some-times he may be among the client'sbusiness managers or other advi-

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sors, but by definition he is a manwho possesses considerable actualcontrol and has nothing whateverof the public responsibility. Heoften has the part of saying whethersomething can be done or not done.He often sets the figures long be-fore hand, which will determinethe way in which a building will be

built. And as these figures are set,

as I remember I. M. Pei saYing onetime, the architect maY discover,when he comes late into a job, thatsomebody moved a decimal Pointsix months ago and his job has beentaken away from him and his oP-portunity for determining what willbe done has narrowed. In this re-spect what I imagine I am coun-selling you to do is to stoP thisusurpation of what seems to meyour natural role and to demandmore responsibility, more authority,to carry out your own role.

As an example of this I wouldlike to conclude with a single docu-ment which is in this rather large,ungainly book. This is a form letterwhich the architect HenrY H. Rich-ardson sent to his clients when theyasked for information about histerms and his charges. I would liketo read it to you.

"Dear Sir: The following state-ment was prepared in rePlY to therequest of a client for an exPlana-tion of the basis of mY charges and

the responsibilities which, as an

architect, I undertake. It has beenmy practice to charge 5Vo on thecost of the building, with an addi-

tional charge which covers, ( 1 ) thevisits of the clerk of the works, (2)his travelling expenses, (3) mYtime loss in travelling and (4) mYtravelling expenses.

"My habit at one time was tocharge for these by items, but Ifound this was as annoYing to mYclients as to myself and I now Pre-fer to charge a fixed commission of87o for all work costing more than$10,000 unless the work is so fardistant that the extra charge of 3Vo

will not cover time and expenses."When interior work, such as

mantels, wainscoting, ceilings, carv-ings on walls, columns, etc, is doneseparately the charge is verY muchhigher than 5%, sometimes as highas 5OVo. But the charge of 8Vo

covers everything inside and outthat is not moveable furniture.

"I undertake by mYself or mYclerk of the works to see that allthe necessary supervision is givento the building. The duration andextent of such supervision will be

determined by the nature andcharacter of the work. I do notagree to suPervise, for instance,the laying of each brick or thedriving of each nail, but I do agree

to exercise such suPervision as is

calculated to, and ordinarilY willsecure the furnishing of materialsof the kind and quality requiredby the contract and the Perform-ance of the work in accordancewith the plans and sPecificationsand in a good, workmanlike and

substantial manner.

"Insofar as concerns the plansand specifications I guarantee thatthe building, when erected in ac-cordance therewith, shall be suitedto the uses for which it is erectedand that the specifications shall em-brace all that will be required tocompletely furnish it unless it shallhave been otherwise expressly un-derstood between the owner andmyself. For any errors of construc-tion which appear on my plans, forany failure to properly supervise thework, whereby the building whencompleted is rendered insecure orunsafe, or the stories or rooms aremade inaccessible or incapable ofbeing devoted to the uses for whichthe plans show they were intended,I consider myself responsible.

"In preparing the architecturaldesign I agree, after consultationwith the owner, to use mY bestjudgement. I cannot, however,guarantee that the building, whencompleted, shall conform to hisideas of beauty or taste or indee.d

to those of any person or school. Ican only agree to examine and con-sider this matter well and carefullyand to recommend nothing which is

inconsistent with my own ideas onthis subject. Of course, when Ifollow the owner's positive instruc-tions I consider mYself relievedfrom all responsibility whatever.

Yours verY trulY,H. H. RICHARDSON''

Ladies and gentlemen, there wentan architect. Go thou and do like-wise. {

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Robert BeverlY Hale

curator of American Painting and sculpture, Metropolitan Museum of Art

> I thought it might be pertinent to our subject to read to you a report written in the

year 3000 AD-that's about a thousand years from now, you know' It's a report written

by an archeologist from the planet Alpha Delta Phi, which revolves about the star Pi

Upsilon in the far-off galaxy of Andromeda which is about a thousand light years away'

This report was written for the President of that far-off planet and is dry and official in

tone. But I feel that here and there it does touch upon our subject for today which is, of

course, "What are our esthetic values?" The report begins:

our spaceship flew in low and may assume, was most- arduous we assume this to be because the

landed on a big pile of dirt our *oik. B,rt wiih the help of frequent buildings on Park Avenue were so

maps indicated to be the so-called orints oitryoiochloric'acid *"ioott large they frightened the popula-

Mound of Manhattan. We imme- got down io the street level. tion. Lexington Avenue, on the

diately dug a trench up what they What surprised .us- was that we other hand' was lined with many

called park Avenue, from 47th to ro,rno trurJtf any skeletons-on.Park interesting little- four-story build-

59th Street and another up Lexing- Au"nu", b,.rt many hundreds of ings and little shops' all quite in

ton Avenue. This, your Excellency thousands on Lexington Avenue. scale with the skeletons' Certain of

these shops on Lexington Avenuewere stocked with nothing butbottles of alcohol. Since these shopswere literally crowded with skele-tons we may, I think, assume thatalcohol was to them what hydro-chloric acid is to us.

We then returned to the space-ship for our Esthetic Value Ma-chine-or EVM, as we call it. AsYour Excellency knows, it is anindispensable item on an archeo-logical expedition, archeologists be-ing what they are. At our whistle, itcame bounding out of its squarebox, but we soon had it on leashand took it down into the excava-tion. Here we unleashed it and re-quested it to give us the preciseesthetic ratings of all the buildingson Park Avenue.

After sniffing about a bit, it re-turned to tell us that all the ratingswere negligible except for a largebronze building set slightly backfrom the others. This building, itsaid, deserved a rating of seven ona scale of ten, which is not at allbad. We examined this buildinecarefully and discovered it ttuJbeen a temple dedicated to alcohol.

We had come to a mild depres-sion around 59th Street and out ofit stuck an architectural projectionin the form of a dormer window.I looked inside and saw an aban-doned valise with a towel in itmarked "Hotel Plaza."

"I don't much like the look ofthat dormer," said the machine,and yet I'm registering pretty high.Maybe there's the remains of inesthetic convention downstairs."

Having finished these trenches,we led the Esthetic Value Machineover the top of the mound to thenorth. In the vicinity of about g2ndstreet, the machine gave a discreetcough, so we decided we'd diethere. We unearthed a vast storelhouse called The Metropolitan Mu-seum. This storehouse was full ofcanvas squares on which werepainted images of the inhabitantsof the planet Earth. We unleashedthe Esthetic Value Machine and itat once began to run from onesquare to another. Occasionally itwould get up on its hind legs. jniffat a canvas, and let out a coupleof whoops from its frontal sirens.But soon it disappeared into thelibrary where it quieted down andstarted to eat books.

We were delighted to see theimages on these canvases becausehitherto we had encountered onlvskeletons. But these images showeithat the inhabitants had muscles tomove their bones, the whole being

covered with skin, sometimes pink,sometimes brown, and, in the latercanvases, even green and purple.As we thought the problem over,we realized that the bones were thecompression members of the hu-man body and the muscles, the ten-sion members. To my practicalmind it was obvious that humanarchitects had not been in thehabit of drawing each other in thenude, otherwise they might haveincorporated some of this thinkinginto the design of their buildings.

In the great hall of the museumwe found a pyramid of bones whichon investigation proved to be theskeletons of the director and allthe curators of the museum. Weremoved this pyramid and found atits base a canvas by Rembrandt en-titled "Aristotle Contemplating theBust of Homer." Such love andsacrifice on the part of the staff ofthe museum indicated this to be amost important object. Just why, wecouldn't quite figure out. But then,of course, we knew nothing aboutthe artist, the subject matter, oreven the price the museum had paidfor the picture.

At this point the Esthetic ValueMachine came staggering out of thelibrary, took a snift at the Rem-brandt, and climbed out of the mu-seum, up to the top of the mound.I knew it was always dangerous toIet these machines go pokingaround on their own. so I followedit. I found the machine on the edseof our excavation. It was stretchJdout in the sunlight, its antenna atip,its lights very low.

"What's the trouble?" I asked."My dear," it said, "I feel simply

awful. I haven't felt this way sincewe flew over Detroit."

"But what have you been up to?"I inquired.

"While I was in the librarv downthere," said the machine. "I literallvdevoured all the books that had todo with esthetics. And since all thebooks disagreed with each other,naturally they disagreed with me."

I reached for his leash. "There'snothing like a walk," I said, "tohelp digest a meal."

I stumbled over the rubble.dragging the machine behind me.Suddenly a shadow passed in frontof me. I looked up and saw awinged figure moving swiftly acrossthe blue sky.

"What's that?" I exclaimed."That's what they called an

eagle," said the machine. "It mustbe the last thing left alive on earth."

We walked for a moment insilence. "ffow come," I said, "you

gave that bronze building down onPark Avenue a count of seven,whereas you only gave a count offive to the new Presidential palaceat home?"

"It's obvious," said the machine,"that the count would have beenmuch higher if His Excellency hadonly left the architects alone. Butinstead of that he insisted on draw-ing half the plans himself and hir-ing a bevy of so-called consultants."

Naturally I was shocked by thisremark, Your Excellency, I took atighter hold on the leash.

"What was all that fuss over theRembrandt?" I asked. "It didn'tlook like much to me."

"Ah," said the machine, "that'sthe great mystery of distance inart. They were very close. youwere very far away."

"By the way," I said, "have youcompleted your digest?"

"Yes," said the machine. ..Firstof all Clive Bell says art is signifi-cant form, but Tolstoy says it is theexpression of emotion. Then Freudsays it's sex activity, only different.Then there's Karl Marx. who savsart is for the masses, but on theother hand there's Ortega y Gassetwho says that so far as he's con-cerned, the masses can go watch abullfight."

"But tell me frankly, what do youthink?" I demanded.

"I would like to suggest," saidthe machine, "that no one theorvof esthetics offers a full definitionof art, but is simply a recommenda-tion on the part of the author ofwhat he would like art to be."

"Gee, that's bright," I said. "But,look here, you're only a machine.Are you going to sit there and tellme you thought that up by your-self?"

"Of course not," said the machine."Anyone but an all-around squarewould know it smelt to high heavenof Ludwig Wittgenstein and evenWilliam James."

Again the shadow of the eaglepassed before us.

"Isn't it strange," said the ma-chine, "that the eagle is still alive,though all the ornithologists aredead?" {

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JO Midziner

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) To evaluate our esthetic values in terms of architecture, I would like to break down

values into three general categories: 1 Usefulness to man; 2 Pleasure to his eyes; 3 Uplift

to his spirit. These are not only arbitrary, but they run into each other in the sense that a

solution to a problem that has brilliantly solved its usefulness to man, would in itself af-

ford both pleasure to the eye and some uplift to the spirit. Because we live and struggle

for survival in a very pragmatic world, standards of achievement are apt to relate far too

much to the first two categories-the useful and the pleasing. Pressures of time and meet-

ing economic demands are so engrossing that they are apt to sap so much of the archi-

tect's creative energies once he has accomplished these, little is left for the final and

perhaps the most creatively important category-the uplift to man's spirit.

I, personally, have a passionate super-craftsman or the architect creature living in New York has

tove ior the'city of Niw York should not have high aims at all notconstantlyandrepeatedlyfoundeven where it is so obviously the times. There is very little in both pleasure in the- lines of the Brook-

victim of overcrowding and lack our training and in our practice lyn Bridge or-the George Washing-

of planning. One side oI me tingles that could de thought of as a drive ton Bridge. If the same form were

witlh excitiment, as I observe a for beauty in our lives. Our driv- strung along Third or Fifth Ave-

new giant tower of power reaching ing forces are for mere existence- nue, it would be almost meaning-

up in-mid-park Avenue and dwarf- foi meeting the payrolls, meeting less beca-use we'd look at a part and

ing the skyline. Ilowever, I must the calendir, meeting the budget. not at the whole. It is the setting

"o-nf"r, if i were guiding an out- When society is willing to accept which counts. as well as the part'

of-town visitor to the -sights of such disorder in basic planning, One-must be grateful for crumbs

New york, I would have a hard dirt and noise, public buildings and in a diet of starvation. Recently-

time pointing out many examples means of transportation- Oevoia of built city office buildings, which

of its esthetic virtues. even a pretenie of pleasing the provide a little extra breathing

Twentieth century America has senses, how can we - give really space or perhaps a fountain or

achieved wonders in efficiency, but serious consideration to ihe evalua- some planting area are most grati-

I fear in a very limited *uy. W. tion of esthetics? fying. But esthetic values that have

have reflected a lot on how man We live in a climate of excessive high standards must be associated

works, on what his bodily needs materialism. Not that our design with long-range city planning. Is

are, but precious little on what talent isn't rich, but the seeds will an hour's ride, at the beginning and

man,s spiritual needs demand. The not flourish in a soil unexposed to the end of the day, for a.,worker in

dotting, in an overcrowded city of sunlight. That light is the_p-otential a beautiful building like Chase

little islands of architectural gims, powei ir, "u..y

ilun to a lift of his Manhattan, a proper way to, condi-

however heartening, is no solution. spirits. I am not talking about high- tion the best use of his spirit?

The understandiig of man's spir- flbwn esthetics or inGllectual ex- In summary, I believe that our

itual needs, and thi lifting of 'his periences, limited to the highly edu- esthetic values have been disas-

capacity to face nis Oaitf tife is cated mind. I am talking simple trously lowered by the standards

certainly as important as meeting fundamental feelings and needs and set by public works' and by the

fris ptryslcat ,r""d.. On" should gi desires in a health! man. The first publicly accepted chaos in our city

with the other. we have almJst glimpse of spring buds in a park planning. An hour a day spent in

totally failed in the lattei category. initt giu" the most-jaded city dw;ller our subway system is both spiritu-

For a moment let us face certain the lift that I am talking about. ally depressing and a degrading ex-

facts about creative people in whose Expose enough brilliantly-lit.blue perience'

t "nAr

fi" the responsibility for up. cycloiama to an average audience Perhaps our efficiency experts

holding and pi"t".nin!' esthetic in a theatre, and you will invariably could spend less time and money

values. The average architect. or get a round of applause. This seems on "Man the Machine" and re-ex-

city planner, or lan-dscupe architect Io be a reaction oi release after too amine "Man the Spirif'!is, like every other artist, essentially much confinement in our low-ceil- Ideally, a high esthetic standard

a craftsman, perhaps a-super-"rafts'- inged homes, in our subway cars, in requires a great subject' a lofty

man, with ttre Ueneht of a very good oui taxicabs and in our working conception, monumental execution'

education. But like all other crea- areas. It takes no great erudition It lools to find the beautiful and

tive people, ttre moments of ttigtr or education for the average man the spiritual in all things---€ven

creativity are relatively rare. to respond to basic beauty' though it may be only allegorical

This does not mean that the I doubt if the most insensitive or symbolic. {

Nathan Cabot Hale

Sculptor

> I could not, with any honesty, tell a gathering of architects what their esthetic obliga-tions should be, but as a workman in an allied field I can speak of factors which makeholding to esthetic principles a difficult thing. It is an easy matter to make a declarationof one's values but it is far more difficult to uphold these values in day-to-day life. Some-times values are laid aside because of external factors, but more frequently the mostserious threats to esthetic values come from within the creative man himself. There arethree factors basic to the holding of work-principles which I would like to discuss atthis time.

is not understood and the creativeman is incapable of it, he will neverbe able to stand his ground andfight for his convictions when theoccasion demands that he must.AII too often this order is reversedand men fight before they havelearned to give in, before they havelearned to cooperate in the worldof work, before they have estab-lished the fact that they can workcompetently in their field, beforethey fully understand the techni-cal heritage from the past. And itis because of this that they do notfight well, for no rn"n

""n fight a

good fight if his aggressiveness isbased on a hard-headed inabilitvto negotiate peace and an inneiknowleCge that he has not serveda true apprenticeship in his pro_Iesslon.

Esthetic values are road signsthat point toward the future butno man can develop values worthfiglrting for without first havingsubmitted to the self-discipline oiyears of practical experience andtraining. Since the beginning of thiscentury there have been many juve-nile delinquent street rumbles in thecreative professions but there havebeen precious few stands taken thathave shown the mark and characterof mature judgment and insight.Mere. novelty and form-juggling,covering ancient platitudes, havibeen hailed as great achievementsand an infantile gibberish is thecommon tongue. There are too fewcreative men willing to pay the costof originality, of development, ofhuman insight. There are far toofew men willing to take a stand iftheir livelihood, their professionalfriends or their social connectionsstand in the balance. There are not

I mention the problems of com-promise first because of all aspectsof esthetic problems this is perhapsthe least understood and the mostdreaded. At the same time there isno great work of art, nor any greathuman achievement which doesnot in some way reflect the giving-in of the creative man to factorswhich were new and surprising.Often the unforeseen and uncalcu-lated currents of life demand solu-tions to the new and sudden prob-Iem, Where is the man wise enoughto include within his esthetic con-cepts a generous clause whichcovers the reasonable and rationalnecessity for compromise? Where isthe man wise enough to includewithin his estimate of creative prob_lems a blank page, or even a sec-tion, in which he can all6w lifeitself some scope and latitude?Too often the creative man forgetsthat others have needs and beliefswhich, though he may disagree withthem, are every bit as valid andnecessary as his own. He fears com_promise because has feels it is a signof weakness rather than strengih.But the mark of a truly able rianis that he has the abiliiy to comeout of a compromise with a betterproduct than he may have hadin the first place. Work is the crea_tive interiourse of the human com_munity and the man who holds hisesthetic principles to be pure anduntouchable is a man who getslittle or nothing done. The o-nlyway esthetic values can have anymeaning is through their constaniuse, even if only in part,

The second factor I would liketo m^ention follows logically fromthe first. It follows tlie factor ofcompromise because if compromise

many men who have something newand meaningful to contribute, butwhen a creative man does, there isa time when the cost of this offer-ing will be dear to the creator. Un-less the creative man is prepared topay this cost his offering and con-tribution will die within him.

The third and final factor, andperhaps the most important of all,is the individual's dedication to andbelief in the importance of his fieldto mankind. He must know howand why his particular kind of workis needed and vitally useful. With-out this feeling of dedication thecreative man will never have theheart and stamina to meet the de-feats and disappointments that areso much a part of the fabric of crea-tive life. He will never develop tothat point where the man is insepa-rable from the work, he will neverachieve skill and insight to thatpoint where even the smallest detailreveals the touch of the mastercraftsman. Without this he will livein a limbo of dissatisfaction. aclock-puncher and a time-serverand the world will be no betterfor his having lived.

I know of no way to give youheart, I know of no way to makeyou fight for the things you arecapable of doing for the commongood, I know of no way to makeyou cooperative and reasonable, Iknow of no way to make you firmand straight in your beliefs, unlessit is to say that the people, un-trained and unaware of the com-plexities of your profession, look toyou and trust in you. They areobliged to live and work in build-ings you design, and as a conse-quence, a great part of their livesis in your hands. {

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David Amram

Composer

F Our preoccupation with the arms race has been mentioned in newspaper articles,

books, films and even in some of our most passionate poetry. The struggle for civil

rights has made headlines for the past decade. But this is the first time I know of that

one of our most serious problems, the race towards total ugliness, has ever been con-

sidered worthy of discussion, where artists have been honored to express their feelings

towards today's dilemma of modern living and present their possible solutions to a dis-

tinguished audience of fellow artists, civic leaders and members of the press.

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As all of us know, these problemsare not of an abstract or ePhemeralnature. They are desperately real.The air we breathe is polluted inmany of our industrial cities. Thecountryside, once the most wild andbeautiful in this hemisphere, is nowbeing ravaged by opportunistic in-dividqals who apparently feel thathouses. like cars. should be built fora trade-in value. rather than as

homes that will last for generations.And in my field, music, the ma-

jority of what we hear (often in-voluntarily via someone else's blast-ing radio) has the same qualities ofjifty housing projects. It is quick-buck music, mediocre by premedi-tation, designed to be heard, soldand forgotten about, designed for animmature audience to replenish rec-ords that have been thrown awaY.

Why should the greatest achieve-ments in Western musical thoughtbe considered to be by definition"something that a minority of peo-ple enjoy?" Why should the air-waves be jammed with trash? Don'tthe sponsors ever listen to their pro-grams, and if so, where is theirpride? Shouldn't they have a sense

of responsibility to the thousandsand millions who listen to the Pro-grams they sponsor? APParentlYnot. Most of them seem to havethat peculiarly American idea thatthe public is one stultified, mass-thinking teenage moron. PerhaPsanother decade or two of totallytasteless music will make this imagea reality. We may be producing a

nation of peoPle trained not tolisten.

In Europe, there is alwaYs goodmusic to be heard and ironicallYenough our very own musical form

-jazz----<an be heard in abundance.

Although a great manY books havebeen written about music, and al-though we supPosedly are very art-conscious during the sixties, the factis that in most parts of America'

good music is still woefullY inac-cessible on the air, and overpricedin the concert hall. And in spite ofthe hi-fi boom, all the recordingsever made are not as moving as

being present at one great perform-ance of a work that you know andlove through repeated hearings.

At my last Town Hall concert inFebruary, there were 1,100 peoPleand they stayed until the end. TheYwere quiet, and because I heard noaudible snoring, I assumed theYwere listening. It was not easy

music. I am sure that three-quartersof the audience was not too fa-miliar with modern music, certainlynot with a whole evening of mine.But the fact that theY staYed andlistened made me feel that the trib-ute was due to them, and to all Peo-ple who are still searching for someesthetic values and spiritual fulfill-ment in our twentieth centuryjungle.

But what about the audiencesof twenty years from now? Whatabout the millions of kids whoseonly contact with music is via a

transistor radio, a juke box, or tele-vision's most deprcssing shows, thedance programs designed to exploita fourteen-year-old market, to sell

records that are to be thrown awaY

after a few hearings?In the future will these children

go to concerts? Will theY in facteven be able to listen at all, afterbeing bombarded and brainwashedwith musical garbage most of theirearly lives?

The oldest clich6 amongst music-mongers is (and I'm sure it has itsequivalent in all professions) "that'swhat the peoPle want." Who saYs

that's what the PeoPle want? Anddon't we all share an untold respon-sibility for what PeoPle will wantin the future? Shouldn't recordingfirms, music Publishers and broad-casting stations who make millionsfrom the music industrY Plow some

of the profits back into music, com-missioning many serious works andpay fine artists to perform them?This is done occasionally but notnearly often enough. Aren't theYobligated morally, aren't we a//obligated morally, to trY to main-tain and possibly raise our culturalstandards? To try to create some-thing of value to pass on to futuregenerations? To give hope, in spiteof the false image that manY wouldlike to portray us as representing-a gigantic billionaire baby-to showthere is still a need in our Americafor dignity and pride in the worldof spiritual achievement?

The sad truth is that while wedon't like to admit it, junk PaYsbetter than art, and in our time,con-men and over-publicized hacksare even being accePted in the finearts.

Even in my communitY ofGreenwich Village, the junk menhave started to take over. Some ofour so-called housing developmentshave ripped down old homes andreplaced them with $100-a-roommonster apartments whose walls areso thin that above the Muzak, Youcan hear toilets flushing and Peo-ple's conversations throughout thenight. Is this the Brave New WorldAmerica was destined to become?

If not, who and where is theenemy and what can be done aboutit? I believe the enemy is collectiveapathy on c// our Parts and that a

more beautiful America starts withthe people who are resPonsible forbeauty-the artists, architects, com-posers, and writers, and that we

must be more courageous and so-

cially conscious than we have been

up until now.We must lead the waY or there

will be no conference like this again'because in twentY Years there willbe no esthetic values to discuss. Ourenergy, integritY and dreams are

desperately needed now. I

Dr Leonard Carmichael

Secretary of the Smithsonian Institution

) A study of the anatomy, the physiology and especially the physiological psychologyof essentially unchanging human beings suggests that there are certain esthetic valuesthat are relatively fixed because they depend upon the naturb and make-up of man as abiological organism. The late Bernard Berenson in "Aesthetics and History" has wellmade this point. He says, "Human values depend on our physical make-up, on the wayour brain, belly, and members act, and on the demands made by the needs, appetites,and impulses they give rise to."

Greek architects had already way the role of human perceptionmastered the fact that if a normal in esthetics. He points out how ahuman being is to see a straight study of perceptual psychology dis-line in certain structural relation- closes a common core of truthships because of the inborn char- which makes specific characteristicsacter of human visual perception it of art relevant to all men. This, heis necessary to cut the stone not as points out, is "a badly needed anti-a straight line but rather as a line dote to the nightmare of unboundedwith very specific curvature. Every subjectivism and relativism." Thepainter knows that the hue, value chapter headings of Arnheim's bookand saturation of pigments on can- are Balance, Shape, Form, Growth,vas are not fixed things in them- Space, Light, Color, Movement,selves but are dependent upon other Tension, and Expression. Thesesimultaneous or sometimes succes- names give some indication of thesive patterns of retinal stimulation areas of esthetic consideration thatwhich all normal people share in gain illumination from an under-common. standing of human physiology and

Rudolph Arnheim's significant psychology especially as the proc-book "Art and Visual Perception: esses studied are seen to be inbornA Psychology of the Creative Eye" in all normal individuals and in allconsiders in an important general ages and civilizations.

Discussion Following the First Panel

Question: This is addressed tothe panel in general. On the ques-tion of "what are our esthetic val-ues?" all of the speakers seem togo off on a tangent a little bit. Wewould like them to tell us whatthey consider to be our agreed-uponesthetic values and how these val-ues are fostered by our educationalsystem.

Mr Larrabee: I think it's an ex-cellent question, but I don't thinkit can be answered because I. andas some of the other speakers havesaid, don't think we have estheticvalues. I know how well trainedarchitects are. They spend many,many years in school, as do artists,and Mr Hale really beautifullypointed out that the values are sovague, no one knows what thev are.I believe the purpose of this con-ference is to kind of agree on them

and find out what they are and dosomething about it. It's probably aquestion that the architects them-selves will have to answer.

Chair: There was an importantpart to that question, which dealtwith our educational system. I thinkI sensed the implication that we areraising a nation of esthetic illiter-ates. Would one of the panel mem-bers care to comment?

R. B. Hale: I think the situationin the visual arts is certainly muchbetter than it used to be. When Iwent to college there were hardlyany courses in the college on thevisual arts. But no*uiuy, artschools and architectural schoolshave sprung up all over the coun-try. People, rather than going toEurope for their visual education.seem to stay here and I'm quiteencouraged about it, actually.

In other words, the thesis may besupported that the modern scientificstudy of the human individual mayassist in disclosing some of the fixedand stable principles of estheticsthat no amount of relativistic theo-rizing can ever displace. A realknowledge of the human organismmakes it clear that certain estheticprinciples cannot be altered by merewhim or wishing they were not so.To put this another way, man hasspecial inborn ways of perceivingand some esthetic principles dependupon the nature of this perception.Inborn human perception and es-thetic values are related: what Godhas joined together, let no man putasunder! {This paper was read for Dr Carmichael, whowas unable to be present.

Chair: It seems to be a tenet ofeducation, that a literate manshould be educated in language,he should be literate in numbers,and I question whether it is anobjective of education to make usvisually literate or hterate by theear. I wonder if Mr Amram wouldcare to comment on this. He sug-gested that we may be raising arace of aural illiterates who willnot know how to listen.

Mr Amram: I think that peo-ple do know how to listen, that theyare sensitive to sound and to feel-ings. I don't think the problemis with people. I think the problemis that the means of communica-tion, and especially the means ofmass communications concerningmusic and probably other art formsas well, are controlled by peoplewho assume that people have a

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lower level than they in fact do.If I may digress for a moment,the New York Shakespeare Fes-tival, which I worked for in NewYork in 1956 as a composer,started as nothing. It was donein a church on the Lower EastSide and in Central Park. TheYhad no publicity at that time, andno recognition. Yet the peoPlecame by the thousands every eve-ning to come and see Shakespeare.And we had concerts last summer,people came by the thousands. TheShakespeare plays were not donein a "pop" form and the concertswe had had modern music andserious classical music and therewas a huge audience. They weren'testhetes, they were first-come first-served people who were in thepark; perhaps they were just stroll-ing by. But from having observedthese audiences of people who werefree to leave, I've found that theypay an enormous amount of at-tention and that people do care.I think the problem is that therehas to be some way on the artist'spart, and on everyone's Part, totry to get higher standards of ex-pression in the fine arts on amass level. I think that we haveto, because people have onlY so

much time a day to listen, to lookand to see. and if the means ofpublic communication are jammedwith trash eventually we are goingto produce a nation of PeoPle whoare trained not to pay attention.

Mr Larrabee: Another waY ofanswering it might be that whileagreeing with Mr Hale that oneof the reasons we can't state thevalues here now as abstractions oras slogans, is that theY are com-parisons; they are, by the veryword, value judgments. It's thedifference between good and bad.And the way in which educationcan contribute to this, the onlYexample I can give is the onlYcourse I experienced mYself whicbseemed to do it. which was JacobRosenberg's course in old masterdrawing. And he had a verY simPleteaching method which was to Puta genuine drawing and either apupil or a fake alongside it andask each member of the class togive his choice and to justify it'At the end of the class he wouldcomment over the drawings himselfand make his own choice. Afterdoing this a few dozen times theclass began, dimlY, to see what hewas talking about and to appreciatethat there is a difference betweena master and a PuPil. I know ofno other waY in which one can

gradually grow to sense this, Iknow of no other way in whicheach of us can exercise his ownjudgments, I know of no otherway in which the public is likelYto arrive at the same thing.

Question: Is it not the cause ofour low esthetic value the fact thatin lieu of dealing with one client,as Mr Richardson a few years agoluckily did, the architect is nowdealing with a group of variousinterests?

Chair: It's certainly true, Yes. I'dgrant the truth of the statement,at least, I would and I think thepanel would agree. Obviously thereason consultants are called inin many cases is precisely becausethe client is a committee and a

committee doesn't trust its ownjudgment and so it hires judgmentin the form of people who willgive it what it supposes to be

objective information. This is in a

sense a default in its own obliga-tion. Now I agree this comes closeto the heart of what's wrong in thatthese things are diftused and Youhave no responsibilitY bY the timeyou are done.

Question: One of the indis-pensable factors in creation is time.How do we get time in this daYand age for the creative Processfor the creation of better citYplanning and better buildings?

Mr Mielziner: I don't think theindividual creative responsible partylike the architect can ask for moretime. But if he's a strong Persondedicated to his own ideals he canproportion his time and energY andsay I'll just do this and I'll do thatand refuse to bow to certainpressures which exist. Every artistwho works for a client meets thisproblem and I think it's a questionof the personal integrity of theartist. I know that You cannotchange the timetable of our modernsociety and say I can't design thisbuilding in six months I have tohave two years. But You can al-locate your own energies, Your de-cisions and your time.

Chair: The moderator would liketo add that the first necessitY is

to ask for the time' FrequentlYwe simply accePt the client's de-

mands without question.

Question: Did Nathan CabotHale in his discussion of comPro-mise overlook the "violent" artistwho refuses any compromise ofprinciple and therebY effects a

worthwhile and significant change?N. C. Hale: Well I'll tell You

quite truthfully everybody's got tocompromise and everYbodY does

but they hate to do it---even thesemen do-I know a lot of them.It's learning how to do it and learn-ing to do it in such a way youreally don't compromise that's yourchief problem. How to give in; howto give in to a client in such away that you get your idea acrossand you build the building youwant to build. Personally I don'tcompromise because I don't haveto unless I am dealing with archi-tects and then I have to give in tothem.

Chair: Touch6. I suggest thatthere is an intimate relationshipbetween that question and the oneof time. If you have enough timethese compromises can be mini-mized. One must go through theeducational process for self andfor client and perhaps for the archi-tect.

Question: Mr Mielziner seems tosay that usefulness to man is anesthetic and the question is whatother panelists think.

N. C. Hale: I don't feel that anyof the work of the professions isdone in a vacuum and I think es-

sentially art and architecture, ofcourse, has to be done in relationto people. . It's difficult to saY

in a sentence or two just what thisusefulness is, but I think, for ex-ample, as far as the buildings gothis is obvious. So far as art goes

this is something else but I feelthat definitely the artist must havein mind other properties. Otherwisehe's dead, he's talking to himselfand who cares?

