ra eit eee aly, Seton Se A be ia va tene is Ramla tare See ear es 2 Ne ee 2 Saison eke or se : ‘ 3 Ff ont Nee t aly me Poke £ ial eigen eeere es gun moh. teh eee canter Newey 88 834 1 ~ ee ‘°) O \°) 2 °o <= ao anxa C. é @ bs , < 4 be Ae VIACHINE -XPOS 1; AY — 119 WEST 57th STREET Special Design No. 257 HE high quality and finish of Cast Ferro- craft, as compared with other metals, and the ability of our craftsmen to execute the most exacting requirements, have won wide recognition in the Architectural field. The Villa UTTLE & BAILEY all-metal Ra diator Cabinets are the ultimate in design, construction and finish. Selec- tion of models in finishes to match in- terior. Full particulars upon request. Let us submit details of the Ferrocraft Line for all heating and ventilating purposes; or send us specifications of your special needs. TUTTLE & BAILEY MBG. CO. Makers of Registers and Grilles for Fighty-one Years 441 LEXINGTON AVENUE NEW OY ORK CITY } ——! PROVINCETOWN PLAYHOUSE Ho tb Ss. kb = a = v3 ‘ “THE PLAYWRIGHTS THEATRE 4 ca “ADVENTUROUS” ae : “48 “COURAGEOUS” - RRS SE SERS RT cb bo ae: “EX PERIMENTAL” n SEE a 8 HHERE—Eugene O’Neill’s “Emperor Jones” and “Hairy Ape” were first produced o” ff HERE—Hasenclever’s “Beyond” and Strindberg’s “Dream Play” were given for z“ § first time in America “se HERE—“‘Fashion”’ and ‘‘Patience’”’? were revived 4 HERE—“'In Abraham’s Bosom” by Paul Green, won the Pulitzer Prize on a SUBSCRIPTION SEASON 1927-28 FIVE PLAYS $11.00 ro 2 rm g a.% f “ i 3 > Pieces & 27 ™ ‘2A TAIT STROw yas ee 6 Me ORE APRS ARI ERS Ot a = 2uOnU TMS vane i AA SE SSIES AIT ‘eZ ii Oompa uoOo. aro Be AT ita TR | JATHA MBER PRUE ST eT a ae * nn su art F aay? rites a HAG , no ret, solve?” Mie im by mn? ris Ww wid tl & ai” Fi ee baw Sheol z eS, co“ ' ' * . ts 7 , ; = } 4 % & E +, By. “ : ¥ t + p < cat) “ae inns ee Cin ihor . beriee. ae As eit sagt’ oda gow alee? wan d WA QS-T82 ae a a > ae war ? eng wow. Gs, 4 ORGANIZED BY LITTLE REVIEW, NEW YORK JANE HEAP v v SOCIETE DES URBANISTES, BRUS- SELS LOUIS VAN DER SWAELMEN M. GASPARD WSS Ry SOCIERMYVLOR CULTURAL RELATIONS WITH FOREIGN COUN- TRIES AMERICA BRANCH KUNSTGEWERBESCHULE, VIENNA PROF. JOSEF FRANK CZLONKOWIE GROUP “PRAESENS"”, WARSAW SZYMON SYRKUS ARCHITECTS D. P. L. G., PARIS ANDRE LURCAT ADVISORY AMERICAN SECTION HUGH FERRISS 119 WEST 57th STREET MEGAN Y OR Kao 2 7 ae PRICE 50 CENTS i ‘ “4 ° G : ¥ '? « WIA we “4 4tin~ Qi we) Siwonsies SIVAS 2 1 4 DB &TIS ie? ~ AGT OW’ WACIRMA Yrogives SP ARPD Wr S01nS eTUNsa3 OG EXPOSITION COMMITTEES HONORARY COMMITTEE Robert Adamson M. H. Aylesworth Richard F. Bach Frank Bailey George Gordon Battle David Belais L. J. Belnap | Dr. Louis Berman Alexander M. Bing Leo. S. Bing Hon. Sol Bloom Francis Blossom Dr. Christian Brinton Mrs. Louise Upton Brumbach Alexander Chatin Robert Catts S. H. Church Hon. W. W. Cohen Harvey Wiley Corbett Auguste ]. Cordier John O'Hara Cosgrave Mts. H. H. Dey Tohn V. N. Dow Valentine Dudensing Howard Elliot Robert Erskine Ely Colin G. Fink John H. Finley Donald S. Friede Eva Gautier Dr? W mePatl Gerard’ C: E: Bernard F. Gimble Dr. A. A. Hamerschlag George S. Hellman Harry Arthur Hopf Mrs. Axel Olaf Iseling L. J. Lippman Henry Goddard Leach Lucius N. Littauer Mrs. Sidney Lowenthal L. C. Marburg Wm. Me Clellan John L. Merrill David Metzger Col. Robert H. Montgomery Ralph Modjeski Samuel Mundheim Dr. Eugene A. Noble. R. H. Stratton A. R. Orage James W. Osborne Hee Pease George H. Pegram Michael I. Pupin Wary Read Felix Riesenberg George Sarton Jefferson Seligman Henry Blackman Sell Howard Hilton Spellman James Speyer Mrs. Francis B. Thurber, Jr. Nelson M. Way Harry Weinberger Louis Wiley Mrs. Rose Wheeler & ? 