NA 2105 A87 The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924015390069 REPORT ON THE EDUCATION OF THE ARCHITECT IN THE UNITED STATES OF AMERICA BY ROBERT ATKINSON [F.] ■. Director of Education, Architectural Association School of Architecture LONDON 9, CONDUIT STREET, REGENT STREET, W. «9" ^ Stljata, Kew ^otk COLLEGE OF ARCHITECTURE LIBRARY Tfit KoMat Itistitt*,tc . of B-.'c6ts/7 Architect? REPORT ON THE EDUCATION OF THE ARCHITECT IN THE UNITED STATES OF AMERICA BY ROBERT ATKINSON [F.], Director of Education, Architectural Association School of Architecture. €tt mogai M^ntutt of mtmt ^vmtttt^* Founded 1834. INCORPORATBD BY ROYAL CHARTERS SEVENTH WiLLIAM IV.. FIFTIETH VICTORIA. AND ElOHTH EDWARD VII. 9 Conduit Street, Regent Street, London, W. I . Telephone: ' Seetelary : Telegraphic Address ; Mayfaw 434. Ian MacAlister. Ribazo, London. With the Secretary's Compliments. LONDON : 9, CONDUIT STREET, REGENT STREET, W. 192Z EEPORT ON THE EDUCATION OF THE AECHITBCT IN THE UNITED STATES OF AMEEICA. By RoBKBT Atkinson [F.], Director of Education, Architectural Association School of Architecture. Introduction. i FTEE visiting the States the broad impression /\ left on the mind is that the Mistress Art lives in .XA_America as it lives in France, and in no other country in the world. That is to say, that in America, as in France, Architecture is a national plant with a national flower, cultivated by a profession but draw- ing its Ufe from the people. In France the " genie latin " has produced its full flower for centuries. In America the plant is of recent growth, yet the flower is profuse. The two cannot justly be compared ; but in the States the progress of architecture from sterility to bloom has been of so re- markable a character that it is worth a close study. One.is tempted to wonder whether or not some power- ful potion has been discovered which, when adminis- tered to the student while young, has been capable of producing a faculty for the art amounting to genius. Human nature still looks upon a man of genius with superstition, and delves into his past to discover his causes and to formulate as it were his chemical com- position. Or it is stated, on the contrary, that a genius is a law unto itself. But when a country like the States produces a seemingly endless crop of geni- uses, there is some excuse for associating some power- ful cause with such an unusual result. What if the name of the potion is Education ! 'In the development of modern architecture in America four distinct phases can be traced. The achievements of the first phase (roughly during the last years of the 19th century) were mainly due to a number of remarkable men whose names are well known and whose antecedents need not concern us here. They were men of culture and taste and of great business ability. They combined the versatility of the French with the practical character of the Anglo-Saxon. Their work was scholarly without being pedantic. They kept carefully away from Grand Prix projects and, generally speaking, were more " academic " than " modern." The second phase was characterised by the growing influence of the styles and methods then prevalent at the Ecole des Beaux- Arts in Paris. French masters were imported. The fetish worship of a " style " be- gan, and projects which in France were merely paper problems were in America translated into brick and stone. The followers of Bbaux-Arts methods, or of the Beaux-Arts Style, as it was loosely called, soon came into violent conflict with the supporters of the old American Technical School system. Under this sys- tem which had developed during the last century, the architect was looked upon as little more than the hand- maid of the engineer. The earlier architectural schools were denied separate existence and, under the aegis of engineer professors, were divorced from the arts and given a distinct tendency towards utilitarian- ism. The Beaux-Arts supporters, however, went to the opposite extreme, and a certain reaction against them set in which prepared the way to a com- promise. In the third phase this compromise was carried out between the Engineering and the Beaux- Arts methods, and the resulting educational system has had many advantages. It consisted roughly in the enlargement of the department of architecture in the great tech- nical schools, in the employment of Beaux-Arts mas- ters to teach design and the maintenance of an engi- neer as head of the department. Practically all exist- ing schools have now been working on this system for ten or twelve years, and its results in the practice of architecture are worth examining. We must examine them in order to understand the fourth phase, which is now beginning. The most striking result is the rigidity of the type of architecture produced by practising architects. Many types of buildings have reached an accepted " Ex- pression," but that expression suggests too much a standard to which the designer has been careful to ad- here, rather than the standard of his own ability. It is too often bookish in character and of second-hand value. This is specially noticeable in a lack of origi- nality in details, which invariably show the efiect of some standard book, and difEer in quality only with the taste of selection. In many of these buildings there is too often displayed a lack of that progressive thought which alone makes for original design when face to face with the practical problem. This is directly traceable to those schools where taste is educated as selective rather than creative, and where construction is largely developed independently of design. Practising architects complain of the lack of prac- tical knowledge in assistants fresh from the schools. Their knowledge of theoretical construction is ade- quate, but they have not been taught to apply it to practical problems, nor have they learned the impor- tant factor in design involved in economy of material. But they make no complaints about the designing a,nd drafting powers of students, and, indeed, practising architects are in a measure to blame for deficiencies in the schools, since they continually engage assistants REPORT ON THE EDUCATION OF THE ARCHITECT IN THE U.S.A. for their " turning out " capacity. It is not unnatural that a demand creates a supply, and that students should attach most importance to the " stunts " in rendering and drafting which bring them ready em- ployment. This action and reaction between the schools and the profession certainly tends to stereotype design. It may be asked how this apparent evil can be re- conciled with my early remarks on the vitality of Architecture in the States. To this I would reply that the standard imposed is an uncommonly high one and that the power to impose it so widely at a certain stage of national development is itself a proof of the vitality of the art. It must be remembered that in America architecture is national, and what more natural than that a nation, like an individual, should reach a c&:*ain stage in which a joy in forma- lism is but a symptom of youth. The plant is as full of life as ever. Everywhere in America one is struck by the interest taken by the public in architecture, and more important still, in good architecture. The public are, no doubt, crude in appreciation, but they are enthusiastic. The profession recognises its re- sponsibility to the public, and, in spite of criticism, it is true to say that architects are on the whole well edu- cated. Good architects exist in great numbers, and the proof of the tie between public and profession lies in the fact that opportunities occur every day for good architects to exhibit their powers. It is not surprising, therefore, to find that architects are awake to constructive criticism and by no means unaware of their dangers. In the fourth phase, now beginning, we find Archi- tecture in the States " awake and aware," and as a result great pressure is being brought to bear on the whole question of education. The American schools,based on a combination of the system of the Beaux-Arts and the existing technical schools, have certainly done a great work, but instead of tending to heal the breach between the aesthetic and the constructive sides of Architecture they have tended to develo'pe each separately. The breach remains and threatens to yawn the wider. Architecture from an educational point of view pre- sents this acute difiiculty. It must be taught as a compromise between business and art, yet the human temperament leans as a rule to one extreme or the other. In the practice of architecture a compromise of some sort between the two is a necessity and is realised as such, but not so among students who have not immediately to build for their living. Inevitably tem- perament leads them this way or that, and the average line in architectural education can never be anything but a compromise which satisfies only a small propor- tion of students. And the more the business and scien- tific sides of building develop on the one hand, and on the other the fine personal enthusiasm of the artist in- creases, the more difficult will the compromise become. The efiect of this liability to fall between two stools has already reached from the schools to the profession. The danger ahead is that Architecture should become logically functionless. The facts are undeniable that the builder can build without an architect, and the decorator can decorate. The engineer can construct without an architect. The modern architect makes designs and then endeavours, with his thoughts and instincts in the past, and within the limits of his academic training, to fit in all the accessories and at the same time produce a standard aesthetic effect. But the great creators of the past were men \vho brought great peraonal taste to bear upon an intimate know- ledge of the materials of their time. That is to say, they were organically connected with the building movement of their day, and their faith was in the future. The triumph of the American schools has been in the region of culture. They have connected architecture soundly with the cultural development of their nation. (Can we say as much for the English schools ?; But they have failed to connect on the other hand with the vast contemporary building movements. The archi- tect!s relationship with building remains a cultural liaison rather than an organic connection: and this is felt to be the weakness of his position. What is the remedy ? It must lie with the schools. In the more progressive schools it is now recognised that general culture and social study are of more real value to students than a culture based particularly on the knowledge of classic forms. This is important. Building movements are intimately connected nowa- days with social and economic forces, and a study of the social aspect of building on the part of the stuaent would involve the aesthetic aspect from a new point of view. Authorities differ as to how far general culture in- volves a knowledge of classic proportions and all that they stand for. The defenders of all systems involving the antique maintain that it is but a means to an end, the end being that the student should finally be in the best position to step out of the vehicle and think for himself. But here the experience of the American schools of the past ten years seems to point to the fact , that a close trammg in Greek culture and its deriva- tives has not led to aesthetic freedom, but has tended to stereotype. Architects have not been led to think for themselves. What is essential taste ? and can it be develotitd without involving aesthetic preconceptions which inav no longer apply to modern materials ? Two or three of the newer Western schools are endeavouring to get behind the "book fetish" and to produce Vrganic S^Z^^rZ!!:-,'^l-'^-^easg^;:.: will admit from structural requirements. This i. «« admission that new constructive necessities are cat- able of involving their own canons of art if i-hl. v- tect has the faculty of imagination. Sa ion I' Z." therefore be concerned boti with the deSiment' , hberatton of imaginative effort. Opinions arHiVidtd REPORT ON THE EDUCATION OF THE ARCHITECT IN THE U.S.A. as to the best methods of achieving this dynamic factor. In one or two of the schools students are given problems in abstract design. This is an interesting experiment and goes to the root of the educational problem, but as a