Chair: Is it useful to lift thespirit? Is it useful to inspire crea-tivity? Perhaps that advice will an-swer the question.

Mr Mielziner: I'd like to defendmyself a bit. Just reverse that. If a

building has great beautY and evena spiritual qualitY about it but is

not useful for its PurPose I thinkit deters from its total value. Justas a super-craftsman will design a

knife handle. It may not be a crea-tive thing but if it's very useful thechances are it has an innate beautYin it. I don't think you can separatethese things.

Question: We agree that the mat-ter of esthetic values was very wellpresented-so well Presented, in-deed, that at first we thought we hadno question. The onlY question isat what time did the lack of under-standing of the necessity of estheticvalue commence? Was it in the jig-saw Victorian Period or after one

of our great wars? CertainlY MrAmram and Mr Mielziner bothbrought out the fact that there is

potential appreciation of estheticvalues but when did those of uswho are responsible for the crea-tive part get out of touch withpotential appreciators?

R. B. Hale: The problem is verydeep. Heaven knows how far backit goes. I sometimes lay it at thefeet of Oliver Cromwell. He wentaround busting up all the imagesand the churches and then he be-came unsuccessful and a lot ofother people came over here withthe same temperament. I think ifyou attack the thing historicallyyou'll see one answer. Many of uscome from lands where there is avery high esthetic [value] and whenour fathers came over here andcouldn't bring the buildings withthem, they somewhat lost theirheads in this new wilderness.

Chair: Does that mean it beganin Colonial times or when did thisseparation take place?

R. B. Hale: I think in this coun-try it seems to fall about 1830 or so.That's when the memory failed us.Of course the industrial revolutionis in there, too, as you know.

Question: Before I ask our table'squestion I think we have an answerto one before [the question, takenby Mr Mielziner, concerning theproblem of making time for thecreative process] from no less anauthority than e.e. cummings:

"time is the 'because'with which all dolls are

stuffed."

Can one logically and realisticallyseparate esthetic from social andpolitical values? If not, who willindict the mayors and councils andthe electorate itself for not honestlyfacing the problems of conflictingvalues between full and private gainand public interest?

Mr Larrabee: This follows outof the previous question. Mr Haledropped it at the industrial revo-lution and you pick it up with mod-ern politics. The effect of the in-dustrial revolution was to convevesthetic power into the hands oimany people who had not previ-ously possessed it and it was theprevious question that was ad-dressed to the question of whenthis happens seems to me false inthat sense because the world welive in is so different from anv-thing that went before that noneof these previous standards willapply. We are stuck now with theconsequences of what a very largenumber of people want to do.What Auden called the heteroge-neous dreck of the American high-

way reflects all of these single per-son choices as to what a particulargarage owner or hot dog standoperator thought would be pretty.As long as we are committed toallowing them that choice we arecommitted to the idea of pursuingwhat has to be called some kind ofesthetic democracy. We are em-barked on this road and we can'tstop. We can't take that poweraway from them; I'd like to see

anyone try. We have got to riskeverything on the hope that estheticdemocracy is just as conceivableas political democracy or economicdemocracy.

Question: Educational problemsand questions suffer from a cer-tain degree of schizophrenia com-mensurate with our times. We wantto know would there be any valuein requiring an art education forarchitects and courses in architec-ture for artists plus liberal educa-tion in English speech and litera-ture for both? And then from thisdevelop further emphasis on coursesin our traditions and general edu-cation or, in other words, how doyou educate for esthetic values?

R. B. HaIe: I can speak a littlefrom experience. I went to thearchitectural school and then Iwent to the Art Students Leaguefor four years. I do feel that archi-tects ought to learn how to draw.I found from my own experiencethat as my ability in life drawingincreased that so did my abilityin design and I firmly believe thatarchitects should learn to draw theway artists do. I think it would im-prove their design.

N. C. Hale: Yes, I think it wouldbe a wonderful idea for artists ifthey could learn more about archi-tecture. For one reason I thinkthat many of the things architectsdeal with are really quite basic; thatis that have to do with structureand building. These are very funda-mental principles and I think thatis part of our very, very rich inheri-tance that goes back to the dawn ofman. Quite frequently people haveno comprehension of structure,both as we have evolved it and asit is in nature. Perhaps the under-standing of structure in nature iseven more important than, for ex-ample, just the top of architecture

-the surface matter of the ques-tion.

Question: We were wonderingwhether Mr Atkin would care tocomment on his opening remarks.

Mr Atkin: I think that if wecould look to Sweden, to lceland.to Switzerland we could see what

nations can do which do not devotefifty-two per cent of their incometo war. It seems to me that mostof the problems that face us inthis country could be solved muchmore quickly if we would not de-vote so much of our time andenergy to war. I think that reallyfundamentally, if we could look atSweden we could see what could bedone here. This is the way to buildthe esthetic democracy.

R. B. Hale: I should like to pointout that the people of Athens weremost warlike and yet artisticallyand esthetically they held a veryhigh position.

Mr Atkin: I expected to comeprepared for it with some kind ofan answer, though maybe not agood one. It strikes me that civili-zation is moving forward and thatwe have all of the knowledge nowthat they had in Athens, that theyhad in Rome, and all the knowledelfrom Europe besides. We are n-otnecessarily on the same scale ofcivilization as the Athenians-orat least we shouldn't be.

Question: We're concerned withthis question of compromise andwhether the speaker truly meant touse the word compromise whichimplies a weakening of one's ownbeliefs. The question is do you be-lieve esthetic values are related toesthetic responsibility? If so, howcan one compromise if it runscounter to the values and respon-sibilities? What of our leadershiprole?

N. C. HaIe: All I know is thatcompromise is absolutely necessary.It's not humiliating. It's essentialto human beings because if you getthree people together you're notgoing to get the same point ofview, particularly if you're dealingwith something like esthetics. Wein America have a nasty attitudeabout compromise. It's not in theleast shameful to give in to otherpeople's views. For example, theEnglish, and I think they're asnoble and honorable and wonder-ful a people as the Americans, havea totally different attitude. To them,compromise is very respectable, andat least to some compromises I'minclined to feel the same way. Idon't feel an individual's attitude,his ethics, his philosophy, his codeof life, are at all realistic unlesshe realizes that he must modifythem and not once. but constantlv.because it's a viable thing. Any-body who doesn't realize that ideasmust be flexible doesn't face up toone of the very basic truths aboutthought. {

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What Are the Esthetic Responsibilities

Frederick J. Woodbridge, FAIA

President, New York Chapter AIA; Moderator

Daniel P. Moynihan

Special Assistant to the Secretary of Labor

> My feeling about the subject to which we must address ourselves is simple enough, Ithink. It is not the question of what is the esthetic responsibility of government thatbothers me so much, it is the question of why we do not succeed better in fulfilling it.I think that you would agree that our government, in its public buildings, has the re-

sponsibility to embody the finest contemporary consensus on a subject such as architec-

tural form. It is not the function of government to experiment, to lead the way. The

function of government is to give expression to the thought and values of the American

democracy as are reflected in the work of the American architects of the time.

Now that's easy enough. The only in this art form but in music, buildings you get out of govern-question is why this has not been in sculpture, in painting. And for ment today is the price you paythe case. And I think you must that reason the people who have for honest bidding.distinguish between this responsi- been making decisions in govern- I think you close off a govern-bility and the other question of ment and most influencing them, ment system with civil service, andhow good are the values being have not necessarily been in har- three bids and that sort of arrange-given expression. I think it could mony with the architectural pro- msnl-and don't think you don't.be said that it is not for thirty fession itself. This is something Now, however, this has changed.years that a really distinguished new. A very considerable change is tak-American architect has built a Secondly, I think it's fair to say ing place. First of all, the business

building in the nation's capital. I that modern architecture, just like community, the leaders, the pow-

mean distinguished in terms of modern art, has been associated ers, the whiskey trusts and the

what a contemporary consensus of with political radicalism. The asso- Rockefeller banks believe in thisAmerican architects would be as ciation has been toward a tendency stuff now. And it's a different situ-

to who are our best men. I think on the part of conservative forces ation; you can't quite associate itwe can identify these people and to shy away from it and for even with radicalism and you can't asso-

the fact is that they are not build- non-conservatives not to want to be ciate it with soft-headedness and

ing anything in the capital. The too specifically associated with it. wild ideas.

closest -that

anyone has come thus Thirdly, it has been the thought Secondly, the association of mod-

far is Eero Saarinen, who's thirty and it continues to plague this ern architecture with efficiency is

miles away at Dulles Airport. This whole subject, that modern archi- increasingly growing. If insurance

is different from the turn-of-the- tecture is more expensive than companies use it, because it moves

century period when the people traditional architecture, that steel their paper better in a modern

who weri putting up the Lincoln is more expensive than limestone. building, it's time the Veterans

Memorial inO such buildings rep- This isn't the case, but it's the fixed Administration did the same thing.

resented the best meir of thi time conviction of a great many people This is our feeling. This is the feel-

as the architectural profession saw in the government as well perhaps ing of the Administration, this is

it. as outside of government. surely the feeling of the President.

Now I would suppose that there Finally, I think you find that I think it can be said that in this,

were a number of reasons. First, I there has been a feeling that we as in other things, he is interested

think it's clear that there has been have paid rather a high price for in doing what is right, is interested

a split in the taste of the profes- cleaning up the public works- sys- in doing what is contemporary.

sion of architecture with the domi- tem in the country in terms of cor- We have decided that what per-

nant upper middle class taste of ruption and the general freebootery haps is most needed in the situa-

the countrv that is to be seen not thit we used to know. The kind of tion is a very simple statement of

. . . of Government, Business and Institutions ?

architectural policy in the Federalgovernment. We don't have one.There is no policy and in the ab-sence of policy people have beendoing what is absolutely safe andthat has not been very distin-guished. We have three pointswhich we think ought to be in-cluded in a policy like this. Thisis not final, this is not really beingdone, but we feel it will be shortly.We think it's a simple statementwhich says: The buildings oughtto be built in a manner that is dis-tinguished and which will reflectthe dignity, the enterprise, the vigorand the stability of the Americangovernment; they ought to repre-sent the finest contemporary archi-tectural thought.

Point number two should be thatwe must avoid the development ofan official style. Design must flowfrom the architectural professionto the government rather than viceversa. We think that the choice ofsite ought to be considered as thebeginning of the design problem.

We feel, finally, that a portion ofthe cost of a public building ought,as a matter of routine practice, tobe allocated to the purchase of fineart as a part of the general em-bellishment of the building, as partof the design of the building itself.

Whether this will bring about arevolution in the architecturalstandards of the Federal govern-ment, I don't know. I think, though,that the principal point is that itwill do so within the capacity ofthe American architectural profes-sion. I think that this, then, is a

matter very much for the AIA andits members. What I think youhave to do and what you're ob-viously doing today, and I welcomeit and I would encourage it, is thatyou've got to be a lobby. You'rea special interest. Not everybody isagainst ugliness. It doesn't matterthat you are a minority or evena very small majority. The Ameri-can government is best designedto respond to the limited interestsof small groups. And if you would

only consider that and think aboutit ahead of time in the actual legis-lative process, in the actual admin-istrative decision process, I thinkyou'd be amazed at your capacityfor success.

Think of something such as theFederal Highway Program, thegreatest public works program inhistory, which passed without aword. There wasn't a special inter-est in America that didn't havea hunk of that bill except the archi-tects. They had none at all. Why?Because they never appeared andsaid "We deserve our part in thisthing too." When you do thesethings, do them well and considerthem your architectural respon-sibility.

I would say to you that this isa question of being in charge ofyour interests within the govern-ment. I assure you that the law-yers control the government's effecton law, the doctors do it on medi-cine. It's time the architects didit on buildings.

Jerome Belson

International Director ol Housing; Amalgamated Meat Cutters and ButchersWorkmen of North America

) I must give some background so that perhaps you will understand why so unknowl-edgeable a person as I has been invited to talk this morning. Our Amalgamated MeatCutters embarked upon a program of sponsorship of housing in 1949. To date we havesome three completed developments, or four physically in construction, and a fifth goinginto construction over the Mott Haven railroad yards May first.- I- have no prepared talk, but if I ments through their planning stages esthetic value and they want tohad one- it perhaps could be how and I have been prisent unA U"en know in plain layman's terms whyto lose friends and alienate people, charged with the daily responsibil- there canit be a iittle more beauty;because in our union activity and in ity of producing the housing devel- why they must be relegated to athe housing role that we have occu- opmenl. And tf,en I have ti go on very limiied type of housing facility.pied in the past thirteen years, I am the firing line when the peopleinove Ani we have Lad to come up wiitrthe one who was required to shep- in and they don't have tie education the answers.herd the various housing develop- and they;re not fully aware of So that when you say what is

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the responsibility of a labor unioninsofar as our sponsorship of ahousing development is concerned,I would say that our primary re-sponsibility is supporting the archi-tectural fraternity, to be present atconferences where initial designshave been submitted to govern-mental agencies. And we get into a

discussion of economics. It's tooexpensive; can't it be done this way,can't it be done that way. We mayhave fifteen or twenty persons inthe room, some people from myunion, myself, governmental of-ficials. the architects. the mechan-ical engineers and the attorneysfor the banks. And suddenly there'sscrap paper and they're drawing.And standing back, I'll suddenlyfind everyone with a pencil in theirhand, sketching, except the archi-tect. He's off in a corner. They'veignored him and they're trying towork out the dollar amount andhow this can fit in. And he is theone who is responsible for esthetics.

But we support our architecturalteam. I've met some talented guYs,

they've done some wonderful workfor us, but they come in so harriedand browbeaten that as soon asthey suggest something and there'sone yell, they run and that's it.They're off in a corner, And I haveto argue their position and I canonly bluster so far. But they're sofrightened of the builder, they're sofrightened of the governmentalagency with whom they're requiredto deal not merely on my one devel-opment but on others. I thinkarchitects enjoy earning a living.But they've got to come back a

second time, and a third time.You've got that responsibility.

For when we meet with thefamilies who live in the buildingsthat you design, I want you to knowthat we become identified withthose buildings. Some of our peopleare pretty proud when they say thatthey live in the Jinerson apart-ments, that they've got a land-scaped park out front. In fact, thisis a little development-it's onlY420 apartments, in Brooklyn. I hadone chap say "Boy, that butchers'

union is sure politically-minded."I said "Why?" He said, "How comeyou were able to get Park Commis-sioner Moses to let you build thebuilding in a park?" Because wehad a lot of landscaping. It wasn'tpermitted. You couldn't tell it wasa development. See, you gotta beable to tell it's a development. Wedidn't have brown window shadesso you couldn't really tell. So youdidn't know. It didn't have a label.

So all my wonderful architects, Ican only say this to you: If esthet-ics is important in our society, andI think it is, the people that werepresent that live in our buildingsthink it is, let's recognize it. Let'spermit it to dwell, if not exactlyon an equal plane with economics,then perhaps as a junior partner.Let's not just disregard it. We inthe labor unions and others that youhave no idea about, will supporteverything you do. We don't saywe'll agree with you. We'll arguewith you, we'll let you educate us.We'll support you. Will you acceptthe challenge? {

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Dr David W. Barry

Executive Director, New York ciry tJ*rion Society

) In 1960 the building of churches in the US passed the billion-dollar mark for the first

time in history. The institutions of religion are one of the most pervasive architectural

forms in America, urban, village, and rural; by the most recent count, there are 319,000

churches and congregations counting 115,000,000 members-sixty-four per cent of the

population-of whom about fifty million actually attend services of worship each week,

plus numerous other activities. All trends are upward-membership, finances, buildings

and activity-and have been ever since the depression of the nineteen-thirties.In discussing the esthetic respon- groups seem peculiarly able to point where John Dillinger was

sibility of chuiches, there are two make to ugliness in our modern shot, and the chapel design slidbasic iacts to be borne in mind. The world. only one thing: "I remember New

first is that religious activity is far The first and by far the most England and its village green." Toand away the most universal form frequent negative contribution give such a message to young men

of voluntary expression of the chuiches seem able to make to com- being trained to be the spiritualpeople of this country; even in a munity esthetics can be summed up leaders .of -our-

mass, urbanized in-

iupiosedly secular age, nothing re- in one word: irrelevance. Too dustrialized, planet-orbiting Amer-

-ofufy approaches tf,'e church-as a typically, the task of the church to ica seems little short of tragic, but

vehicle tihrougtr which people ex- say something architecturally about it is a typical illustration of most

press voluntaiy effort, ieadership, thi nature and meaning of man's approaches to-religious architecture.

commitment, fillowship and aspira- life is a task that is neglected or Similarly, a few years ago, when

tion. And the second is that of all presented in obsolete forms. I saw our City Mission Society decided

contemporary institutions, the a perfect example last week in-pro- to undertake the first church build-

church and synagogue are specially motional literaiure I received from ing in Manhattan in the new style

supposed to-be-siying soiethini, a seminary set in the busy heart of of urban ghetto called the public

something deep and }undamental, a large ur-ban center. There was an housing project, and approached

about the nature and destiny of archiiect's rendering of the new several architects to find out what

man. I want to direct this discussion chapel to be built on the seminary they would conceive as a building

to the special contributions religious grounds, less than a block from the to house a spiritual fellowship in

such a mass impersonal setting, wewere distressed to flnd architectafter architect whose buildingscould only say visually: "I remem-ber New England" or "I rememberthe small churches of Rome." Onlyafter considerable searching couldwe find an architect imaginativeenough to say in bricks and mortar:"Here is a spiritual home for youwho are imprisoned by this greaturban machine and seeking an-swers."

I don't mean to lay the mediocreand conventional style of so muchchurch architecture entirely or evenprimarily at the door of the archi-tects. The deeper responsibility isthat of the church, which educatesits people so superflcially that thetypical lay reaction to any experi-mental church design presented tothem is "But it doesn't look like achurch." And I think there is a realmovement underway today, amongchurch architects, to reintroducemeaning into religious architecture.

The other great contribution oforganized religion to ugliness and

mediocrity is a simple one: parsi-mony. The financing of religiousstructures is voluntary; it dependsneither on taxes nor on prospectiveprofits, and the committees whoplan the buildings are composed ofpeople who know they must digdown in their own pockets to payfor them. Thus the desire to glorifyGod in architecture is strait-jack-eted by the nagging question: howmuch will this cost me?-and thepocketbook looms larger than God.

The other major contribution ofreligion to ugliness is related to thissame prevailing parsimony. Weover-use and abuse the buildingswe have, especially in older sec-tions of the city; we notoriouslyallow the city authorities to wink atviolations because they are presum-ably in the service of God; we failto maintain property in repair, topaint and clean, to landscape, to dothe normal housekeeping that citi-zens with pride in their communityought to do. I can take you any Sun-day to crowded services of worshipthat are in shocking violation of the

laws of health and safety in thiscity, and we don't even pay off thebuilding inspectors-they seem toget an inner glow of righteousnessfrom failing to enforce the laws.

This too is changing. There isa new attitude of responsibilityamong church executives, who are

beginning to say: If there arehouses of worship we cannot main-tain in decency and safety, we willnot maintain them at all. And hereand there, even in the ugliness ofthe slums or the different uglinessof mass housing, there are begin-ning to appear houses of worshipthat visually speak to man's dignityand aspirations, that say all men arechildren of one God. I pray theseare signs of the future. {

Erwin Wolfson

Chairman ol the Board, Diesel Construction Co, Inc

) I daresay I come from the industry on which the architects blame most of their troubles.I daresay that as builders and entrepreneurs we are criticized for some of the thingsthat are considered unesthetic in architecture. To some extent I'm sure this is true. BasicallyI believe that there are two general categories of builders: those who have taste and care;those who have no taste and don't care. Now if you happen to have a client who has notaste and doesn't care, then you have a real problem on your hands. On the other hand,you could have a client who has taste and does care, but economics stop him from doinga lot of the things that he would like to do.

I'm afraid that in my category feet on a plot of 151,000 square putting in and the type of sashwe have to consider economics as feet, with a valuation of $20 mil- which the architeiis wanteda vital part of the job we do. That lion. It just wouldn't work. The amounted to some $60,000. For-doesn't mean that we have to look architects then came up with a getting the cost for the moment, wein terms of economics the whole scheme which at first they didn't ielt that the articulation just couldway, but certainly to the extent of think was quite the ideal, which I not be a factor above a certainwhether the whole job can go for- think subsequently they felt was floor, that it couldn't be seen. Theward or not. I heard some discus- probably betier than the ideal. building changes drastically fromsion.before. about compromise and I think, too, that sometimes com- the nini-story*bulk to a fifty-storyI think a little illustration of com- promise has to be made when very tower. But ihe architects insistedpromise might be interesting at this frequently the builder might be that the articulation had to be putparticular point where compromise right. And I again want to r:efer to in all the way up. We felt thai awas vital or the job just wouldn't something thit happened in the perfectly gooi io-p.omise therego' Pan Am building. The architects was just for the lower section. Well,In connection with the Pan Am insisted upon ariiculation in the we acceded to that, and unhappilybuilding for example, the architects window fiames of the building. so, for I think it's been a total wastecame up with a scheme which de- Well, the difference between thl because you cannot recognize anyveloped about 1,500,000 square type of sash which we planned on articulation in the upper section.

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There's one situation where I feel,had we been a little more firm, wewould have been much more sen-sible about it.

Another instance where compro-mise came into play: We have thisvery high lobby of 45 feet goingright through the building and thereare a number of tall columns inthere that are to be encased inmarble. We have a team of threearchitects on the job. Two of theminsisted that these columns besquare, the third insisted that theybe round. The difference betweenround columns and square columnsdesigned in marble was $100,000.Naturally, it was easy for me tomake a decision there. We havesquare columns.

Up and down the line I thinkthat it is necessary to compromise.I think that it's vital for a builderto have pride in what he does. Ithink it's vital for a builder to think

in terms of more than just brickand mortar. I think that it's vitalfor a builder to think in terms ofinjecting some sculpture and someart into the building. And I wouldlike to see more builders considerthat. I think it's the architect's jobto try to promote that kind of thingin his architecture.

About a year or so ago, whenthere was a big fight in New Yorkfor change in zoning, I was appalledto find so many of the architectswho were against it. I can under-stand how the real estate people,and perhaps the builders, mighthave been against it, but it justdidn't make sense to me why somany architects were against it.And yet they were. It took an awfulfight to get it through and I wasquite vocal from the builder's pointof view in trying to get it throughand I was accused by my own groupof being a traitor to my class, that

the industry would be ruined, thatbuilding would be stopped. Well,on the contrary, I think we're go-ing to get, as a result of the changein zoning, some very much better-looking buildings.

I have taken the position of try-ing to back up the criticism thathas been leveled at a lot of archi-tects for some of the things they'vedone, and blame it on the builder.Many architects' clients have de-manded that certain things be done,which may or may not have hadto be done, while the architects mayhave been able to take a firmerstand and still live through it withthe client and have been better forit.

The architects are forced to doa lot of things, by virtue of com-promising too far, and to that ex-tent I think they should be a littlefirmer in their position with thebuilders. {

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Herman D. Hillman

Director, New York Regional Office, Public Housing Administration

F The keynote of this conference-a call to place responsibility on the shoulders of

those persons who can do something to prevent ugliness in the design of American cities

-is sns that I can accept wholeheartedly. Responsibility for esthetics, however, is divisi

ble, it is made up of a bundle of individual responses to community goals-goals which

are dynamic in the American scene and which express in the last analysis the aspirations

of mankind for freedom and fulfillment of the dignity of the individual. In this bundle,

of course, are the responsibilities and responses of government omcials, Federal, state

and local, to the goals that seek to achieve a nobler environment. I know of nothing that

prevents public officials from carrying out their programs and responsibilities qualitatively

in a form and fashion compatible with good taste, with grace and character.

The low-rent housing program dwelling units in the country as of before, the thrust of governmental

of the Public Housing Administra- the 1960 census, the contrast be- influence will continue to be mani-tion and some 1,200 local housing tween the completed dwellings and fested in the physical appearance

authorities throughout the nation in the slum and substandard condi- and social compatibility of the ur-over-all perspeciive relates to the tions they replaced is as broad and ban environment. The programs ofimprovement of environment in extreme as any in the American the Housing and Home Financegrelte. proportion than its half- scene, and broadest from the view Agency and its constituents have a

-ittio.r compl"ted dwellings in the of the low-income and senior citi- major impact on metropolitan and

nation might indicate. Although zen occupants. city planning, urban renewal and

these units comprise less than one Beyond this program, moreover, the range of housing from theper cent of ttre fifty-five million it becomes evident that as never lower economic brackets all the

way up to the summit. This willbe matched within degrees offinancial competence by state andlocal governments. The constitu-tional police powers of governmentwill be manifested in burgeoningprograms of neighborhood conser-vation and rehabilitation and ofcode modernization and enforce-ment. The participation of govern-ment, indeed, has become so greatas to generate by that fact areas ofresponsibility for esthetic results inits programs that affect communitygood health, moral and psychologi-cal, as well as physically safe andsanitary.

By philosophical dictum, as wellas constitutional doctrine, in thecase of Berman v. Parker someeight years ago, the Supreme Courtof the United States establishedthat governmental powers underappropriate circumstances mightserve esthetic objectives. Given theIegal basis and assuming a com-munity consensus for positive com-munity goals, what then are theimpediments and how may govern-mental officials perform in har-mony with the myriad of diverseinfluences that create the totalcharacter of urban communities?

The deterrents can be readilyidentified-some are implicit in theestablishment of our times. Thereare divided areas of responsibility

-between Federal and local gov-

ernment; among owner, architect,banker, builder and consumer. Weall know about cost limitations andsensitivity; about haphazard meth-ods of selection of architects. Weare deficient in social, economicand city planning for the appercep-tion of the creative designer. Thereare competing value judgmentsamong economic, physical, socialand political goals that must bereconciled with respect to a specificimprovement, and too frequentlysomething gets lost in the process.There has been some immaturitvin the expression of good publictaste and a general unawareness ofthe pertinence of community goalsscaled in human dimension.

For example, some "superior" aswell as "inferior" esthetic contribu-tions have come out of the low-renthousing establishment in its firsttwenty-five years. We were the re-cipient of a citation in 196l fromthe Municipal Art Society of NewYork in recognition of our supportfor the superior esthetic design ofthe public playground in theThomas Jefferson low-rent housingdevelopment in East Harlem on thi;island of Manhattan.

Open space considerations, whichhave stirred the public imaginationonly recently, have from the be-ginning been one of the positivecriteria that have characterized low-rent developments. The publichousing program in New YorkCity alone has permanently pre-served as open space eighty-fiveper cent of some 810 acres of de-veloped land. This kind of land-use has become a pattern formiddle-income and luxury-projectdevelopment. In the same way, theearly large-scale use by the publichousing program of reinforced con-crete construction has made pos-sible the use of free-form design inresidential appearance. The replace-ment of obsolete, decaying, unsafeand unsanitary structures by clean,safe and structurally sound build-ings in itself tends to generate pub-lic feelings of satisfaction. Underthe same laws and administrativeregulations that have produced suchsuccesses, there, nevertheless, havebeen examples of the "institutional"look, and groupings of buildingswhich lack neighborhood character.

Yet the dynamics of our timesand the feeling that design break-throughs in the low-rent housingprogram should not depend on thevagaries of combining at one timeand in one place the human andphysical components that produceesthetically acceptable housing hasimpelled the Public Housing Ad-ministration to invoke a bold andforwardlooking development policyand procedure of perhaps unprec-edented import in government.This policy states unequivocallyand simply that our basic purposewill henceforth be to assist localhousing authorities and their archi-tects in achieving the highest pos-sible quality of design and planningand to stimulate study and continu-ing effort toward new and improvedsolutions of family living.

We propose to achieve this goalprimarily through the removal ofall heretofore mandatory stand-ards for planning and design exceptthose relating to maximum dwell-ing areas, furnishability in relationto dwelling plans, maximum com-munity space areas, and under-ground utility installations. We in-tend to rely on the ingenuity andcreative ability of commissionedarchitects to solve the desisn chal-lenge within the basic siatutorystandard that low-rent housing maynot be of elaborate or extravagantdesign or materials and that thehousing promote serviceability,efficiency, economy and stability.

These new policies encourage theintroduction of city planning andsocial planning criteria before thestage of architectural design isreached. The traffic signal controlthat plagued architects who had to"stop" and "go" according tophased steps in the architecturalprocess will be an irritant of thepast, we hope, because the continu-ity of progress from the workingconference stage when all basic de-cisions will be formulated to thecompletion of working drawingsfor bidding purposes will hence-forth be uninterrupted. Moreover,the staffing of our regional omceswill be reoriented so that there willbe more opportunities for face-to-face work between Federal andlocal personnel and the architectsinstead of the remote impersonaladministrative "review and com-ment" type of procedure. Finally,we will bring in city planning andarchitectural consultants on a casebasis to deliberate, advise, evaluateand seed the design process.

As to the problem of costs, longthe whipping-object for pedestrianefforts, we believe that superior de-sign, involving use of color, shapeand form, involving the orientationof structures in relation to light andair, introducing new materials andconstruction methodology, do notnecessarily involve more bricks,more concrete, nor more dollars.

The philosophical basis for im-proved urban design upon whichPHA policies are based is universal.Inspirational physical environmentsbecome especially significant andmeaningful, we believe, inversely tothe economic and social status ofpeople. The immobility of the urbandweller because of economic, cul-tural or social circumstances gen-erates an impasse between theindividual and a mass society.Therefore, satisfying design canserve the psychological needs ofindividuals and families in their con-frontation to an overwhelming massenvironment.

The FHA, because it servesAmericans in the lower economicand socially underprivileged eche-lons, intends to implement theseconcepts as one of the governmen-tal participants in the bundle ofresources that make up the Ameri-can scene. But in the final analy-sis, while government officials cincajole, encourage, lead, stimulateand finance superior design solu-tions, only the creative architect,with vision, skill and ingenuity, candeliver what is esthetically expres-sive of the American character. {

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Dr Burnham Kelly

Dean, College ol Architecture, Cornell University

> Consideration of the arts of architecture and city design soon brings us face to face

with a paradox. These seemingly most enduring of the arts are in the United States of

today almost transitory. Modern buildings and urban districts, tend to disintegrate and

disappear. Their basic values are utilitarian market values, and for each building, loca-

tional utility is constantly changing. A sufficient change for the better means that the

building will be replaced; a sufficient change for the worse brings the external evidences

of decay and the destruction of architectural quality. Soon the building itself is destroyed.