4 "hese ake on 7." = 3 . a I2TTIMMOD YRAROMOM none ist i i i) ‘ ‘ y i ) a rk, j 7 ~ A 75 vague yin — i ie testi da! Pa) i hhes, yeas Vip hs EAS ‘MASdELA arsivd 2: | no HA v1 4 yi A pend a oA . , i} roa ef _ Ai es td oy yee notnel bya e'aee ai | hod? sect 2 We a A oe kot es ARTISTS COMMITTEE Alexander Archipenko André Lurcat Robert Chanler Elie Nadleman Andrew Dasberg Man Ray Charles Demuth Boardman Robinson Muriel Draper Charles Sheeler Marcel Duchamp Ralph Steiner Prof. Josef Frank I. Syrkus Hugh Ferriss L. Van der Swallmen Louis Lozowick AMERICA ALFRED BOSSOM, NEW YORK 1 Project for 35 Story Office Building. BUCHMAN & KAHN, NEWLYORK 2 The Insurance Center Building, N. W. Cor. 37th and 6th Avenue. 3 Park Avenue Building. LEONARD COX, NEW YORK 4 Imaginary Project for Skyscraper to cover 4 city blocks. 5 Design for Soldiers and Sailors Memorial. HUGH FERRISS, NEW YORK 6 Sketch Model of Glass Skyscraper. J. H. Sullivan, associated Architect. 7 Studies. ARTHUR LOOMIS HARMON, NEW YORK 8 Model of the Jerusalem Y.M.C.A. 9 Photograph of the Hotel Shelton. 10 Photographs interior Hotel Shelton. HELMLE & CORBETT, NEW YORK 11 Pennsylvania Power and Light Building. 12. Number One Fifth Avenue. RADIATOR BUILDING Raymond M. Hood don qeennajonicd bse doe 3 fab! ad at 3 Sa. , nz aie : paki a + ; : Mn ae a 2 ts : : ig> . » S ae : 5 \y Tae . " AON: “agate mat! w A (gt: Si? okt 48 nee a ser A aoe ane #2 Roauk ese omnes OTA GAR Ae Ses Seeniieaieanammmr meee SERRA PS SRR a yetne a Seg oes on teeny ttre 3 YR mes PROJECT FOR GLASS SKYSCRAPER By Hugh Ferriss FOREWORD ARCHITECTURE OF THIS AGE ED by obscure springs, there arose in Greece and Rome the mighty Current of thought and instinct which has swept through the subsequent ages. Could one survey this channel, this Grand Canyon, he might mark how the Stream, cleaving Earth, has sculpted and left aloft the stratas of succeeding civiliza- tions and cultures. We may examine this architectural record. We may see standing—where the stream once was—the exposed strata of the Romanesque; we may note transitions to the Gothic and to the Renaissance. America overlooked this Grand Canyon. A few decades ago, there appeared a movement in Architecture which has been described as a mcdern Renaissance. It consisted of this: a unique progress had enabled us to attain a bird's eye view of the Past such as had never before existed. We were free to choose. Our archi tecta, with the visa of scholarly honor and good taste, swarmed and selected. Now the question is being asked: Is there not proceeding at this moment a truly unique move- ment in the Arts? If one seriously asks himself this question, he may be at first halted by the many affectations of “Modern Art”: Architect X is obviously practicing professionally simply because this architect wants to do something “new”; artist Y is painting simply in order to paint artist Y. Does there really exist in the world, at the given moment, any artistic endeavor founded more deeply than in mere personality? It is a legal fact that in 1918 a regulation was passed in New York City which altered the forms of buildings. This law was passed for certain utilitarian and quite impersonal reasons: to conserve property values. to check trafhe con- gestion, to admit light and air to streets. But this law had a profound effect upon architectural design. Cubes became pyramids. Previously, cube-like masses had been juxtaposed along our avenues in such fashion that but one side of the 5 +d mbe ea A ee ns MVATTS UTE eX ; Woon io®F - | Bate ot ott in 4 . MS 36 gaiberaoesg teh: ate She DEAT (lenis com ane tt - bihice d is of ah “tt a ow 1 Pegs bone” whee ie wits mur eet ge wan” enitiocmt of Gt Saw Ree so) Wiener Aine a 2 “id Jaa wach : + ‘ os ra ates 47) {Da eInT 3 mauTos Tig | “Cir Beata ‘itn aA). sede #2 3 i ye i ae. ie Mavend ti Ayia. atts - Boye. cn slaw nec i THe giypo Wad . 