general rule the progressive schools still admit the necessity of sound study in the history of architecture and a knowledge of the styles, and differ only as to the psychological moment at which these studies should be diverted to the new channels. All are agreed, however, that the new channels must involve practical work on building. One extreme view is that practical work should begin at the beginning of a student's career. This implies that if the new con- ditions of construction and materials are the most important factor in the architecture of the future,then a student's initial instincts, his first and most powerful impressions, should be of these things. It is, of course, but a new statement of the old " art and craft " prin- ciple, and raises difficulties of the same kind but on a larger scale. The more moderate view is that if a stu- dent has some theoretical knowledge he is in a better position for observing and understanding practical processes. Theoretical and practical training should go as far as possible hand in hand. ^^ For us in England the lessons of the American schools are far-reaching. First there is the danger to be avoided of a long school course becoming a powerful magnetic field separate from the profession, capable of setting a high aesthetic standard but tending to turn out technicians or stylists rather than architects. It is of vital importance that some contact with practical work be found for students during the school course which is now supplanting the pupilage system. A stu- dent's long vacation should be spent not on measuring up old buildings but upon modern building work in the company of the clerk of the works or resident architect. For this purpose the profession should help the school authorities and be willing to take students on to their jobs. An organisation could be developed and students should be compelled to spend a minimum number of months on practical work before being admitted to examinations. Lectures on construction and materials should be given in relation to this organisation. '^ Secondly, we have to benefit by the experience of the American schools themselves in their aesthetic method. The lesson is that an unintelligent following of the letter rather than the spirit of the Beaux-Arts will not give the essential imaginative training neces- sary for grappling with the practical problem of modern building. It would seem that it is more important for a studeilf to learn to be whollyan architect than half a draughts- manandhalf an engineer. Tothatendeducationshould be directed . Let taste be educated as imaginat i ve and creative rather than selective. Let our knowledge be of modern social conditions rather than of ancient aesthe- tic conditions, and here we have to hand the whole field of communal planning. Let our experience be of the forms and strengths of the materials we ourselve^ are to employ in the future. Thus our architect of the future will be a man of *** knowledge familiar with social problems, a man of taste but a judge of rugged as well as of delicate beauty: a man with a sense of colour, familiar also with the laws of proportion and composition. Then, given an arast and philosopher, let him become a builder, a supervisor of labour in direct touch with materials, their possibilities and limitations. By such a t raining we might evolve a new generation of real architects, who could handle the problems of modern building in direct relationship with cause and ^ effect. ^ General Constitution op Schools in the U.S.A. The general constitution of the usual school of archi- tecture follows the compromise already spoken of — ' that is, it is organised as a technical school with a free section within itself on the lines of a Parisian atelier. This compromise is carried even into the administra- tion. The Head is usually a person of organising abihty, who sees to routine, and more often than not is also professor of some constructive subject. A second Professor of Design works independently and really has more to do with the formation of the character of the pupils and the atmosphere of the school than the Principal. In those cases where the Principal is a dogmatic personaHty, the school sufiers in atmosphere, and where conversely the Principal is human, the school produces better work, although individually the Professors may not be as good as at other schools. The administration side of the schools is usually quite a large affair, and deals with all correspondence, applica- tions, materials, curriculum, lectures, and the library. A great deal of propaganda work is also carried on by the Principal in thewayof publiclectures,articles,inter- views, and whatever methods best reach the public. The usual duration of the course is four years, in- cluding in the first two years a certain amount of scholastic work, such as languages, mathematics, phy- sics, etc., which amount to about one-quarter of the time available in each of the first two years. The third and fourth years are divided between constructive sub- jects and design subjects, with an increasing emphasis on the latter ; perhaps two-thirds of the time available is given up to design. As a rule, the influence of the civil engineers' section of the colleges to which archi- tecture is attached has reasserted itself in an endeavour to comply with professional demands for practical training, and special courses in " Architectural Engin- eering " are held which branch from the normal archi- tectural course after the second year, and then run parallel for a third and fourth year. Some schools run also a course in " Landscape Design " or " City Plan- ning," but none of these seemed to be in a flourishing condition, and apparently find little to do beyond the normal architectural training. One or two schools also specialise in a course on "Decoration" ; the courses, however, appear to be very poorly organised, and not to be taking the important part that might be ex- pected of them. REPORT ON THE EDUCATION OP THE ARCHITECT IN THE U.S.A. Physical training is everywhere a recognised and generally compulsory part of the training of all college students, including students of architecture. In some cases this is dropped after the first year, and in others it continues during the whole course. Since the re- cruiting returns of recent years have been available, those schools which had not up till that time made physical training compulsory have now done so. Pro- perly quaUfied medical men and trainers are appointed for this work. Generally speaking, the courses show a remarkable parallel with the work at the Association, with the difference that in America the appointment of perma- nent professors in constructive subjects is better than the appointment of lecturers only as at the Architec- tural Association. It enables research work to be more closely alHed to lectures, and to design subjects in pro- gress in the studios. The fourth-year work of the Amer- ican schools is very Uttle in advance of the third-year work at the Association, and after allowance for the scholastic work in the American curriculum the extra time put in by the American student would account for this. The inclusion of these scholastic subjects is in many ways an advantage, as the freshman is very often defective in mathematics and physics, just as he is in England, and by including these subjects in the course they can be taught vith a special reference to the work to be subsequently undertaken in construc- tive calculations. It is generally conceded that the four-year course is not yet of sufficient length to equip the architect properly, and several schools encourage a further term of two years' study or re- search work by giving an M.A. degree at the end of six years. One very useful part of the course is the research work required to be prepared during any course of lectures. This consists of several sheets of sketches and extracts from works relating to the subject in hand which have to be delivered by a fixed date. The model- ling individually of architectural details is another good subject, and frequently students are grouped up-' on the production of a complete group of buildings or other important work. The relationship of the Schools to the American In- stitute of Architects is much on a par with the relation- ship existing between the R.I.B.A. and the schools in England . The Institute has a permanent committee on Architectural Education, which formulates a table of minimum requirements, and formally " recognises " any school which can satisfy the committee as to its capacity and capabilities. The schools so recognised number about twfelve. The schools themselves have gone further and banded themselves together as an organisation of Schools of Architecture. They have set up a council, and have regular meetings, and have adopted a more or less standard curriculum, which is in force in all the recognised schools. At their regular meetings all matters relating to the schools are dis- cussed, and any improvements introduced into one school are rapidly assimilated into the others, although in practice the work varies considerably according to the individuality of the Professor. A second body of architects in New York, the " Society of Beaux- Arts Architects," has also consider- able influence on the schools. This body originally began with the object of encouraging the Atelier System. It continues to issue programmes, make awards, and hold criticisms, although there does not now exist in New York any Atelier directly under its control. The schools find it useful and stimulating for their students to compete in these competitions, as it gives them the opportunity of pitting themselves against other schools and private students. Some of the schools are situated in very out-of-the- way places, which is certainly not good for students of architecture, who need to see whatever good buildings are available and to visit works in progress as fre- quently as possible, and who require also to be brought into touch with that study of social conditions which is the essence of progress. It should be remembered that owing to a different system of education a student enters the university at an earlier age than with us, approximately at the age of 16 or 17, {Extracts from the curricula of the leading schools are appended hereto.) Appendix I. The following is a list of schools recognised by the American Institute of Architects. All of these were visited, with the exception of New Orleans, Minnea- polis and Portland, Oregon, but Professor Lawrence of Portland was interviewed in New York, and gave all the required information with regard to his school : Columbia University, New York. Massachusetts Institute of Technology, Boston. Harvard University, Boston. University of Pennsylvania, Philadelphia. University of California, Berkley. Carnegie Institute of Technology, Pittsburg Armour Institute of Technology, Chicago University of Michigan, Ann Arbor. Cornell University, Ithaca. University of Oregon, Portland. University of Minnesota, Minneapolis University of Louisiana, New Orleans The Beaux-Arts Institute of Design also gives in- rSuTd."