By comparison, painting, sculp- Charleston and celebrated the Gay tionized the teaching of physics itttu.", po.tiy, and music

-are fir Nineties. Thus also, many today are the secondary schools' A Creative

more ^permanent. In or out of beginning to respect the City Arts Study Committee would take

fashion, major works of art in Beiutifui designers of the turn of a fresh look at programs' t€aching

these fields lndure, in collections, the century, who were in deep dis- materials, and teachers in the hope

libraries, and museums, to be pre- grace only a few years ago. of opening,to citizens of the United

sented at any time in almost oiigi- - Unfortunately, for the Grand- States at long last the power tonal quality. A few outstandiig father Effect to serve a public edu- communicate by line and form as

buildings in key locations attain cational purpose, it is necessary for well as by word or by abstract

this sta-tus of fine art, but for the grandfather'i works to survive, and symbol. If it did no more than pro-

utilitarian mass, the districts of ihese days they do not. When at vide a reliable mechanism forhighest utility are constantly on the last the passage_of time had made eliminating programs and teachers

m6u", clearing everything to the it possibie to nnO a sympathetic that are doing positive -harm, it

lround before- them, ani leaving publi" fo. the works of a Richard- would be making a significant ad-

fiehind a mouldering detritus oT son, a Sullivan, or a White, the few vance on the problem before us'

architectural cast-offs.- remaining examples of the utili- And among the gr€atest of_ the

In simplest terms, architecture tarian aichitecture of these men services it would perform would be

must endure if there is to be a could be found only in dismal ur- the esthetic education of those

stable physical environment. Be- ban backwaters, overgrown with special few .among the general

yond that, endurance is important the weeds of blight, and,able to be public,,who-wi1l make the decisions

6..uur" it takes the perspective of warmly loved only by those retro- regarding future architecture'

time to assure the educational ex- visionaries, the arctiitectural his- May we look for better esthetic

p.ii.n.. through which the public torians.may develop f,igh esthetic itand- The lifting of esthetic standards makers: the businessmen, the

urOr. e sculitor iike Lipchitz, how- in utilitariai architecture, there- various institutions associated with

ever grateful he may be for a wide fore, will not come from the ulti- building, and the government? The

admiration of pieces he finished mate consumers. On the contrary, decision-make.rs concentrate on the

fifty y.u* ago, works today for an the public at large has long sensed utility of utilitarian architecture'

understanding that may not .orn. that buildings h-ave become . tran- Despite an .

occasional strongly-

for years in i-he future. Many great sitory and Ephemeral, and it ac- stated esthetic requirement' they

worics of art stirred little enthusi- cepts modern architecture and city usually believe that they leave mat-

asm at first, or went through long design in terms of mere fashion, ters of art to the artists' This belief

periods of disfavor. But [ecause with an emphasis on gimmicks. In- has gained so wide a credence that

they endured, they were able to stead of baubles, -bangles, and writers, conferences' and research

contribute their bit to ih. g"nerul beads, they have learned-to expect projects- now ro.utinely assume that

improvement of public Jsthetic the architectural equivalent: iky- ihe .esthetic failings if our cities

standards. domes, spandrels, u"d "t""nt' signify some sort of fine-art defi-

The time required for sound Despite the lack of an environ- ciency in our designers' This is.non-

perspective may be long. By the mentai continuum, however, there sense; fine-art ability is not at issue'

;;";;ii;" of what I call thi "Grand- is one positive siep. that can be The major esthetic failings are in

father Effect,,, a man tends to suffer taken at'once to .nlitt th. general the much more widespread area of

acute embarrassment uf ttr" totti". public in the war on uglineis and utilitarian art, and here there is

and failures of his parents, but he to start the process of teveloping much less delegation to the artist'

can accept with tolerant affection standards thiough percep-tion ana Far more important, much that is

those of the generation before app.eciaiion ot-*oits of quality. not delegated at all, because it is

them. Feelings of rivalry and re- I^would support as.fully as possible thouglrj .to involve only economy

sponsibility are faded, and judg- ttre esttreiic equivalent ^of the and efficiency, is of the greatest im-

ment is calm. Thus, my ctriiore"n physicai s"i"n""r study commit- portance-to design.. Typically' the

have Gay Twenties pariies, white t.., tt ui A.Ji""t"O group of first- hands of our designers may be

I at their age shuddered at the rate scientists who have revolu- found tied firmly behind their backs

even before they are brought intodesign deliberations. Let me illus-trate.

I have noted above the effectsof locational utility on the life ofa new building. Few in this audi-ence need to be reminded of thecrucial importance to design of adecision on floor area ratio ordensity. Volumes could be writtenon the single point of tax return.

Financing terms and iates arepowerful design tools. When theadministrators have decided thatpublic housing will be accomplishedby slum-clearance projects to befinanced over a period of sixtyyears, and that the local authorityneed only pay the operating andmaintenance costs during this pe-riod, they have said in so manywords: "This is to be institutionalarchitecture!" No matter what hap-pens to the people, the buildingswill be designed to last sixty years,and they will look it.

In sum, utilitarian conclusionsare major forces in the design ofurban areas. Decision-makers aresimply not aware of the extent towhich their supposedly non-designdecisions have arbitrary physicalconsequences. They cannot be ex-pected, therefore, to lead the wayto higher esthetic standards.

Is the designer guiltless, then,

standing as he does with his handstied behind his back? Of course not.He has only to resist, to seek outconstructive compromises, in orderto free himself. The sad fact of thematter is that only too few archi-tects and city designers have anyreal appreciation of the situation.While willing enough to complainabout the restraints imposed uponhim by codes. ordinances. unions,and suppliers, the average designerhas little appreciation of the factthat, with patience and effort, hecan recast these external conditionsin such a way as to substantiallyenlarge his freedom of design with-out losing sight of the purposesthey are supposed to serve.

The average designer has evenless appreciation of the importanceto him of a wide range of fiscaland legal problems. And he is notaverage at all if he has anythinglike a concrete conception of theopportunities for an expandedscope of design provided in largeproject operations and industrialtechniques. Certainly nothing in hisschooling or in his standard prac-tice could have given him such aconception.

When it comes to urban plan-ning, the average designer knowsthat the public enjoys grandioseand well-presented conceptions, at

least for Sunday reading, but heseems to believe that somebodyelse must work out the tedious pro-cedures for guiding the ever-shift-ing locational forces that havemade his utilitarian art ephemeral.

I conclude that. while the fineart of iirchitecture may be in goodshape, if a bit precious, the farmore extensive utilitarian arts ofarchitecture and city design are inneed of attention. The designersthemselves must seek to under-stand the opportunities and limita-tions imposed on them by modernconditions, and then they mustfight to raise esthetic standardsthroughout the areas of decisionallocated to government, business,and the institutions. There is nooverpowering opposition other thantheir own inertia.

Architectural education can leadthe way. The time has come to rec-ognize that fine art is only part ofthe designer's responsibility, andthat the physical environment of amodern urban nation is made uopredominantly of utilitarian archi-tecture. The architect must betaught to understand the interplaybetween the precepts of utility andhis art. to recognize how importanta role he may play in the decisionprocess, and to prepare himself toplay it, early and to the hilt. {

Question: Dr Barry says that theproblem of the church architect ishow to house the spiritual fellow-ship in the impersonal, mass prisonof the housing ghetto. I want toask him if the churches, or thesynagogues, try to stop the badhousing project from the begin-ning? Are they at the planning com-mission, when it disrupts the neigh-borhood, and if not, why not?

Dr Barry: The spectrum of thechurches is as broad as Ameri-can democracy. And among thechurches are some active clergy-men working very hard with theirmembers towards communitybeauty and to prevent communityugliness and to prevent the verydifficult problems that arise fromrelocation. There are many. manvclergymen and lay people *ho r..-to be unaware that this is a problemfor the community and for thechurch.

Discussion Following the Second Panel

Queslion: Lewis Mumford pointsout that the sovereign state is abaroque hangover, useful only towage war or cold war. Therefore,as an artist, I would ask, how canthe civic architecture of it repre-sent any living function?

Mr Moynihan: Well, I think thatif the time came when you neededit, you'd be very pleased that thePentagon was there to perform theliving function of defending thiscountry in war. And I don't thinkwe have to apologize for that. Idon't think we have to fall all overthe admittedly-baroque conceptionof the Pentagon; but to deny thefunction of the defense of theUnited States seems to me pointlessand it seems to me these are con-versations that don't get very farwith the House Ways and MeansCommittee.

Question: Responsibility invitesauthority. Do we want to take the

calculated risk of esthetic controlwhich goes with esthetic responsibil-ity? Now I propose a second ques-tion relating to that: Represent-atives of lending institutions areconspicuous by their absence on thepanel. Therefore, does Mr Wolfson,as one who has had to lock hornswith their attitudes, see any solu-tion in a higher, mortgageable eval-uation or lower interest rates, onbuildings with a comparativelyhigher esthetic standard?

Mr \ilolfson: I don't think thatthe lending institution will give anymore money for an esthetic build-ing as compared with one thatisn't, but I think that the estheticbuilding might get the loan whereasone that isn't might not. I don'tthink they will give any credit inadditional money for that, but lookmore to the income of the build-ing rather than the structure itself.Once the structure is sound and sat-

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isfactory, so far as their engineer-ing survey is concerned, I thinkthat very little credit will be givenfor esthetics.

Question: The US State Depart-ment's Foreign Building programwas esthetically successful. Whatmethods were at work and why canthey not be used in other depart-ments of government?

Mr Moynihan: I think I can an-swer that very clearly. The essenceof the State Department's buildingprogram was that a group of verydistinguished American architectschose the architects who woulddesign the individual buildings.What we have overseas is an em-bodiment of about as good as wecan do. And I think this just startledthe world. I mean, those embassieshave been looked upon-I thinknations have responded to them as

to a great courtesy. I think wecan do as much in this country.The lines along which we're think-ing in terms of policy are essentiallythe same. This is a decision whicharchitects are most competent tomake and which we hope they willmake.

Question: In the matter of es-thetic responsibility, does the panelfeel that there should be estheticcontrol established for private as

well as for public construction, or,is it the feeling of the panel thatthe design professions should beself-disciplinary?

Mr Belson: I don't profess to bea spokesman for the panel, butwhen you talk about committeeson esthetics perhaps the definitionthat a camel is a horse designedby a committee might very wellbe apropos at this moment. Whenyou talk about esthetics you talkabout a relationship as to one Per-son and if you pose and place intothe hands of a committee that awe-some responsibility of determiningwhat is or what is not good taste,perhaps we might not be quite as

satisfied as placing on the individ-ual that responsibility to have himdetermine what is or what is notesthetically proper under the cir-cumstances. In that line, if therecould be some legislation intro-duced which would require thatan architect place his nameplate onevery building he designs, so hewould then take the consequencesof his design, PerhaPs that mightaccomplish something.

Dean Kelly: Dear Panel, thequestion is, we already have es-

thetic controls. Do You want themto be improved? The difficultY is

that we have all kinds of esthetic

controls in operation. I would liketo have some people with estheticjudgment doing something aboutthese controls. It isn't necessaryto have a panel telling you how todesign a building, but it is desirableto have well-trained artists saying,"If you make these rules, let usat least respect the possibility ofan artist doing a better job thanhe now can do with the rules you'vemade."

Question: Mr Wolfson has refer-red to "we." On what basis did"we" constantly change the archi-tect's original concepts-is thebasic consideration entirely that ofcost?

Mr Wolfson: "We" refers to theentrepreneur of the project andcost is certainly not taken into con-sideration on all judgments. I thinkI illustrated one where we sPent

a vast amount of moneY on some-thing which we thought was notnecessary and not going to helP,but we bowed to the advice of thearchitects. We certainly didn't takethe point of view that economicsruled all the time.

Question: Mr Moynihan saidthat the government wants archi-tectural design thinking to flowfrom the architect to the govern-ment. What we're finding difficultto reconcile is the situation that hasdeveloped in the Roosevelt Memo-rial in Washington, where archi-tects were invited by comPetitionto supply their thinking and ulti-mately they were rejected. Thisflow from the architect to the gov-ernment started with a design com-petition and then it was decidedby a design comPetition, then ithad to go to the Commission ofFine Arts and, ultimatelY, to Con-gress. How can we reconcile thissituation?

Mr Moynihan: I grant You twothings. First, this is not the onlYcompetition that has died aborn-ing in Washington. This is a Prob-lem. It rises in the case of theRoosevelt Memorial from what Ithink is this esthetic division thatI think I mentioned earlier, thatthe popular taste in America, whichdoes not mean the taste of thecliques, but the taste of the stock-brokers, has diverged very consid-erably from esthetic taste. And theRoosevelt Memorial came veryclose to being a great success

around Washington, but most Peo-ple I think had the reaction thatwe're just not quite readY for it.When you build memorials Youhave to consider that they do havea very direct, personal relationship

to the people in a way that neces-sary buildings don't. I would sayone last thing; that the situationwhich you described in terms ofrejection of the Memorial arose inWashington from a reversal of ourthought that architectural ideasmust flow from the profession. Thiswas a decision made by personswho are not in the profession or,at least, not of the ruling, domi-nant views of the profession. Iwould think that most hardheadedbusinessmen, whether they know itor not, are ruled by the views ofsome defunct economist. Some ofour bureaucrats are ruled by theviews of defunct architects. So thereyou are.

Question: Isn't the question re-garding the Pan Am building notwhether the columns were to beround or square, but whether a

builder should be allowed to be-come wealthy by upsetting theurban design and the functioningof the city by building a buildingat all?

Mr Wolfson: The criticism ofwhether or not a building shouldbe built at this particular spot hasbeen voiced many times. I thinkone of the things that makes a citYis to some extent congestion, tosome extent the concentration ofbuildings and people. This partic-ular plot of ground has a valuationof some twenty million dollars. Thecriticism has been leveled before.This would have been a wonderfulspot for a park. I grant You that.It would have been beautiful, itwould have been grand for all ofthe people in the area. But, who onearth could afford to dedicate a

twenty-million-dollar piece of prop-erty for a park? Within the realmof what we could do with the ProP-erty, we have tried to do an urban-istic job. We have made a ten-foot sidewalk on 45th Street into a

45-foot sidewalk. We made a ten-foot sidewalk on Vanderbilt Ave-nue into a 35-foot sidewalk. Wehave created the Promenadethrough the building from 45thStreet to Grand Central Stationseventy-six feet wide. We thinkthat, if anything, we will clear uP

the congestion in that area ratherthan make it worse.

Question: How would You im-plement your suggestion for a con-ference on esthetic education?Could not education in the Publicschools develop earlY interest ingood taste or esthetics, such as

appreciation of civic design andpride in one's communitY environ-ment?

Dean Kelly: That's a very goodquestion and there are severalgroups working on it. To try tosimplify, the first thing to do is totry to get absolutely first-rate peo-ple involved in the whole questionof what you mean by education inthe area of esthetics. This is whatthe physicists did. They threw awayall the books, they threw away allthe notions, they tried to find newways to bring actual experimentsand exercises into the classroom. Ithink this is the first requirement:to disregard what we've alwaysassumed was the right way to teachesthetics, art, what have you. inthe local school system. I thinkthe way to implement, however, isnot really going to be discussedwhen you say what shall these peo-ple do, so much as how do youget started selecting a committee.And I think the best thing you canpossibly do here is to make surethat this group and other groupslike it argue very hard that thereshould be such a functionl find fi-nancing for it, perhaps fromfoundations, perhaps from the Fed-eral government; and set to workto try to find people you feel arehonest enough and simple-mindedenough to face these questions intheir very elementary forms. I thinka good bit of it is going to requirenot just artists, but psychologists,educators, people that we generallythink of as not quite competent todeal with these high and mightysubjects. In fact, of course, manvof them are.

Question: The Chairman of theCity Planning Commission has said,in speaking to some civic organi-zations, "If you want us to act,pressure us. The City will respondto popular demand." Do the gentle-men members of the architecturalprofession have enough courage tobecome incitors or agitators?

Chair: The New York Chapterof The American Institute of Archi-tects, through its various commit-tees, has been doing exactly thekind of thing you've been talkingabout to the best of its abilitv. andit never gives up, no matte; howmany times it's licked.

Question: Would Mr Moynihanelaborate on the ideal of thi pro-posed Cabinet committee? Will thisencompass also a selection of thearchitects?-as we feel this affectsvery vitally a quality as shown inthe State Department program.

Mr Moynihan: I would like toask that I not elaborate further asthis is what I think we agreed uponas I stated. I think that the poiicy

itself would be a very simple andstraightforward one. It simply re-places, in the absence of policy,things that have been going on thatwe've been hoping we'd change.I'd like to say just one thing,though, about this general point ofthe rule of the architectural pro-fession as agitators. Now, as to theRoosevelt Memorial, I've no es-thetic judgment about it. I knowall about architecture but I don'tknow what I like. But I do see itas a specific situation where yourrole was absent.

Hinkey-Dink Hanna once re-marked that "Chicago ain't readyfor reform." Washington ain't readyfor the Roosevelt Memorial. Makeno mistake about that. This is amatter that the people have a verydirect relationship to. People haveto be able to say "That's how I feelabout the President."

The issue is much closer than itmay look from a distance, but Isay to you that one very evidentthing was that no one was downthere very actively enlisting thesupport of the people in politicsfor the thing. No one was downthere saying, "This is what theAmerican architectural professionthinks should be done. This is ourresponse to a great man and ourfeeling of the most powerful pos-sible kind."

Question: What changes in gov-ernmental approach and actionwill make for better communities,based on your experience in guid-ing through these three, four or fivepilot projects?

Mr Belson: I don't know thatyou need any changes, because inthe experiences that we've devel-oped with the governmental agen-cies we've found them surprisinglyflexible when the position of thearchitect was backed up by a spon-sor unmindful, perhaps, of the mat-ter of economics. Although, as Isaid before, economics certainly isa very vital consideration, we'vebeen able on a number of our de-velopments, not to make economicsthe paramount and sole criterion,but to permit, perhaps by way ofthe back door, some esthetic con-siderations in our developments.

Dean Kelly: I'd like to say justone thing. This business of lobby-ing and so on. I'm afraid, to thearchitects, looks like the require-ment of forming armies and charg-ing around in uniform. Actuallv.it's all a matter of momentum.If you wait until a decision is allbut finished and then try to blockit, it takes more power than this

organization or any other organiza-tion has. But if you're in there whenideas are being formed, if you'resuggesting things to people whenthey're first thinking, it's remark-able how much legislators, gover-nors, politicians, even bankers, willrespond to good ideas. There's noreason on earth why you can'tstart raising esthetic standards atthe root, that is, when the peopleare first beginning to think theymight do something. You don't haveto wait till it hits the New YorkTimes and then try to rally a greatbig doomed-to-disaster fight, eventhough that's more fun.

Question: We have been con-cerned with the cost of producinggood design, the amount of timeand the amount of talent that ittakes. Why can't government affordto pay the same normal architec-tural fees as private industry?

Mr Moynihan: Well, sir, there'sonly one answer to that. The gov-ernment can afford it and ought todo so.

Question: In some ways the sub-ject of the Pan Am building hasbeen the btte noire of the meetingand I'm sure most of us wouldrecognize that esthetic aspects ofbuildings are basically governed byposition, and floor area ratio. Nowrecognizing the situation of MrWolfson, as executive of a corpo-ration with a duty to the stockhold-ers to maximize the return on theirinvestment under existing local reg-ulations and especially the Federaltax structure, doesn't the Federalgovernment have a responsibility tothe general public to adjust thetax structure in relation to buildinginvestment, to make excess densityand overdevelopment of urbanlands less economically advanta-geous to builders?

Mr Moynihan: Well, sir, I feelstrongly about this. The Federalgovernment has no responsibility ofany kind. The Federal governmentis not Mr Goodman's baroquemonarchy. We are the Federal gov-ernment. The Federal governmentis simply an institutional arrange-ment for doing what we want to do.Now, if we want to change thingslike this, it's our responsibility togo down there and do it. We shouldgo to the men we elect, say thatthere are votes in it, that the peoplewant it, that if you don't do ityou're going to be hurt for notdoing it.

To sit around and wait for some-thing called "The Federal Govern-ment" to do anything for you is towait a very long time. {

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Luncheon Address: The Challenge of Ugliness

August Heckscher

Special Consultant on the Arts to the President

F It seems to me that the Challenge of Ugliness is a good topic to begin on-for in

declaring myself against ugliness I am certain to be on safe ground. In denouncing ugli-

ness roundly and resolutely, I am hardly likely to lose any friends. And I really don't

want to lose them: I am going to need them all as we go forward along a path where

troubles and perplexities are bound to accumulate. Indeed, I trust that as the work pro-

gresses I may continue to earn good will.

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Having said this, I should per-haps conclude and sit down. ButI am constrained to confess thatopposition to ugliness is not thewhole of my platform-n61 i5 3

simple declaration the end of mydiscourse. I believe that our twen-tieth-century American society is

entering upon a new phase, wherethe concerns and controversies ofthe past several decades are goingto be muted or supPlanted and a

whole new range of interests isgoing to excite the public. Leavingaside the ever-present problems ofthe Cold War, what has been thecentral preoccupation of our com-mon life? It has been welfare. Ithas been the satisfaction of the pri-vate desires of the citizenry: the in-crease in their comforts and themultiplication of their possessions.

But there is surelY an end of thestate more noble and enduring thanwelfare. The old measures in thisfield have reached a point beYonddebate; new measures maY stilldivide us, but theY are destined totake their place, in one form or an-other, in the anthologY of accePtedreforms. Meanwhile the PeoPlebegin to look beyond the acquisi-tion of private possessions and in-dulgence in personal Pleasures.

It is hard to know how to for-mulate these new and larger inter-ests. I have used elsewhere thephrase "The Public Happiness." Ilike to think that this in some

sense describes the satisfactionsmen find significant when theY

reach out beyond the search forsecurity and for material benefits.

The arts and cultural activitiesform an important Part of thisrealm. The widesPread, livelY in-terest in the develoPment of thearts-you can discern it in the

press, you can feel it amid the Pub-lic and even in the Congress-is a

symptom of a deeP movement inpublic opinion, one of those trans-formations in our habits and waYs

of thinking which, once in a gen-eration or so, create whollY freshdemands and possibilities.

Sometimes this enthusiasm forculture seems a little overwhelm-ing. One fears that where suchwinds are blowing nice distinctionsare going to get lost and the high-est standards will prove difficult tomaintain. The difference betweenthe excellent and the second-rate,between the genuine and the sPuri-ous, between the artist and the ama-teur, are perhaps now in more dan-ger of becoming blurred than inperiods when the arts are neglected.

But the capacitY to aPPreciateand enjoy, and the energy tocreate, certainly exist in a high de-gree among us. TheY may Yet bringus out into an age of culturalachievement such as our countryhas not known before.

A Comely Environment

Now I would like to maintain to-day, before this audience, that themaintenance of beautY and fitnessin the environment-a sort ofcomeliness in the world around us

-is wholly as imPortant as other

forms of culture in determiningthe quality of a society' The thingsthat are created bY men workingtogether, consciously or unconsci-ously, are the most durable factsabout a civilization. They outlastthe living generation; theY carrYforward, to be modified bY timeand by new men, the bodY of an

age. Where we find that men have

built meanly, without common Pur-

pose or a sense of the ideal, wecan be sure that theY lived meanlYnl3q-61 at the verY least that theYlived with a disproportionate em-phasis on the private sphere of life,neglecting the influences which canmake a civilization out of an ac-cumulation of individual exist-ences.

What, after all, do we mean bY

a civilization? It is surelY not theaccumulation of private things. Noris it, necessarily, the building ofpublic things. In the "Republic,"Plato complained of those who hadheaped up physical structures andyet missed the most imPortant as-

pects of a true civilization. TheYhave filled the city, Plato complains,"full of harbors and docks andbuildings and all that," and have"left no room for temperance orjustice." Many of those arguingtoday that we have over-develoPedthe private sector while neglectingthe public sector fall into this fal-lacy; they seem to suggest thatmoney spent in the Public realm isnecessarily and in all circumstancesa boon.

Granted there are Public needspoorly met and some not met atall, still a transfer of funds fromthe private to the Public budgetis no assurance of a higher degreeof maturity and civilization. A civi-lization requires "temperance and

iustice" at the core-an inner sense

of values in the light of which deci-sions are made. It implies an exter-nal order of things which are notonly beautiful in their own waybut correspond to a people's intrin-sic sense of what is good.

The next decades will be a Pe-riod of vast building and of greatphysical transformations of theAmerican scene. It is not onlY that

g00d will pour fronl the factories.

New highways win criss_cross thecountry. Cities win be torn downand rebuilt. The countryside willbe made over into new forms ofurban and suburban communities.Yet all this activity will not in it‐

self mean that a civilization is being

shaped. A civilization begins tomanifest itself when men andwomen have begun to take thoughtabout what it is they construct,andwhy, and tO what end. It begins t。

be a living wh01e when the ideaof beauty has found its place along―

side the pressure of utility and the

spur of need.

Haphazard Development

ln the past history of this cOun―

try, the outward pattern of thingshas, to an extraordinary degree,been left tO chance_tO the haphaz―

ard actions of special interests and

grOups. sOmetirnes it has seemedthat as a nation we siinply did not

concern ourselves with the face ofthe land. The American continentwas so huge, its resources of land

and fOrests and water so un‐bounded,that though men choppedaway at thenl with only their owninterests in ntind we trusted that

the great bulk of things wOuld re―

main unspoiled.Sometirnes we haveassumed that private interests work―

ing cOmpetitively would create their

own kind Of ntness.

In strange ways this has Oftenhappened. The farnling landscape,whether tightly knit in New Eng‐land Or spread acrOss the Midwest_

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spirit that nO sculpture cOuld have

matched. But there are limits be‐yond which this faith in automatic

artistry cannot be pushed. Wherethese linlits are passed Over, as in

the sprawling roadside slums or the

l:l鞘illil弱響lililllto stand by helplessly

Public agencies undertaking tO

rr席 ::;lⅧ l∬ ぶ・

胤 よfrequently acted with a single inter―

est in nlind― tO speed up tramc,t。

瀞 Tを 説 :鍵 汎 麟that these interventions were thework of lonely enthusiasts, Or ofbureaucratic expcrts, suggests thatsomething has been amiss. where

槻 1■ ξti::盤 島 寵 1躙 :which alonc can givc beauty and

meaning to what men accomplishby their common toil?

When we look about us at thenatural environment today we arestruck by the degree to which it issubject to human designs. No partof it is safe from the bulldozer, fromthe land speculator, from the engi-neer and road-builder. When Theo-dore Roosevelt and Governor Pin-chot started the conservation move-ment in 1908, their problem wasessentially that of preserving a fewkey areas, or of instituting prac-tices which allowed natural re-sources to endure and to reproducethemselves. Since then, the powerof man over nature has increasedenormously. The great advances inhuman organization, in science andtechnology, have literally put intoour hands the fate of a vast con-tinental expanse. What we do withit is for us to decide. The foreststhat sheltered our grandfathers wenow shelter and preserve. The landthat kept them is now in our keep-ing. We possess the earth as in nosense could it have been said of anyprevious generation.

Alas, what we do with it is oftendiscouraging enough. The naturalscenery may survive in its granderaspects; the great parks and monu-ments have been preserved and areappreciated yearly by increasingnumbers of citizens. Elsewhere,however, the rash of cities spreadsominously from what were oncetight and focused settlements; theroads bring their burden ofstretched-out, undefined structuresand habitations. These suburbs arestrip cities. Seen from within, theybear out the disturbing impressiongained from the sky: Too oftenthey are defilements of the naturalscene, wasteful desecrators of whatmight have been free space andgreen land.

The Spiral of Ugliness

On sentimental journeys, on cam-paigns and outings of a summerseason, the Americans show them-selves still affectingly aware of thevalues implicit in a noble environ-ment. If only they could heed asattentively the landscape which sur-rounds them through the rest of theyear! It is one thing, they seemto feel, to retreat into the silenceand loneliness of a forest (at leastas much silence and loneliness astheir ever-increasing numbers af-ford)-but another thing to expectbeauty or fitness in their everydaysurroundings. They want a nationalpark three thousand miles awayl

they do not seem to care-or tocare enough-if there is no parkto which they can motor on a Sun-day, or one to which they canwalk in their lunch hour. They wantthe wilderness to be forever wild;but they seem unheeding if theroadsides are forever cluttered withbillboards.

Judged by the apparent attitudeof too many present-day Ameri-cans, there is doubt whether weshall ever be able to extricate our-selves from a descending spiral ofugliness and irrationality. What isrequired is readiness to undertakeon a large scale the kind of publicworks which are truly public-inthe sense that they serve the high-est interests of the citizenry; andtruly works-in the sense that theyare made to endure and to bejudged by future generations. Yetit is this kind of undertaking forwhich it is often most difficult tomuster support among the people.No foreign threat is so intangiblebut it can evoke a readiness tosacrifice and even a positive enthu-siasm for the ordeal. No project,however costly or tenuous its re-turns, will be seriously challengedby the public if it can be shown thatundertaking it will increase our ma-terial power. But if it is proposedthat something be done by the peo-ple for their own delight and forthe enhancement of their commonlife, a dead silence ensues. If some-one suggests elegance in a publicbuilding, the matter is hushed upas if it were a scandal.

We have been prepared to callon the best architects in the coun-try when it has been a matter ofbuilding abroad. The embassiesand consulates that have been con-structed in various countries overthe past decade remind us whatthe United States can do-andwhat government can do-when itsets beauty and excellence as a goal.The cultural center built by the na-tion for the people of West Berlinshows that we are not unmindfulof the value of a setting in whichgreat public events can be fittinglyheld. At home, however, the storyis different. We still wait to see ac-complished a national cultural cen-ter in Washington. We might wellfeel impelled to ask, in regard toour own public buildings, whetherwe consider ourselves to be so back-ward or uncivilized that we cannotenjoy the kind of beauty which weprepare for others.

We feel impelled to ask such aquestion-and yet in some dim waywe sense an answer more hopeful

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August Heckscher speaking at lunch, the First Conference on Aesthetic Re-sponsibility, Hotel Plaza, New York, April 3, 1962. Beside him, left to right:Richard W. Snibbe, Chairman of the Design Committee; Frederick J. Wood-bridge, rere, President, New York Chapter; Philip Will, Jr, Eelr, immediatePast President of AIA; and Morris Ketchum, Jr, nlIl, AIA Regional Director,

56

than the face of things might seemto warrant. For there is certainlyan influence taking shape whichpromises for the America of tomor-row a more sane appreciation ofthe true values which make a civili-zation. The environment can beman's greatest work of art; and itcannot be that while we strive forexcellence and beauty in sPecificforms of culture-in painting, insculpture, in literature, in poetryand music-we shall permanentlyminimize the significance of theoutward world which surrounds usfrom our birth and insensiblYmakes us what we are.

Even Athens Was a Sprawl

Yet I would remind you of theother side of the coin. It wouldbe all too easy to fall from the errorof underestimating the importanceof beauty in the environment to theopposite error, assuming that en-vironment by itself creates men andcitizens. In "The City in History,"that monumental book which hasjust won for Lewis Mumford theNational Book Award, the authorhas some interesting things to saY

about the outward asPect of Athensin the classic age of Pericles andPlato. The picture we have in ourminds, he says, is of a town with"a marmoreal chastity, a PuritYand rationality." This did not existin fact. lf. the polis existed in thisform it was afterwards, in the thirdcentury BC, when the imPetus ofthe great age had been sPent andmen were settling down into anexistence no longer fired bY ardorand creativeness.

The Greek mind at the toP of itsbent possessed, besides its love ofabstract perfection and its stronginner order, "the violent, tormented

and irrational aspects . . . one findsin the tragic dramatists or in therude horseplay and barnyard smutone encounters in Aristophanes."The Greek city reflected all this.

No one has been more scathingthan Mr Mumford in his denuncia-tion of modern ugliness; yet Athens,he reminds us, kept in the periodwhen life was at its highest devel-opment a "casual jumble andsprawl." "The visible, tangiblecity," Mr Mumford tells us, "wasfull of imperfections: the disordersof growth, the fermentations andsecretions of life. the unburied ref-use of outlived forms, not Yetdecently removed, the relics of ruralways not yet adjusted to the con-tinued ordeals and challenges ofurban life." Yet the AcroPoliscrowned it all. its serene formreaching above the town below,finding completion as part of thelandscape of rock and blue skY.

In this tension between the oldand new, between the Perfectionof the isolated form on the hill andthe seething city below,-between,as it were, earth and skY-Greeklife found its moment of fulfillment.When that moment Passed, MrMumford says, "buildings began totake the place of men."

Let us make sure, as we buildfor ourselves, that men and theircities prove of equal worth. It isnot, after all, onlY beautY itself,but also the striving for beauty thatlifts up men and makes a civiliza-tion. We shall strive in our ownway, as this second half of the cen-tury moves toward its meridian.Who shall say that the striving willnot bring its own rewards? Whoshall know where the greatest

achievement will ultimatelY lie-within us, or on the enduring faceof the things we have created? {

Who Is Responsible for Ugliness ?