20 tiie od ork el Meylis ind _.jred- gale hg pained bes Tye ee ob ae iw) #ag t Bos eco lnwiowivine alt RH [dss pts ea 4 = a an sain dH wi ati) 0 oth rears: a cal owt bf A rangi baat} Pen ponkng? sf Feevnyiteger i pews onda ac lads wee eek ts es b sand We Sonia. cet « Tapa t rpterse 84 oa teligieny b aten vivo tund ee, porary oe id a aw 3 Ky tw emir’ pcos do ely af ae ere ig mass was exposed. Civic architecture became— and has for long been—a problem of designing one side of a box. Architecture was two-di- mensional. Fifth Avenue isa series of stage sets. But pyramids, however juxtaposed, cannot lose identity, location, form, axis and summit. The innovation of the pyramidike form produced, in the contemporary architectural mind, a sit- uation. Many architects proceeded to handle the new form as they had been wont to handle the old. They built the familiar pile of Base, Shaft and Capital as high as they, by law, could; they then “stepped back” the structure and built up an- other form of the same parts—and so on, until they had filled the theoretical pyramid with as many classic cubes as possible. But at the same time, quite different tenden- cies appeared: Corbett’s Bush building, Har- mon’s Shelton Hotel, Hood’s Radiator building, Saarinen’s Tribune tower. As these giant struc- tures march with deliberate stride into American cities, it becomes apparent that we are facing a new architectural race. May we find, in this age of the Machine, tendencies which are more than local to Amer- ica? The fact is that exhibits are appearing from all parts of the world which unanimously assault a certain accepted convention of Beauty. What has been the criterion for this conven- tional Beauty? Has it not been simply Pleasure- Pain? Familiarity? Habit? It has been a con- vention which has called the matured human form—as sculpted by the Greeks—beautiful. But the potential human form—as sculpted, be- fore birth, by Nature—it would call ugly. It becomes apparent that if we are prepared to leave the pleasant security of forms already ma- tured by others—if we are willing to expose our- selves to a travail of our own—in this event, we will find that Creation demands of us a dedica- tion from which we must be relinquished by Culture. It is possible that the very stream which hewed the architectural Grand Canyon is itself about to expire. It is possible that we must look elsewhere. It is possible that another stream is already beginning to flow. HUGH FERRISS CHARLES HIGGINS, NEW YORK 13 Coal-Pockets, 19th Street and East River. RAYMOND M. HOOD, NEW YORK 14 American Radiator Building (Model show- three stages in development). 15 Model: Solution for New York Street Traffic. 16 Studies: Solution for New York Street Traffic. KNUD LONBERG-HOLM, DETROIT 17-21 Design for Radio Broadcasting Station (Steel, concrete and glass). WILLIAM E. LESCAZE, NEW YORK 22. Soldiers and Sailors Memorial. wT) BS 5 6 Interior Modern Living Room. 7 Interior Modern Apartment. HENRY KILLAM MURPHY, NEW YORK 28 Barkentine ““Bucceneer.” McKENZIE, VOORHEES & GMELIN, NEW YORK 29-31 Photgraphs of New York Telephone Building. ANTONIN RAYMOND, TOKIO, JAPAN 32 Photographs. REBORI, WENTWORTH, DEWEY & McCORMICK, CHICAGO 3. Midland Club. Q a 34. Roanoke Tower. 33 Randolph and Michigan Tower. ELIEL SAARINEN, BIRMINGHAM, MICH. 36 Design for Chicago Tribune Building. 37 Christian Science Church, Minneapolis. 38 Christian Science Church, Minneapolis, Interior. 39-40 Railway Station—Helsingfors, Finland. J. BECHINING VINCHERS, NEW YORK laste boas vat Dattani attoctine ia) EH thd ha 41-51 Designs for a Technical School. PRR be | _. R oh eee iNO¥ win ,© MAT tb ig S4RRHO mM if yiednas tote ¢ svi) a i ea s. qrties gral 9 nny: ded y pA ee: bo Se | tbo eee sro 2 & : ato sunita Ke etre. & & at gure A th ms i ‘wan ¢ eh OVIONMVAR Saar mi. pt Pat eat] Twa ieee aes ' a a oAdT sithms tet date Gro! 