^'""*^"'^'^' ^■^'^^^^ - i^^ *---g The following is a resnme of the curricula of the comment's - ' ^'"''^'^'''''^ '^ «-<=h case by personal Columbia University, 1919-20: School of Architecture. General Statemea-t. The School of Architecture of Columbia Universitv IS a professional school for men and womZ yl^ founded in 1881, under the direction ofThe i«/^*' fessor William Robert Ware, as a ie.J^^ZuC REPORT ON THE EDUCATION OF THE ARCHITECT IN THE U.S.A. School of Mines (now the Faculty of Applied Science), and was in 1912 made an independent School of the University. As a school of the University the School of Archi- tecture is administered by an Administrative Board of its own professors, with the secretary of the University as an additional member, presided over by the Provost of the University as its oificial Director. The offioere of instruction constitute the Staff, who, under the chairmanship of one of their own number elected annually, conduct the internal affairs of the School, subject to the approval of the Administrative Board. The School is represented in the University Council by the Provost. The detailed internal administration of the School is provided for in a Committee on Instruction. Pursuant to the action of the Trustee? of the Uni- versity in June, 1915, there has been established a Committee of Visitors, consisting of fifteen practising architects, mural painters and sculptors, three mem- bers appointed thereto by each of the following repre- sentative professional bodies of New York : the New York Chapter of the American Institute of Architects, the Society of Beaux-Arts Architects, the Alumni Association of the School of Architecture, the Society of Mural Painters, and the National Sculpture Society. The Committee of Visitors act in an advisory capacity, visiting the School, studying its methods of teaching, its needs and its possibilities of development, and reporting to the Administrative Board their observa- tions and suggestions. By this agency the School is brought into closer relations with the great body of practising architects of the city and country, through whose interest, co-operation, and support the School greatly profits, and its usefulness to the profession is increased. It is the aim of the School, not so much to train merely clever draftsmen, as to provide that funda- mental instruction and discipline in the art, science, theory, and history of architecture which, when supplemented by a sufficient amount of practice in architects' offices, shall qualify the graduate for the independent practice of his profession. The instruction of the lecture room and of periodic tests, recitations, I and examinations and the discipline of the studio and drafting room in drawing and design are combined in such manner as to supplement each other in the most efficient possible way. The curriculum is of indeter- minate duration ; in general it may be covered in four years. The graduate receives the degree of Bachelor of Architecture. The School does not receive " special " or non-matric- ulated students. Provision is made under the Depart- ment of Extension Teaching for students who are not quahfied for admission to the School, or who cannot command the daytime for pursuing its courses. Of such students no entrance examinations are required, and they are held to no fixed curriculum. They select their own courses of study subject to qualification in the necessary prerequisites. Both in the Summer Session of the University and in the late afternoon and evening courses under the Department of Extension Teaching, each of which is a separate department of the University, a number of the courses given in the School of Architecture are duplicated or paralleled. The satisfactory passing of any of these courses will be credited toward the degree. A distinctly professional course open to men and women and leading to the Certificate of Proficiency in Architecture is also ofiered under the Department of Extension Teaching. It is the aim of this course, not so much to train merely clever draftsmen, as to pro- vide fundamental instruction and discipline in the art, science, theory, and history of architecture equivalent to that ofiered in the regular courses, which, when sup- plemented by a sufficient amount of practice in archi- tects' offices, shall quaUfy the student for the indepen- dent practice of his profession. Graduation from this course is accepted by the State of New York in Ueu of the examination customarily required of candidates for State registration. Building and Equipment. The organisation of this school of Architecture is given in extenso as an example of the thoroughness of American methods ; the succeeding illustrations are summarised only. The School of Architecture occupies three complete floors in Avery Hall. This building was completed in 1912 as a memorial of the late Samuel P. Avery, and of his son, the late Henry 0. Avery, to accommodate the Avery Architectural Library and the School of Architecture. The provision of rooms for lectures, drawing, drafting, and study is ample, and the draft- ing rooms on the upper floor are well lighted arid con- venient. Two well-equipped rooms are set aside for the study of books and photographs, and there is a large exhibition room for design and other current work. The Avery ArchitecturalLibrary, consisting of about 25,000 volumes relating to architecture and allied arts, occupies the ground floor of the building. It is open to the public daily (except Sundays and holidays and during a period of six weeks following the summer ses- sion) from 9 a.m. to 6 p.m., and from 7 to 10 p.m. Its abundance of material is available at all times for pur- poses of study and illustration in the school, whose students are freely admitted to its alcoves, without restriction upon the use of books and other documents for drawing, tracing, and photographing. Frequent exhibitions in this Ubrary enhance its value both for instruction and for inspiration. These exhibitions, open to the public, have included collections of the works of the late Belgian sculptor, Meunier, and of the American, Gutzon Borglum ; the late J. Pierpont Mor.gan's superb collection of mediaeval and Renais- sance manuscripts ; engravings of French masters of the seventeenth and eighteenth centuries ; American tapestries and furniture ; prize competition works in architecture ; sculpture and painting of the American 8 EEPORT ON THE EDUCATION OF THE ARCHITECT IN THE U.S.A. Academy in Eome, and other equally interesting ma- terial. There are also frequent bibliogriaphic and edu- cational exhibitions in the University Library and at Teachers' College. In addition to this, the school has the advantage of its own departmental hbrary, a collection of about 18,000 photographs and several hundred books ; a classified library of many thousands of prints and plates chiefly from current periodicals in the field, and a number of original drawings, including examples of architectural draftsmanship from the Paris Ecole des Beaux- Arts and from other sources. A collection of about 16,000 lantern shdes, constantly augmented, is in daily use for illustrating lectures on the history and theory of architecture, painting and sculpture, on orna- ment and the allied arts. The school also possesses a valuable collection of casts for use in the drawing rooms and for general illustrative purposes, including fine models of parts of the Parthenon and of Rheims Cathedral, and many casts from ancient and modern buildings, given by the late Charles FoUen McKim. The illustrative material on construction and archi- tectural engineering is also extensive, comprising a variety of building materials and apphances and a number of specially prepared structural models. Periodic exhibitions of both student and graduate work are held by the School of Architecture on Alumni Day, 12th February, and during Commencement week. The Willard collection of architectural casts and models in the Metropolitan Museum of Art is open every day and two evenings in the week, and is very useful for illustrating the historic styles. Student cards granting additional privileges in the Museum are issued to students in residence. The other splendid col- lections of the Metropolitan Museum of Art and those of the American Museum of Natural History, the Botanical Gardens, Hispanic Society, and other institu- tions also furnish admirable illustrative and educa- tional material. Sessions. The University maintains three sessions during the year. The winter session, beginning on the last Wed- nesday of September and ending on the first Tuesday of February. The spring session, beginning on the first Wednesday in February and ending on the second Wednesday of June ; and the summer session of six weeks' duration, beginning on the Monday following 4th July. Students may enter : (1) As a matriculated student having fulfilled the preliminary qualifications for candidacy for a degree (regular attendance upon all stated academic exercises of at least two academic years). (2) As non-matriculated students and not regarded as candidates for a degree, but may receive a final statement of satisfactory completion of the course. Fees. Each student is required to pay three necessary fees : (a) University fee ; (b) a tuition fee ; (c) a graduation fee in his year of graduation examination. Payable semi-annually in advance. A deposit for the use of lockers, keys, apparatus, is required of each student. Fees are approximately ; 1st year, $268 ; 2nd year, 1298 ; 3rd year, $328 ; ajid 4th year, |328 (exclusive of $25 for degree). Residence. There are three residence halls for men on the Uni- versity grounds, which accommodate 820 students, and two for women students, also common lunch- rooms. Book Store. A University book store is maintained in the build- ings. Age op Admission. No students are admitted, in the case of this univei- £,ity, under eighteen years. The CoMiUNED Course. Through the co-operation of the School of Architec- ture and Columbia College, a programme for a com- bined course of six years has been prepared. Its object is to enable students in Columbia College to begin the study of architecture early in their college course and to obtain unbroken training in this field until they re- ceive the professional degree. Upon completing the fourth year of this curriculum, students receive the de- gree of Bachelor of Arts, and, at the end of the whole course, the degree of Bachelor of Architecture. Curriculum. Five general fields of instruction constitute the full uniform curriculum for all students in this school. These are Design, History, Drawing, Graphics and Mathematics, and Construction. Of these the crown- ing work in any year is invariablv that in Design, which occupies the major part of the student's time throughout his course. All work in this subject is com- petitive. A definite programme of requirements is issued and a stated time is allowed for the completion of drawings. The work of all students in any grade is then brought together upon an assigned date and judged by a number of members of the Staff, assisted by a group of practising architects of New York Citv Instruction in Design with the attendant preparation on the part of the student for frequent criticisms occupies every afternoon, some evenings at the dis- Saturda '"'ii^^dual, and practically all of A most important phase of the teaching of design is he method of realising the full value of drawings bv the makmg of models. Such models are assigned to students on a co-operative or group plan and a certain set of drawings for each problem issued, selected for their particular merit, are executed in nmaTt This is the most direct method ofM^ ■ '?'• importance of observation forl1,:SrShim: scale and the consideration of all dimen^m^ redcning tion to a problem usually developed o^!y 0° pVpeJ REPORT ON THE EBUCATION OP THE ARCHITECT IN THE U.S.A. The work in History comprises History of Archi- tecture proper, History of Ornament, History of Paint- ing, and History of Sculpture, as well as the Decorative Arts. Instruction in the History of Architecture and that in the History of Ornament runs parallel through- out three years of the course. Instruction in the History of Painting and of Sculpture, as well as in the Decorative Arts, is offered during the third and fourth years. So far as possible historical discussion of styles and monuments is related to modern problems and requirements. The work in Drawing extends throughout the whole period of residence, occupying no less than four hours weekly, and extending over the whole field of develop- ment, from outline drawing in pencil to fully rendered charcoal drawings from life. An equivalent amount 'of time during one session is likewise devoted to Modelling and to Water Colour and to Pen and Ink Drawing. The field of Construction is covered by means of courses in Building Materials and their use, illustrated by actual materials, models and diagrams, together with which instruction in specification writing is also given; in Architectural Engineering, including in- struction in the general theory of design of beams, girders, trusses, etc. ; in heating systems, electric light wiring and the principles of illumination ; in plumbing and drainage systems and in the methods of ventila- tion. In connection with these courses construction problems are issued. These involve the constructional development of work already submitted in courses in ^ Design, and the student is thus brought to face the ■ realities of his conception in execution, its materials, stability and safety, even to the smallest details of working