Morris Ketchum, Jr, FAIA

Regional Director, AIA; Moderator

Martin Williams

Former Editor, The Jazz Review (Mr Williams' remarks prelaced the

appearance of Ornette Coleman, who expressed himseff through his

usual medium, the saxophone)

F I'm told that I'm not supposed to say anything about the subject at hand specifically,but I think it would certainly apply because jazz once was scorned as a kind of institu-tionalized chaotic ugliness by the guardians and arbiters of American culture. And ofcourse it is no longer that. You might say that if a classicist looked at jazz music he wouldsay that it is not a contemporary art. I think it is and I think it's the one contemporaryart that has reached millions and millions of people in variogs f61rns-1ot necessarily inthe best form, but in some

lazz is a twentieth century artin that it is extremely subjectiveand depends entirely on the in-dividual, as does all truly contem-porary art. Jazz is interested inthe meaning of the moment. It isnot interested in interpreting tradi-tion as such. Whatever its meaningis exists at a moment in time be-cause a jazz musician will neverplay the same piece the same way.What he does at a given momentis the meaning he is seeking.

Jazz came from below. It wasnot nurtured by guardians of cul-ture. It was born somewhere inscorned areas and shoved into evenmore scorned areas, into bar roomsand whorehouses. It has, like muchcontemporary art, an apparentamateurishness, not a real amateur-ishness. But its apparent amateur-ishness is in all great jazz players.

It does not believe in absolutes.There is no best way of doing any-thing. There is only the way youdo it at the moment and how sood

form.is that? It goes against almost allnineteenth century esthetic ideas.

Who is responsible for ugliness?Ugliness, one can answer, is in theear of the listener or the eye of thebeholder. That's not a very helpfulanswer, perhaps, but an evasion.

Form? I think that contempo-rary art, if it lacks form, must dis-cover its own form. I wonder if itcan be imposed from without. Cer-tainly my own feeling about muchcontemporary painting is that itis, if I can say it this way, feminine.It has no reason, it has no borderapparently. It depends on intuitionand feeling. Those are virtuousthings, but they are the predominantthings in contemporary painting.But then where does true higherorder come from? Consciousness? Iwonder. Where do the great sym-bols of order come from? The will,the conscious will. Perhaps the in-tuition has to provide the order initself. I want to read somethingfrom a contemporary psychologist

which sums up what I want to say."Anyone who has the slightest

insight into his own actions canhave an important influence onothers because the striving for self-knowledge altogether does not shunthe prospect of social order, orhigher order, since there exists afactor which our expectations meethalfway. This is the unconscious-zeitgeist-the spirit of the times,which is not personal. It compen-sates the attitude of the consciousmind and anticipates changes tocome.

"Contemporary art tells us inuniversal language that we are liv-ing in the time of the metamor-phosis of the gods.

One of the great unifying, formalsymbols in western life certainly isthe Christian cross. Is it beautiful?Is it ugly? How would it havelooked to a first-century Roman?

"Perhaps rather as if we chosefor a unifying and religious symbolan electric chair or a gallows," {

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John L. Schimel. MDPsychiatrist

> I do hope that the members of this meeting will not leave with a picture of themselves

as an embattled 6lite, warring against the smothering influence of the masses. I hope you

find no devils or witches responsible for the present conditions of ugliness. I do not believe

you can afford such a consoling misrepresentation of the true state of affairs. We are all

part of our current mass culture. As individuals, we incorporate the ideals of our society.

Social ideals are primary motivating forces, and are extraordinarily important in deter-

mining the behavior of the individual, including his tastes, thought processes, his notion

of beauty and his evaluation of the importance of beauty. If psychiatry has contributed

anything to our current understanding, it is that man is not conscious of his true motivat-

ing drives. The obverse of this is that many of our motivating forces operate within the

unconscious, ie, outside of our conscious awareness.

As individuals, we engage in and shelter. Therefore we will individual who respects -other . in-

various forms of behavior. We are bend every effort to provide them." dividuals. Respect is a fine thing.held accountable not only for our In our society, this is so basic an The crippling aspect is, however,

behavior, but also for explanations assumption that it becomes impos- to flatten out differences between

of our behavior. As pro?essionals, sible tb examine. We take pride in this man and that. In the class-

we are constantly ujk"d fo. .r- it. It confirms our role in the room situation, for example' this

planations of the inexplicable, the humanitarian tradition, a tradition is operated so that as much time,

secret aspects of human operations. which-regardless of its benefits- or more' is given to the ignorant,

Explaining the inexplicable of has not contributed greatly to the uninformed views of students as

course is absurd. However, part of esthetic tradition. We sneer at so- to the views of the professor' It has

our responsibility as proiessional cieties where this is not a basic led to the ghastly parodies ofmen is io participate in such ab- assumption. We sneer at societies discussions in roundtable talks on

surdities. We know a great deal which build monuments but neglect television, where stripteasers are

about the development oI the sense babies. We are patronizing toward granted equal time with professors

of beauty, but the essence of a societies such as ihe Balinese, which of philosophy, with probably bothperson's .".porrr. to beauty is be- are oriented toward music, theatre of them discussing a subject they

yond the present capabilities of sci- and dance, but which neglect hous- know nothing about.

ence. ing. We are even making certain The egalitarian soul, because ofHowever, if we are to be judged thit this particular society will the forces operating within him, is

,un., *ound and responsible, our not continue to exist. We build a man characterized by a lack ofexplanations must bi accepiable. housing developments.-Our liberals conviction and a lack of commit-

They must pass the current criteria cry out for more. Conservatives ment. He is a man conditioned to

of what is sbund, sensible and true. ur! in opposition. Both hold the be convinced by the opposition and

We may build Towers of Babel, same maierialistic assumptions. modifled by it. Often enough, his

but we dare not explain that we There is no true debate, merely a only defense against ugliness or

are attempting to reaci i"un.n. W" difference as how best to conserve whatever, is to translate the dif-talk aboui trigtr tana values. or expand the material aspects of ference into a problem

- of

. good

The primaiy motivating ideals our lives. and evil, and to decide he is en-

in our current mass culture"are the In such a context, esthetic values titled to his opinion or view be-

ideals of materialism and egali- are distinctly a minor virtue. Even cause he is dealing with devils. He

tarianism. Both have ttr.i.-uitfirer, those conceined with beauty within is a man who holds the notion of

and you may turn for a recitation themselves are committe{ to what human inferiority or superiority

of them to ihe platform of either is regarded as a more important clandestinely, if .at all. He is rela-

the Republican or the Democratic ideal, namely, the materialistic tively impotent in the face of badparty. In the brief time allotted ideal. Architects, of course, have taste, ignorance, and stubborn op-

me, I will attempt to indicate the the same ideals and assumptions, position. Wher-e js there room forpatirology, the cripplin! urp."tr of since they are part of the culture. esthetic values? There is no shred

such ideals, to any nJtlon of "r- Those concern"d *ith beauty are of evidence that our current in-

thetic values as a major virtue. saying, "Let's have beauty, too." creasingly egalitarian society can

I will deal more briefly *itrt tn. Eg-alitarianism is a more seri- produce men capable of dedicating

materialistic ideal. Materialism is ous, a more dangerous ideology in themselves to beauty.

basically a simple ;hid;;;y: terms of esthetiJ values. In effect, The individual in the egalitarian

simple, but with many ramifi&ti,ons this ideology means that one man society operates according to the

and implications. On the simplest is as good is another. On the con- principle that b€auty is a matter

level, ii says something like:^ "It scious, as well as the unconscious of consent. To bring in the mate-

is good for people to iave food level, this operates to produce an rialistic ideal, beauty is not only

a matter of consent, but it is alsorewarded. The self-esteem of theindividual depends in a greater orlesser degree on acceptance in oursociety. Acceptance must fallwithin the ideals of materialism andegalitarianism.

The architect is in a peculiar situ-ation here, since our society, whilenot actually affirmatively orientedtoward the artist. at least tolerateshim. The architect is neither artistnor artisan. Perhaps ideally he isboth. In his own mind. he is andmust be an amorphous creature.But he is not alone.

Esthetic values have been mini-mized, as one would expect, inliterature, dance, sculpture andpainting. It barely lingers in thefleld of landscape architecture.Paradoxically, the arts have movedin the direction not only of ugliness,but inefficiency in terms of com-munication. Perhaps that is themessage of art to our age: If thereis not an overriding concern withbeauty, there is nothing to talk

about. Gadgetry, which is a kindof inventiveness. has become con-fused with the beautiful and is partof the cult of originality whichpasses for art in a mass culture.

I would say that the success ofsuch a movement as this meetingrepresents can only be evaluated inthe same terms that we considersuccess in psychiatric treatment, orany other form of acquiring knowl-edge and wisdom. There must be anincreasing awareness of the actualvalues motivating architects, as wellas the rest of the population. Aman whose motivations are clearand conscious may make choices.As long as the materialistic andegalitarian ideals operate within theperson without due recognition,choice will not be possible. Massculture concerns itself with provid-ing material benefits and equalizingall men. In a word, mass cultureis concerned with function. Itsprized words are such words as"scientific" and "efficient." The per-son "chooses" in the direction of

his most important motivations. Inour society, he will not choose es-

thetic values. He maY trY to addthem to an already comPletedstructure. Examination will show,however, that there is a hierarchyof values according to which heoperates and on which the estheticvalue occupies a low position.

Without a clear understanding ofthese forces and their relative im-portance as motivations in the in-dividual, there can only be con-fusion, acrimony and dissension.The confusion is compounded bythe ingenuity of men in fabricatingreasonable explanations.

A teacher and colleague, HarryStack Sullivan, was once asked,"What is the most characteristicthing about human beings?" To thishe responded, "Their damned plau-sibility."

To this Conference I extend mybest wishes and congratulations. Isee that with you, as I suspectwith me. the esthetic value stilllives. {

Russell Lynes

Managing Editor, Harper's Magazine

F When I was invited to participate in this panel I said that I would be glad to if I couldspeak in defense of ugliness. Anybody can attack ugliness, or what he thinks of as ugli-ness, and defend beauty. But defending ugliness is like taking up a collection to promote

the bubonic plague. I am about to pass the hat. I have spent some of my time in the lastfew years trying to solve a problem that I knew from the start was insoluble. The problem,simply stated is, "What is the nature of taste?" Why is it that one generation's "good"taste is very likely to be the next generation's "bad" taste? Why is it that the beautifulbecomes ugly and then after a few decades becomes beautiful a1ain? But more importantthan that why is it that almost every style in architecture that has been introduced in thiscentury has been thought of as ugly when it first appeared? It can be said that today'sclich6s of beauty are almost without exception yesterday's epitome of ugliness.

When Frank Lloyd Wright wasasked by Edward Bok to design ahouse for the Ladies' Home lournalat about the turn of the century,almost everybody thought it wasugly. Wright in his turn thoughtthat the Bauhaus was ugly and henever, so far as I know, changedhis mind. Now both Wright andthe Bauhaus provide the clich6sfrom which the beautiful, so-called,is created. Is this merely a reflectionof man's natural reluctance to ac-cept ideas? Or is it a genuine re-pugnance against what he knowsto be ugly?

When we talk about "Who is re-sponsible for ugliness?" we are talk-ing about two things: The first isthe incapacity of the talented artistto accept the accepted definitionsof beauty. He has to find his owndefinition and when he does it ismore likely to be considered ugly bythose who are most sure that theyknow what beauty is. The secondthing is time. By the time what wasinitially considered ugly is acceptedby almost everyone as being beauti-ful, they are asked to accept a newkind of ugliness. But let me putthese abstractions in perspective.

In the 1830s in America the"beautiful" was the Greek Revivaland moreover it was generally ac-cepted by Americans everywherein cities, in villages, and on farmsthat it was beautiful and thereforedesirable. Scarcely anybody wantedto build in any other style-unlesshe was building a barn or a pig-styor an ice-house. In those days no-body expected a functional build-ing to be "beautiful"; it was merelymeant to be easy to build, economi-cal, and useful. It took nearly a

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century before we discovered thatthe early nineteenth century barnwas beautiful but that most GreekRevival houses were not. It onlytook a couple of decades, though,for architects to decide that GreekRevival was not only ugly but un-suitable and that Gothic Revivalwas not only beautiful but more"honest." Which was ugly andwhich was beautiful?

The advanced architects of the1850s and 1860s knew that theGothic was beautiful and theGreek Revival was not, so theystarted putting Gothic ornament onGreek buildings, and a few yearslater they began to remodel GreekRevival buildings into Queen Annehouses. There was no question intheir minds what was ugly andwhat was beautiful. I suspect thatthere is not an architect in thisroom who doesn't know what isbeautiful and what is ugly. I alsosuspect that only a very fcw ofthem know what will be beautifultomorrow. They are the ones withthe courage to design what theircontemporaries may well think ofas ugly. "He's gone too far," is

what we say, but what we reallYmean is, "He's just got started onsomething that upsets our convic-tions."

So I would like to defend uglinesson two counts: First, that there isno progress in the arts without it

-Daumier was ugly, Courbet was

ugly, C6zanne was ugly, Van Goghwas ugly and so were Matisse,Rouault, Picasso (whose talent forstaying ugly is unparalleled). Sec-

ond, that hindsight about what isugly is very little more perceptivethan foresight. We are quick to teardown what was beautiful yesterdaYbut has become ugly today withoutwaiting to discover that it maYagain be beautiful tomorrow.

The fact is that we think, mostof us. in the clich6s of our time;

we think with a vocabulary thathas been taught us-indeed, witha vocabulary that we have oftengone to a great deal of trouble tounderstand and to learn how to use.We work with these clich6s, wedesign with them, we use them tosolve problems, we sell them to ourclients (writers do this as well as

architects) and they course throughour blood and become part of us,and we are convinced that they de-flne what is beautiful and are thebastion against ugliness. When wesee the clich6s abused as they areevery day we are saddened; butwhen we see them kicked out ofthe window we are appalled.

As we look about us at our citiesand at the abominable neon-ban-nered, gas-station-spattered, motel-desecrated approaches to them weare alarmed by what has crawledout from our urban centers andmade an unholy mess of our land-scapc. Most of such building is inthe contemporary mode. It is copy-cat contemporary, and in the de-political expediency. We are likelybeautiful to the restauranteur, themotel keeper, or the oil companyfor whom it is designed. Why? Be-cause it is up-to-date; it is modern;it is functional. It has none of thecharm of the outlandish, none ofthe vitality of the vernacular; it ismerely watered down "beautiful."It hasn't the virtue of being ugly;it is merely sordid. It seems to methat we tend to confuse two kindsof ugliness-the socially ugly andthe esthetically ugly. What wereally object to in the decayingparts of our cities and in theirhonky-tonk approaches is not es-

thetic ugliness nearly so much as itis social ugliness-the result ofwaste, of greed, of forgetfulness andpolitical expediency. We are likelyto believe that social ugliness canbe overcome by esthetic nostrums,and that an orderly environment

imposes an orderly attitude towardlife. To some extent it seems to,but we forget it is often social evilsthat have made the environmentugly, and that if we were to curethe social evils it would be no greatproblem to restore beauty to theenvironment.

Social ugliness cannot be over-come by tearing down the build-ings that house it; it cannot be over-come by beautiful plazas; it cannotbe cured by sweeping it underlovely carpets. Perhaps the bestantidote to social ugliness is anarchitecture so little concernedwith the beautiful that has becomeconventional that it would makethose who are sure they know whatis beautiful howl. There are alwaysthose who believe that any meansof curing social ugliness are uglierthan the evils they cure, and thatrevolutions are always ugly. In thearts this is true, but it is not theugliness of bloodshed; it is merelythe ugliness of shedding precioushard-bought esthetic convictions.

There are many people (indeedmany architects) who think thatRome is the most beautiful city inthe world. It is layer on layer ofwhat has been, over the ages, con-sidered ugly. It is Romanesque andGothic and Baroque-all of thesewords for describing styles, pleaseremember. were first used as termsof opprobrium, not of endearment,epithets to describe ugliness, notbeauty. Let me conclude with astory about Rome and about ugli-ness from which you can draw anyconclusion you like. A young manfresh from the Harvard architec-tural school stood on the balconyof the Villa Aurelia at the AmericanAcademy with the then director.They looked out over the goldenconfusion of the city. The youngman shook his head. "There'snothing to do," he said, "but totear it down and start over." {

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> Painting has been the freest and purest fine art in this century and our purest esthetic

statements have been in modern painting. I guess, then, it would be up to me to make

the most extreme esthetic position clear. Who is responsible for ugliness? What is ugly?

The question, if raised by salesmen of beauty, is ugly. The ugliest spectacle is that of artists

selling themselves. Art as a commodity is ugly; art as entertainment is ugly.

Painting as a profession of pleas-ing and selling is an ugly busi-ness. Art dealing, art collecting,art manipulating, art jobbing areugly. Art as a means of livelihood,as a means of living it up, is ugly.The expression "an artist has to eat"is ugly. An artist does not have toeat any more than anyone else.

Economic relations in art areugly. Commercialism. careerism.moneymaking in art are ugly.

Artists once led less ugly livesthan other men. Today artists leadthe same kind of life as other men.The artist as businessman is uglierthan the businessman as artist. Theimage of the artist as a patronizedidiot, as an innocent, as a companyman, as a collector's item, a suc-cessful schnook, is ugly. Knowingon which side one's bread is but-tered in art is ugly. BumpkinDionysianism or Dionysian bump-kinism is ugly. The artist as anatural animal, vegetable, or grass

root, is ugly. Primitivism, irration-alism, anti-intellectualism in artare ugly. Surrealism and expression-ism in art are ugly.

A cult of the ugly is a romantic,rococo, naturalist art idea. Anti-art as proJife is ugly. Collage, en-semblage, junk and brute art areugly. Ugly geometric art is uglierthan expressionist art. The mixtureor integration of the separate anddifferent arts are ugly.

Poetic, musical, sculptural andmural painting are ugly. Imagina-tive, visionary, original, natural artis ugly. Making a graven image orany manner of likeness is ugly andan abomination of Satan's work.

Art confused with life, nature,society, politics, religion is ugly.Art as a thing to be used for someother end is ugly. Governmentsponsorship of art is ugly. Absenceof government sponsorship is evenuglier. Art in industry is as uglyas industry in art.

The tricks of the art trade areugly.

The ugliest exhibitions of art inAmerica in recent years were thenew "Images of Man" show in theMuseum of Modern Art, and the"Nature in Abstraction" and "Geo-metric Abstraction" shows at theWhitney Museum. Museum artmarketing, art promotion, art his-tory manufacturing are ugly.

Art as a good thing or a surething is ugly. The age of accommo-dation in art is ugly. The age of theshrug in art is ugly. Signs of affiu-ence in art are ugly, signs of pov-erty in art are ugly. An ugly cus-tomer is not an ugly duckling.

When things take an ugly turn inart there is the devil to pay. "Whyfight it?" and "That's life" are uglyexpressions. Profit, interest, prop-erty exploitation in art are ugly.

Consciencelessness and subcon-sciousness in art are ugly. Artistsare responsible for ugliness. {

Joseph P. Coogan

Short-Story Writer and Novelist

) To me, one of the most puzzling questions connected with this whole puzzling problem

is why I was asked to talk about it. Or rather, to talk to architects about it. I know very

little about architecture. And architects should know a great deal about ugliness. They've

contributed so much of it. Not very much directly, though. Most products of modern

architecture are,I think, to a considerable extent pleasing. Architecture is not, after all,

a fine art. Its primary purpose is utilitarian. Utility and great artistic achievement do not

necessarily go hand in hand. We don't expect much of architecture. We certainly don't

expect great art. We don't anticipate a feeling of exaltation, say, upon first looking intoPenn Center. And few of us get it. But, if not exalted, most modern architecture has a

certain elegance, the precise elegance of a mathematical equation. Though some of itmay be a bit dull, not much of it is aggressively ugly. We should all feel greatly indebted

to you. And I think you deserve our wholehearted gratitude for the pleasure you give us

when we contemplate all that wonderful work you do for rich people.

Most of us, of course, never see I would consider that a not in- building lasts for a Iong time. Itsarchitects, except socially. In fact, considerable accomplishment. I beauty should not be fleeting. Itmost architects I know can't afford think Read's lofty dismissal of seems to me, however, as if sometheir own architecture. You've de- man's more humble needs arises architects' chief esthetic goal is tolivered us into the hands of builders. from a tendency, shared by some design a building that will photo-You are, then, to some extent re- architects, to regard architecture as graph superbly, The photographsponsible for one of the most terri- sculpture. It isn't, of course. Utility gets into Architectural Forum, thefying aspects of modern civilization can't be divorced from esthetics. architect gets great praise and

-the typical suburban housing de- If one designs a beautiful building grander commissions, and the build-velopment. Well, that's okay, I'm that is expensive and difficult to ing gets shabbier and shabbier.sure there are good reasons for it. maintain, that is almost impossible But, except by default, architec-But I'm not sure you should be to heat and keep clean, then he has ture has not, I think, contributedproud of abandoning us. been esthetically irresponsible. A overmuch to this world's ugliness.

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At any rate the question-"Who isresponsible for ugliness?"-goeswell beyond the esthetic responsi-bility of architects. When my atten-tion was first called to this question,my immediate response was, "Don'tlook at me! 1 didn't do it." Uponthinking about it further, however,I'm not sure I'm completely inno-cent after all. I think I am, in a

way, responsible. But I don't intendto take the rap alone. I think weare all responsible.

Perhaps because my educationwas strongly influenced by scholas-tic thought, when I think of estheticresponsibility I think not only ofart, but also of the philosophythat imbues art. All art is symbolicof the way the artist looks at him-self in relation to nature. Art doesnot hold a mirror up to nature, butto human nature. The artist-eitherby protest or acceptancs-1sflsg1sin his art the prevailing philosophythat shapes not only art, but allaspects of life.

I'm neither profound nor knowl-edgeable enough to say why, butI think it fairly evident that the artof this century (certainly literatureand painting) gives testimony to thedisintegration of a former image ofman. In painting, the human figurehas all but disappeared. When itdoes appear it is distorted, oftendismembered. In abstract art thewhole existential world of naturehas disappeared in order that theartist can express the originality ofthe creative self. Modern literatureand painting are engaged in a des-perate search for a lost identity.

Literature cannot so easily dis-miss the world of things, but it can

-and much of it has-rejectedman, or man as previous societieshave seen him. There are no heroesor villains. Man has become the be-wildered victim of forces he is in-capable of understanding. He is nolonger certain of his own existence.The new theatre and novels of theabsurd transform Descartes' "Ithink, therefore I am," to "I can'tthink; therefore, am I? And whoam I?" Another school of litera-ture uses sexual experience as ameans of affirming man's existence.

"I fornicate, therefore I am." Notcognito, bLrt coitio ergo sum.

Now, in its search for identity,modern art makes much use of theugly, which, in successful art, is

subordinated to an emotional powerthat dominates the work as a whole.Much modern art is, in this sense,ugly because it calls attention toman's dilemma in our singularlyugly civilization. This, as no otherage has been, is the age of ugliness.The atom bomb is ugly. War isugly beyond measure. Genocide isugly. Much of business and scienceis ugly. Our popular arts are ugly,permeated by the ugliness of sense-less violence or of sex that isclinical, sad and dreadful or voy-euristic, immature and prurient-either emetic or childishly erotic.

Ugliness is not peculiar to ourage, but we have a peculiar in-ability to recognize it. Why, we ob-serve and placidly accept grotes-queries that should make sane menscream with laughter or despair.Here, for example, is a rhymed adthat appeared last year in a Detroitpaper:

Love your children, love yourmate.

Do it now, don't tempt fate.Heaven forbid, if bombs fallBe preparedll Now place your

call.

You are to place your call toa builder of fallout shelters. I readthis bit of verse in an advertisingtrade journal. The article asked,"How do you tastefully sell survivalequipment when the word 'survival'conjures up unpleasant images?" Itwas comforting to learn that "busi-ness has taken hold of the newbornboom and is eager to make themost of it."

According to one of last year'smost important books, HermanKahn's "On Thermonuclear War,"the newborn roor"r, when it doescome, won't be so bad really. Thisbook estimates the number of deadAmericans that make up a fairprice for winning a war. Aboutsixty million. In this generation,that is. Over twenty, thirty, or fortygenerations the number of embry-onic deaths may mount to aboutfive million. But, "on the whole thehuman race is so fecund that asmall reduction in fecundity shouldnot be a serious matter. ."

It would seem, then, that theJudeo-Christian concept of thesanctity of the individual haschanged somewhat. Individual manhas indeed lost his identity. He nowexists as one trivial unit of a vast

collection of data. He is one-mil-lionth if a megadeath. Privatemorality has given way to a statis-tical morality. This change can beillustrated by comparing two popu-lar "science" novels of not so longago-"Dr Jekyll and Mr Hyde"and "The Invisible Man"-with onepublished last year, John Hersey's"The Child Buyer," an excellentbook.

Stevenson's Dr Jekyll and Wells'invisible man were scientists whocarried out grisly scientific experi-ments on themselves. The childbuyer carried out his, you may re-member, on children, singularlygifted children with extremely highIQs. He has come to a town to re-move a child from his home to a

vast research center, where thechild will be deprived of the un-necessary senses-such as sight andtouch-which would create annoy-ing "feedbacks." His mind will bewashed clean of memory, of iden-tity, and he will be able then tofunction as the needed "humancomponent in our systems design."The community, including the boy'sparents, was-as you might wellexpect-wholeheartedly in favor ofthis project so vital to national de-fense.

Margaret Mead, who made thiscomparison, said that the situationin the Hersey book was believablebecause of "our deteriorating ethi-cal sensitivity," and that, I think,is what is responsible for the ugli-ness that runs rampant in oursociety. It may stem from a pecu-liar kind of condition that was firstdescribed by a French physician,Pinel. in 1801. which came to becalled "moral insanity." In this dis-order. the intellectual faculties re-main intact, but the feelings andtemperament, likes and dislikes,have become perverted and de-praved. Despite the victim's intel-lectual awareness of moral (andesthetic) values, his moral sense haseither disappeared or has becomehopelessly warped.

I suspect this condition has nowreached epidemic proportions. Manis rapidly losing his humanity. Inart, the consciously ugly is a pro-test against this disease; the uncon-sciously ugly, a symptom of it. Whois responsible for ugliness? Themen who manipulate our opinions.pollute our air, direct our behavior.Sensible men, rational men, menwho wish no one any harm; menwho hope what harm they must dowill be statistically insignificant.Men of good will. You and I. Allof us. {

Samuel Ratensky

Chief , Bureau ol Project Development, Housing and Redevelopment Board,

New York City

) As a career Civil Servant who has functioned for many years, at Federal and locallevels, in the administration and technical direction of programs concerned with hous-ing, with neighborhoods, with community development, conservation and lsne"val-nndtherefore with urban design-I will address myself to the matter of esthetic responsibilityas the client's representative, when,the client is the government.

But I will try, first, to set limitswithin which such a discussionseems meaningful to me. I wonderhow many of us in this room wouldagree on what is ugliness-eitheras a concept or as applied to anobject, and of those of us who didagree, how many would still be ofthe same mind five years hence, orten. Esthetic criteria are arbitraryconventions subject to factors ofage, association, economics setting,propaganda, and the values of thebeholder. Thus 'no one is respon-sible for ugliness. I take it thatthe Design Committee of the NewYork Chapter is asking who, orwhat forces, are responsible for thecreation of ugly buildings or uglyphysical snyilsnmsnf-ugly in thesense that they fall short of thepotential which technology, re-sources and an informed estheticconscience require in their time.

Let me talk of the government'sresponsibility in. such creation. Theexpanding role of government, inpartnership with private enterprise,in creating great design and build-ing opportunities is apparent to usall. Although we do not yet havea Department of Urban Affairs, wedo have an increasingly urbanAmerica, whose cities must not onlymeet new demands on their periph-eries but must regenerate them-selves from the core outward. Thelarge plans and imaginative con-cepts which these needs dictate canonly be undertaken with govern-ment initiative and assistance. Theycan only be realized through atough and sensitive relationshipamong government entrepreneurand architect or urban designer.

To talk about the government'srole first: It is my belief that wemust attract more gifted people togovernment service and must findways of holding them there. To dothis, and I say this diffidently, wemust, as a society, value such serv-ice more highly. In my own expe-rience, isolated individuals, stra-tegically placed, have done more to

further and support good design,and the liberality of outlook andinterpretation to permit good designto flourish, than any other singlefactor. This was true during thefirst New Deal, when Rexford Tug-well and James Lansill undertookthe planning and building of thethree Greenbelt towns-perhapsnever realized as great architecture,but certainly great and forward-looking concepts. It was true, later,during the early years of WorldWar II, when the Division of De-fense Housing, with a conscious de-sire to buy good design even in awar-time program of temporaryhousing, picked such architecture asNeutra, Breuer, even Frank LloydWright. More recently, the NewYork Board of Education, for afew years encouraged and obtainedsome notable freshness in schooldesign. And I am happy to say thatCommissioner Marie McGuire, ofthe Public Housing Administration,has a genuine passion for goodarchitecture which has led her tothrow away all the rules and reg-ulations which twenty-five years oftimid, safe, "committee" design haddeveloped.

A sophisticated administrator ortechnician. with an informed andcultivated taste, can be as usefulto the cause of good architectureas one of the patrons of earliertimes.

But this is only one leg of thetriangle of government, sponsorand architect. The sponsor, too,whether it be a public corporation,a cooperative, a community or elee-mosynary group, or an rnvestmentbuilder. must share a sense of re-sponsibility for the quality of thestructures and the environmentwhich it is helping to create. Thisis not easy; builders can be as in-exorable about budgets and risingcosts and costs of use as govern-ment agencies, or as rising coststhemselves. But in urban renewal,where every project must be estab-lished as a public purpose before

it is carried out, happily we havethe means, if we will use them, toinsure a high standard of profes-sional excellence and performance.And we are using them: throughincreasing emphasis on develop-ment of a fresh concept for eachproject specifically related to theparticular area, the development offlexible controls for carrying outthat concept, and the selection ofthe best qualified sponsor to carryit out. The qualifications on whichthe sponsor is chosen include thoseof its architect.

I am happy to say that the Com-missioner of the Urban RenewalAdministration is deeply concernedwith and responsive to good design.

Now, I should like to talk brieflyabout ugliness and beauty as re-lated to cities, because I believe thata city may have, as a totality, abeauty quite unrelated to its build-ings or its parts, and which isshaped by time and weather, prox-imity, accommodations and thework and minds of many men. Wehave not found any instant productwhich replaces this process. Lon-don, an old and constantly chang-ing city, has a beauty created bythe sense of the history of England.Is Florence a beautiful city, oris it a museum? Is San Franciscobeautiful, or is it beautifully situ-ated?

Manhattan, also beautifully situ-ated, has lost its character as an is-land, possibly because it has lostits dependence on its harbor, andhas formed another focus-thefocus of financial capital as wellas centers of decision and of dis-tribution.

Thus its new buildings, governedby forces, generally, which aretotally remote from esthetics, maycertainly be considered monotonousand lacking in codified standardsof beauty. But now these buildingsare merging into the totality-a cityof style, perhaps cold, but clearand definite, and speaking for itscitizens, as a city must. {

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Dr Paul Goodman

Writer, Critic and Teacher

> At these meetings I always feel like Banquo's ghost. You have to have him at a ban-

quet, so here I am. I guess we're responsible for ugliness and our hosts here, The American

Institute of Architects, since they are closest, are most responsible for ugliness. In these

circumstances, apparently, some thought or beauty or intelligence is supposed to occur.

It's quite impossible.

Mr Moynihan today said that wecan now have modern architecturebecause it's acceptable as the cor-porate image of the Rockefellers,etc. Therefore it would be accept-able to Jack Kennedy who also isvery interested in corporate image.

Under those circumstances, aP-parently, we're supposed to havesomething beautiful made. It seemsto me out of the question.

Now. this is a conference. Itcan't be a conference becausethere's no thought or talk or realexchange, under these circum-stances, on esthetic responsibility.