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O z 0 oc Lid = or O Lu o fk ot lu oc = - O uu a a O va = 4 THE JUDGMENT, AND THE SERIOUSNESS OF A NATION THE INTEGRITY, —RENAN IE aR mo bene se Sa he a “BES BS =e ichman & Kahn, Cor. 37th and 6th Avenue + “ INSURANCE CENTRE BUILDING By B gh Ferriss MASSES By Hu 3O KOM AeRS ' x ' i | > s # * a i; “ "¢ 7 be VA, ~ 4> At UT ISF | 1+, MM 2H YF. ‘Se UOloe JSHT Petite an ®s ‘SOatH q of + ry v7 ‘ . F ary beans . > Vos y “4 v é ts Mi 7 mi s y 3 Ve Ls }4 giro memes l= Zz < = | a =) < 1) ac - ioe) O W | WwW = S S = 2S a) eo} A ig THE AESTHETIC OF THE MACHINE AND MECHANICAL INTROSPECTION IN ART N THE aesthetic phenomenon of the evo lution of the plastic arts the necessity, of considering the Machine and Mechanical elements as new symbols of aesthetic inspira- tion, has not been sufficiently taken into account. PRECURSORS We Futurists were the first to understand the marvellous mystery of inspiration which ma- chines possess with their own mechanical world. In fact, Marinetti in his first Manifesto on the Foundation of Futurism published in the Figaro in 1909 stated: “We shall chant the vibrant nocturnal fervour of the arsenals and ship-yards lit by their violent electric moons, the bridges like giant gymnasts striding the rivers, the daring steamers that nose the hori- zons, the full-breasted locomotives that prance on the rails like enormous iron horses bridled with tubes, the gliding flight of the aeroplanes whose screw flutters in the wind like a flag or seems to applaud like an enthusiastic mob. The racing automobile with its explosive breath and its great serpentlike tubes crawling over the bonnet-—an automobile that whizzes like a vol- ley from a machine gun is more beautiful than the victory of Samothrace.” From the appearance of the first Futurist Manifesto of Marinetti up until today, there has been a ceaseless searching and questioning in the field of art. Boccioni in his book, Futur- ist Sculpture and Painting (1914) stated that the era of the great mechanical individualities has begun; that all the rest is paleontology. Luigi Russolo (in 1913) with his invention of the noisemakers constructed new mechanical instruments to give value to new musical sounds inspired by noise, while Luciano Folgore in his poem the Chant of the Motors (1914) exalted the mechanical beauty of workshops and the overpowering lyricism of machines. Later, in my manifesto entitled Absolute Constructions in Motion-Noise (1915), I revealed by means of new plastic constructions the unknown con- structive virtues of the mechanical aesthetic. While the painter Gino Severini confirmed by means of an admirable theoretical essay in the Mercure de France (1916) the theory that “the process of the construction of a machine is analogoys to the constructive process of a work ot arts This Futurist exaltation of ours for the new era of the machines crossed the Italic frontier and awoke echoes among the Dutch, the Rus sian, the Germans and the Spanish. Fernand Léger recently declared his painting to be concerned with the love of those forms created by industry and the clash of the thou- sand coloured and persuasive reflections of the so called classical subjects. Guillermo de Torre, the daring Spanish poet and founder of the Ultraist movement, an- nounced in his manifesto “Vertical” in 1918 the forthcoming epoch of the new and mechanical world. Today we see a new tendency manifesting itself at the recent international Artists’ Con- gress of Dusseldorf. This is the movement of the ‘“Constructionists” as exemplified in the works of the Russian, Dutch, German, Scan- dinavian and Roumanian painters among whom we may note Theo Van Doesburg, Richter, Lissitzsky, Eggelin and Janco. The Construc- tionists, though they take as their starting point an extremely clear theory, announcing the con- structive exaltation of the Machine, become inconsistent in the application of their doctrine, confusing exterior form with spiritual content. We today—without ignoring the attempts that have been made in the course of the last years by ourselves and certain Futurist friends of ours—intend to reassume and synthetize all that which has been expressed individually and incidentally in order to arrive at more complete and more concrete results, in order to be able to realize more fully new aesthetic values in the field of the plastic arts. Our experience has convinced us of the truth of certain of our plastic truths and has allowed us to perceive the errors that lie in others. A 4 ; = a ‘ , ha 4 4 i” 4 if wl 4 ' i 1 