drawings. Instruction in Graphics includes courses in Shades 'and Shadows and in Perspective, as well as in Descrip- tive Geometry and in Stereotomy, or the graphics of stone-cutting. The work in mathematics is carried from analytical geometry through the Calculus and IS followed by instruction in the mechanics of ' materials. All of these fields are closely co-ordinated, both in general and in detail. Thus, in the first year, the student undertakes his work in the Elements of Archi- tecture, the orders and their application, and at the same time is introduced to the field of Shades and Shadows as related to the orders, and to that in History of Ancient Architecture, with the first his- torical development of the orders, and that in the History of Ornament, involving the decorative treat- ment of the orders. In Drawing, much of the outline work, especially for the younger students, is chosen directly from the historical field, the examples having been previously considered in the courses on the His- tory of Ornament. In like manner at any later point in the course a similar co-relation of departments of instruction will be found. Typical Course. First Year. Elements of Design : Orders (A. 1) Elements of Design : Application of the Orders (A. 2) .. .. "^ Shades and Shadows (A. 5) Descriptive Geometry (A. 6) Stereotomy (A. 8) . . History of Ancient Architecture (A. 21, 22) History of Ancient Ornament (A. 31, 32) Freehand Drawing in Pencil (A. 71) Water Colour Drawing (A. 72) Advanced Algebra (Math. 1) Analytical Geometry (Math. 4) . . Second Year. Perspective (A. 7) . . Building Materials (A. 15, 16) History of Mediasval and Oriental Architecture (A. 23, 24) History of Mediaeval Ornament (A. 33, 34) Elementary Design (A. 61)* Intermediate Design (A. 62)* Charcoal Drawing (A. 73) . . Water Colour Drawing (A. 74) Calculus (Math. 55) Mechanics (Mech. 9) Third Year. Architectural Engineering (A. 17, 18) History of Renaissance and Modern Architecture (A. 25, 26) History of Renaissance and Modern Ornament (A. 35, 36) .. Principles of Planning (A. 51) Principles of Composition (A. 52) Intermediate Design (A. 63)* Advanced Design (A. 64)* . . Decorative Arts (A. 42) Charcoal Drawing from Antique and Life (A. 76) Pen and Ink Drawings (A. 75) Fourth Year. 11) 54) Mechanical Equipment of Buildings (A. Specifications (A. 12) Historical Research (A. 27, 28) . . Principles of Composition, Advanced (A. Advanced Design (A. 65, 66)* Thesis (A. 67, 68) . . Drawing from Life (A. 77, 78) ModeUing (A. 81) History of Painting (A. 92) or History of Sculp- ture (A. 94) Summer Work (A. 72a, or 74a, or 76a) . . Total Points 5 5 4 4 , 2 4 4 2 2 3 3 — 38 3 6 4 4 10 10 2 2 3 3 — 47 6 4 4 2 2 10 10 3 2 2 — 45 3 3 4 2 20 4 4 2 - 45 2 177 Certain additional courses under the Faculties of Applied Science, of Pure Science, and of Philosophy, as well as in Teachers College, may also be elected by qualified students. * The work in design is competitive ; it will therefore be possible for a qualified student to complete more than the stated assignment of worlt for the session. This does not alter the tuition charges, which are for criti- cism, and which must in all cases be paid for a period of six sessions, regard- less of records obtained in judgments. a2 10 REPORT ON THE EDUCATION OF THE ARCHITECT IN THE U.S.A. Outline of Courses. 1. Elements of Design : Orders. — 1 hour lecture and work in drafting room. Professor Harriman. The orders, with graphical discussion of the elementary details of interoolumniation and superposition, mouldings, balustrades, arcades, doors, windows, pediments, arches, domes and vaults. Rendering of mouldings and orders. 2. Elements of Design : Application of the Orders. Drafting- room work. Professors Boring and Harriman, Mr. Corbett, Mr. Allen and Mr. — — . Problems in the application of elementary architectural forms as given in Course Al, to simple problems. 5. Shades and Shadows. — 3 hours lectures and work in drafting room. Mr. Allen. Accurate and rapid methods for determining the shades and shadows on architectural objects, quick methods of approximation, practical applications. 6. Descriptive Geometry. — 3 hours lectures, and recitations. Mr. Allen. Rapid and unique methods of solving problems relating to right lines and planes ; _ phenomena of lines and surfaces ; tangent planes ; inter ections and developments. 7. Perspective. — 2 hours lectures and work in drafting room. Mr. Allen. . Brief, direct and accurate methods ; the office method ; perspective plan method ; approximations ; the perspec- tive of shadows ; reflections ; presentation of drawings, etc. 8. Stereotomy. — 1 hour lecture and work in drafting room. Mr. Allen. Building stones, architectural stone coursing ; architects' and contractors' drawings of stone-work ; practical prob- lems in stone jointing ; visits to stone-cutting plants ; vaults and intersections of surfaces ; developments. 11. Mechanical Equipment of Buildings. — 2 hours lectures. Mr. Walsh. The principles of sanitation, the methods of sewage dis- posal, and the design of a modem plumbing and ventilating system in accordance with the regialations of the New York City Building Code. Working drawings for plumbing con- tracts. The different methods of heating and wiring buildings and the advantages and disadvantages of each ; the regulations of the New York City Building Code and of the National Board of Fire Underwriters ; the preparation of working drawings for heating and wiring contracts. The theories of lighting units, their kinds and merits. 12. Specifications. — 2 hours lectures. Mr. Walsh. An explanation of the General Law of Contracts ; the different ways of preparing specifications or estimates with the advantages and disadvantages of each ; instructions to bidders ; general clauses ; rules to be observed in writing specifications and the different methods of arranging clauses. 15, 16. Building Materials and Construction. — i hours lec- tures. Mr. Walsh. Specifications ; properties and tests of the materials of construction ; timber, iron, steel, stone, brick, concrete and terra-ootta, and their use in carpentry, masonry, slow- burning, fireproof and reinforced concrete construction. Problems in construction, involving the preparation of com- plete sets of working drawings. 17, 18. Architectural Engineering. — i hours lectures. Mr. Walsh. Applied mechanics and the general theory and design of beams, columns, girders, roof trusses, foundations, piers, walls, buttresses and arches by graphic analysis and by analytical calculations. Problems developed in conference between instructor and student. 21, 22. History of Ancient Architecture. — 2 hours lectures. Professor Hamlin. Ancient architecture of Egypt, Ass3rria, Persia, Judea, Greece and Rome ; historical analysis and critical dis- cussion. Periodic reports and sketches. 23, 24. History of Mediaeval and Oriental Architecture. — 2 hours lectures. Professor Hamlin. Romanesque and Gtothic styles in Italy, France, Eng- land, Germany, Spain and the Netherlands ; Moslem and Oriental architecture ; analytical and critical discussion of the historic development, characteristics and chief ex- amples of the medisBval styles. Periodic reports and sketches. 25, 26. Renaissance and Modern Architecture. — 2 hours lectures. Professor Hamlin. The architecture of the Renaissance in Italy, France, Germany, Spain, the Low Countries and England ; archi- tecture of the nineteenth century in Europe ; American architecture ; modern and contemporary developments and tendencies. Analytical and critical discussion of historical development and great examples of architecture since 1420. Periodic reports and sketches. 27. Historic Research : Ancient and MedicBval Architecture. The equivalent of 4 hours research weekly during the Winter Session. Professor Hamlin and Curator Bach. Studies upon assigned subjects, relatmg to ancient Egyptian, Assyrian, Persian, Greek, and Roman, Early Christian, Byzantine, Romanesque and Gothic architec- ture. Seminars, written reports and drawings. 28. Historic Research : Renaissance, Modem and Oriental Architecture.— The equivalent of 4 hours research weeUy during the Spring Session. Professor Hamlin and Curator Bach. Studies upon assigned subjects relating to the architec- ture of Renaissance and modern times in Europe and in America, as well as the architecture of the East. Seminars wntten reports and drawings. ' 31, 32^ Ancient Ornament.— 1 hour lecture.— Professor Jtlamlm. Origins and general considerations ; primitive and savage ornament; the historic ornament of Egypt, Assyria Persia anrEtrsi?""'- ^""I'i'^g ^g-n, C^pir,'?h'S and Etruscan ornament ; the development of the styles ''' ^SrHamhn'!"^'^*"^ Ornament.-l hour lecture. The ornament of the Early Christian !?„,„ ^- ^ eeque and Gothic styles, both in StiT^l^""?^"' arts ; Moslem and Indian ornament ^'th/l^l *^' ""^""^ styles, motives and patterns. Sdic SatiSs'"''"* "' ''' "^"^ Omament.-l hour lecture.' Professor The ornament of the Renaissance in Italv Fvo many. Spain, the Netherlands and Enl^n T ^' ^^'■ "Colonial" ornament; development flthi ^'"^^'^ century m Europe and America ; modern M nineteenth dencies in ornament. Periodic drawings *""* ^^' REPORT ON THE EDUCATION OF THE ARCHITECT IN THE U.S.A. 11 42. Decorative Arts. — 2 hours leoturep. Curator Bach. A detailed treatment of the processes involved in the following arts : mosaic, mural painting, architectural sculp- ture, ceramics, stained glass, plaster, metal and woodwork, followed by an analysis of the abstract principles control- ling decorative composition and the practical methods of obtaining decorative results. Periodic reports and drawings. (Not given in 1919-1920.) 51. Principles of Planning. — 1 hour lecture. Professor Boring. Elements and principles of plan grouping, composition of plans, sites and surroundings analysed, and application to problems explained. Characteristic classes of modern building. Sketches and exercises in plan indication. 52. Principles of Composition. — 1 hour lecture. Professor Boring. Elements described. Composition of elevation and sec- tions, typical motives of buildings, with regard to expres- sion, mass, profile, proportion, voids and solids, texture and colour. 54. Principles of Composition, Advanced. — 1 hour lecture. Professor Boring. Design of specific types of buildings, their principles analysed and their application to modern problems ex- plained. 61. Architectural Design, "Elementary. — ^Major and minor problems, second year. Professor Boring, Mr. Cor- bett, Mr. , Mr. Allen and Mr. Walsh. 62a. Architectural Design, Elementary. Major and minor problems, second year. Professor Boring, Mr. Cor- bett, Mr. , Mr. Allen and Mr. Walsh. Equivalent to 61, and taken only by students beginning Design in the Spring Session. 62, 63. Architectural Design, Intermediate. — Major and minor problems, third year. Professor Boring, Mr. Corbett, Mr. , Mr. Allen and Mr. Walsh. 64, 65, 66. Architectural Design, Advanced. — ^Major and minor problems, fourth year. Professor Boring, Mr. Corbett, Mr. , Mr. Allen and Mr. Walsh. 67, 68. Thesis. — ^An important final problem during four months of the last year. Professor Boring, Mr. Cor- bett, Mr. and Mr. Walsh. 71. Pencil Drawing. — 4 hours in drawing room weekly, Winter Session, first year. Professor Harriraan. 72. Water Colour Drawing. — 4 hours in drawing room weekly, Spring Session, first year. Professor Harri- man. 73. Charcoal Dramng. — 4 hours in drawing room weekly. Winter Session, second year. Professor Harriman. 74. Water Colour Drawing. — 4 hours in drawing room weekly. Spring Session, second year. Professor Harri- man. 75. Pen and Ink Dramng. — 4 hours weekly, Winter Session, third year. Professor Harriman. 76. Charcoal and Life Drawing. — 4 hours in drawing room weekly. Spring Session, third year. Mr. Lauber. 77. 78. Life Drawing and Composition. — 4 hours weekly, fourth year, Mr. Lauber. 81. Modelling. — 4 hours weekly. Spring Session, second year. Mr. Gregory. 72a, 74a, 76a. Summer Work. — Sketches, essays or office work during vacation following the first, second or third year of attendance. Curator Bach. Only one of these courses is required. Special announce- ments explaining them are made at the close of the academic year. 92. History of Painting. — 2 hours lectures. Curator Bach. A survey of stylistic developments in painting histori- cally considered, together with a brief treatment of iiictorial composition. Periodic reports. 