The use of the word "esthetics"as I heard it all morning and as

it seems to be in the design ofthis thing is that it's somethingwhich we tag on and pay attentionto as one of the important values.You get the impression that thepeople who planned this had neverwhittled a spoon or done a strokeof art work in their lives. This isa completely unrealistic attitudetowards how any artist operates.I'm an artist myself; I know. Youoperate in an art by being inter-ested in something which is worth-while. So you can't be interested

in making money for somebodYbecause that isn't interesting. Youhave to be interested in some Prod-uct. Trade is interesting; You wantto see people get Products, Youwant to distribute goods, etc. Tradecould be very interesting.

Schooling is interesting, educa-tion is interesting, housing couldbe interesting. You have to be in-terested in some Product, that is,have a real utility. Our societY isnot interested in real utility, there-fore it's impossible that anythinggood should be produced.

Now, an artist is interested insomething. I'm interested in somethought I have, or some tree I see,

or something like that. And then Igive my feelings to it. Now, to giveyour feelings-well, what are giv-ing feelings? There has to be a

certain amount of sexual freedom,there has to be sexual give, therehas to be sexual liberation. I doubtif on this entire panel, from thebeginning to the end, the word sexwill be mentioned except bY me.Yet, apart from that, it's impossibleto discuss ugliness and beautY, be-cause these are animal qualities ofthe sensitive soul.

Likewise, there has to be fra-ternity. You have to have someaffection for the other peoPle. Youhave to feel a fraternal give-inour city, with its intense lack offraternity and its segregation. Inthe country at present, accordingto the new figures of Mike Harring-ton which I think were a little low,we have thirty to thirtY-flve Per-cent of the people living still inabject poverty. This at a time whenthe government is spending seventypercent of.the national budget onwar hardilare, means there is nofraternity, there will not be a fra-ternity. Therefore there will be nofeeling.

In short, there being no interestbecause there are no real objectsto be interested in, there being noreal feeling because of our sexualmores, and because of the lack offraternity, because of the classstructure, etc, it is comPletelY un-realistic to have this discussion.

The disoussion, though, has to go

on because we now have to Patchtogether and make nice a socialsituation which is not nice. It shouldbe wiped off the slate, as Veblenwould have said. {

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Question: Would competition forpublic structures result in betteresthetic designs?

Mr Goodman: Just one sentenceof answer: I think that competition,since it puts it at least in the realmsomewhat of chance, will be betterthan what we have.

Question: Shouldn't we be con-centrating on the evil of mediocrityand indifference instead of onbeauty and ugliness, because thelatter two may turn into eachother?

Mr Lynes: Should we concen-trate on avoiding mediocrity and

Discussion Following the Third Panel

indifterence? Mediocrity on the partof the architect and indifference onthe part of the public? It seems tome that the schools which teachthe architects are responsible fortheir mediocrity or their distrust ofit and indifference to architectureon the part of the public is some-thing that is a very obviouslY long,slow process. What happens I think,when you try to instruct the publicto have taste or distaste for themediocre is that you sell them a

set of clich6s. And those are thevery clich6s that, bY just aboutthe time they've accepted them, are

then beginning to be consideredugly by the makers of the new kindof beauty.

Mr Goodman: I'm a little dis-turbed at Mr Lynes' attitude there.He talks exactly like the managingeditor of a magazine which he is.

What they're interested in doing istrying to predict the kitsch of thenext three years, because that willhelp sales. It used to be avantgarde, but now it's avant kitschthat he's interested in.

Question: We understand thatmediocrity is, in a way, inevitableand acceptable. How does Dr

Schimel explain the prevalence ofvulgarity that seems to be peculiarto our age?

Dr Schimel: I was talking to oneof my colleagues who mentionedhis embarrassment at possibly be-ing asked a question he couldn'tanswer. I reminded him of thestory of the older politician tellingthe younger politician that if youcan't answer a question, or don'tcare to, answer a different one. I'mgoing to follow this advice. I reallycan only discuss things I can defineand I can't define vulgarity formyself. I would say, if anything,this is probably the least vulgarage that I know anything about andthis is one of the problems. I thinkDr Goodman was talking aboutthis earlier, when he spoke of theanimal instinct or animal responsesas part of our response to beauty.He even sneaked in the word sexand showed he wasn't a very goodprognosticator, because the follow-ing speaker used it twice, toppinghim by one.

Mr Coogan: I think one of thetroubles is that the vulgar is be-coming so commonplace-whatused to be called the vulgar-thatit is no longer vulgar. And thetrouble is, there is no pornographicliterature any more because somany things have been accepted.So that I'm afraid that pleasure isgoing to disappear.

Question: How is it that the

bankers, who have been one of themost imaginative professions in allhistory, have apparently today losttheir imagination? Now, lest youthink that I'm not saying the truth,let me call attention to the factthat it was the bankers who in-vented gold, silver, copper, as asupplement to barter. It was theBank of Amsterdam which inventedthe idea of the written certificatecertifying to the content of gold.It was the Lombards who devisedthe method of credit which stimu-lated commerce, which aided thegreat period of the Renaissance.Again, the English, in 1694, in-vented the idea of central bankingwhich we Americans took up in1913. Bankers have been exceed-ingly imaginative. We ask the psy-chiatrist, what has become of thebanker's imagination today?

Dr Schimel: I'm delighted to talkabout this subject probably becauseit's something I know specificallyso little about. I've been impressedby the imagination of bankers, too,except sometimes when they'vedealt with me. But I seriously havebeen. I thought you were going tomention the discovery of double-entry bookkeeping, which madetrue international commerce possi-ble. I would say it has somethingto do with the current improvementof plumbing. You see, we're veryconcerned that things work well.Things that work well have to be

mass produced, since we're all toorich to live in poverty and too poorto live decently. We do this withpeople, too. We call it human en-gineering and I'm ashamed to tellyou that some of the definitions ofmental health offend me, frightenme and, anyway, I don't recognizemyself in them.

I would refer this question toone of my teachers and colleagues,Erich Fromm, who reviewed whatwe do, how we select people, andeven what we value in people andhe concluded, after surveying thesethings, that the things we considerfinest in people would make themeligible for vice presidents of ourgreat corporations. But then heraised the imponderable question:Under our present system, wherewill we get the presidents from?So I think this is what's happenedto bankers.

Mr Coogan: I think that bankersmust be very imaginative peoplebecause they are driven by a forcethat compels imagination, that stim-ulates imagination: greed.

Dr Goodman: I'd like to take a

stab at that. I agree completelywith the psychiatrist.

What he's saying is that a bankerbelongs to the computing system,which works on actual first-levelrealities. Now, if the leech hassucked all the life out of the first-level reality, naturally he becomesbloodless, too. {

A Plan for Action

Richard W. Snibbe, AIAChairman, Design Committee, New York Chapter AIA

> If the aims of this Conference are to continue to exist as a reality we must adopt aplan to continue the work. This conference was conceived for the purpose of inspiringcommunity activity to fight ugliness in our country. This is a gigantic task. It will requirea great deal of our thought and eftort for many years, but it must be done if we are todevelop culturally as well as scientifically. It must be done if we are to say "Stop" to theeconomic madness, the senseless waste which destroys our heritage only to replace it withless palatable and more disposable construction. If this is progress, then progress must be

slowed down so we can re-evaluate our aims and our goals. Then, with the power of reasongiving it direction, it can move ahead on a planned and rational basis.

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I would like to present a Planfor Action in the fight againstugliness.

We must all give our best think-ing to bringing about the desiredchanges for reasons that are asconcerned with a healthy economyas with raising esthetic standards.Poor construction and neglect meanearly obsolescence; obsolescencemeans eventual condemnation andnecessary renewal, and that meansdisplacement, losses in income andtaxes, and is therefore bad busi-ness. Conversely, good mainte-nance, higher standards of newconstruction and preservation ofhistoric and renewable structuresmean first, rising property valuesand second, continuity of occu-pancy with no loss of income ortaxes, hence good business.

Good business. Progress on a

rational basis: How are these thingsto be accomplished?

Citizens committees must be es-tablished in every state and majorcity-and, hopefully, in smallerones, too-to create an awarenessof esthetic values, to lobby in ourlegislatures, to bring pressure tobear on public agencies and influ-ential individuals to stop the dese-cration of our country and to bringabout its planned and orderlygrowth.

Architects are responsible for thelargest visible works in our urbanareas. They deal with art and busi-ness every day. Therefore they arethe natural group, probably theonly available group, to start theaction on a broad scale.

Design Committees must be cre-ated this summer in every chapterof The American Institute of Ar-chitects. These groups in turn mustform broad community committeeson esthetic responsibility-commit-tees comprised of the leading peo-ple in business, the professions,institutions and the arts.

How does a Plan For Action be-come a reality? It calls for thespark and determination of just onededicated architect. One person ineach community who cares aboutthe environment in which his chil-dren grow to maturity.

Do you rcalize that thousands ofesthetic decisions are made dailv

by people who don't know they aremaking them? Think of that, andthe work of the Committees onEsthetic Responsibility looms largeand important. They can hold con-ferences such as this to draw atten-tion to the importance of esthetics.They can conduct seminars withbuilders, mortgage men and realestate entrepreneurs. TheY canbring issues into the open in elec-tion years. Think of the signs,posters, benches, wires, fences andstreet lights that are put up everyday without an over-all design oreven the knowledge that one isneeded-to say nothing of controlsagainst doing these things. We havebecome blind to them because ofthe confusion of our environment.Our minds reject conscious aware-ness of such clutter in self Pro-tection.

So our Committees must re-edu-cate people to see and to react.Starting at the kindergarten level,we must press for our schools toteach seeing as a part of learning.

Committees can encourage betterdesign and discourage mediocrity.Here in New York the Fifth Ave-nue Association does it with anannual award for the best buildingon the Avenue. The well publicizedawards are highly coveted. Thismeans of improving our visual en-vironment can be spread through-out the country by our Committees

-61d san be broadened to include

honor awards for good design inmany fields.

Committees can implement tan-gible programs. Very few fountainshave been built in our countrylately; not many public commis-sions for sculpture or murals havebeen authorized; very few museums,parks, botanical gardens or evenzoos have been built since WPAdays. Any one of these could bea real project for a Committee,working closely with schools of artand architecture to do studies ofsuch projects. Instituting competi-tions and awarding prizes is a goodway to inspire the widest partici-pation.

Our present administration hassponsored the growth of the arts byassociating itself with men like Rob-ert Frost and by appointing our

luncheon speaker, August Hecks-cher, Special Consultant to theWhite House on the Arts. Thissponsorship must be supported, andsupported widely, by active Com-mittees. They should offer aid andendorsement to the new aPPointeeon matters concerning the arts intheir own communities. This couldlead to official national recognitionof the arts as an aid to the survivalof democratic life. Now is the timeto show that freedom of exPressionin the arts is a national policy.

Seeing the enthusiasm expressedhere today, and having receivedletters concerning this Conferencefrom architects all over the country,it is not difficult to envision influ-ential Committees creating an at-mosphere in which discussion of es-

thetic values and responsibility is nolonger considered bad taste orslightly effeminate. Recognition ofthe creative individual is graduallygrowing in opposition to the "per-sonality cult." We are fighting im-mensity, the corporate mind and a

total machine society in defense ofour democratic life.

The nature of that fight becomesobvious when we realize that wehave never been richer and poorerat the same time. More productionand consumption seems to lead tolower standards of workmanship in-stead of longer lasting and morebeautiful products and buildings. Itis time for us all to question thiscontradiction, find its source, andmove to demand its end.

Can we also end the baffiing con-tradiction presented by the pressurefor cheapness in the midst of ourgreatest period of prosperitY? Aslong as a product or building"works" and sells it is, by our dis-torted definition, "beautiful." Whata frightening disregard for beautyas a desirable end result of ourefforts!

Broad public education and ac-tivity is needed to change this dis-torted definition. It must be changedand we intend to start work tomor-row, here in New York, develoPingthe First Committee on Esthetic Re-sponsibility.

I am certain you will respondwhen asked to participate in thismovement of national necessitY. {

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THE NEW ROLE OF TⅡ E ARCHITECT

Comprehensive Architectu rul Practice

by Dudley Hunt, Jr, AIA

Within the concept of comprehensive practice, the architectural profession

can serye the needs of its clients and society in the complete design and con-

struction of buildings and environment The new challenge is outlined here

(1\-zreator of environmental design, counselor to his clients

and to society, coordinator of the work of his design and construc-tion collaborators, controller of the entire environmental design andconstruction process. These have been the traditional roles of thearchitect. They remain so today, but the scope of the environmentalproblems and the degree of their complexity have been magnified.The degree of change and the rate of change have speeded up. Theneeds of clients and society remain in evolution as they alwayshave, but today the needs are swept up in a sweeping evolution ofacceleration.

If it is to stay abreast of the wave of change, the architecturalprofession must expand its traditional services to meet the needs ofthe times. Such an expansion of architectural services has as its finalresult what might be called comprehensive architectural practice.Within this comprehensive practice concept, the architectural pro-fession would be prepared to perform, or arrange for and coordi-nate, all of the many services needed to insure the success oftoday's complicated building and other environmental design proj-ects. Individual architects would have to be knowledgeable in anumber of fields in addition to those that are concerned directlywith building design. Such fields might include, for example, realestate, finance, and operations programming and planning. It wouldnot be expected that architects would actually perform services insuch fields as these, but rather that they would act as the agents oftheir clients in procuring the necessary services and coordinatingthem. In this way, architects, acting for their clients, can retain thedegree of control and coordination of their projects necessary toassure the clients of correct and unified results.

"The conception which thenew kind. ol architect has ol his

calling (is) that ol coordinatingorganizer, whose business it k

to resolve all formal, sociologicaland, commercial problems and

combine them into a comprehen-sive unit. . . ." (llalter Gropius,

FAIA, "Scope of Totalrchitecture," Harper & Brothers,

New York, 1955)

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C om p rehens iv e se rv ices

T he N ew Role ol the Archite ct

78

The new needs

The new tnethotls

Architect's basic services

There is scarcely any doubt today that the architect pictureshimself as the central figure, the leader, in the process of bringingorder into the design of human environment. Few architects woulddeny that their primary role is the creation of buildings and theirsurrounding environment in such a fashion as to cause them to con-tribute in positive ways to the well-being and progress of man. Itis not in the definition of the architect's role, but in the limits ofits scope and in the manner in which the role is to be played thatsome confusion and difterences of opinion exist within the archi-tectural profession. Most architects neither fail to recognize theimportance of the role, nor do they doubt their own basic abilityto play it. Only the details are not now clear. However, the timefor clarification of the issues is here. For the profession must-atthe present fims-sen5slidate itself into a vigorous and united frontagainst those who covet the great role of the architect for them-selves. And the profession must meet the needs of its clients and

the evolving society. While it is difficult to catch hold of a subjectthat is changing so rapidly, a few facts central to the whole subject

of comprehensive architecture should help to clarify the picture.In order to make a positive contribution to the physical, social,

intellectual and emotional needs of his clients and society, thearchitect must maintain his position at the center of the environ-mental design and construction processes. If the architect is notable to participate constructively in all of the basic decisions thatgo into a project, it becomes almost impossible for him to directthe unification of all of the variables into a satisfactory solution ofthe client's problems. And it will be very difficult for him to lead

the group effort toward effective results.The basic reasoning behind the comprehensive services con-

cept is that the changing times have brought with them a situationin which the assembly of land, the financing of construction, the op-erations to be housed, and other similar considerations often deter-

mine whether a project will be undertaken; and if the project is

undertaken, such considerations often determine in large degree

the nature of the design and construction of the project. If the

architect is not deeply involved in these considerations, he runs the

risk of being forced to make unreasonable design and constructiondecisions based on dogma developed previously by others.

The standard services of the architect in preliminary design,

development of working drawings and specifications, and construc-tion supervision make up the nucleus of present-day architecturalpractice. Comprehensive services do not supplant the standard serv-

ices but are an expansion of them, enabling the architect to retainhis leadership of the entire environmental design process in the

light of the realistic requirements of today.An important aspect of the comprehensive-services concept is

the need for constant improvement of design and the other basic

services. For example, building programming and analysis and

reliable cost estimating might be made phases of the basic services.

Such improvements are an integral part of the solution of the over-

all problems of expanded practice.Basically, preparation for comprehensive services is a job for

the entire architectural profession. No one architect could hope to

Perlormance of services

Supporting services

Types ol firms

The new practice

C omprehensive Arc hitectural practice

perform all of the services needed. Nor could any one firm performall of them. The individual architect needs to be conversant withcertain broad principles of all of the services. The individual firmshould be prepared to ofter certain portions of the services, incombinations required by the type and extent of its practice andits own objectives.

Many of the services included in the comprehensive archi-tecture concept would not be performed by architects at all. Theconcept is not intended to make of the architect a grand masterof all things. The architect would not become a real estate brokeror appraiser. Rather he would have an understanding of their workand its relationships with the other elements of the total project. Hewould coordinate such work, as the agent of his client, to insurethe success of the project. The architect would not become an ex-pert on finance but would be prepared to consult with such expertsin the interest of his client when a particular project required it.

The traditional and unique contributions of such professionalsas the engineers, landscape architects, and urban planners are nec-essary to the success of the comprehensive architecture concept.If anything, their contributions would become even more valuablethan heretofore since these professionals *ouid become more in-tegrally involved in the complete process than might otherwise bethe case. To round out a comprehensive practice, other technicaland specialist services such as those of the interior designers, sani-tary and utility engineers, highway planners, and analysts of variouskinds would be added as required for specific projects.

The result of all this would be that the architect could sur-round himself with the specialists needed to offer a complete en-vironmental design service to his clients, and would coordinate anddirect their efforts toward a unified end.

Under the comprehensive services concept, many difterentkinds and sizes of architectural firms can operate. Some firms maychoose to include on their own staffs some of the specialists neededto perform services for their clients. For example, a firm doing aconsiderable amount of commercial work might employ on its staff,market or merchandizing analysts. One doing industrial buildingsmight employ on its staff one or more industrial engineers. Firmsmight very well make arrangements for outside consultation withspecialists in various fields when required in operations planning,real estate, or finance, just as they now arrange for the services ofoutside engineers. The whole comprehensive-practice concept is ex-tremely flexible. Within the concept, the possible methods of or-ganization for practice would appear to be even more flexible.

Actually, there is very little in the comprehensive-servicesconcept that is new. For many years, architects have been studyingmeans of offering more complete services to their clients, as a directanswer to their client's needs. For years, architects have been at-tempting to develop means by which they could maintain theirtraditional position as the leaders of the design and constructionprocesses. At the present time, a great number of architects ofiertheir clients some portions of comprehensive services. This in directanswer to their individual assessment of their client's needs and thethreat of competition from outside of the profession.

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Comprehensive Architectural Practice

Specialization

The smaller office

What is new about the comprehensive-services concept then,lies not in its elements, most of which architects have been doingright along. The new part is that for the first time, an attempt isbeing made to organize all of the elements into a complete system.

It is not feasible for one architect or one firm to participate in all ofthe activities of the entire comprehensive services system. What is

important is that the profession as a whole be prepared to offer thecomplete services, each individual architect or firm performing thatportion that seems needed or desirable.

Under the comprehensive-services concept, it is possible forindividual architects to specialize, if they so choose, in a varietyof ways. Currently, certain individuals within firms specialize invarious phases of the work such as design, production, or specifica-tions. Firms specialize in one or more building types. Many in-dividuals and firms specialize without losing the generalist approachof the whole architect or of the complete firm. A trend is discerniblenow toward other types of specialization; also a growing trendtoward more consultation between architects. For example, PietroBelluschi often acts as a design specialist and consultant for build-ings under development by other architects. Carl Koch specializesin design for industrial production of buildings and components.Eliot Noyes specializes in consultation with large corporations ontheir architecture and complete design programs. None of the threeallow their specialized work to interfere with their general practiceof architecture. Many other architects have found methods of bring-ing their special talents to bear on problems greater than those ofthe design and construction of single buildings.

Needless to say, a great number of architectural projects willnever require anything like the whole extent of comprehensiveservices. Many will only need the standard services performed byarchitects, perhaps with more emphasis on analysis, programming,and cost controls. For these projects, architectural firms of all sizes

will be able to perform their services much as in the past. Thiswill also be true when firms perform services for less complexbuildings.

It is by no means out of the ordinary for smaller offices tooffer some degree of comprehensive services. Many already do.

Some accomplish this through specialization in limited buildingtypes and by providing, within their own staffs, the specialists

needed. Others carry on more diversified services by staffing them-

selves with talented generalists, and sometimes a few specialists,

supplementing their abilities with those of outside consultants or

collaborators. A smaller office with the right kind of staff talenttheoretically could make arrangements to utilize exactly the best

combination of consultants for each project that comes along. Toput it another way, the smaller firm with exactly the right combina-tion of its own and outside talents for a particular project might

be preferred by a potential client over the larger firm forced to use

its own specialists just because they are on staff, not because they

are necessarily the best choices for the particular project.

BO

THE NEW ROLE OF TⅡ E ARCHITECT

Comprehensive Architectu ruI Practice

Industrial Buildings

by Robert F. Hastings, FAIA

How comprehensive architectural services may be per{ormed in the indus-

trial building field by architects and their collaborators in related areas

TIf the architect is to serve efficiently the needs of many oftoday's industrial clients he must be prepared to perform more thanthe minimum basic services often offered in the past. Industrialprojects today tend to be complex and large. In many instances,such factors as feasibility, operations programming and design, orfinancing must be thoroughly researched and analyzed before thebuilding design can begin. If the architect cannot perform or ar-range for and coordinate these services, he may lose control ofportions of the design and construction process that may well be

vital to the success of the project.All of this simply means that the architect must be adequately

trained in the areas of analysis, managerial, promotional, opera-tional and supporting design services in addition to his training inthe building arts and sciences in which he has traditionally served

his clients. This means that the architect must have a broad enoughvocabulary to enable him to call upon appropriate advisers to helphim develop solutions to problems in areas in which the architectis not himself specifically qualified. In the industrial building field,such problems might well include those concerned with finance,real estate, marketing, manufacturing, and processing.

The architect's position in this would be that of agent for hisclient. His compensation would be based on the value of the specificservices he renders his client. Trained in the broad rQquirements ofall the related fields, the architect would have the vital role ofcoordinator of the total process, as well as that of adviser to hisclient. The services of the architect would not, of course, supplantthe knowledge and skills of his client, but would supplement andcomplement them.

The following description of the types of services that anarchitect might provide for his industrial clients will give some

indication of the dimensions of the role of the architect. In specificinstances, services in addition to those discussed might be requiredfor certain types of projects. On the other hand, only rarely would

lndustrial clients' needs

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The New Role of the Architect

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Types ol services

Analysis, Promotional,

Managerial Services

Establishment ol needs

Project economics

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it be necessary for any single architectural firm to provide itselfwith all of the skills described. Those skills needed by individualfirms will be determined by the scope of their work, the types ofclients they serve, and other variables. The present description isonly intended to show the scope of the problems of practice today,and to serye as an illustration of the type of comprehensive ordiversified services needed by many of today's clients, particularlytoday's industrial clients.

T-rHI or many industrial projects, there is a need for profes-sional services in such fields as feasibility, financing, operations, andsite selection. Architects who are experienced in industrial buildingdesign should be prepared to serve their clients in these and oftenin other related fields.

Before a client makes a capital investment in a plant, it is es-sential that the need be established. This can be determined byanalysis of the potential markets and studies of existing sources ofsupply. From such studies, it will be possible to relate, geographi-cally, the sources of supply to the markets. This and similar con-siderations have a decided bearing on the need for creating a newmanufacturing facility.

In addition to determination of needs, it is essential to studypossible methods of meeting the needs. Studies of this sort wouldinclude surveys of appropriate manufacturing methods, distributionmethods, and methods for obtaining the necessary raw materialsand partially processed components. To these should be addedstudies of such factors as location of the plant in relation to thesources of raw materials, markets, and labor sources.

Finally, the economics of the proposed project must be com-pletely studied and developed. These studies should give attention tosuch things as capital investment in real estate, plant facilities, andmanufacturing facilities, the investment needed to develop the re-quired organization and staff, and the costs of raw and partiallyprocessed materials, manufacturing, and financing. It should alsoinclude data on costs of sales, distribution, and taxes. All such costfactors, and any others that have a direct or indirect bearing on thefinal return on investments, should be analyzed. On the basis ofsuch analyses, it is possible to advise the client on the risks in-volved in launching a new manufacturing facility and the prospectof a reasonable return on the investment.

In order to serve his industrial clients' requirements in the areaof feasibility studies, the architect must have an adequate generalgrasp of the subject. In addition, he will have to make available tohis clients the knowledge and abilities of experts in these areas. Thiscan be accomplished with the architect's own staft people or withconsultants from outside the firm.

By means of feasibility studies, it is possible to establish needsand to determine whether or not the development of a new facilityis economically justified. When it has been established that a needexists and methods of meeting the need are feasible, it is thennecessary to thoroughly explore possible sources of financing forthe project. Usually such an exploration would include interim

Financial services

Financing projects

Operutions programming

Comprehensive Architectural Services

financing as well as long-range financing. Often interim financingis furnished by local banks or by initial investment in stocks orother securities by a limited number of people. Long-range financ-ing, on the other hand, is most often supplied by large trust funds,insurance companies, and other financial institutions interested ininvestments that promise reasonable rates of return over longerperiods of time.

Long-range financing can be provided for in a number ofways, such as direct loans, issuance of additional common stock.or issuance or debt securities such as bonds. The sale and leasebackmethod should not be overlooked. By entering into such a sale-leaseback agreement with an investor, the manufacturer can oftengain a number of financial advantages under certain circumstances.

Interest rates vary from time to time. Investment regulationschange. Accordingly, the financing of a project must be thoroughlyexplored in relation to current realities of interest requirements andlegal regulations that tend to limit or encourage capital investment.

The architect can be of inestimable aid to his industrial clientsin the financing of their buildings. The architect's own understand-ing of the over-all requirements of industrial projects can be com-bined with the specialized financial knowledge of his staff special-ists, consultants from outside the firm, and experts from financialsources themselves.

For industrial projects, programming of the operations to takeplace within the buildings is almost always necessary before the

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The New Role ol the Architect

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Operations decisions

Building programming

Design

and Planning

programming of the buildings themselves can be accomplished.Operations programming involves detailed study of the total man-ufacturing process. At this point the broad objectives of an in-dustrial project must be clearly defined. Here the information de-veloped through studies of feasibility and financing is brought tobear on the over-all problem of the industrial project. Workingfrom the principles developed in the previous studies, the generalrequirements for manufacturing, sales, organization, productionfacilities and so on are outlined. From such requirements, the de-tailed processes to take place in the plant may be determined and

the basic decisions concerning manufacturing equipment and fur-nishings can be made.

During the operations programming phase, it is necessary todetermine the types and numbers of personnel required to operatethe facility. Detailed organization requirements must be developed.Job descriptions must be drafted and key personnel should be

selected. Financing arrangements will have to be worked out indetail to assure that adequate amounts of money will be available

when needed for various phases of the project.It is in the operations programming phase, and the operational

design and planning phase that follows, that many of the majordecisions that affect the outcome of the building design are made'If the architect is deeply involved in the decisions made at this time,he can relate them to the complete design and construction phases.

In this way, he can more nearly assure his client of a successful

solution of his problems than would be possible if the operationaldecisions were made independently of the architect or if the deci-

sions had been made before the architect was engaged.

Having established the operational needs of the manufacturingfacility in the operations programming phase, it is then necessary

to determine the type of environmental facility that will best satisfythose needs. This is where building programming of an industrialbuilding begins. The basic philosophy of the building design must

be established. Site and climatic requirements for the buildingmust be determined. Space relationships must be defined. Buildingoccupancy requirements must be spelled out in great detail. The

design and construction phases must be scheduled, as must con-

struction financing.When the feasibility, financial and operational requirements of

the project have been established, appropriate sites may be sur-

veyed to determine which one best meets the established needs ofthe project.

TIhe next step in the development of an industrial facilityis the beginning of the actual design and planning based on the

analysis studies and the operations and building programs. Beforedesign of the building itself can proceed, it is necessary to work out

the design of the processes to be housed.In an industrial building, the design and layout of the indus-

trial processes are usually important keys to the design of the build-ing. Operational procedures must be designed and laid out. The

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systems and processes to be used must be finally determined. It is

necessary to develop a complete and detailed process design. Fromthese designs, a plant layout can be made that will meet all of theoperations programming requirements in the most efficient manner.At this stage, equipment and furnishings requirements to carry outthe manufacturing operations can be clearly defined. These canthen be specified and placed on order or purchased. Installation andhookup drawings can now be developed. At a later time, these

drawings will be used in the supervision of the installation andhookup of equipment.

The scope of the services of the architect during the buildingdesign and planning phase is well established. For industrial build-ings, these services will closely parallel those performed for otherbuilding types. However, it may be worthwhile to stress again theimportance of close coordination of the work of all of the manyprofessionals and others who participate in this phase. Accuratecost estimating is of utmost importance, as are proper schedulingand adherence to schedules, since budgets are often extremelylimited and time almost always limited in the industrial field.

-l-Ihe architect's services during construction traditionally in-

clude, among other things, the taking of bids, recommendations forconstruction contract awards, approval of materials and equipment,checking of shop drawings, and supervision of the construction. Inindustrial building work, when the architect has been involved inthe programming and planning of the operations, he will also havethe responsibility for final approval of operational equipment in-stallations. When the building has been completed and the equip-ment is in place and the hookup made, the entire assembly shouldbe thoroughly checked and tested. In this way, it is possible tomake sure that the process lines and all equipment meet the needs

of the manufacturing processes with regard to accuracy, quality,quantity, and unit costs.

TIn the development of a complete industrial project, thearchitect will be working closely with engineers and a number ofother supporting design and consulting services. The architectshould always keep in mind the importance of such supportingservices as urban or community planning, landscaping, sculptureand the other related arts. These supporting services are necessaryto the architect if he is to complete an industrial facility that is notonly feasible and functional, but one that will also satisfy the en-vironmental needs of persons who operate the manufacturing fa-cilityandofthepeoplewholiveinthecommunity.<

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Supporting Services

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An ingenious solution . . .

The Museum Cultural Center at Le Havre, France, sheathed in glass and shielded from strong sunlight

by a screen of aluminum louvers, was awarded 1962 R.S. Reynolds Memorial Award last month in Dallas

) Design for a museum by the sea won the 1962R.S. Reynolds Memorial Award for the archi-tects of the Museum Cultural Center, Le Havre,France.

Reynolds jurors were particularly impressedwith the museum design's use and control ofnatural light. "From early civilization," their re-port said, "man through his artists and architectshas attempted to capture the ever-changing quali-ties of natural light. . . . The Jury felt that theMuseum Cultural Center represented an ingeniousand sensitive solution to this problem. ."

Architects Guy Lagneau, Michel Weill andJean Dimitrijevic, and consulting architect Ray-mond Audigier, sheathed the entire roof of theMuseum with skylight glass; then topped thestructure with a floating sunscreen of aluminumlouvres designed to keep out direct sunlight. Thesunscreen is supported by extensions of the build-ing's main columns. The west wall, facing the sea

and hot afternoon sun, is sheathed with an outerwall of thermopane, a three-foot air space, andanother wall of glass with venetian blinds on the

interior. Air space between glass walls is venti-lated.

A much-publicized feature is an "elephant-sized" aluminum door, with two swinging panels

each ten by twenty-three feet. The lightness ofthe aluminum permits use of the giant door with-out special mechanical apparatus. Aluminum is

also used for extruded profiles sheathing some ofthe structural framework, for wall and doorpanels, fittings, fillets and angles in the sunscreen.

In addition to housing both permanent andtemporary exhibitions, the Museum contains a

library, art school, and an eight-hundred-seat au-ditorium.

Jurors were: John Carl Warnecke, reIe,, chair-man; Gyo Obata, e,ra; Pietro Belluschi, r,a.u,;

Lawrence Perkins, Eala; Santiago Agurto Calvo,Hon nlrl.