94. History of Sculpture. — ^2 hours lectures. Curator Bach. A concise historic study of sculpture, with a brief treat- ment of sculptural composition. Periodic reports. (Not given in 1919-20.) 117, 118. Advanced Construction. — Problems in structural design, with accompanjdng details and specifications. Professor Boring, Mr. Corbett, Mr. , and Mr. Walsh. Problems in , structural design, with accompanying working drawings and specifications. 121, 122. History of Ancient Architecture. — 2 hours lectures. Professor Hamlin. The ancient architecture of Egypt, Assyria, Persia, Judea, Greece and Rome ; historical analysis and critical discussion. 221, 222. Historic Research : Ancient Architecture. — Pro- fessor Hamlin and Curator Bach. Studies upon assigned subjects relating to ancient Egyptian, Assyrian, Persian, Greek and Roman architec- ture. Seminars, written reports and drawings. ■ 123, 124. History of Mediceval and Oriental Architecture. — 2 hours lectures. Professor Hamlin. Early Christian and Byzantine architecture ; the Roman- esque and Gothic styles in Italy, France, Germany, Eng- land, Spain, and the Netherlands ; analytical and critical! discussion of the historical development, characteristics; and chief examples of mediaeval styles. 223, 224. Historic Research : Mediceval Architectwe. — Pro- fessor Hamlin and Curator Bach. Studies upon assigned subjects relating to Early Chris- tian, Byzantine, Romanesque and Gothic architecture. Seminars, written reports and drawings. 125, 126. Renaissance, Modern and Oriental Architecture. — 2 hours lectures. Professor Hamlin. The architecture of the Renaissance in Italy, France, Germany, Spain, the Low Countries and England ; archi- tecture of the nineteenth century in Europe ; American architecture, modern and contemporary developments and tendencies ; Moslem and Oriental architecture. Analytical and critical discussion of historical development and the great examples of architecture since 1430. 225, 226. Historic Research : Renaissance and Modern. — Professor Hamlin and Curator Bach. Studies upon assigned subjects relating to the architec- ture of Renaissance and modern times in Europe and in America. Seminars, written reports and drawings. 161, 162. Graduate Design. — Major and minor problems. Professor Boring, Mr, Corbett, Mr. and Mr. Walsh. 321, 322. Graduate Research. Professor Hamhn. . Four essays upon subjects selected by the student and approved by the instructor, involving original research and 12 REPORT ON THE EDUCATION OF THE ARCHITECT IN THE U.S.A. study in the Avery Library and the Metropolitan Museum of Art, to the extent of approximately ten hours per week through the year. Mathematics. Mathematics 1. Advanced Algebra. — 3 hours. Dr. Keiffier. This course deals with such topics as permutations and combinations, determinants, complex mmibers, the theory of equations, and partial fractions. Mathematics 4. Avalytical Geometry. — 3 hours. Dr. Pfeifier. An elementary course in the essentials of Analytical Geometry. Mathematics 55. Calculus. — 3 hours. Professor Fiske. A treatment of those topics of the differential and in- tegral calculus which are required in Mechanics. Mechanics. Mechanics 9. Statics. — 3 hours. Professor Burnside. Coplanar statics treated by both algebraic and graphical methods, composition and resolution of force systems, prin- ciples of equilibrium, centres of gravity, moments of inertia and radii of gyration of plane areas. Civil Engineeeing. Certain additional courses may be selected under the Faculties of Pure and Applied Science, subject to the authority of the Dean of those Faculties. Note. — Historical research is required in connection with Lectures under fourth year heading equivalent to 4 hours' work weekly during Winter Session and Spring Ses- sion (27-8), is very good and might be extended in con- nection with all lectures. Note. — Modelling of a complete scheme by a group of students is undertaken with very good results. Fellowships and Prizes. Three fellowships, or travelling studentships, are awarded tri-annually and are for " one year's foreign travel " (no value is given). A travelling studentship value $1,000 annually. A medal for design. The American Institute of Architects Medal for best general student in entire course. Prizes. {Open to all Schools in America.) A number of important prizes in the gift of the Society of Beaux- Arts Architects and of the American Academy in Rome are likewise open to students of this school. Thus the former issues annually the Warren, Pupin, Loeb, Spiering, and Municipal Art Society prizes, all of which are based upon a qualitative valua- tion of student work as evidenced in general competi- tion. In some cases special problems are issued to de- termine the winners ; in others the general routine work of registered students serves as a basis of selec- tion. The Society likewise awards medals for distin- guished work in course, based upon the judgment of current problems in the making of which many drafts- men in various schools and other drafting rooms com- pete on equal footing. The same body also ofiers annually the Paris Prize, which involves study at the Ecole des Beaux- Arts in Paris for two and one-half years. The American Academy in Rome annually offers the Rome Prize, the winner of which is given a two-years period of study and travel abroad, centring about the American School of Classical Studies and radiating into various parts of old and modern Europe. Note. — Committee of visitors rarely attend. A notable feature at Columbia University are the Lectures on Historic Ornament by Professor Hamlin. (For Schedule of Attendances see page 13.) Remarks. No. of students : 60 full-time, 150 evening. Columbia has the advantage of the Avery Library, probably the finest architectural hbrary in existence, and the proximity of New York, where much of the best modern work in America can be studied. The school has also a separate library for students' use, the books from which may be carried into the studios and used on the benches, and includes a very fine collection of photographs arranged for students' consultation. Common with all American schools, the design side is very strongly stressed, and here at Columbia the art side is not very strong. The permanent exhibition room of students' work is very useful. Occasionally a general " Esquisse-Esquisse " is set for the whole school in competition, and has had good results. The University has recently absorbed the Lloyd Warrent Architectural Atelier, and is now the only School of Architecture in New York City. . Town-Planning and Decoration. No special courses are given in either of these sub- jects, although a certain amount of instruction in decoration is given in the course. BOSTON: MASSACHUSETTS INSTITUTE OF TECHNOLOGY. if-ees.— 1919-20, $250 (future years, $300). Tax of $9 per year for social and student life at the Institute. Approximate Cost of Education for a Period OF 38 Weeks. Tuition Deposit . . Student Tax Board Room Clothes . . Books Other I en_s 250 20 Total % 278 225 125 100 50 50 $828 REPORT ON THE EDUCATION OP THE ARCHITECT IN THE U.S.A. 13 01 OS ft H o !zi -; P w B w Friday. Math. 1 (214 Hm.) Math. 4 (202 Hm.) Mech. 9 (408) Math, 55 (203 Hm.) Ren. Arch. A. 25, 26 (408) Drawing A. 73 (502) Shades & Shadows A. 5 (408) Desc. Geom. A. 6 (408) Mech. Equip, of Bldgs. A. 11 (403) Specifications A. 12 (403) Drawing A. 73 (502) co" 2. ^"'^ "(N -^^■ Drawing A. 74 (504) Drawing A. 75 (504) Modeling A. 81 (202) Drawing A. 74 (504) Drawing A. 75 (504) Drawing A. 76 (502 & 701) Drawing A. 77, 78 (701) Modeling A. 81 (202) o (N ~-' O 00 >ni> to l> < i> i> ■%■% gg PP w o 1— t - o F- 1 1— 1 o o ft CO o U CD (U 02 -H^ . ;: S =* ■la? S d o a => 3 a'^ B 03 aO -*".£;§ d § M « S3 n to a> ■ m- < CD 5 S-tt to Ph to .OQ +? to ^ ta -S d -s ^< BBS M,? a .B • ^ cq .^ "< B 14 REPORT ON THE EDUCATION OF THE ARCHITECT IN THE U.S.A- School Year, 1919. 6th October to 17tli-23rd December. 5tli January to 14t]i-21st March. 22nd March to 21st-26th June. 9 a.m. to 5 p.m. Hours. Saturdays, 1 p.m. Physical Training. Students in first year required to take two hours a week physical exercise under the Instructor of Physi- cal Training. After first year optional. Military Training. Compulsory for first and second year students. Degree in Science. A Degree of Bachelor of Science in Architecture is given after a regular four-years course. Curriculum. Two courses are offered by the department : one in general architecture, and one in architectural engineer- ing. Each includes the general fundamentals essential to the education of the architect. The course in general architecture lays most stress upon design and art with a minimum of engineering ; while the course in archi- tectural engineering lays greatest emphasisupon struc- tural design and engineering, with enough of general architecture and art to bring the student into full sym- pathy with the ideals of his profession. The intimate relation which must exist between the work of the two courses in the practice of architecture is kept con- stantly before the student, and he is made to under- stand that the members of both courses should be working with the same end in view — the noblest archi- tectural accomplishment. The first year is to a large extent a preparatory one, including courses in drawing, history, literature, lan- guage, and science, which lead in the later years to the various phases of professional study. The study of architectural design is begun in the second year, and in the course in general architecture occupies increasing periods of the student's time until in the senior year over one-half the school hours are devoted to this subject. In the third year of the engin- eering option architectural design is replaced by ap- plied mechanics, theory of structures, testing of ma- terials, and structural design. Courses in architectural history and history of European civilisation and art, taken by all students, form the broad, artistic, histori- cal and technical background which is necessary for the full appreciation of any great period of architec- ture. The degree of Bachelor of Science in Architecture conferred by the Institute admits the holder to can- didacy for membership in the American Institute of Architects without the examination ordinarily re- quired. Opportunities are offered for one or two years of graduate professional work. The value of the graduate training is abundantly shown by the remarkable pro- gress made by the students who have embraced this opportunity for a year's uninterrupted study of sub- jects essential to thorough preparation for their pro- fessional work. MASSACHUSBTT INSTITUTE OF TECHNOLOGY. Chemistry Drawing and Descriptive Geometry English and History Freehand Drawing French Mathematics . . Military Science Perspective Physical Training Physios . . Hours of exercises and preparation . First Year, Course IV. — Architecture. First Term. 10 weeks. 80 {For 60 30 40 30 10 30 50 50 80 40 1919-1920.) Second Term. 10 weeks. 60 30 30 20 40 30 10 10 30 50 40 80 30 40 Third Term. 10 weeks. 60 — 30 — 70 — 20 — 30 — 30 — 10 — 10 — 30 — 50 40 60 20 40 500=280 + 220 500=260 + 240 Course IV. — Architecture. — Option 1. Second Year. 500=290 -I- 210 Applied Mechanics Applied Perspective Architectural History Design . . English and History Freehand Drawing French History of Ornament Mathematics . . Military Science Office Practice Shades and Shadows Water Colour . . Hours of exercises and preparation. First Term. 10 weeks. 20 — 10 100 30 40 20 30 30 30 20 20 50 30 60 10 Second Term. 10 weeks. 20 10 — 20 100 — 30 — 50 40 20 — 30 30 . 60 30 — 40 — Third Term. 10 weeks. 30 — 20 — 10 — 140 — 30 — 40 — 60 20 50 10—0 20 — 500=330 -I- 170 30 — 40 — 20 Z 500=340 + 160 500 = 370 + 130 REPORT ON THE EDUCATION OF THE ARCHITECT IN THE U.S.A. 16 Applied Mechanics Applied Perspective . . Architectural History Building Construction iODnstruotive Design . . Design . . European Civilisation and Art Freehand Drawing Political Economy Hours of exercises and preparation . Third Year. First Term. 10 weeks. 30 — 60 Second Term. 10 weeks. 30 — 60 Third Term. 10 weeks. 20 — 20 20 10 — 20 20 — 40 20 SO 20 10 — 80 — 140 — 140 — 160 30 — 40 30 — 40 30 40 40 — 40 — 40 30 " 30 30 — 30 30 — 30 480=320 + 160 480=310 + 170 480=380 + 100 Business Law . . Construction Design . . Design . . European Civilisation and Art Life Class Philosophy of Architecture . . Professional Relations Hours of exercises and preparation . Fourth Year First Term 10 weeks. 40 — 280 — 30 — 60 — 10 — 10 — 40 10 480=430 + 50 Second Term. 10 weeks. 320 30 60 10 10 40 10 Course IV. — Architecture. — Option 2. Applied Mechanics . Architectural History English and History Freehand Drawing Mathematics . . Military Science Perspective Physics . . Shades and Shadows Hours of exercises and preparation . First Term 10 weeks. 10 — 20 100 — 30 — 50 40 — 30 — 60 30 — 40 — 50 30 — 10 480=430 + 50 Second Year. Second Term. 10 weeks. 10 — 20 100 — 30 — 50 40 — 30 — 60 30 — 10 — 30 40 — 50 Third Term. 10 weeks. 30 — 30 260 — 30 — 40 60 — 10 — 10 10 — 480=400 + 80 Third Term. 10 weeks. 30 — 60 10 — 20 140 — 30 50 40 — 30 — 60 30 — 40 — 50 500=310 + 190 500 = 290 + 210 500 = 310 + 190 Applied Mechanics . . Architectural History Building Construction Colour and Acoustics Electric Wiring European Civilisation and Art Materials Office Practice Political Economy Professional Relations Structural Design Structural Drawing . . Structures Surveying Hours of exercises and preparation . Third Year First Term. 10 weeks . 30 — 60 10 _ 20 20 10 10 — 10 30 — 40 80 _ 30 30 10 — 40 — 20 30 — Second Term. 10 weeks. 30 — 60 20 — 40 10 — 20 30 — 40 30 10 100 30 20 — 40 480=290 + 190 480=250 + 230 Third Term. 10 weeks. 30 — 20 — 60 30 30 20 — 40 40 30 10 80 — 30 D 20 — 40 480 = 240 + 240 16 REPORT ON THE EDUCATION OE THE ARCHITECT IN THE U.S.A. Business Law . . European Civilisation and Art Foundations . . Hydraulics Mechanical Equipment of Building, includ- ing Steam and Heat and Ventilation . . Philosophy of Architecture . . Sanitary Science and Public Health Steam Laboratory Structural Design Structural Design (Concrete) Structures Testing Materials Laboratory Testing Materials Laboratory (Concrete) Thesis Hours of exercises and preparation Fourth Year. First Term Second Term. Third Term. 10 weeks. 10 weeks i. 10 weeks. — 30 — 30 30 __ 40 30 — 40 30 — 40 10 15 — — — 20 — 40 — _ 40 40 10 10 10 — . 10 10 — 10 — 20 — — 10 — 165 — 240 — • 90 — 40 , — 80 30 — 60 20 — 40 30 10 — — 30 — 10 — — — — 70 — 480 = 315 + 165 480 = 330 + 150 480 = 320 + 160 Eemaeks. Number of students, 118, including 25 on Course II. It will be observed that an alternative course called Architectural Engineering is given, diverging at tlie second year of training, or, rather, with slight differ- ences, at the third year, from the regular architectural course, speciahsing in structural design, and is con- sidered to be very useful. The school has a fine collec- tion of works by celebrated " Grand Prix " men. The school for colour and water-colour sketching is very well handled. The design course is at present taught by four out- side practising architects, who attend in rotation two at a time, taking junior and senior students, and de- vote half time each to the work, taking alternate weeks (this is a temporary arrangement, partly the result of the school not at present having a principal. Professor Lawrence, the acting principal, being in charge of the architectural engineering section). Here also the school has a very large reference collection of photo- graphs and books. The School of Technology at Boston is admitted to be one of the leading architectural schools of America, and, although not possessing any notable teachers, the spirit of co-operation between the professors and the sympathetic way in which the professors handle the students probably explain its superiority over other schools. Note. — Since the above was written Mr. William Emerson has been appointed Professor. Harvard University: School of Architecture. This school also has a course in Architectural Engi- neering and Landscape Architecture. Sessions : 22nd September to 23rd December ; 2nd January to 18th April ; 24th April to 24th June. Degrees given in Architecture and Architectural ^Engineering. Eequibements foe the Degrees. Admission to candidature for the degree is granted only to men who are graduates of colleges "or scientific schools in good standing. The degrees are granted not on the completion of a curriculum of fixed duration, but on the attainment of a certain standard of work. The length of the period of residence and study wiU vary with the candidate's pre- vious preparation, and his ability and industry. Graduates in architecture of scientific schools, or those who show equivalent attainment, may, under certain circumstances, complete the work for the de- gree in one year or one year and a half. TJie degree will in no case he granted except after one full year of resi- dence and study in the School of Architecture. Students who have pursued the usual college course will, if reasonably well prepared, normally require three years of residence and study for the degree in Option 1, but this period may be shortened if some of the elementary professional subjects have been anticipated, or by summer work. In some cases a longer period may be necessary. Studentships. The University ofiers each year to graduates a travelhng feUowship of the value of $1,000, tenable two years. Detailed Statement of Courses. History of Architecture. la. History of the Ancient and Early Mediseval Styles, with especial reference to Classic Architecture. —Lectures, conferences, and drawing. Mon w "i ^^'l^i^'* *lie pleasure of the instructor) f «T"m .1^?*^ °*^^' ^°^'^ ^°' ^m^nr^g (Mon., ,.,,. tt"-^)- ^^- Walker and Mr. Frost. imf History of the Gothic Styles of Architecture - Lectures, conferences, and practice in drawing. Half-course first half-year). Tu Th and rft the pleasure of the instructor) & tt 12 «nd other hours for drawing. Mr WalW Ic^hf History of Renaissance and Modern Architec- ture. -Lectures, conferences, and practice in tCS lfr7.^:'ttt'-'^^^^^^ KEPORT ON THE EDUCATION OF THE ARCHITECT IN THE U.S.A. 17 Except by special permission Courses 16 and Ic are jpen to those students only who have passed in Architecture la. In these courses the history of architectural de- velopment is considered both technically and as an expression of the successive ciyihsations which pro- duced it. The principles of design which underUe the development of architecture are considered, and the courses include the study of the development both of structure and of ornamental detail and their interrela- tion. Definite knowledge of the forms that are met with, and their proper use, is insisted upon. The sub- ject is studied by means of lectures illustrated by the stereopticon, by conferences, and the writing of reports and theses with illustrative drawings by the students. Methods of vaulting in diSerent periods are made famihar to the students by the study of large models of vaulting, which show precisely the methods that would be employed in the construction of actual vaults. The endeavour is to study the history of architecture not so much archgeologically as to obtain a knowledge of principles of design by an analysis of the growth of architectural form and its use. Architectural form and composition are thus studied by means of the history of architecture. Course 1 a is chiefly devoted to the history of ancient architecture. Tne gradual development of architec- tural forms and the technical processes of building are traced, beginning with a summary study of the build- ings of Egypt, Assyria, and Persia, passing on to the more thorough and detailed consideration of the archi- tecture of Greece, Eome, and Byzantium, and the Eomanesque styles of Western Europe. Especial em- phasis is placed on the acquiring of familiarity with the elements of Classical architectural form, especially the Greek and Eoman orders and their uses. The course is not merely historical, but aims to lay the foundation of a working knowledge of architectural form, and thus serves as an introduction to Courses 16 and Ic, which continue the history of architecture, and to the courses in Architectural design begun in Course 4a. Course 16 treats in the same way the architecture of , the Gothic period, and Course Ic deals with the archi- tecture of the Renaissance, laying especial emphasis on that of the ItaUan Renaissance. I Students taking Courses 46 and .4c will be required to take one historic problem in connection with each of the latter courses, the problem to consist of a build- ing or portion of a building in a given historic style and under the direction of Mr. Walker. ^ AbiUty to read French and German will be of advan- tage to those who take Courses la, 16, Ic, but there is no required reading in foreign languages. Grafhics. 2¥hf. Descriptive Geometry.— Lectures and drawing. Half-course (first half-year). Tu., Th.,.2-5. Mr. Frost. 2c^hf. Stereotomy, Shades and Shadows. — ^Lectures and drawing. Half-course (second half-year). Tu.,Th.,2-5. Mr. Frost. These courses deal with descriptive geometry and it^ application in stereotomy and in the casting of shadows. In shades and shadows, the shadows of most general occurrence are studied ; short methods are used for all forms, preference being given to those of most general apphcation. Reference books : Pillet, Traite de Geometric De- scriptive ; McGoodwin, Architectural Shades and Shadows. Courses 26 and 2c are the same as Engineering Science 36. 3a%f. Perspective. — The theory of perspective and its application to the laying out of architectural subjects. — Lectures and practice. Half-course (first half-year), Tu., Th., 9-12. Mr. Frost. In perspective, the methods of projection from orthographic plan and from perspective plan are both used. The theory of laying out subjects in perspective is studied with reference to the practical work of the architectural draughtsman. Course 3a is the same as Fine Arts 2/. Freehand Drawing. 36. Freehand Drawing (first course). First half-year : Mon., Fri., 9-12, and Th., 7-10 p.m. Second half-year : Mon., Wed., Fri., 9-12. Mr. H. B. Warren. This is an introductory course, not necessarily pre- supposing previous work in freehand drawing. It will provide, however, also for those who already have some proficiency. The work in this course consists in drawing from the cast and work in water colour from still Kfe. 3c^. Drawing from the life (first course). First half- year : Tu. and Fri., 7-10 p.m. Mr. Murphy. This course is devoted chiefly to practice in drawing from the nude model, not only to give familiarity with the form of the human figure, so constantly used in architectural decoration, but because of the value of this practice as training for hand and eye. Every student will be required to hand in weekly a satisfactory sketch from nature, in addition to other work of the course. 3c^. Freehand Drawing (second course). Second half- year : Tu., Th., 9-11, and two other hours. Mr. H. B. Warren. The course is devoted chiefly to water-colour studies from objects within the building, and, toward the end of the year, out of doors. The principles of composition in hght and shade, as well as in form, are pointed out. StP. Drawing from the Hfe (second course). First half- year : Tu. and Fri., 7-10 p.m. Mr. Murphy. This course is open to those who have passed in Course Sc^, or who have otherwise satisfied the in- structor of their fitness. It continues with more ad- vanced studies the work of the preceding course, A3 18 REPORT ON THE EDUCATION OF THE ARCHITECT IN THE U.S.A. 3d^. Freehand Drawing (ttird course). Second talf- year : Mbn., Fri., 9-12. Mr. H. B. Warren. This course is open to students who have passed in Architecture 3c^ or who have otherwise satisfied the instructor of their fitness. It continues the work of the preceding course. It is devoted especially to the con- tinuation of practice in water colour. Especial attention will be given to the composition of drawings, which is not only essential to the artistic presentation of architectural subjects, but is of great aid in cultivating the sense of composition in archi- tecturaldesign, which dependsuponthesame principles. In the freehand drawing courses sketches from na- ture or from objects in museums will be required during the examination periods as well as during term time in order to take advantage of the freedom from regular meetings in other courses. Architectural Composition. 