President Philip Will, Jr, FAIA, and R.S. Rey-nolds, Jr, president of Reynolds Metals Company,presented the winners with their $25,000 hono-rarium and an aluminum sculpture by Harry Ber-toia symbolizing the award. {

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Pierre Berdoy

A. Reinhold Melander, President, Duluth, Minn; Chandler C. Cohagen, lst Vice Presi-

dent, Billings, Mont; Paul W. Drake, 2d Vice President, Summit, NJ; A. John Brenner,

Secretary, Phoenix, Ariz; C. J. Paderewski, San Diego; Earl L. Mathes, New Orleans;

John E. Ramsay, Salisbury, NC; George F. Schatz, Cincinnati, Directors; Walter F.

Martens, Past President, Charleston, WVa

92

Administering the Licensing Law

by John Scacchetti, AIA

The author is a former president of AIA's New Jersey

Chapter and of the New Jersey State Board of Archi-

tects. For the past three years, he has been Chairman

of NCARB's Licensing Committee. He is now working

on a draft of a model licensing law for the entire US

) Licensing laws governing the practice of archi-tecture have been in efiect in all fifty states, CanalZone, Puerto Rico and The District of Columbiafor sufficient time for every architect to be awareof their existence.

Architects practicing legally in their own statesshould be aware also that similar regulations inother states require that a license be secured be-fore engaging in any work if disciplinary action forviolation of the statutes is to be avoided.

Time, too, is as important a factor as knowl-edge of the need for applying for a license.

Reciprocal licensing, whether applied for bythe individual or through the National Council ofArchitectural Registration Boards, is neitherautomatic nor instantaneous. Qualifications con-sidered sufficient for acceptance in one state can-not be assumed to be acceptable in all others.(This would be true even though all states oper-ated under a uniform model law.)

An applicant, anxious to secure registrationimmediately to satisfy the demands of a projectwhich has suddenly come to life, will in allprobability find that the State Boards do notmeet with such frequency as to coincide with histime schedule.

Even though the board may conveniently be insession to consider the applicant's plea, it is

often further delayed by the tardy responses of theendorsers named in the application. Confronted

with seemingly unwarranted delays, an impatientapplicant may harbor the suspicion that theboard's inaction is motivated by a desire to re-strict the number of licensees. or that bureau-cratic conformity has caused his urgent pleas forimmediate relief to fall on deaf ears. It wouldbe unusual for the action to be considered as anecessary safeguard to protect the public, as wellas to ensure that only the properly qualified willbe granted licenses to practice.

The need for a model law is far less than thatarchitects become familiar with the statutes nowin effect.

Architects who are conscious of the need tostudy all laws and regulations concerning designand construction are curiously uninformed onthose governing their own practice, often fallingprey to their own weakness in this regard.

This deficiency is revealed not only when theyapply for registration in other States, but is alsoapparent in the conduct of their practice in theirhome State.

When they are charged with a violation, a pleaof ignorance is their sole defense.

The most casual practitioner, on securing a

commission, will immediately check on all thelaws governing the design and construction of a

project, yet will carelessly delay taking steps toacquire the license which is essential before hecan legally proceed with the work.

Complaints of an architect's activity beforelicensing as to require board action are often in-itiated by someone whose interests are neitherin sympathy with the architect nor his intentions,and usually succeed in delaying processing of hisapplication until the violation is cleared.

The discretionary powers of the board arelimited and penalties for violations must be as-

sessed in accordance with their statute. Throughthe years the New Jersey State Board has found,in rare circumstances, that sufficient reasons can

be advanced to temper the decision and allow aviolation to be dismissed with censure, togetherwith a warning that more drastic action will fol-low if the situation is not remedied.

It should be noted that violations and penaltiesbecome permanent records which are availableto the NCARB and to any State Board seekinginformation on an applicant.

A board exists for the purpose of administeringwithout prejudice a mandatory statute applicableequally to residents or out-of-state licensees.

Consciousness of responsibility and accomplish-ment in his profession are prerequisites to anarchitect's service on a board and are utilized inthe discharge of his duty, which is to uphold therights of the public and to protect their health,welfare and safety.

A board cannot, as a rule, judge morals orethics, but must confine its decisions to the lawin which penalties are provided for ofienses whichaffect the well-being of the people, rather thanto satisfy the wrongs presumably committedagainst the aggrieved complainant.

Practice by unlicensed individuals under cir-cumstances permitted by exception clauses writtenin most statutes produce some rather startlingevidence at hearings, yet the board has little lati-tude either to exact penalties or otherwise punishthe offenders.

Flagrant abuses where fraud is more than rea-sonably evident are referred by the New Jersey

Board to the Attorney General's office for actionunder other statutes beyond the limits of theboard's authority.

On occasion, however, it is possible to assess

penalties against violators for illegal practice.Multi-unit residence structures on which per-

mits are secured from drawings, with an affidavitof authorship attesting that occupancy will be forthe individual or members of his immediatefamily, constitute one of the knotty problemswhich confront the New Jersey Board and forwhich there is no definite rule to govern itsprocedure.

Variants of this are found in combination busi-ness and residence buildings as well as industrialstructures, in fact in any building where theindividual is wiltng to swear that he will occupythc premises.

The use of stock or standard drawings can bemore easily detected and discouraged by requir-ing the signature of a licensed architect to beapplied to the original drawing so that it willappear on all reproductions. It should also berequired that the seal be impressed on all repro-ductions which are to be used for filing or contractpurposes, rather than a rubber stamp applied onthe originals.

This regulation in New Jersey has succeeded ineliminating the indiscriminate circulation of stand-ard drawings which heretofore had been availablefor adapting to any location and validated merelyby obtaining the seal and signature of any archi-tect willing to assume the responsibility for a

trifling fee.Press releases through the state agency listing

violators and assessed penalties have not in-creased the Board's popularity in some areas, butcomplaints have been more than balanced by thepleased response of others whose interests are

more directly affected.Fortunately, not all the board's efforts are

directed toward violations or individuals chal-lenging its powers. An equally important activityis the preparation of examinations for prospectivenew licensees.

John Scacchetti. rIl

Applicants registering for the semi-annual ex-

aminations in New Jersey are carefully screened

to be sure that scholastic and experience require-ments are fully met. While the number ofgraduates from accredited schools is increasing

annually, the problem of evaluating candidateswith sufficient credits obtained from non-accredited or foreign schools requires close study

by the board. In these latter cases the deficiencyin schooling must be overcome by additionalexperience necessary to have the applicant con-form to the minimum acceptable by the state.

It is equally important, however, where the state

standards may be, lower, that the applicant en-deavor to achieve the level required by the rulesof the NCARB in order to facilitate future recip-rocal registration.

In New Jersey and many other states proof ofcitizenship is a prerequisite to licensing, althougha declaration of intention is sufficient in others.Some thought is being given to a compromise onboth of these statutory limitations which willallow short-time limited practice by foreign archi-tects who may be invited to contribute their talentsto American architecture. (Part Two ol this articlewill appear in August.)

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94

Styles and Critics

) May I have a little editorial fun this time?It's strange how so many architects who are a

naturally creative breed can succumb to what'sstylish at the moment. Perhaps this tendency ismost noticeable in design.

This year's Honor Awards Jury was rathersparing with its awards and made some fairlycaustic comments in its report to the effect thatthey had a hard time finding good, clean, honestdesign. What bothered them was the recurrenceof currently stylish design clich6s (like grillesand special roof shapes) which were used onbuildings with little reason.

It seems that a new motif when first introducedby a talented architect becomes an "idiom."Later, after mass-production sets in, it is a"clich6."

Older members of the profession distinctly re-member the beginnings of widespread attentionto modern design in the halcyon days of BeauxArts Education. (We were through with the"styles" forever. ) Frederic Hirons knocked off theclassical cornices and essayed a flat, Ieaflike friezewhich flowered under less skilled hands on manya late-twenties bank or apartment house.

Then, in thirty short years, there followed infast succession a parade of history-free expres-sions, usually originated by a master and used andabused ad infinitum by lesser mortals. An editorhas to be quick with his kudos for a new idiomor he will find the rebellion against it alreadystarted in his competitor's magazine. Perhapshistorians will call it the "Rapid-Fire Era" ofarchitecture.

Sid Harris of the Chicago Daily News, in ad-dressing our Michigan Society, philosophized onperils to the creation of enduring art in our times.To paraphrase his thought, an architect todayhas more stuff paraded before his senses in oneweek than Mr Upjohn had in a lifetime. Neverbefore could every architect learn so fast whateveryone else is doing, and at the same time haveso many materials to build with. And the resultof all this information and command of media isthe paradox of stylized idioms.

Another addiction to style seems evident to merather lately in what I read of critical writing onarchitecture. Have you noticed how stylish it isto give the old raspberry to any of the recentefforts in urban design and redevelopment?

Unlike literature, painting and drama, architec-ture has few professional critics of recognizedstature. The number of amateur critics is the sameas the number of practitioners. If we accept thepattern in the other arts, a professional critic isone who is just that and not one of the creativeartists himself.

It seems that we are ready for more professionalcritics if we are to go seriously into the matter offinding what is wrong with man's urban environ-ment and deciding what to do about it. A gentle-man visited my office not long ago with theserious purpose of allocating some grants to startthis diagnostic process on a productive scale. Thisled us into a discussion of the professional critic'strade. Its most disturbing aspect is the penchantits beginners have for behaving as precociouslyas possible and using epithets to describe worksof architecture. These enlants terribles just don'tfill the requirements of the want-ad.

Some of the foregoing thoughts were expressedbetter by speakers at the New York Chapter's"Conference on Aesthetic Responsibility"-1*odays after I wrote this column. Some of thesepapers appear in this issue of the lournql.

Now back to our 14,500 amateur critics. Quitea few of them go to the trouble of setting downtheir thoughts for posterity and we are glad togive them public exposure in the pages of theIournal. My suggestion to them is to be them-selves, avoiding the stylish clich6s of currentcritical expression regarding our efforts to solvethe most complex environmental problems inhistory. Design will undoubtedly survive the stul-tifying effects of clich6s because there are archi-tects who will spare the time to achieve honestdesign. There is potentially more harm in "stylish"critical writing which is supposed to be theexpression of deliberate, analytical individualthought. w.H.s.

Library Notes

Gifts to the Library

luly 1 to December 31, 196I

AMERICAN BATTLE MONUMENTSCOMMISSION

Its "Lorraine American Ceme-tery and Memorial"

AMERICAN INSTITUTE OF INTERIORDESIGNERS

"Interior Design and Decoration,A Bibliography"

AMERICAN INSTITUTE OF STEELCONSTRUCTION

Its "Architectural Awards of Ex-cellence"

AMERICAN IRON AND STEELINSTITUTE

Its "Light Gage Cold-FormedSteel Design Manual-1961" and"Commentary"

AMERICAN SOCIETY OF CIVILENGINEERS

l87l-72 Constitution and Direc-tory of the AIA

LEOPOLD ARNAUD, FAIA

5 publications

HAROLD A. BEAM. AIA

170 issues "Weekly Bulletin" ofthe Michigan Society of Architects

ERNEST BROSTROM, AIA

2 books and I pamphlet includ-ing 1901 Chicago Architectural ex-hioition catalog with article by F.L. Wright

A. O. BUDINA, FAIA

"Roster of Architects for Vir-ginia" 15 issues

BUND DEUTSCHER ARCHITEKTENBDA

"Der Architekt - Heute undMorgen"

JOSE FERNANDEZ DIAZ

His "R6gimen Cooperativo deVivienda"

FOLIO PUBLICATIONS

"Architecture" by Derek I. Or-bach

GHENT, BOARD OF BURGOMASTERAND ALDERMAN THROUGH EMILECLAEYS, BURGOMASTER

Portfolio of pictures of Ghent

DONALD HOLDEN

His "Art Career Guide"

CHARLES HUNGERFORD, AIA

"Le Concours d'Architecture1927-28"

SANTIAGO IGLESIAS, JR. AIA

His "Planning Around theWorld"

INDIANAPOLIS HOME SHOW, INC

Design books for the 1959, 1960and 1961 Indianapolis Home Shows

MRS DAVID B. KARRICK

Catalog of the Eighth Exhibitionof the Washington ArchitecturalClub

LIBBEY-OWENS-FORD GLASS

COMPANY

3 books and 3 pamphlets

LOS ANGELES, CITY PLANNINGCOMMISSION

Its "Accomplishments-l960"

JOHN T. CARR LOWE, HON AIA

2 magazines

JOSHUA D. LOWENFISH. AIA

"Research Study on the Cost ofHousing"

LUDOWICI-CELADON COMPANY

French volume of Tuileries Bro-chures

MARVIN MAYEUX

3 slides

ADOLFO MORALES DE LOS RIOS

FILHO, HON FAIA

His "Teorie e Filosofia da Arqui-tetura." volume 2

NATIONAL ASSOCIATION OF ENGINEAND BOAT MANUFACTURERS

Its "Marinas: Recommendationsfor Design, Construction and Main-tenance"

NATIONAL TRUST FOR HISTORICPRESERVATION

Blueprint of the original YatesCastle at Syracuse University

OHIO STATE DEPARTMENT OF

HICHWAYS

"Nineteenth Short Course olrRoadside Development"

MRS JUDITH NIES

"Medical School Facilities" 2volumes

RICHARD W. E. PERRIN, FAIA

"Wisconsin Magazine of History"with his article

G. E. PETTENGILL

"American Architecture andOther Writings" by MontgomerySchuyler

PONDEROSA PINE WOODWORK

Slide set on "Stock Wood Win-dow Assemblies"

PORTLAND CEMENT ASSOCIATION

Brochure for the 1964-65 NewYork World's Fair

EARL H. REED, FAIA

3 books and pamphlets

LEE F. ROBINSON

2 volumes

ALOYSIUS SCHUSZLER, AIA

"Our Good American Home," asong by Baldeko Loigu with wordsby Aloysius Schusder

LOUIS SKIDMORE, FAIA

"A Tribute to William Emerson"

SPAIN. COMICION NACIONAL DEPRODUTIVIDAD INDUSTRIAL

"Construccion de Obras"

GORHAM PHILLIPS STEVENS.HON FAIA

His article "Concernins the Par-thenos"

STRUCTURAL CLAY PRODUCTSINSTITUTE

Its "Man & Masonry"

UNIVERSITY OF BRAZIL. FACUI,TY OFARCHITECTURE

3 volumes

MISS WANDA VON EZDORF

l0 books and 120 magazine is-

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Book Reviews

Wood in Architecture. Finn MoniesNew York, F. W, Dodge, 1961.114 p. illus 6'/ 1 !" $6.95

The character of this slim andmodest book by a Danish architectmay be indicated quickly by partof one introductory sentence: ".wood can never become a deadmaterial totally removed from na-ture. ." Most of these sensitively-photographed examples are Danishand reveal the appealing, humazingquality of this material, beginningwith a few pages of medieval andrenaissance craftsmanship soon fol-lowed by page after page of modernhouses and other buildings of today.

Brief chapters interspersed withgroups of photos discuss wood andhouses, interiors (stressing visiblestructure), the detail (clear and ex-cellent drawings), textures andfinishes, and wood in large struc-tures. Captions are generous andfull of information, two pages atthe end give names of examples,architects and photo credits but nodates.

We would question only thestatement in connection with hyper-bolic paraboloids that stresses "arenever greater than the wood is ableto bear" and would caution would-be HP'ers to watch out for exces-sive marginal stresses. But this is a

fine little book done with style.filled with unfamiliar work of soodquality. E.P.

Annual of Architecture, Structureand Townplanning, an Organ forTropical Architecture and Plan-ning. Volume 2, 196 l. Calcutta,

India, 1961. v p illus, plans.7t/2" x lO"

A comprehensive volume onvarious aspects of internationalarchitecture but with primary em-phasis upon the tropical. A com-posite of new and reprinted mate-rial, it will be of most interest 'to

Americans for its presentation ofAsiatic structures.

Divided into some eleven majorsections, it offers first a series ofstatements by architectural leaders,with in most cases illustrations oftheir work. Among those includedare Le Corbusier, Gropius, EeroSaarinen, Torroja, and Edward D.Stone. Generally brief, they dopresent interesting contributions tothe philosophy of architecture.

A note on the centenary ofTagore's birth and an article on hisrelationship with the planner Pat-rick Geddes are followed by anaccount of E. Maxwell Fry and hiswork in the tropics.

Under the heading "Buildingsand Projects" are shown a varietyof structures ranging from theHotel Indonesia in Djakarta toGauhati Oil Refinery in India. Aresearch section on tropical archi-tecture and planning presents mate-rials on sun-shading devices andventilation, in large part from othersources. A section on housing in-cludes a presentation on Americanconsulate staff apartments in Cal-cutta.

Nine schemes for universitiespresent those at Baghdad, Chandi-garh, Lahore, Jerusalem, Caracasand Bhubaneswar in some detail.Sports architecture is the subject ofanother section with major projectspresented. Sections on planning,structure and materials, and reviewsnotes and news complete the in-teresting, useful volume. c.E.P.

The Human Side of Urban Re-newal. Martin Millspaugh andGurney Breckenfeld. New York,Washburn, 1960. 233 pp. 9Y4"x 6". $4.50

Here is a series of case studiesof grass-roots urban renewal ef-forts by aroused citizen's groupsin Baltimore, Chicago, Miami, andNew Orleans. It is enthusiastic butnot naive. The authors recognizethat picking up rubbish and slap-ping a coat of fresh paint on thefronts of shanties is not a panacea.They are quick to admit that insome cases, the renewal effortshave even created fresh problemsin the wake of old ones. (Aftermentioning that a new low-costhousing project in Miami, insteadof helping solve the high-densityproblems in existing Negro neigh-borhoods, had brought a new influxof impoverished Negroes fromoutside the state, they footnotewistfully, "One of the saddest fea-tures of the US race problem .

is that the more any single citydoes to solve it, the more problemit gets to cope with.")

Nevertheless, the neighborhoodsstudied have managed to get re-sults which are less disruptive, ifless dramatic, than the bulldozer

approach. The authors are jour-nalists and have treated their storyin a straightforward way. Buttheir sympathies are obviously withthe Jane Jacobs, "let-us-be" school.This book would be a useful basictool to include in any Do-It-Your-self Urban Renewal Kit. M.E.L.

Ihe Politics of Urban Renewal.Peter H. Rossi and Robert A. Dent-

ler. New York, Free Press ofGlencoe, 1962. 308 pp. 8Vz" x6". $6.00

Subtitled "The Chicago Find-ings," this volume turns a magni-fying glass on one of the redevelop-ment efforts described in theMillspaugh-Breckenfeld book-theHyde Park-Kenwood area of Chi-cago. It is, in part, a scholarly studycrammed with tabular material andsocioanthropological jargon. Othersections of the book are almostgossipy, incorporating fragments ofmemoranda and personal corre-spondence between the PeoPlemost violently for and against theHyde Park-Kenwood renewal. Theauthors have appended a small-scale "attitude survey" of the resi-dents (which is apparently not in-cluded in the main body of thebook because they harbor somedoubts of its validity-as they state,"there is good evidence thatinterviewers tend to prefer as re-spondents white, well - educatedhome owners." The mystery is,then why include it at all?)

Reading this book is a little likefollowing the progress of an ailingpatient by alternately watching hisfever chart and listening to thenurses whispering out in the cor-ridor. But it is heartening to knowthat in Hyde Park-Kenwood, theoperation was successful and thepatient lived anyway. M.E,L.

Moment Distribution. Edgar Light-foot. New York, John Wiley &Sons, 1961. 353 pp. 9Y+" x 6".$1 1.00

Subtitled "a rapid method ofanalysis of rigid-jointed structures,"this book provides an up-to-datetreatment of this special methodof structural analysis.

The author, who is Reader inCivil Engineering at the Universityof Leeds, has specialized duringsixteen years of practice and re-search in the analysis and designof rigid-jointed structures by meansof moment distribution, plasticcollapse and computer methods.

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Mechanics of Engineering Struc-tures. Grover L. Rogers and M.

Lander Causey. New York, JohnWiley & Sons, 1962. 423 pp.9" x 6".

A modern text on structural en-gineering, designed to fill the needsof an age in which structures arecomposed of curved as well asstraight elements. Essentially, thisis a book on analysis, and the baris the primary component underconsideration. In discussing stressesand strains in bar-type structures,the authors use an integrated ap-proach to statically determinateand indeterminate structures, elas-tic and elastoplastic structures,straight and curved members, pla-nar and spatial configurations, andstatic and dynamic loads.

Plastic and Elastic Design of Slabsand Plates. R, H. Wood. New

York, Ronald Press, 1961. 333pp. 9V2" x 6". $12.00

A guide to structural design ofslabs and plates, with particularreference to reinforced concretefloor slabs. This book examines theuse of simple yield-line, or "frac-ture-line" theory, and other morerecent developments in the plasticdesign of slabs, in the light of thetheory of "limit analysis," and ofthe substantial modifications thatcan result from a study of com-posite action between floors, walls,and frameworks, and the beneficialeffects of membrane action in slabs.

Modern European Architecture. A.Dorgelo, BNA, ed. Amsterdam,Elsevier Publishing Co, 1960.242 pp illus. lOYz" x 14".$27.50

The editor's dedication to com-pleteness of facts and uniformityof information is commendable inthis review of contemporary Euro-pean architecture-reduction ofprose, emphasis on plans and pho-tos, well-organized technical de-tails, additional references forbuildings make this a good refer-ence work for one who finds whathe wants here (not easy, there isno alphabetical index). The editorhas no partiality to certain coun-tries, no flowery compliments forarchitects. But this is not a bookto read----one misses criticism andpleasant layouts-it is not a bookto encourage what the editor wants,public understanding of "the 'vis-ual language' of modern architec-ture."

We would also question the typeof building included-a city com-posed of these would be miserablymonotonous. There are no smallstructures, even churches are huge.Under "The Home" there are onlycomplex multi-story structures, notownhouses or one-family dwell-ings. Under "Education" there arethree universities, one welfare cen-ter-are there no new elementaryor secondary schools in Europe?

In the text discussion of eachbuilding, where "Solution" wassubdivided by "planning considera-tions," "technical considerations"and "architectural considerations,"architectural contained only a de-scription of the exterior as if plan-ning and technique should be sepa-rated from architecture, as if thefalse front were stuck on by thearchitect after some mysteriousplanner had completed the func-tioning interior. u.H.p.

Holztreppen (wooden stairs). OttoSteinhijfel. Munich: VerlagGeorg D. W. Callwey, 1960 166pp illus.

"Please you gotta let mespend some money hgls-ws'vssaved it everywhere else-thishasta be a job I'm proud of too. . ."(Architect to client-pointing tostairway on plan.)

There are those who thinkthe "how" of a building shouldbe completely unobtrusive-youshould not realize the means. Otherssee the "how" as a design oppor-tunity-perhaps the essence of thearchitectural experience the build-ing can give. Too often today theability to design an important howis lacking. The taste to subordinateless-important ones is equally essen-tial--only a worlds-fair pavilion canshout: "LOOK! HERE'S theDOOR! And HERE'S the STAIR!Don't spend too much time down-stairs or we'll never get you crumbsoutta the jernt. THIS WAY to theEGRESS!''

The ancient craft of stairbuild-ing, too often today a part of mis-cellaneous iron in the specs, had acertain fine distinction. Note-itwas always the stair-builder, not(as for carts, wheels, plays orFrank-Lloyd) the stairwright. Thebibliography in English includes achoice collection of less than twentyitems between 1693 and 1888, andif you wish to dig into it you betterbrush up on solid and descriptivegeometry.

For those architects who face upto this problem of designing a sig-

nificant and sympathetic how to getfrom down-here to up-there (orthe reverse-and this is different)this will be a fascinating book. Thefifty-page introduction, clearly andcopiously illustrated, is in Germanonly-the rest of the book (morethan eighty examples of woodenstairs) has German-English-Frenchcaptions for photos and detail draw-ings as well as triJingual explana-tory text. E.P.

Books ReceivedThe books listed below have beenreceived for review. Their listinghere does not preclude their re-view at a later date.

Simplified Mechanics and Shengthof Materials. Harry Parker. New

York, John Wiley & Sons, Inc,196r (2d, Ed.) 280 pp. 5" x734".

The Kohler Shike-Union Vio-lence and Administrative Law. Syl-

vester Petro. Chicago, HenryRegnery, 1961 . 118 pp. 5r/t" x8". $3.00

Defense Materials System and Pri-orities. Department of Commerce,

Government Printing Ofrce,Washington 25, D. C. 52 pp.53/e" x 9Y4". 254 paperbound

General Excavation Methods. A.Brinton Carson. New York, F.W. Dodge, 1961.392pp.7/2" x10". $12.85

Failure and Repair of ConcreteStructures. S. Champion. New

York, John Wiley & Sons, 1961.195 pp. 5V+" x 8". $6.75

Prestressed Concrete Simply Ex-plained. H. Kaylor. New York,

John Wiley & Sons, 1961. 150pp. 5Y4t' x 8Y+". $5.25

Prestressed Concrete-Design andConstruction. James R. Libby. New

York, Ronald Press, 1961. 459pp. 6" x 9". $12.50

Practical Prestressed Concrete. H.Kent Preston. New York, Mc-Graw-Hill, 1961. 335 pp. 6" x9". $11.50

Aluminum Construction Manual.New York. The AluminumAssn., 1959. 381 pp. 53/+" x9".

Nursing Home Administration.Gerletti, Crawford & Perkins.Downey, Calif., The AttendingStaff Association, Rancho LosAmigos Hospital, 1961. 469 pp.7" x 93t'q".

Prestressed Concrete CylindricalTanks. L. R. Creasy. New York,

John Wiley & Sons, 1961. 212pp. 81/2" x 53/+". $6.75

Specifications. H. Grifith Edwards.Princeton, N.J., D. Van Nos-trand, 1961 (2d Ed.) 350 pp.9Va" x 61/q".

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Editor's Page

\ilho I:

Responsible

for

Ugliness?

Who is responsible for ugliness? Who is responsible for juveniledelinquency? Who is responsible for the ever-present threat of war?The "Conference on Aesthetic Responsibility" seems to have decidedthat everybody is responsible for ugliness-just as we are all respon-sible for juvenile delinquency and the threat of war. We are all re-sponsible because not enough of us get fighting mad enough to doanything about these triple threats to our equanimity and the har-monious life. Mr Atkin's exceedingly brief address was perhapsmore to the point than anybody else's.

No doubt everybody hates ugliness-or thinks he does. But sooften one man's ugliness is another man's delight. The gas stationowner who decks his concreted area with fluttering paper pennantsof many colors, surely must step back in pride and view his handiworkwith "Isn't that beautiful! Now, by golly, they'll notice my station."The owner of a store in a dingy old building who paints the frontorange and puts a flashing neon sign on it might admit that it ain'tart, but it will bring in customers, so from his viewpoint it's beautiful.

Certainly, these are not legitimate standards for esthetic judgments.But they are the everyday working standards of hundreds of thou-sands of people. The esthetic standards of half of the population ofthis country are tied in one way or another to their pocketbooks.Who has ever shown or taught them anything different? A house is"beautiful" because it cost $75,000; a picture is "beautiful" becauseit's a genuine hand-painted oil painting and cost $500. Is there actuallytrue beauty in a diamond? We gush over a diamond strictly accordingto its size-hence its price. A fine quality glass prism will refract thelight just as well and sparkle just as brilliantly. We are all guilty.

Often, what is beautiful when it stands alone may become a sourceof ugliness when multiplied. The gas station owner's pennant-bedeckedstation might look gay and at least "pretty" if it stood alone. Butwhen jammed in on a highway with both sides lined for miles andmore and worse of the same thing, it becomes unbearable.

Unbearable to whom? Perhaps now we're getting closer to theheart of the problem. The answer is, of course, unbearable to thoseselect few who have, or feel that they have, good taste; those few whoare sensitive to ugliness. For there is a select few-possibly twentyper cent of the adult and thinking population (estimate my own)-who seem to belong to this esthetic upper crust. Do I put my estimatetoo low? Sorry. Double it and it still doesn't affect the real problem.So we'll call it forty per cent. On the other side of the esthetic ledgerwe must allow for an equal percentage of those who are hopelesslydevoid of taste-and there is little we can do about it. That leaves a

middle twenty per cent with whom we, the esthetically conscious uppercrust, can perhaps have some influence.

Where do we missionaries of beauty and delight start spreadingthe gospel of one universal esthetic standard? Why in the schools,of course; the poor, over-worked, overpropaganded public schools.I don't believe good taste can really be taught. But good examplescan be set forth and good standards can be taught to school-agechildren-and if we are to combat universal ugliness we might as wellface the fact that it will take a generation or two.

And it is just possible that if we can instill the basics of good tastein one or two coming generations, the other problems of juveniledelinquency and even the threat of war, may cease to be problemsany longer. Good taste can be extended to good taste in living, inpersonal relationships and even ultimately into international relation-ships. So perhaps the architect, insofar as he can affect the totalenvironment of man, can also go a long way toward helping to solvemany of the problems which plague the civilized world today.

98

Architectural

Photogrammetry

by Perry E. Borchers, Jr, AIA

Prolessor of Architecture, Ohio State University

School ol Architecture and Landscape Architecture

) During recent spring andThanksgiving vacations, teams fromOhio State University traveled toPhiladelphia, New Jersey, NewYork City, the Connecticut RiverValley and Maine to record-byan unusual method-inaccessibletowers and fagades of a series ofhistoric American buildings, toodifficult and detailed for efficientmeasurement and drawing by con-ventional means. The method usedis that of photogrammetry, and inthe United States its application tothe study of architecture is foundonly at Ohio State University.

Photogrammetry-the science ofmeasuring by means of photo-graphs-has interest for all engi-neering sciences.a' Modern scienceis based on precise measurementand on quantitative data which sup-port or amend emerging theories inevery field. Photogrammetry is anideal system for capturing complex,irregular, and elusive form for de-tailed examination and measure-ment. Its appropriate use, in archi-tecture as in other fields, is forhigh precision under difficult con-ditions of measurement.

Photogrammetry first foundlarge-scale application in the UnitedStates during World War II forpreparation of topographic mapsfrom aerial photographs. This workcontinues to absorb the attention ofphotogrammetrists and obscuresthe nineteenth-century beginningsof photogrammetry as a means ofrecording and drawing monumentsof art and architecture. Pioneerwork in the field of architecturalphotogrammetry was performed bythe Prussian Staatliche Messbild-stelle organized by Meydenbauer

in Berlin in 1885. The great files ofthe Messbildstelle, glass negativeplates in 929 chests and weighingthirty-six tons, were seized by theSoviet military administration as anaftermath of the war and disap-peared to the East. However, theproceedings of the Messbildstelleare remembered and to this dayhave their applications.

Equipment and Procedure

Precise cameras of known focallength and negligible distortion areused, with glass negatives of largeformat for good detail and for pre-vention of film shrinkage and dis-tortion. The camera is normallymounted on a surveying instru-ment-together called a photothe-odolite-for turning precise anglesand recording camera-orientationat two successive positions of pho-tography. A few measurementswithin the picture area serve as sur-vey control.

Data on the negatives are proc-essed in three general ways. First,there is single picture measurement,employing a precise projection in-strument known as the rectifier tocorrect for tilts of the camera andto allow rapid measurement ordrawing of detail such as muralpainting and joints of essentiallyplane surfaces-or the deflection ofa beam-recorded on a single pho-tograph.

Analytical photogrammetry com-bines measurement of two pictures,taken from successive camerapositions, with geometric calcula-tion of major dimensions of thestructure photographed. Though re-placed by more efficient methods ofstereophotogrammetry in modernprojects, the geometric proceduresof analytical photogrammetry canbe used for reconstruction of dam-aged or rranished structures from a

variety of photographic material-eg, actual use of amateur photo-graphs to recreate the form anddimensions of a war-damaged towerin Munich, Germany.

Stereophotogrammetry employstwo photographs, taken from suc-cessive camera positions, for crea-tion of a three-dimensional pro-jected or optical model, which canbe scaled and measured in all di-rections and which, in such plottingmachines as Ohio State University'sWild A7 Autograph, can be plottedand drawn directly in orthographicprojection.

Proiects in United States

There have been twelve projectsat Ohio State University supportedby contract with the National ParkService, US Department of Inte-rior and others, in the applicationof architectural photogrammetryto the Historic American BuildingsSurvey. Personnel of the Schoolof Architecture and LandscapeArchitecture of the College of En-gineering have employed equip-ment of the OSU Institute of Ge-odesy, Photogrammetry and Cartog-raphy in carrying out projects ad-ministered by the EngineeringExperiment Station. As of March1962, sixty-two sheets of drawingsand 195 stereopairs, with surveycontrol, of twenty-eight historicbuildings have been furnished theNational Park Service for perma-nent record in the Historic Ameri-can Buildings Survey. An addi-tional sixty-one stereopairs havebeen commissioned by others, in-cluding the Maine Chapter of theAIA, and fourteen sheets of draw-ings of St Paul's Chapel and TrinityChurch in New York City havebeen prepared for the corporationof Trinity Church. Three reports

on applications of photogrammetryhave been furnished to the NationalPark Service to aid in their plan-ning of "Mission 66," a long-termprogram for recording historicearly American architecture whichis rapidly disappearing throughdemolition or neglect. A chapter onarchitectural photogrammetry hasbeen written for the 1961 editionof the Historic American BuildingsSurvey's specification manual.*

Photogrammetry must be sup-plemented, in cramped and darkportions of buildings, by conven-

* An introduction to this subject was firstpublished in The AIA lou;nal, October1957, pp. 353-355.

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tional hand measurement. But forcomplex, irregular, and inacces-sibly high portions of buildings itsaccuracy, efficiency, and economycannot be matched. The front ofthe historic Plum Street Temple inCincinnati has minarets towering130 feet, yet this fagade was re-corded on the site in two hours bytwo stereopairs-four photographs

-and a dozen quick measurements

for survey control. The photo-graphs and survey control are suffi-cient to create an optical model inthe A7 Autograph which has allthe characteristics and authority ofthe building itself for purposes ofmeasurement. The building maydisappear, yet be drawn and re-stored years later from the photo-grammetric record (fig l).

The process of taking stereo-pairs consists in setting up twotripods, levelling the phototheodo-lite, and photographing at each sta-tion at an angle perpendicular tothe base line between tripods.Maximum depth of reasonably ac-curate plotting is twenty times basedistance between tripods, but anincrease of base to depth of plot-ting, known as the base/distanceratio, increases accuracy.+

The process of plotting andmeasuring in the Wild A7 Auto-graph consists of inserting photo-

graphic plates, reestablishing rela-tive orientation between the twocamera positions at time of photog-raphy, rotating this relative orien-tation so that vertical and horizon-tal directions in the optical modelare in absolute orientation withsimilar directions on the plottingtable, enlarging or reducing theoptical model to fit a desired draw-ing scale, and finally plotting andmeasuring. The machine whichperforms these steps for a train-ed operator costs $63,000. It willtabulate measurements, and ideallyfor the purposes of architecturalphotogrammetry, a shift of gearswill change plotting from ortho-graphic projection of elevations tofloor plan, ceiling plan or horizon-tal section. The University is for-tunate to have a machine of suchprecision and scope. It is used inthe Institute of Geodesy, Photo-grammetry and Cartography pri-marily for instruction in photo-grammetry, but research projectskeep it busy late in the eveningsand weekends.

The A7 Autograph has l0-powermagnification in the eyepieces, andthe three-dimensional optical mod-els recreated within it are the mostimpressive phase of the photogram-metric process. The horizontal andvertical movements of the instru-

ment immediately reveal the leanand deflection of structural ele-ments photographed in the stereo-pairs, while the plotting table, withits drawing of true orthographicdimensions, slopes and proportions,discloses intentional or fortuitousoptical illusions of architecturaldesign.

Projects in EuropeThrough an award by the Uni-

versity for research duty andtravel, I visited projects on archi-tectural photogrammetry in Europeand talked with European manu-facturers of photogrammetricequipment in the spring and sum-mer of 1958. Three months of thistime were spent in Sweden at theInstitute of Photogrammetry (Kun-gliga Tekniska Hogskolan) in Stock-holm, where I enjoyed the hospital-ity and assistance of Professor Ber-tel Hallert, who in 1953-1954 wasat Ohio State University to helpestablish the first Institute of Pho-tograrnmetry in the United States.I observed the recording of Rosen-dal castle near Stockholm by bothaerial and terrestrial photography(figs 2 and 3).

Plotting of the roof plan ofRosendal castle was done fromaerial photographs. First a traversewas surveyed around the building

and white targets were set to stakesas survey control. Photography was

from an altitude of 300 meters(1,000) because of the ProximitYof Stockholm. Plotting of the build-ing from these photograPhs was toan accuracy within 4 cm (lVz").This lowlevel aerial PhotograPhYwould have special value for re-cording entire old villages, histori-cal patterns of land subdivision,battlefields, and historic sites. Itmay be used bY the National ParkService to discover traces oftrenches and earthworks on thebattlefield of Saratoga after a lapse

of 182 years.Cost of a Photogrammetric Proj-

ect is directly related to degree ofaccuracy desired. Degree of accu-racy desired in the drawing ofRosendal castle was the thicknessof a pencil line on the final draw-ings, ie, an accuracy within 1/ 1200'

The phototheodolite used for ter-restrial photography had been veryaccurately tested for distortioncharacteristics at the Institute, andthe first calculation was the allow-able distance of photograPhY tomeet the standards of accuracY.

The major government Projectin Europe in recording historicarchitecture is being carried on inBelgium on a scale aPproachingthat of the Staatliche Bildstelle inGermany. Of some 6,000 historicbuildings in Belgium, sixtY majorbuildings have been chosen for re-cording by architectural Photo-grammetry. In the summer of 1958about forty of these buildings hadbeen done at a rate of about tenvery large and very detailed monu-ments per Year. Each Year an ad-ditional ten or eleven historicbuildings are recorded before re-modeling or demolition.

Sets of the photographic Platesare carefully disinfected to preventbacterial damage to the emulsion,are sealed in lead boxes, and filedin underground concrete atomic-bomb resistant shelters with the na-tional art works. Plotting from theplates has been limited to that nec-essary to assure accuracy of thephotogrammetric recording proce-dure. Accuracy to within l/1000was considered adequate andquickly attainable. The Belgiansurvey team considered that manyof their stereopairs of architecturalsculpture would never be plotted

t National Park Service. Eastern Office ofDesign Construction, Specifications, part 9,July 27, 1961.+For a more detailed exDlanation see thefollowing article "Choice of Station andControl"

and drawn, even though requiredfor reconstruction of a building,but would be viewed stereoscoPi-cally by sculptors and stone carversfor greater accuracy of sculpturalfeeling than could be conveyed bY

any series of drawings. It should benoted, however, that the contourdrawing typical of topographicalsurveys has considerable value inrepresenting sculpture. See the con-tour drawing of sculpture on thesouth fagade of Rosendal castle inSweden $e 2).

It would be inappropriate todwell on various projects for pho-togrammetric recording and resto-ration of historic architecture con-ducted at technical institutes ofEurope without mentioning otherimportant applications of photo-grammetry to architecture. InStockholm a series of great shelters

At left, Isaac M. Wise Temple, Cincin-nati. Below, contour plotting, fromstereopairs, of statue on south fagadeof Rosendal Castle (plotting by Sig-mark & Schmutter, Fotogrammetri,Kingliga Teckniska Hogskolan, Stock-holm. Sweden)

has been hollowed from the rockbeneath the city. Computation ofthe volume of concrete to reinforcethe irregular ceilings of these man-made caves was a problem solvedby photogrammetric plotting. InAugsburg, Germany, a firm ofarchitects designed, in model form,a scalloped shell ceiling for an au-ditorium. They discovered theirceiling was too complex to drawand dimension until Dr Josef Su-tor, engineer and photogramme-trist of Munich, photographed andplotted the ceiling in contour draw-ing to provide rapidly some 1,700dimensions for placing form workand reinforcing.

Study of Structural Movement

At Ohio State we have made in-vestigations of the application ofphotogrammetry to recording short-term building movements. Thesemovements are of special interest tothe architect, for in his detailingof junctions of various materialsand structural elements he mustprovide for movement while pre-serving structural integrity andweathertightness of his building.It also appears in the field of ad-vanced structures that the engi-neer has much to learn about set-ting, deflection and movement ofstructure,

In 1958 photographic plates ofOhio structures were studied onthe Zeiss Stereocomparator at theInstitute of Photogrammetry, RoyalInstitute of Technology, in Stock-holm. The ultimate accuracy ofdetermination of structural move-ment was limited by the operator'saccuracy in placing the measuringmark of the stereocomparator uponthe point to be measured on thephotographic plate. The standarderror of several repetitions of thisprocedure-as determined by themethod of least squares-was ofthe nature of 1/19,000 of the dis-tance of photography.

In 1961, with a new Galileo-Santoni phototheodolite for archi-tectural surveys purchased in Italy,a photogrammetric record wasmade of the settling of one of fivethin shell concrete hyperbolic para-boloids over the grandstand ofScioto Downs Race Track south ofColumbus, Ohio (figs 4a and 4b).The photographic plates were ex-amined in a model TA3 NistriStereocomparator, recently ac-quired by the University, and dis-closed a measurable settling andlengthening of the paraboloid anda rotation about its supporting pier.Though the extreme corners of the

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South fagade, Rosendal Castle. (Statue at left of entrance is shown in contour plotting, previous page)

Scioto Downs, 6 May 1961. Secondphoto of a series recording settlementof hyperbolic paraboloid from whichformwork is released

Final photograph plate from samestation point of a series recording set-tlement and rotation of hyperbolicparaboloid. Camera pressure points,fiducial markings, survey control andmeasuring points circled, labeled

paraboloid had been cambered foran expected deflection of about 4".the photographic plates showedthat the greatest deflection occurredat the thickened center of the for-ward edge, and that-allowing forthe rotation of the paraboloid andfor the deflection of the entire edge

-the extreme corners had actually

been pulled Dp 3/+" in relation tothe center.

This study revealed that flatnessof the photographic plate was an-other limiting factor on accuracyattainable with the photogram-metric method. Ultimate accuracywith present equipment and proce-dures and with considerable care isto within a standard error of1/15,000 of the distance of pho-tography, for example: V+" forphotography at 300 feet distancerecording structure 320 feet wideand 120 feet in height above cam-era axis; or 7/64" for photographyat nineteen feet distance recordingstructure about twenty feet wideand fifteen feet high. There are

times when significant measure-ments can be smaller than thelimits indicated by the standarderror, as in the case when manymeasurable points on a fagademove in concert under the effectof wind loading.

With very precise photogram-metric equipment now availableat Ohio State University, moreprojects in recording structuralmovements by means of architcc-tural photogrammetry can be at-tempted. For a necessary fullerunderstanding of advanced modernstructures, architectural photo-grammetry has the great advantageof providing data on the deflectionsand movements of actual structuresin use-not models under labora-tory conditions-with the possibil-ity of recording and discoveringmovement in parts of the structurewhere no movement was antici-pated. <

Reprinted by permission from News in En-gineering, Ohio State University, April 1959,pp 13-16.

Choice of Station

and ControlFOR EFFICIENT ORIENTATION AND PLOTTING

IN ARCHlTECTURAL PHOTOGRAMMETRY

by Perry E.Borchers,Jr,AIA

metry, Washington, D C, March 1960, and included as a presented paper

at the Congress of the International Society for Photogrammetry in London

Presented at the natiomal convention of the AInerican Socie" of PhOtogram‐

躙 Hiples

Terrestrial or Aerial Stations?

Application of photogrammetryto architecture has been an infre-quent exercise for photogram-metrists whose natural tendencyshould be to reproduce conditionsand procedures of aerial photo-grammetry in plotting and drawingbuildings. Sometimes this is pos-sible, and an entire fagade may bephotographed in stereopairs withcamera axes normal to fagade. withrelative orientation following theprocedure for nearly vertical aerialphotographs of essentially flat tei-rain, and with control measure-ments on the plane of the fagadeto determine absolute orientationand scale. More often than not,however, the building and its loca-tion do not permit this particularphotogrammetric procedure.

First the camera must be in-clined upwards. Then in indeter-minate seas of grass or blank skythe points are lost at which, inaerial stereopairs, elements of rela-tive orientation can be isolated.Finally the orientation which satis-fied the general plane of the fagadereveals its weakness when plottingis pushed in depth to distant towersor to nearby steps and terraces.

It is the need for accuracy ingreat depth of plotting that placesarchitectural photogrammetryfirmly in the category of terrestrialphotogrammetry. Studies of suchmen as Professor Bertil Hallert ofSweden of problems of terrestrialphotogrammetry have considerableapplication to photogrammetry ofarchitecture.

Control Points-Measured Stakes

Professor Hallert's paper "De-termination of the Accuracy of Ter-restrial StereophotogrammetricProcedures,"* describes the effectof small errors of convergence ofcamera axes upon plotting of aplane and upon propagation oferror in depth of plotting. I haveobserved the Swedish system of us-ing control stakes-placed as de-scribed in Professor Hallert's arti-cle-before Rosendal Palace whichwas being recorded and drawn byphotogrammetric p:ocedures, andI respect the accuracy of this meth-od. However, I have never found,when recording historic Americanarchitecture in the centers of ourcities. the situation which wouldpermit setting up this auxiliarymethod of control. The stereopairof the east fagade of TrinityChurch in New York City, as pho-tographed up the length of WallStreet, shows also the extremebase-distance ratios that may beforced upon the photographer us-ing architectural photogrammetry(fie I ).

In recording historic architecturethe building to be photographed isoften hemmed in by others, andcamera stations are separated fromsurvey control points on the build-ing by the rush of city traffic, andthere is sometimes haste to take astereopair of a fagade in the sun-light which may shine down thelong canyon of a narrow street for

only a few minutes. The overrid-ing concern is to secure completephotographic coverage. On one oc-casion this has taken the photothe-odolite onto the twenty-third floorparapet of a building overlookingthe one to be photographed-moreoften it has taken the photographicteam far up and down streets thatborder the building for angled andinclined views that show it in itsfull height. Stereopairs photo-graphed from these angles cannotbe oriented efficiently according toprocedures of aerial photogram-metry.

A major characteristic of archi-tecture in contrast to other subjectsof the photogrammetric process isits geometric regularity. Except inhighly interesting cases where geo-metric regularity of the buildingis in question or the photogram-metric problem is to record buildingmovements, this characteristic ofarchitecture can be exploited in anappropriate system of orientation.The system is based upon geomet-ric principles of perspective draw-ing which architects use for graphicpresentation of designs and Proj-ects.

Perspective drawing is the re-verse of the photogrammetric Pro-cess. Starting with orthograPhicdrawings of plan and elevation ofthe building the architect arrives ata perspective drawing which is ananticipation of a photograph of thecompleted building. His geometrY

assumes no distortion of the Per-spective rays in an imperfect pho-tographic objective. On the drawingwhich contains the plan of hisbuilding, the architect chooses a

station point, corresponding to a

camera station, or, more preciselY,to the principal point in a photo-grammetric objective, and a pictureplane, corresponding to the photo-graphic plate. The line from thestation point perpendicular to thepicture plane corresponds to thecamera axis of a phototheodolite.

There are two systems of archi-tectural perspective drawing. Oneis known as two-point perspective.This system assumes a vertical pic-ture plane upon which all verticallines of the building appear verti-cal and parallel while systems ofhorizontal lines converge to vanish-ing points on a horizon on the sameheight as the station point. Three-point perspective assumes a pictureplane inclined from vertical. Sys-tems of horizontal lines still con-

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* Photogrammetric Engineering March 1955

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Stereopair of east fagade of Trinity Church down length of Wall Street,New York City, September 1959. Wild T 30 Phototheodolite-inclinationupwards 10.4g-base 22.68'-distance approximately 660'

verge to vanishing points on thehorizon, but now only the verticalline which is intersected by thecamera axis remains vertical, whileall other vertical lines converge toa vanishing point upon this line.There are three vanishing pointsfor systems of lines parallel to thethree coordinate axes,

It is now possible-having thefiducial markings of the photo-grammetric plate to establish thehorizon and line of sight normalto the fagade-to make visually aquick and close approximation ofthe absolute orientation of the ele-ments co, q, and x for single pho-tographic places in the A 7 Auto-graph.

Main Survey Control Points

The most useful elements of sur-vey control upon a building shouldnow be evident. First is to estab-lish one or more unquestionablyvertical lines intersected or nearlyintersected by the camera axes. Inthe case of highly irregular or de-formed structures-and when thereis no wind-a weighted line can belowered over the eaves from a para-pet or cupola to establish a verti-cal line in the photograph. A di-mensioned vertical line can be es-tablished by lowering a steel meas-uring tape with prominent mark-ing of major dimensions. For suchstructures as the cliff dwellings ofColorado, carved into and built upunder an overhanging rock face,the vertical dimensioned lines ofthree measuring tapes lowered overthe cliff, with measurement of hori-zontal distances between them,could provide effective survey con-trol.

Second step is to establish thehorizon. This may be done eitherby verifying the level of horizontaljoints of the building or by sight-ing through the leveling telescopeof the phototheodolite, preferablyto a corner and two fagades of thebuilding, and marking height ofcamera horizon with tape at threeor more points on the building forrecording on photographic plates.

Third step is to have a knownangle, generally a right angle, inthe plane of the horizon. One di-mension is now essential for scale,and two dimensions. in the direc-tions of the two horizontal coordi-nates, serve with the horizontalangle to reveal elusive errors ofconvergence of camera axes. Twovertical dimensions at greatly dif-fering depth in the optical modelcan serve the same purpose, and

additional measurements allowdeterminations of accuracy anderror of the entire photogrammetricprocedure.

Camera Station

A choice of camera station whichbest satisfies the requirements ofphotographic coverage and the sys-tem of survey control describedabove is shown in figure 2, a stereo-pair of the north and west fagadesof Congress Hall, IndependenceNational Park, Philadelphia, Penn-sylvania. Parallel camera axes in-tersect fagades of the building toeach side of the vertical corner atapproximately the same depth inthe optical mode. The cameras areinclined upwards 10.4 grades, themaximum possible on the Wild T30 phototheodolite with the baseleveled.

The process of orientation-which must precede plotting andmeasuring in photogrammetry-establishes criteria for photographicequipment and procedures in thefield. This process involves repro-ducing-. inner orientation of camera usedin photography. relative orientation between thetwo camera positions at the time ofphotography

. absolute orientation of cameraaxes at time of photography withvertical and horizontal coordinatesystem chosen for the orthographicprojection.

The inner orientation ol thecamera includes-. precise focal length-either fixed,or variable in phototheodoliteswhich record variations of focallength upon photographic plate.

. location of the camera axis, estab-lished by recording four fiduc.ialmarkings upon photographic plate. determination of residual distor-tion of lens and camera

Elements ol relative and absoluteorientation are-. the principal horizontal compo-nent of the base between the twocamera axes; designated as bx. the vertical component of the basebetween camera axes-usually des-ignated at the right camera stationas by"". the horizontal component of thebase in depth-along s6rns14 x)ds-when camera axes are not per-pendicular to base line or to co-ordinate system; usually designatedat the right camera station as bz*"

Stereopair of north and west fagades of Congress Hall, Independence Na-tional Park, Philadelphia, April 1959. Wild T 30 Phototheodolite-inclina-tion upwards l0.4g-base 12,42'

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Fig 3, left-Foreshortened plotting ofnorth and west faEades, A7 Autograph

-Congress Hall tower. Fig 4, below

left-Partial plotting of plan, A7 Au-tograph-Congress Hall. Used for ro-tation of elevation plottings and formeasurement of building leans anddeformation

Fig 5, at right-North elevation, Con-gress Hall, as drawn for HistoricAmerican Buildings Survey

. tilt of camera axes upwards ordownwards from a horizontalplane; designated at the two camerastations as trl' and o)". swing of camera axes-conver-gence or divergence-in the hori-zontal plane; designated at the twocamera stations as gr' and g>". rotation of camera around cam-era axes; designated at the twocamera station as y"' and y,"

Orientation Procedure

The procedure for orienting sucha stereopair in the A 7 Autographis as follows:. set measured elements of inclina-tion co'and (0" in the autograph. measure distances within ooticalmodel with change of base-bi-tochoose approximate scale for great-est possible range of plotting. make absolute orientations onsingle photographic plates of ele-ments of rotation x' and t" alongvertical lines intersected or nearlyintersected by camera axes, or-stereoscopically-at points of equaldepth in optical model lying ontwo fagades and on horizon. make relative and absolute orien-tation of elements of inclinationrlr' and ip" with change in depthalong line of horizon upon building.Corrections of relative orientationin 0'l are characterized by over-correction of y parallax or exag-geration of it at near and far points.Check absolute orientation of ttl'and 0)'/ on vertical lines of building. make relative orientation of bz"by elimination of y parallax along avertical line near camera axes. make relative orientation of ele-ments of convergence q' and q"by elimination of y parallax alonga vertical line as far as possible toone side of camera axes. with the terrestrial gear system ofthe A 7 Autograph plot in plandrawing corner of building and

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Fig 6-South elevation, St Paul's Chapel, Lower Broad-way, New York. Drawn for the Corporation of TrinityChurch, New York City, and the Historic AmericanBuildings Survey

horizontal dimensions measuredfrom it; analyze any bow inwards oroutwards of fagades and any dis-tortion of the right angle of thecorner into small corrections of rel-ative orientations of q" a\d bz".Orientation can be checked furtherfor scale differences in two verticaldimensions which differ greatly intheir depth in the optical model. scale optical model with propor-tional changes of bx, by" and bz"

Alternative Procedure

If it should now be impossible,because of limitations of the A 7Autograph, to make an absoluteorientation of q and q" plotting ofthe building must be performed asshown in figures 3 and 4 also ofCongress Hall in Philadelphia. Plot-ting is in both plan and elevation.It is part of the usefulness of theA 7 Autograph for architecturalphotogrammetry that a change ofthe gear system, from "aerial" withwhich architectural elevations areplotted, to "terrestrial" with whicharchitectural floor and ceiling plansand horizontal sections are plotted,also provides correction of plottingdistortions of common architecturalcylindrical forms, as described in"Architectural Photogrammetry atOhio State University.""'

The resulting plottings, which re-quire the plan drawing for rotationof foreshortened elevations into fullfrontal projection, as shown infigure 5, provide best determinationof inaccessible dimensions on build-ings, necessary for final drawingsand for control of plotting of morenearly frontal stereopairs.

A comparison of vertical dimen-sions of the inaccessible tower of St.Paul's Chapel on Lower Broadwayin New York City, shown in figure6-as determined from various di-agonal stereopairs of the buildingand before full development of thesystem of survey control and orien-tation described herein-indicatedan accuracy to within one part in1300 in height of the tower. Thisdegree of accuracy is satisfactoryfor recording historic architecture.Other applications of photogram-metry to architecture can utilize theultimate degree of accuracy possiblewith the science of photogram-metry. <

* Photogranunetric Engi,teering Dec 1957This article was originally published in Inter-national Archives of Photogranrmetry, VolXIII, 1960, of the International Society forPhotogrammetry, and in PhotogrqmmetricEngineering, December 1960 published byAmerican Society of Photogrammetry. Per-mission was granted to reprint by ISP andASP, with minor changes for clarification forarchitects.

Half-plan of tower

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Partial elevation of tower

A Three-Dimensional Recordof Byzantrne and Baroque Architecture

by Perry E. Borchers, Jr, AIA

) For the McKim Fellowship ofColumbia University in January,1959, I proposed a project in three-dimensional recording of architec-ture intended to provide reason andexample for a major advance in thevisual presentation of architecture.This proposal was subsequentlyamended to include taking 300stereopairs of Byzantine architec-ture in Turkey, Greece and Italy,and of Baroque architecture inItaly, Austria and Germany.

With the additional grant of as-signed research duty from OhioState University, I travelled andphotographed in Europe fromMarch 1960 through September1960, starting in Sweden where thephotographic equipment was testedwith facilities provided by Profes-sor Bertil Hallert of the Royal In-stitute of Technology in Stockholm.

The report which follows isslightly revised from that submittedto the School of Architecture atColumbia University in May 1961.The three-dimensional materialfrom this project is in regular usein courses of architectural historyat the Ohio State University andhas been demonstrated in three-dimensional projection at ColumbiaUniversity, at the AIA-ACSA jointR-17 course at Cranbrook in June1961, and at the national conven-tion of the Society of ArchitecturalHistorians in Boston in January1962.

Y

The purpose served by three-di-mensional recording and presenta-tion of architecture is to recreatevisual realities of space and en-closure which must be grasped ifarchitecture is to develop as a trueart of designed environment.

Living within space and en-closure, men see binocularly and indepth. A three-dimensional recordof architecture requires exercise ofbinocular vision and, far more ac-curately and powerfully than any

number of two-dimensional photo-graphs and sketches, it allows thespecial study of space-the prov-ince of architecture; and the gen-eral study of form-the interest ofall arts.

It was a good choice by theMcKim Fellowship committee tomake Byzantine and Baroque archi-tecture the first subjects of three-dimensional recording and presen-tation. Byzantine architecture ischaracterized by sculptural andflowing form in intersecting domes,semi-domes, and heavy vaults, iscommonly deformed by structuralslipping and later buttressing, andhas (or had before mutilation)over-all wall and ceiling decorationof fresco painting or light-reflect-ing mosaic representing Biblicalstories and the presence of Chris-tian saints. Baroque architecture is

characterized by a flow of interpen-etrating spatial forms with warpedstructural elements and decoration,by expert use of optical illusion,forced perspective and dramaticlighting, and by employment ofsculpture and painting not only rep-resentationally but to modify archi-tectural effects of structure andspace. These qualities are elusivesubjects for two-dimensional pho-tography. Study of books and pho-tographs beforehand did not pre-pare me for the actual visualeffect of a single building I visited.Repeatedly I found unexpected re-lations of building scale and sur-rounding structure, of arrangementin depth and-particularly in Ba-roque architsstrrls-sf clarity andorder in what had been representedin two-dimensional photography as

proliferation and excitement. I amconfirmed in a belief that a largebody of architectural criticism andopinion is based on misconceptionsarising from, or perpetrated bY,two-dimensional photography, andthat another body of awareness andunderstanding awaits effective il-lustration and example.

Studies of Space and Form

The material assembled under theMcKim Fellowship as a three-di-

mensional record of Byzantine andBaroque architecture is the nearestvisual equivalent to visits to theactual buildings themselves. Viewedbinocularly, this material permitsbeginning analyses which wouldotherwise depend upon the presenceof the structures and which includestudy of-. sense of architectural space andenclosure-with an intensified im-pression of the observer's involve-ment in the environment throughwide angles of view and his ownevident location in space

. space-creating, -defining, and -ac-centing qualities of light-correctlyassessed through binocular visualpenetration into enveloping areasof darkness. modification of space and en-closure-with varying success-through wall and ceiling paintingsof geometric and atmospheric per-spective. binocular effectiveness of opticalillusions of distance and dimensionbased on forced perspective inarchitectural structure. modification of space by elementsplaced in depth within it

Besides these studies of archi-tectural space the material permitsstudies of-. sculptural, irregular, deformed,and superimposed architectural ele-ments, clearly formed, separate anddistinct in space

. late Baroque three-dimensionally-warped structural elements contem-poraneous with and dependentupon development of the calculus. sites and structural adaptation toirregular sites and foundations. sculpture in full form withoutexcessive foreshortening given bytwo-dimensional photographs. apparent proportion of objects ofrepresentational painting or mosaicon irregular, curving architecturalsurfaces variously located in space

Other appropriate three-dimen-sional studies include-. study of complex structural joints

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. study of chromo-stereopsis-theillusions of advancing and recedingplanes of color in painting and instained glass

Because the McKim Fellowshipmaterial has been photographed onfilm, it does not have the perma-nence and unchangeability of a

photogrammetric record on glasswhich would allow-' measurement and study of defor-mations of structure. preparation of measured draw-ings which could govern recon-struction of buildings destroyed byfuture accident of war

The advantages of three-dimen-sional recording, presentation, andanalysis of architecture are such as

to provoke wonder at the lack ofdevelopment in this field. Two rea-sons may be given: First, it is possi-ble for an architect to enjoy artisticand financial success in the two-dimensional mass media independ-ent of artistic success in three-dimensional actuality. Second.though the purpose of recreatingvisual ieality is simply stated, thetechnique has some complexity andrequires precision and great atten-tion to detail in all the processesof photography, mounting, projec-tion, and viewing-as will be de-scribed hereafter.

Vision

We see stereoscopically throughan unexplained fusion in the brainof separate images received fromtwo eyes displaced from each otherin space. Between the same ele-ments seen in the two separateimages there exists what is knownas parallal-the apparent displace-ment (or the difference in appar-ent direction) of an object, as seenfrom two different points. In anupright, level-headed condition thisdisplacement is entirely horizontal.and the brain interprets variationsof horizontal parallax as variationsof placement in depth. In contrast.a vertical displacement between theimages disturbs, instead of aids.perception of depth. All verticalparallax must be eliminated in pho-tography and projection in order toenjoy acute and comfortable three-dimensional vision.

Not all persons see stereoscopi-cally, and stereoscopic acuity canvary greatly between individualsand in the same individual afterexercise in stereoscopic vision. Noone in my classes in the School ofArchitecture and Landscape Archi-tecture at Ohio State Universitywould ever admit to not seeins

three-dimensionally, but to assessproperly how effectively studentssee depth, they can be individuallytested with the Zeiss-Aerotopo-graph pocket stereoscope andPrtifungstafel, or similar equip-ment, as students are tested beforeentering the field of photogram-metry.

Three-dimensional projectiondoes not disturb the two-dimen-sional vision of a person who is see-

ing with only one eye, nor, if he isunaware of the fact, does it bringthe realization of not seeing three-dimensionally. Occasionally a stu-dent is aware that one of his eyeshas been injured or weakened andthat its message has been subordi-nated in the brain to that of thestronger eye. By closing thestronger eye and looking until a

definite image is recorded by theweaker eye, the student can thenopen his good eye and have theexciting experience of three-dimen-sional vision.

It is my opinion that continuedexercise in stereoscopic visionstrengthens the eyes, but no studentshould endure this exercise pain-fully without consulting an ophthal-mologist.

Even a one-eyed person gains animpression of depth while movingthrough space from the interpre-tation of parallax between succes-sive rather than simultaneous im-ages. Motion parallax results fromthe displacement of the instrumentof vision. not from its rotation inplace, as with the static movie cam-era in the AIA's flat film produc-tion of "Architecture USA." Mo-tion parallax will be mentionedagain as a factor in determiningthe base of a stereo camera forproducing realistic architecturalphotography.

Reproduction of the normalangles of vision is another factornecessary for photographic realism.Subject to individual variation, wehave peripheral vision for aware-ness of enclosure and of movementthrough an arc of almost 180". Ourbinocular vision covers approxi-mately the central 90' of this arc.while our brows limit the angle ofvision upwards to approximately30".

The type of camera lens de-scribed as extreme wide-angle cap-tures these angles of view. Whenphotography with an extreme wide-angle lens is enlarged or is viewedfrom so short a distance as to againfill the observer's field of vision.the observer loses his sense of de-tachment and enters the scene. This

is the attraction of all photographicenlargements and of the architec-tural photomural in particular.

Finally we focus within a nar-row cone of vision. This cone is notwide enough to give us a sense ofthree-point perspective-the con-vergence of vertical lines-in archi-tecture which surrounds us. exceptby inclinations of the head. We see

three-point perspective in small ob-jects on a table top, but whereverwe focus our vision on a verticalline in architecture we see it as trulyvertical.

These qualities of vision deter-mine the ideal for three-dimen-sional photography and presenta-tion of architecture.