4ffl. Elementary Architectural Design. — ^Elements of Architectural Form. — The Orders. — Introduc- tory Problems in Architectural Design. — Practice and criticism. Wed., Fri., 2-5.30, and at least three other hours. Second half-year : Mon., Wed., Fri., 2-5.30, and at least six other hours. Associate Professor Humphreys and Mr. Perry. This course may be offered also in the summer as a partial course. The purpose of this course is to familiarise the student with the classical elements of architectural form by means of studying and drawing the architec- tural orders at a large scale and applying the orders and a few of the other elements of buildings to a few simple problems in composition which wUl also serve to give the student instruction in the technique of architectural drawing and rendering. Individual and general criticism of the student's work will be given regularly and informal conferences and discussions of the orders, and the uses of them in architectural com- position, will be given from time to time. Some reading may also be required. Modifications will be made in this course for Option 2. Architecture ia is the same as Fine Arts 106. 46. Architectural Design (intermediate course). Study of Elementary Composition. Practice and criti- cism. Mon., Tu., Wed., Fri., 2-5.30 ; Fri., 9-1 ; Th., 2-5. Criticisms, three afternoons a week. Associate Professor Humphreys and Mr. Perry. This course may be ofEered also in the summer as a partial course. It is open to students who have passed Course 4a with a standard sufficiently high in the opinon of the Council of the School to warrant their continuing their studies in architectural design. The work of the course consists in the production and presentation of architectural compositions as solu- tions of stated problems. The programme for these problems will be given out on the dates fix;ed by a schedule posted at the beginning of the school year. The problems will be of two kinds : First, longer prob- lems of three or more weeks' duration, consisting in the study and development, under the criticism and with the assistance of the instructors, of the solution of each problem, in general accordance with the student's own idea, as more or less fixed by a preliminary sketch of eight hours' duration, made by the student without assistance or advice. The instructors are present in the drawing room for criticism two or three times a week. Second, shorter problems studied and presented in sketches of twelve hours' duration, without any assist- ance whatsoever, but followed, as in the case of the longer problems, by a criticism of each design before the whole cl'ass. Informal talks on the theory of architecture and con- ferences and discussions with the students will be held at intervals, and the problems of composition presented by the programmes, and existing examples of similar compositions, will be studied and analysed. Certain reading will be required. Modifications will be made in this course for Option 2. 4c. Architectural Design (advanced course). Archi- tectural Composition. Practice and criticism. Students will be expected to give at least thirty- five hours each week to the work of the course. Criticisms, three times a week, usuaUy in the afternoon. Associate Professor Humphreys and Mr. Perry. This course may be ofiered also in the summer as a partial course. The course is open to students who have completed satisfactorily the required work of Course 46. The method of instruction will in general be the same as in the preceding course. It will include the study of the planning of important buildings and groups of buildings. The work of this course must be satisfactorily com- pleted before undertaking the work to be presented as a thesis for the degree of Master in Architecture. In connection with the problems in design in these two courses visits to executed buildings of the type under consideration by the class will be arranged when possible under the direction of the professors of design and construction. Construction. 5a. Materials and Methods of Building Construction. -Lectures and drawing. Tu., Th., 9-12, and outside reading. Associate Professor KiUam. tion ^nr'rT'^''' ^y *^^ '^^t^riak of construc- tion . stone, brick, concrete, terra cotta, steel wood etc., and the methods followed in their use in foSa tions, walls, steel and wooden framing, fiish etc Working drawings are considered aVirlT. a ■ is done by the students. Vi^t are made toT'w''''"''?^ course of construction and to sCrwher ?^"f REPORT ON THE EDUCATION OF THE ARCHITECT IN THE U.S.A. 19 sign, and the best ways of uamg these materiak and methods from a technical point of view. 56. Theory of Building Construction.— Statics, Re- sistance of Materials, and Elementary Struc- tural Design. Mon., Wed., 9-12, and two other hours. Associate Professor KiUam. This course is open only to students having a satis- factory knowledge of plane geometry and algebra. A student who has not also had plane trigonometry and logarithms will be required to prepare hunseU in these subjects during the fiist half-year. The course is devoted to the study of the theory of building construction, deducing formulas where pos- sible without the calculus, using statics to investigate forces and stresses and studying the strength of the different materials to resist stresses. The principles studied are applied all through the course to practical building design by many problems in wooden, metal, and masonry structures, such as walls, foundations, beams, columns, plate girders, trusses, etc. Problems are worked out in conference between in- structor and students. 5c^. Theory of Building Construction (second course). — Masonry Structures, Reinforced Concrete. First half-year. Fri., 9-12, and four other hours. Associate Professor Killam. This course is open only to students who have passed satisfactorily in Architecture 5b or otherwise satisfy the instructor of their fitness. The course consists of conferences on the statics of masonry and of problems in masonry, foundations, arches, buttresses, retaining walls, elementary rein- forced concrete, etc. Construction Problems. ^Twice each year in oonneo- tion with Courses 46 and ic a week will be devoted to the preparation of construction drawings relating to the current problem in design. One set of construction drawings must be satisfactorily completed in connec- tion with each course. Modelling. 6o. ModelUng Architectural Ornament in Clay (first course). Sat., 9-12. Mr. Wilson. Students in their first year of residence are required to pursue the first course in clay modelUng during the whole of the academic year. 661. ModelMng in Clay (second course). First half-year. ; Sat., 9-12. Mr. Wilson. This course is open to those students only who have passed in Course 6a, or otherwise satisfy the instructor of their fitness. 6c\ Modelling in Clay (third course). First half-year. Sat., 9-12. Mr. Wilson. This course is open to those students only who have passed in Course 66 or otherwise satisfy the instructor Kof their fitness. f In course 6c a definite number of subjects or prob- lems must be satisfactorily completed in order to pass the course. Some of these exercises may consist in modeUing details of the student's own design. The object of these courses is to give the student some feeling for the composition of architectural orna- ment in the round, to give by actual practice an appre- ciation of the qualities of light and shade, of mass and of surface which may be produced by the work of the carver. It thus supplements in a valuable way the work in the courses in freehand drawing, especially in giving that sense of the third dimension which is less easily acquired by work in the flat. Mechanical Plant of Buildings. 8^. The Mechanical Plant in its Relation to the Archi- tectural Problem. Heating, Ventilation, Plumb- ing, Electrical and Elevator Installation. First half-year. Th., at 5. Omitted in 1919-20 ; to be given in 1920-21. To be given in alternate years. This is a course of lectures dealing in the heating, ventilation, plumbing, electrical and elevator installation in modern buildings. It considers fundamental principles and their applica- tion in the details of modern work. Professional Practice. 9^. Contracts and Specifications. — Professional Prac- tice. First half-year. Mon., at 5. Omitted in 1919-20 ; to be given in 1920-21. This is a course of lectures dealing with forms of con- tracts and specifications, specification writing, and pro- fessional practice. Decorative Composition. 10^. Decorative Composition. — Practice in design in colour decoration and in the handicrafts. Second half-year. Sat., 9-1. This is a course of lectures with practice in decora- tive and mural design, and of design in the handi- crafts : wrought iron, carving, stained glass, etc. It will ordinarily be taken by students at the same time as Course 46. At the end of the course one week will be devoted to a problem occupjring, during this period, the hours of Course 4b. Theses. Each candidate for the degree of Master in Archi- tecture will propose to the Council of the School a sub- ject for a design to be submitted as a thesis for the degree. The programme must be approved by the Council before work on the thesis is begun. The design will be for a building of moderate size, but of some architectural importance, and will be fuUy presented in plans, elevations, sections and detail drawings with calculations and indications of the construction, and indications of ventilating, heating, and plumbing. $200 per annum. Remarks. The School has a room specially prepared for ex- hibits of building materials. Number of Students, 17. Special, 10. Harvard shares with Boston Institute of Technology 20 REPORT ON THE EDUCATION OF THE ARCHITECT IN THE U.S.A. the fine spirit and sympathetic outlook I have already noted. Fine library as general to all American schools. University of Pennsylvania. Session. — 26th September to 20th December ; 5th January to 31st March ; 8th April to 16th June. Fees. — $200 per annum. For clubs, etc. . . . . .. 10 Deposits . . .. 10 Graduate Fees . . .. 10 Min. Max. )enses — 37 weeks. 1 $ Board 250 450 Tuition 210 210 Text Books . . 10 25 Graduation . . 10 20 1705 Graduate Course. — Average time, 4 years. Degree Course. — Six years. OUTLINE OF INSTRUCTION. The Full Couese. The course of study is organised upon the principle that architecture is primarily a fine art. The study of design is therefore emphasised, the student being re- quired to give it and to its preparatory and accessory subjects an important portion of his time throughout the course. Supporting this line of study and broaden- ing the general view of the student are the history courses, covering exhaustively the field of architecture and giving general treatment to that of painting and sculpture. Thorough courses are given in the theory and practice of building construction, of building sani- tation and on the nature and use of building materials. Draughtsmanship receives constant attention through- out the course, not only in the courses in design and graphics, but also in various lines of instruction in pure drawing. The professional work thus outlined covers some three-fourths of the student's time. The remainder is devoted to general studies, which are pursued during the first two years of the course, and which include two years each of English (composition, rhetoric and litera- ture) ; of Modem Foreign Language, and of Mathe- matics (Trigonometry, Analytic Geometry and Cal- culus) ; and one year of Mediaeval History. The in- struction in these subjects is that given also in the course in Arts and Science. The Department of Architecture has a large equip- ment, comprising a working library of over one thou- sand volumes ; a file of leading American and foreign periodicals ; over twenty thousand mounted photo- graphs, plates, illustrations, and lantern slides, classi- fied for ready reference ; numerous autograph draw- ings and models ; and a collection of casts from the antique, architectural ornament, etc. The school occu- pies two structures, "The Architectural Building" and " The Studio." The former is a large building contain- ing twenty-two rooms, including drafting rooms (the larger of which has a floor area of eight thousand square feet) ; a large library ; lecture and exhibition rooms ; administration, seminar and drawing rooms ; professors' studies and a room for the Architectural Society. The Studio, with good north light, ofiers facilities for instruction in Freehand and Water Colour Drawing of various grades. The Course in Architectural Engineering. The subject of advanced architectural construction is so presented in the School of Architecture that it constitutes a complete course of study leading as dis- tinctly toward special preparation in this field as does the general course toward that in general architectural practice. The fundamental work in each course is the same, and specialisation takes place in advanced sub- jects. To this end, the course is so organised that it assures the student both phases of those subjects es- sential in architectural engineering, namely, a special knowledge of its principles and their application com- bined with the general grounding in architecture de- manded in the equipment of every practitioner, what- ever his special line of activity. The course, briefly outhned, comprises the following essentials : (1) The fundamentals of a general educa- tion, (2) acquaintance with the underlying theory and the history of architecture, (3) technical training in drawing and design, (4) knowledge of the theory and practice of building construction, and, finally and chiefly, (6) such advanced work in the latter as will prepare the student for work in the special field of architectural engineering. The completion of this course is rewarded by the degree granted in the general course, that of Bachelor of Science in Architecture. The Two-Year Special Course. Architectural draughtsmen of experience, desiring to supply deficiencies in technical training and unable to give the time necessary to the completion of the full or regular course, are admitted as special students, if eligible under certain requirements. Such students pursue a definite course of studv "i^Z^ltt ^T'''' *^ » 5. Archaeology requirements are three (3) values : (a) Students of Class B Second Grade may enter the Projets or measured drawing competitions withoi.t preliminary examinations or other qualifications. The competitions are open to all students of Class A and 4B REPORT ON THE EDUCATION OF THE ARCHITECT IN THE U.S.A. Class B. Three (3) values must be credited for awards in Arcliseology competitions, at least one (1) of wHcli must be credited for the Projets and at least one (1) for tie Measured Drawings before students are qualified in Archseology to receive the Certificate. 6. The Certificate will be presented by the Society of Beaux-Arts Architects upon request, to all students completing the course. XVIII. Banking Students. 1. Students in Class A will be ranked for exemption from the First Preliminary Paris Prize Competition (see Circular of Information concerning the Paris Prize) according to the total number of values credited them from the time of commencing work in Class A for Pro- jet and Esquisse-Esquisse competitions, including any values credited for previous Preliminary Paris Prize competitions. 2. Students who have previously been legists for a Final Paris Prize competition, and former students holding the B.A.I. D. Certificates, are exempt from the first preliminary competition. XIX. Vai-ues Credited for Awards, in : The Analytique Competitions. Class B : Mention 1st Mention Ist Mention Placed Values. .. 1 .. li .. 2 The Projet Competitions. Values. Values. Class B : Class A : Mention . . . . 1 Mention . . . . 1 1st Mention .. 2 2nd Medal (Bronze) 2 1st Mention Placed 3 let Medal (Bronze) 3 The Esquisse-Esquisse, or 1st or 2nd Preliminary Paris Prize Competitions. Values. Values. Class B : Class A : Mention . . . . i Mention . . ^ 1st Mention . . 1 3rd Medal (Bronze) 1 Special Medal (Art. VIII, sec. 8) . . 2 The Arohmology Projet or Measured Draiving Competition. Class A and Class B : Mention 3rd Medal (Bronze) Values. XX. Awards of Merit. 1. A Mention is awarded by the jury to every set of drawings of Class A or Class B which satisfactorily fulfils the requirements of the programme of competi- tion. The higher awards are First, Second and Third Medal, First Mention and First Mention Placed. 2. The First Mention and First Mention Placed in Class B, and the Medals in Class A and in Archaeology, are only awarded to a small percentage of the drawings in any competition, found to be 'of exceptional merit, representing usually the different solutions of the problem recognised by the jury. 3. Bronze medals will be presented for all medals awarded by the jury. XXI. Local Correspondents on the Joint Com- mittee on Architecture Conducting the Exercises en Loge shall enforce the fol- lowing Eegulations : _, 1. The loges (rooms assigned for the exercises) shall be open for nine (9) consecutive hours on the days scheduled on the calendar for the exercises. (For Paris prize competitions the loges will be open at 9 a.m.) 1st Preliminary Competition, 12 hours ; 2nd Pre- liminary Competition, 24 hours. Note.— In New York City the hours will be from 1 p.m. until 10 p.m. 2. The competitions are open only to registered students. ^ Note. — Programmes may be issued to, and esquisses received from, students before registration, only on con- dition that each student agrees to pay the registration fee ivithin one month. On the receipt of the esquisse all students are conditionally enrolled for one month, after which those delinquents maybe debarred from com- petition. 3. Students arriving late shall not be allowed to enter the competitions if a student who has become acquainted with the contents of the programme has already left the loges. Note. — ^Exceptions may be made to this regulation at the discretion of the Local Correspondent. 4. No student shall be permitted to work overtime en loge without being debarred from the competition. Note. — Sketches received made overtime shall be clearly marked by the correspondent, " H.C. Over- time." Such drawings will be exhibited Hors de Con- cours, but will not be judged by the jury making the awards. 5. All exercises en loge must be done by students without outside assistance, or the use of documents or photographs, under the supervision of a correspondent of the Committee or his deputy. Note. — All irregularities should be didy reported. XXII. The Joint Committee of Architecture, or a local committee conducting the Competi- tions, shall place hors de.concours (out of the competition) all sets op drawings for non-observance op any op the following regulations : 1. Neither rendered sketches nor rendered drawings will be exhibited for judgment unless the authors have been duly registered for the current season. 2. Sketches and drawings must be signed in print letters with name of atelier, or patron, or address if working in an office under no patron. 3. Esquisses (Preliminary Sketches) must be drawn to scale in ink on a sheet of tracing paper of the re- quired size with a single line border. iVote.— Standard size adopted for Esquisses: 8| inches by 11 inches. REPOKT ON THE EDUCATION OF THE ARCHITECT IN THE U.S.A. 47 4. EsquisSes must not be neglected in indication. Note.— The parti (Solution of the Problem) stould be most carefully studied en loge and the General Arrangement of Plan, Elevation and Section clearly indicated on the Esquisse. 5. No change in the Parti indicated on the Esquisse is permitted on the Projet Eendu (final drawings). Note. — ^The elements of design indicated in the Es- quisse must be preserved, although altered in pro- portion. 6. The Projet Eendu must be mounted, either by the sender, or by the Institute, on mounts of standard sizes as required by each program. No drawings on tracing paper will be accepted for the Projet Rendu. Note. — Standard sizes adopted : No. 1 — 40 inches by 62 inches. No. 2 — 31 inches by 40 inches, which will pack together uniformly. Compo board is recom- mended. 7. The Rendu (Delivery) of all mounted drawings must be made, express charges prepaid, before 10 a.m. on the date scheduled on the calendar — either to the exhibition rooms of the Institute or to an express company or post office. The express receipt must be mailed before 10 a.m., as the post mark on the en- velope will indicate the time of the Rendu. Note. — Forward the express receipt and list of draw- ings delivered to the Department of Architecture of the Institute or president of the local committee con- ducting the exhibition and judgment of the com- petition. 8. Esquisse-Esquisses (rendered sketches) may be made on tracing paper (mounted). Whatman or other drawing paper, Bristol or water-colour board — Class A sizes, 15 inches to 17 inches by 20 inches to 24 inches ; Class B size, approximately 20 inches by 30 inches. ^o^e. — These sizes have been adopted as standard for all Class A and Class B Esquisse-Esquisses. 9. Pupin and Warren Prize Competition Sketches may be made on tracing paper (mounted). Whatman or other drawing paper, Bristol or water-colour board, varying in size from 20 inches to 24 inches by 30 inches to 34 inches. . . 10. The Rendu (dehvery) of Prize Competition Sketches which are not made en loge must be made before 10 a.m. on the date scheduled on the calendar, at the building of the Institute, express office or post office If shipped by express the receipt must be mailed before 10 a.m. as the post mark will indicate the time of rendu. , , ,, -r. r ■ n jffofe —This does not apply to the Preliminary Com- petitions for the Paris Prize which are made en loge. Concluding Remarks. Having now given a general, outline of what the American school does, it becomes necessary to apply criticism, constructive or otherwise, in an endeavour to analyse the good or bad points of the system. There is at the present time considerable friction between that section of the scholastic world which adheres to the Beaux-Arts as a fetish, and another section which does not believe that any good has arisen from the Beaux -Arts system. Many of the professors are themselves Beaux -Arts men, and are quite ready to admit that the Atelier system as prac- tised in Paris is unsuitable in America. There is also considerable friction between the executive and teach- ing sides of the schools, particularly when the school is under the faculty of Engineering. It really appears that the organisation of schools numbering 200 to 300 students under the present system is inelastic, and likely to suffer considerably through the personality of a single principal. At Bos- ton, for instance, a Conference of Professors is respon- sible for the school, and in consequence there is greater harmony between the technical and design sides, to the great advantage of the students. The schools generally suffer from the grafting of the Atelier system into the old out-of-date technical school system, be- cause in every instance it is the head of the Technical School who becomes head of the Architectural School. Such courses seem to be inside out. If architecture is regarded as the culmination of architectural training, then logically the architect ought to be principal of the school. What is needed seems to be the reorganisation of the personnel into an executive committee with the principal design professor as chairman, and the execu- tive officer as secretary. The essence of the Beaux- Arts system is that a large number of Ateliers are working independently on parallel lines, the whole of which form an agglomeration which is constantly changing without ever having radically . to change policy as is the case where a school is run by one person, and thus as a whole avoiding shocks, or periods of depression, or stagnation due to any parti- cular influence. Apart from this the schools in America fail to retain their students after their period of pre- liminary training is completed. In schools in remote districts this cannot be avoided, but in large cities this difficulty could surely be overcome. The University of Columbia had for some time two down-town Ateliers run by eminent architects, which have now been discontinued. From details supplied it appears that the University made the mistake of placing in these Ateliers young beginners, instead of restricting admission to graduate students. Another Beaux- Arts Atelier run by Mr. Witney Lloyd Warren has been discontinued, and the students absorbed into the University. Whatever may be the cause of this failure, it is a very real defect, and is only compensated for, so far as I am aware, by the T-Square Club at Philadelphia. W. H. SMITH & SON THE ABDEN PBES8 STAMFORD KTBEET, LONDON S.E. '«'>2t05.4^°^.«0„„.,.^