Determining Stereo-base Width

The commercial type of stereo-camera manufactured for amateursand tourists was not used for pho-tography in the McKim fellowshipproject. Certain advantages werelost by not using such a camera-simultaneity of exposure, a rigidbase between the two pictures of a

stereopair, perhaps also, flatness offilm at time of exposure-but thedisadvantages were too great totolerate. These included a narrowcamera angle, small scale of filmimage restricting enlargement pos-sible in projection, and a base be-tween stereopairs insufficient to re-cord architectural depth.

It may be objected that this baseis equal to the distance between oureyes, and that photography withsuch a base should give the mostrealistic impression of space. It is

certain, however, that in projectionthese stereopairs record depth toapproximately twenty feet, showingpeople in the foreground in theround while architectural back-ground takes on the quality of ffatstage backdrops. This disappointingresult may depend largely on a

lack of resolving power of the pho-tographic emulsion. but I believe itproceeds also from neglect of thefactor of motion parallax in add-ing to the eftective stereo base be-tween our eyes. Continually I testmy depth perception under difficultconditions of light, and I judge mydepth perception to vary betweenfifty and one hundred feet. Thestereobase necessary to record simi-lar depth on color film varies be-tween six inches and one foot, fol-lowing an approximate rule thatthe distance of depth perception isone hundred times the stereobase.The choice of stereobase and re-sultant depth perception is of pri-mary importance in the study of the

effectiveness of optical illusions ofgeometric and atmospheric per-spective in architectural paintingand of forced perspective in archi-tectural structure. We must avoidexaggerating the effectiveness ofthese illusions-as occurs in two-dimensional photography-andmust also avoid minimizing themthrough choice of too great a basein three-dimensional photography.From repeated tests of my ownvision, I consider that one foot isthe photographic stereobase whichmost nearly reproduces my depthperception within architecturalspace, and which accordingly re-cords the effectiveness of designedoptical illusion as I see it fromvarying distances. Wider stereo-bases are appropriate for studiesother than those analyzing opticalillusion. Stereobases of ten to thirtyfeet and the use of telephoto lensesallow us to approach, visually, dis-tant buildings and view their adap-tation to irregular terrain moreaccurately than we can see with ourown eyes.

Equiprnent

A few of the stereopairs of theMcKim Fellowship project havebeen taken with a hand-held Alpa35mm camera with both a 180mmtelephoto lens and a 40mm normalIens. Some exterior stereopairswere photographed with a Hassel-blad 500C 2V+" x 2Vq" camerawith 80mm normal lens. Severalinterior stereopairs were taken witha tripod-mounted Alpa 35mm cam-era with a 28mm wide-angle lensand the 180mm telephoto lens.(Most of these stereopairs werephotographed by my wife who wasmy assistant in this project, and myinterpreter in all German-speakingparts of Europe.)

The majority of the stereopairsin the McKim Fellowship collectionwere photographed with a Hassel-blad Extreme Wide-Angle 2/+" x2/+" camera, with a Zeiss 38mmBiogon lens, mounted on a speciallyconstructed parallax bar upon asturdy tripod (fig. 1).

The Victor Hasselblad Companyof Gothenberg, Sweden, prepareda special back for this camerawhich framed a ls/e" x 2V+" pic-ture free of excessive foreground.They also prepared for me twoquick tripod couplings with spe-cial springs to hold the cameratrue. These tripod couplings werescrewed to the parallax bar, paral-lel to each other and at the appro-priate stereobase distance to permit

a rapid shift of the camera fromthe first to second position ofphotography.

The camera body has a levelingbubble which allows rapid levelingof the camera to eliminate all three-point perspective, the presence ofwhich in architectural stereopairsintroduces the effect of looking ata model. By having the parallax barand camera level and by havingparallel camera axes at the two po-sitions of photography, one elimi-nates certain distortions of thestereoscopic model which are amajor concern of stereophotogram-metry. The Biogon lens takes anexceptionally wide, accurate photo-graph. At a distance of ten feetfrom the subject the camera photo-graphs an area fourteen feet inwidth. The camera was calibratedfor me at the Institute of Photo-grammetry, Royal Institute of Tech-nology, in Stockholm, Sweden, andproved to have a maximum dis-placement of 20 microns (1/3000thof the width of the photograph)from the true location of any pointrecorded on a glass photographicplate, an accuracy approaching thatof photogrammetric and aerial cam-eras costing thousands of dollars.The lens is well corrected for color.

Defects and Problems

This camera has such excellentqualities that it is unfortunate tohave to mention two failings whichruined some of my most promisingstereopairs. The lens sometimes re-flects light from sources far out-side the picture area onto the fllm.The film, which passes through thecamera together with a paper back-ing, sometimes bulges, producingdistortions in three-dimensionalviewing which cannot be tolerated.This fault did not show up duringmy tests in Sweden-perhaps therewas a difference in rolling the films.Had I known, I should have dupli-cated every photograph I took tominimize the chance of loss of goodsubject matter. It is certain thatthree-dimensional photography re-quires the very best of cameras andlenses, for it will disclose any faultin them. The proportion of excellentphotographs was very high with theHasselblad Extreme Wide-AngleCamera.

Using one camera, it was neces-sary to photograph from successivepositions. On certain occasions,with large crowds present, thismeant that stereo-photography wasimpossible because of disturbingmovement which would be evident

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The Hasselblad Supreme Wide-Anglecamera, quick tripod couplings, andbar arranged for rapid consecutivestereo photography of ceilings anddomes. Quick tripod couplings areset for the best stereobase

Rear view of three-dimensional class-room projection equipment. Polariz-ing filters are mounted inside pro-jectors. Projector base is designed forrapid elimination of vertical parallaxby individual adjustment of tilt, con-vergence and rotation

within the stereopair. The solutionto this problem is simultaneousphotography with two carefullymatched cameras, yet I am notconvinced that stopping all move-ment-sometimes at moments ofawkward unbalance-is desirable.There are occasions when thestereopair taken from successivepositions correctly records the staticquality of architecture in relationto people, pigeons, wind, and water.

Film

Film used in the McKim Fellow-ship project was Kodachrome forthe 35mm camera and ProfessionalEktachrome for the Hasselbladcameras. The Professional Ekta-chrome proved especially welladapted for interior photographywith the natural lighting which re-veals the true spatial quality of thebuildings. The film rarely requiredthe use of color balance filtersand had a good range of color-less contrast than Kodachrome-throughout light and dark interiorareas.

Mounling Slides

Following photography comesthe technical problem of mountingstereopair transparencies. Again the

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standard commercial process is un-satisfactory. The two transparenciesof a stereopair must be similarlymounted in frames to a vertical tol-erance of one-hundredth of an inchto avoid uncomfortable visual vi-bration along the top and bottomedges of the picture. This standardis not met in commercial card-board mounting of 35mm trans-parencies, and all such transparen-cies had to be remounted in alumi-nutn frames with glass cover platesprotecting the transparency fromdust, scratches, and from bulgingout of focus during the heat of pro-jection.

It had been my intention to cutdown the 2V+" x 2/q" and the ls/s"x 2r/t" Hasselblad transparencies tomount them as lVz" x lt/2" superslides. This proved too wasteful ofvisual material of architectural in-terest, and, for my own slide filesand for the files of the School ofArchitecture at Ohio State Univer-sity, I have had them copied on 35-mm film, retaining almost the wholearea of photography except thatwhich is cut from the sides tocreate the effect of the "projectionwindow." The projection window isformed by trimming the right edgeof the right photograph and the leftedge of the left photograph until thetwo edges assume a stereoscopicposition in three-dimensional view-ing forward of the subject matter.This manner of framing eliminatesvisual vibration at the sides and con-tributes greatly to realism and com-fort of viewing. It is better to formthe projection window in this man-ner than to attempt to gain thesame effect by convergence of thecamera axes in photography.

Proiection and Viewing

To view the photographs andslide material three-dimensionallyit is necessary that the right eyesee only the picture taken at theright camera station and the lefteye see only that taken to the left.There are various small stereo-scopes that can be used for quickand convenient individual viewingand study. It is more complex toproject a three-dimensional view ofarchitecture before a classroom fullof students.

Three-dimensional viewing in thelecture room requires the use of twoprojectors of similar lens character-istics, each with a polarizing filterdifferently mounted, projecting twosimultaneous pictures upon a flataluminum surface which reflectslight without destroying its polar-ization. The spectators wear polar-

ized spectacles so that each eye sees

only one of the projected pictures

-still in full color-and the pic-tures are fused in the brain as a

three-dimensional image. The suc-cess of this moment depends uponprecision and attention to detailthrough a series of processes.

It depends upon photographsfrom two related station points withprecise lenses, flat film, level cam-era, parallel camera axes, and quiettraffic conditions. It depends uponmounting which assures a coinci-dence of the top and bottom edgesof the stereopair and a stereoscopicpositioning of side edges forwardof the architectural subject matter.It depends upon freedom from dustand scratches on the transparency,because these take stereoscopic po-sition in projection and are muchmore annoying and distracting tothe viewer than blemishes on two-dimensional slides.

Success of projection dependsalso on mounting the polarizing fil-ters so that they do not rotate out ofposition with chang6 of focusing ofthe projector. A stereobase illus-trated in figure 2 is necessary forrapid and smooth adjustment toremove the last elements of disturb-ing vertical parallax in projection,and to allow pointing to elements inspace. This is done by projecting aseparate spot of unpolarized lightupon the screen, and then by vary-ing the convergence of the two pro-jected images the spot seems to ad-vance and recede in space, touchingthe elements which are to be thesubject of attention. This play inspace is restricted only by the needof assuring convergence of verybright elements-windows in darkwalls-upon each other because thepolarizing glasses cannot completelyeliminate bright light of oppositepolarization.

Success in reproducing the ef-fect of architectural space dependsalso upon the widest possible pro-jection screen without prominentseams and upon seating the observ-ers within a tighter area before thescreen than in the case of two-di-mensional projection. The idealpoint of viewing is that which re-produces original camera angles inlines of sight to various parts of theprojected image. Certain things cannever be accomplished, thoughsometimes the sense of reality is sogreat that the observer attempts todo so. No amount of shifting in theseat will allow one to see around a

column, and the cocking of thehead to see a section of painting ona sloping wall upright will only de-

stroy the selective recePtion ofpolarized light upon which the illu-sion of three-dimensional space de-pends.

Proiection Screens

The recent development by Da-Lite of a 72" seamless flat alumi-num portable screen provides goodstereoscopic viewing conditions foran audience of about twenty-fourpersons. The eight-by-eight-footscreen suitable for a class of thirtyto thirty-six students is not manu-factured as a portable screen. Assuch a screen already lacks maneu-verability, the most appropriatesolution may be to take a largelecture room, cover the stage wallwith a continuous hard, smoothplaster surface, spray-paint the wallwith flat aluminum, and use thewall as a wide screen for three-dimensional projection before largegroups. The lack of a large portablescreen is the only real impedimentto popularizing three-dimensionalpresentation and study of architec-ture.

With this report I have transmit-ted to Columbia University a totalof 300 stereopairs of Byzantine andBaroque architecture - reducedcopies of ls/t" by 21/q" and ZVq" x2Y4" original transparencies-inaluminum masks and glass and alu-minum 35-mm mounts protectedand ready for projection. This num-ber includes forty stereopairs takenby my wife Myra Borchers. Thisnumber of stereopairs can onlyscan the two styles and demonstratethe effectiveness of the three-dimen-sional method.

The cost of equipment necessaryfor three-dimensional classroomprojection-including an adjust-able double projection base, two50O-watt projectors, two series 8polarizing filters, one 72" flat alu-minum screen, and polarized spec-tacles for stereoscopic viewing-comes to between $600 and $700.The cost of reproducing transpar-encies and mounting them to theexacting standards of three-dimen-sional projection is approximately$1.65 per slide or $3.30 per stereo-pair.

I should be happy to see thisschool of architecture pioneer a

collection of three-dimensionalslides of great architecture aroundthe world. I have come to distrustall architectural judgment and opin-ion based on two-dimensional pho-tographs, and in three-dimensionalpresentation and study of architec-ture I see the basis for a new andsurer environment. {

INDEX lottrnal ol The American Institute ol Architects/Vol. XXXVll, Ian.-June, 1962

Alphabetical Li,sting

AACSA: Education for Urban Design,

Part II; Jan, 89AIA Councils; Apr, 89Allied Arts: Kitsch; Jan, 112; Trans-

lucent Beauty; Feb, 106; Turn offthe Sound; Mar, 118; Gung YungDeen Wah; Apr, 136; Gemmaux;May, 122; Good News, June, 116

Amram. David, First Conference onAesthetic Responsibility; June, 40

Approach to Arthitectural Education,An, William White Carver, ArA;Jan, 29

Architect in the Community, AlbertBush-Brown; Apr, 85

Architect Serves his Community, The,Philip Will, Jr, rru; May, 65

Architects' Plan for Boston, The,Robert S. Sturgis, eIe; Jan, 34

Architects, Planners and Understand-ing, Henry S. Churchill, FArA, AIP;Jan, 4O

Architecture for Science and Tech-nology, Philip W. Faulconer, lre;Apr, ll2; Portfolio; May, 81

Astor-Cooper Square Urban RenewalStudy, David L. Eggers, .lre.; Apr, 21

Atkin, William Wilson, First Confer-ence on Aesthetic Responsibility;June, 35

Atkins, Ollie, NPPA Recommenda-tions for Adequate Natural/Artifi-cial Lighting for Candid Photog-raphy in Building Interiors; Feb, 96

BBair, Fred H., Jr, ere, Challenge of

the Unexpected Obvious; Apr, 28Barry, Dr David W., First Conference

on Aesthetic Responsibility; June,46

Baumann, Br Caietan J.8., opIra, lr.t,A Guide for Planning the RomanCatholic Church, Part I; Ian, 59;Part II: Feb. 61

Bellamy, Blanche R., Color Identifi-cation Based on Color Order; Mar,77

Belson. Jerome. First Conference onAesthetic Responsibility; June, 45

Berne, Robert, ere, How to Use your1962 Building Products Register;Jan, 63

Bloom, Martin, ere, Toward a Dy-namic Architecture; Jan, 50

Bloomfield, Byron, lrl, New Statusfor an Old Concept; Jan, 53

Book Reviews: Jan, 69; Feb, 70; Mar,7l; Apr,96; May, 79:' hne, 96

Borchers, Perry E., Jr, .rre, Architec-tural Photogrammetry; Choice ofStation and Control; 3-DimensionalRecord of Byzantine & BaroqueArchitecture; June, 99

Building Research Institute, StandardFormat for Reporting Data; Ian,79

Bush-Brown, Albert, The Architectin the Community; Apr, 85

C

Calendar; Jan, 106; Feb, 94; Mar,104; Apr, 722:May, 104; June, 120

Call, Everett R., Color in Design; Jan,87; Identification of Colors forBuilding; Mar, 83

Carmichael. Leonard. First Confer-ence on Aesthetic ResPonsibilitY;June,41

Carver, William White, erl, An Ap-proach to Architectural Education;Ian, 29

Caudill, William W., etr, PrecePtor-ship Program at Rice UniversitY;Mar, 55

Challenge of the Unexpected Obvious,Fred H. Bair, Jr, l.rr; Apr, 28

Churchill, Henry S., r'lre, err, Archi-tects, Planners and Understanding;lan, 40; Union Internationale desArchitectes; Mar, 58

Civil Defense, Max Flatow, .lrn; Feb,76

Close, Elizabeth S., eIe, Design bYChance; May, 43

Color Identification Based on ColorOrder, Blanche Bellamy; Mar, 77

Color in Design, Everett R. Call; Jan,87

Comprehensive Architectural Prac-tice, Dudley Hunt, Jr, erl; June, 77

Comprehensive Architectural Prac-tice, Industrial Buildings, Robert F.Hastings, rer.t; June, 81

Corporate Members; Jan, 104; Feb,92:' Mar, 100; Apr, 120; May, 100;June, 118

Correctional Architecture, ClintonH. Cowgill, rln; Jan, 73; Feb, 84

Cowgill, Clinton H., rlu, Correc-tional Architecture, Part l; lzn,73;Part II; Feb, 84

DDallas-1962 Convention City; APr,

37; 1962 Building Products Exhibi-tion at Dallas; Apr, 43

Design by Chance, Elizabeth S. Close,ete,; May, 43

Designing for America's Biggest Pri-vate Builder, Howard Phillips; Feb,

EEditor's Page: The Dozer and the

Ball; Jan, 72; Prognostications; Feb,72; FDR Memorial; Mar, 76; Pres-ervation & Conservation; Apr, 100;Our Birthdav; May, 80; Who IsResponsible for Ugliness?; June, 98

Eggers, David L., ere., Astor-CooperSquare Urban Renewal Study; Apr,2l

Exhibition of New Hospitals, An;Feb, 41

FFalk. Dr Karl L.. What Can We Do

About our Cities? May, 45Faulconer, Philip, lre,, Architecture

for Science and TechnoloCy; Apr,112; Portfolio; May, 81

FDR Memorial Competition, The; ASymposium; Mar, 25t Editor's Page,Mar. 76: Latest Word on the FDRMemorial; Apr, 35

First Conference on Aesthetic Re-sponsibility; June, 33

Flatow, Max, lrl, Civil Defense; Feb,76

Flatow, Max, .qu, and Robert Nord-haus, Shopping Center Shelters forFallout Protection; Feb, 78

GGarvin, W. Lawrence, Prefabrication

Revisited; Feb, 38Goodman, Percival, FAIA, A Guide for

Planning the Synagogue Building;May,7O

Gruen, Victor, rere, Home Beautifulin City Terrible; Mar, 37

Guide for Planning the Roman Cath-olic Church, Part I, Br Cajetan J.B. Baumann, oFM, AIA; Jan, 59;Part II; Feb, 61

Guide for Planning the SynagogueBuilding, Percival Goodman, n,lre;May,7O

HHale. Nathan C.. Conference on Aes-

thetic Responsibility; June, 39Hale, Robert B., Conference on Aes-

thetic Responsibility; June, 36Hastings, Robert F., rlre, Compre-

hensive Architectural Practice, In-dustrial Buildings; June, 81

Hillman. Herman D.. Conference onAesthetic Responsibility; June, 48

Home Beautiful in City Terrible, Vic-tor Gruen, rere; Mar, 37

Honor Awards, 1962 AIA; MaY, 49How to IJse your 1962 Building Prod-

ucts Register, Robert Berne, ete.;Jan, 63

Huden, Gudrun, translator, Pneuma-tic Structures; Apr, l0l

Hunt, Dudley, Jr, ere, ComprehensiveArchitectural Practice; llune, 77

IIdentification of Colors for Building,

Call; Mar, 83Introductions Are in Order, William

H. Scheick, ere; Apr, 94

KKelly, Burnham, First Conference on

Aesthetic Responsibility; June, 50Kelly, Kenneth L., Some Problems of

Color Identification; Mar, 80

LLarrabee, Eric, First Conference on

Aesthetic Responsibility; June, 35Let's Look at Ourselves. William H.

Scheick, ere; Mar, 69Letters to the Editor; Jan, 12; Feb,

8; Mar, 8; Apr, 8; May, 8; June, 8Library Notes: Jan, 68; Feb, 69; Mar,

7O; Apr,95; May, 78; Iune, 95Look-Sees, Paul Thiry, rlre, Mar, 60

MMcCue, George, Slob and the Con-

cept; Mar, 41Mental Health Aspects of Home De-

sign, Balfour Slonim, uo; Feb, 96Mielziner, Jo, First Conference on

Aesthetic Responsibility; June, 38Moore, Harvin C., Ar,c., Restoration of

the Nichols-Rice House; Jan, 25Moynihan, Daniel, Conference on

Aesthetic Responsibility; June, 44

NNAS Advisory Committee on Civil

Defense, Richard Park; Feb, 73National Press Photographers' Assn,

Lighting for Candid Photography,Ollie Atkins; Feb, 96

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NCARB, Professional References;Feb, 66; The Examination Com-mittee Mar, 67i Part Il, Apr, 92;One-Year Renewals; May, 76; Ad-ministering the Licensing Law;June, 92

Necrology: Jan, 106; Feb, 94; Mar,100; Apr, 122;May, 106; June, 120

Neoscopos, Tracings from an OakenTable. No 6: Jan. 57

Newhall, Beaumont, Schloss Leopold-skron: Jan. 46

News: Jan, 8; Feb, 12; Mar, 1,4; Apr,12; May, 16; June, 14

New Status for an Old Concept, ByronBloomfield, en; Jan, 53

New Thinking on Membership, Wil-liam H. Scheick, lrn; Jan, 67

Nordhaus, Robert and Max Flatow,rre; Shopping Center Shelters forFallout Protection; Feb, 78

oOtto, Frei and Peter Stromeyer, Pneu-

matic Structures; Apr, 101Oversgas Diplomatic and Consular

Buildings; June, 67Owings, Nathaniel A., nlrl and The

Hon Stewart L. Udall, Two Looksat Preservation; Feb, 30

PPark, Richard, NAS Advisory Com-

mittee on Civil Defense; Feb, 73Pawley, Eric, err, Small Schools I (l-

3 Classrooms) BT l-47: Mar, 85Pawley, Eric, erl, Small Schools II

(4 Classrooms); Mar, 91Phillips, Howard, Designing for

America's Biggest Private Builder;Feb, 55

Phillips, Margaret H., ResidentialSchools for the Visually Handi-capped; May, 89

Pneumatic Structures, Frei Otto &Peter Stromeyer; Apr, 101

Preceptorship Program at Rice Uni-versity, W. W. Caudill,,rre: Mar, 55

Prefabrication Revisited, W. Law-rence Garvin; Feb, 38

Subject Listing

RRamsay, John F., rIr, NCARB: One-

Year Renewals; May, 76Reporting Building Product Data,

BRI: Jan. 79Residential Schools for the Visually

Handicapped. Phillips; May, 89Restoration of the Nichols-Rice

House, The, Harvin C. Moore,.c.r,{: Jan. 25

Reynolds Award, 1962; June, 89Richardson, Kenneth E'., lrl, Plan-

ning Baptist Church Buildings;Mar. 63

SScacchetti, John, rte, NCARB: The

Licensing Law; June, 92Scheick, William H., rre, New Think-

ing on Membership; Jan, 67; It'sYour Money; Feb, 67; Let's Lookat Ourselves; Mar, 69; Introduc-tions Are in Order; Apr, 94; Yes,It is a Professional Society; May,75; Styles and Critics; June, 94

Schloss Leopoldskron, BeaumontNewhall: Jan. 46

Second Report on Your Profession,A; Apr, 65

Shopping Center Shelters for FalloutProtection, Max Flatow, ere, andRobert Nordhaus; Feb, 78

Shopping Streets, M. R. Wolfe, ere;May, 33

Slob and the Concept, George Mc-Cue; Mar 41

Slonim, N. Balfour, MD, MentalHealth Aspects of Home Design;Feb, 96

Small Schools I (1-3 Classrooms) BT1-47, Eric Pawley, AIA; Mar, 85.

Small Schools II (4 Classrooms) BTl-48, Eric Pawley, lre; Mar, 9l

Snibbe, Richard W., erl, Conferenceon Aesthetic Responsibility; June,)1

Some Ideas for the Improvement ofCities, Robert L. Zion, esu; Feb,25

Some Problems of Color Identifica-tion, Kenneth L. Kelly; Mar, 80

Stromeyer, Peter & Frei Otto, Pneu-matic Structures; Apr, 101

Student Page; Feb, 68Sturgis, Robert S., rIr, The Archi-

tects' Plan for Boston; Ian,34T

Thiry, Paul, FAIA, FDR MemorialCompetition-A Symposium; Mar,35; Look-Sees; Mar, 60

Toward a Dynamic Architecture,Martin Bloom, erl; Jan, 50

Tracings from an Oaken Table, No 6,Neoscopos; Jan, 57

Two Looks at Preservation, The HonStewart L. Udall and Nathaniel A.Owings, rer.r; Feb, 30

UUdall, Stewart L. and Nathaniel A.

Owings, rltl, Two Looks at Preser-vation: Feb. 30

Union Internationale des Architectes,Henry S. Churchill, retr, AIP; Mar,58

Urbanisms (UD-62-63 ); May, 12;June, 12

vVon Eckardt. Wolf. Hon ele: Allied

Arts; Jan, 112; Feb, 106; Mar, 118;Apr, 136; May,122; June, 16

wWhat Can We Do About Our Cities?

Dr Karl L. Falk; May, 45Will, Philio Jr, r'ere, The Architect

Serves His Community; May, 65;First Conference on Aesthetic Re-sponsibility; June, 34

Wolfe, M. R., rIr, Shooping Streetsand the Pedestrian Rediscovered;May, 33

Wolfson, Erwin, First Conference onAesthetic Responsibility; Jtne, 47

zZion, Robert L., lsll, Some Ideas for

the Improvement of Cities; Feb, 25

tL4

AIA committees: A Guide for Plan-ning the Roman Catholic Church,Jan, 59; Feb, 61; A Guide forPlanning the Baptist Church, March,63; Second Report on Your Pro-fession, Apr, 65; Planning the Syn-agogue Building, May, 70

Architectural education: Approach toArchitectural Education, !an, 29:ACSA-Education for Urban De-sign, Part II, Jan, 89; Student Page,Feb, 68; Preceptorship Program atRice University, March, 55

Awards: 1962 AIA Honor Awards,May. 49; 1962 R. S. Reynolds Me-morial Award. June. 89

Building products: How to Use Your1962 Building Products Register,Jan, 63; 1962 Building ProductsExhibition at Dallas, Apr, 43

Building techniques: PrefabricationRevisited. Feb. 38

Churches: See "Religious buildings"Civil defense: NAS-Advisory C-om-

mittee on Civil Defense, Feb, 73;Civil Defense, Feb, 75, ShoppingCenter Shelters for Fallout Pro-tection. Feb, 78

Color: BRI Color Conference. March.77: Color in Design, Jan. 87

Comprehensive services: See "Ex-panded services"

Convention: Dallas, 1962 Convention

City, Apr, 37; Building ProductsExhibition at Dallas, Apr, 43

Correctional architecture: Correc-tional Architecture, Jan, 73; Feb,84

Councils: AIA Councils, a Proposalby the Board of Directors, Apr, 89

Esthetics: First Conference on Aes-thetic Responsibility, June, 33

Expanded services: Second Report onYour Profession, Apr, 65; Compre-hensive Architectural Practice,ltne, 77; Comprehensive Architec-tural Practice-Industrial Buildings,June,81

Laboratories: See "Science buildines"Plastics: BRI Standard Format for

Reporting Data, Jan, 78Photogrammetry: Architectural Photo-

grammetry, June, 99; Choice ofStation and Control, June, 103

Photography: Schloss Leopoldskron

-a Photographic Exploration, Jan,46; NPPA Recommendations forAdequate Natural/Artificial Light-ing for Candid Photographv inBuilding Interiors, Feb, 96; A Three-Dimensional Record of Byzantineand Baroque Architecture, June,109

Prisons: See "Correctional architec-ture"

Preservation: Restoration of the Nich-

ols-Rice House, Jan, 25; Two Looksat Preservation. Feb. 30: Preserva-tion-The Heritage of Progress,March, 47; Editor's Page, April, 100

Psychology of design: Mental HealthAspects of Home Design, Feb, 96

Religious buildings: A Guide forPlanning the Roman CatholicChurch. Jan. 59 and Feb. 61: ACuide for Planning the BaptistChurch, March, 63; A Guide forPlanning the Synagogue Building,Mav' 70

Schools: Small Schools I and II (BTl-47 and 1-48) March, 85; Resi-dential Schools for the VisuallyHandicapped, May, 89

Science buildings: Architecture forScience and Technology, Apr, ll2;May, 81

UIA: Union Internationale des Archi-tectes, March, 58

Urban design: Architects'PIan forBoston, lan, 34; Some Ideas forthe Improvement of Cities, Feb, 25;The Slob and the Concept. March,41; Home Beautiful in Citv Ter-rible, March, 37; Astor-CooperSquare Urban Renewal Study, Apr,21; Challenge of the UnexpectedObvious, Apr, 281 What Can WeDo About Our Cities? May, 45;Urbanisms, Mzy, 72;' June, 12

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Good News

by WoU Von Eckardt

) There was good, hard news in the recent anti-ugliness rally in New York, more formally knownas "First Conference on Aesthetic Responsibility."Bob Lewis of the Washington Evening Srar couldhardly wait for the speaker to finish before hesnatched the text and rushed to the phone. Butneither his, nor any other newspaper made muchof it. No esthetic responsibility.

The headline should have read: KENNEDy ArDE

PROPOSES PART OF PUBLIC BUILDING COST FOR

enr. The aide in question was Daniel P. Moyni-han, who spoke on behalf of Secretary of LaborArthur Goldberg, who, by the time this is printed,will probably have spoken to the President to getfinal approval. Goldberg, whose office displayssome of the best modern art in Washington, ischairman of an ad hoc Cabinet committee onFederal office space. He and his committee feel agreat deal of esthetic responsibility and thereforealso worry how the needed space will be enclosed.Hence they propose an architectural policy whichwould, among other things, provide one per centof the construction cost for fine art to embellishthe building.

Since Bob Lewis occupied the phone and I amprone to cover such things in unfathomable depth,anyway, I rushed instead to the Museum of Con-temporary Craft to find out what this governmentmoney might buy. This wonderful little museumwas, I knew, holding an exhibition entitled "Col-laboration: Artist and Architect." The primarypurpose of the show, which closed May 13, wasto demonstrate to architects and, presumably,their clients, what artists and craftsmen have tooffer for purposes such as Mr Goldberg's.

The exhibition was splendidly displaced, as

always, but somewhat spotty in content. It suf-fered, I thought, from a confusing array of toomany totally different items in too great a varietyof scale and intended use. Colossal concrete re-liefs and their fascinating wood molds (by Harrisand Ros Barron for Gropius' and Fletcher'sHartford Jewish Community Center) werecrowded in with such delicate small objects as

Lippold's tiny (two by three by two inch) jewel,"A Star in an Egg," as well as decorative indoor

mosaics and tapestries. There was, in other words,no clear distinction between architectural art,which is an integrated or intricate part of thestructure, and collectors' art, which can be movedabout and displayed anywhere. There seemed noreason to show this latter category in the contextof this exhibit. Harry Bertoia, for instance, wouldhave been much better represented by photo-graphs of his latest sculptural fountains and archi-tectural screens, than by the original object d'artthis show borrowed from the Staempfli gallery.

The dominant work, dominantly displayed, wasJohn Mason's Ceramic wall composition, a richlytextured and excitedly colorful abstraction, whichseemed to cast its exuberant gaiety on all theother objects. I'd bet this fine frieze would makea building look sunny even on a rainy day.

But the most prominent item on display wasthe model for Richard Lippold's giant metalsculpture for the grand foyer of Max Abramovitz'sPhilharmonic Hall in New York's Lincoln Center.It is a composition of long, narrow, highly polishedstrips of Muntz metal, an alloy of copper and zinc.The strips form two streams which, coming fromboth sides of the hall, clash into a stellar explo-sion, particles of which seem to drop almost to thefloor. It will, of course, sparkle and gleam. Butwith all rational confidence in the invisible steelwires which suspend the metal strips, I think Iwill get psychologically scared of all this weight(five tons) dangling above me. It lacks visualanchor.

The importance of this exhibit, to me at least,was not in these well publicized show pieces offamous artists, but in the often exquisite skill,daring and design of the lesser known craftsmen-artists working in textiles, mosaics, ceramics andglass, stained or otherwise. (Freda Koblich'stranslucent plastic panel, for instance, was sheerdelight.) Much of this work explores radicallynew materials, techniques and effects and com-bines absence of inhibition with conspicuouspresence of good taste. Such feats bring color andlife into our monochromatic architecture whichall too often seeks these qualities in gaudinessand extravagant form.

I hope the government spends a good part ofthe proposed art money on such crafts. And theanti-ugly movement the New York Design Com-mittee hopes to launch, might well sponsor similarexhibitions in the regions. They might go a longway to help combat ugliness.{