H7Ta> i b . i th an - "| Cir*srt ae cee kes iP + eee G ' + ' ‘ido i by i bSerimesn be 6 3 ‘ > | A. 2 +A ‘ is ‘ rt) , } “eee Seat I ? : * 7 Fein hb asain TEAITAS CE >. PRR t [3 ttt ATS) OF? a a Ln “ETT IO ¥ MY uf maid 4 A My ae ‘ “4 rd a8 = ‘ Laclinghit be Oe tn , s : i 5 romo cent aah giyialter tale 4% Cyt aa x eyo eh itt; a teaie: 5 shi ‘Coal ‘if egg arap | Ww bien att cobepen is a) ie a yes Hr rhe ee Po : 7 i a Wig See 7 = ) ahs gPaieiteny ot ait ites: ee th: Teh ie moet Roe ep ine | gy ? “or, 7 14) | ‘ ry wt | Bal? i 7: by 5 b, ft ine eS bj Cer PL Kew g¥ ie { 2.9% ee a7 r ey ar 3£,->3 ¢ °F Ly a 7 H ¥" a. AA es ; * de Mae a > - * 7a i ry Te: ae a% a ¢ : * ie a tig ; Bwiht 23 < et 6 a3 r te we La a 5 ~) ur e. ™ a Pe) # we 0 \ : ~ Ss ant T ae) , : f. Bey, rt EG: y Beas bas S -* ” we : lew mite? text odd te wert) veld. | i wha Gl » ats ie Bhs vee Drie neitelon ae 5 ee — wagl os 0 Serie: Haw | (eran) ort patee sake] “4 mo gk fsa ani Taamsete ides oad otk: Sell rindhad oe er eh r “ono OLD AND NEW SYMBOLS In the history of art throughout the ages the symbols and elements of inspiration have been suggested to us by the ancient legends and classic myths created by modern imagination. Today, therefore, where can we look for more contingent inspiration than among the new symbols which are no longer the creation of the imagination or the fantasy—but of human genius? Is not the machine today the most exuberant of the mystery of human creation? Is it not the new mythical deity which weaves the le gends and histories of the contemporary human drama? The Machine in its practical and ma- terial function comes to have today in human concepts and thoughts the significance of an ideal and spiritual inspiration. The artist can only pin his faith to the reali- ties contingent on his own life or to those ele- ments of expression which spiritualize the at- mosphere he breathes. The elements and the plastic symbols of the Machine are inevitably as much symbols as a god Pan, the taking down from the Cross, of the Assumption of the Vir- gin, etc. The logic, therefore, of aesthetic verities becomes self-evident, and develops paral- lel with the spirit which seeks to contemplate, live and identify itself with reality itself. RAE AtelHETIC OF THE MACHINE AND MECHANICAL INTROSPECTION We, today, after having sung and exalted the suggestive inspirational force of the Ma- chine—after having by means of the first plastic works of the new school fixed pure plastic sen- sations and emotions, see now the outlines of the new aesthetic of The Machine appearing on the horizon like a fly wheel all fiery from Eternal Motion. WE THEREFORE PROCLAIM 1. The Machine to be the tutelary symbol of the universal dynamism, potentially embody- ing in itself the essential elements of human creation: the discoverer of fresh developments in modern aesthetics. 2. The aesthetic virtues of the machine and the metaphysical meaning of its motions and movements constitute the new font of inspira- tion for the evolution and development of con- temporaneous plastic arts. 10 3. The plastic exaltation of The Machine and the mechanical elements must not be con- ceived in their exterior reality, that is in formal representations of the elements which make up The Machine itself, but rather in the plastic- mechanical analogy that The Machine suggests to us in connection with various spiritual reali- ties. 4. The stylistic modifications of Mechanical Art arise from The Machine-as-interferential- element. 5. The machine marks the rhythm of human psychology and beats time for our spiritual ex- altations. Therefore it is inevitable and conse- quent to the evolution of the plastic arts of our day. ENRICO PRAMPOLINI (Translated by E. S.) Reprint from Little Review. AUSTRIA DR. JOSEPH FRANK, VIENNA VI 52-54 Perspectives of Country Houses. 53 Ground Plan and 2 Perspectives of Coun- try Houses. 56 Ground Plan and 1 Perspective of Coun- try House. OSWALD HAERDTL, VIENNA I 57-59 Photographs of Country House in Meran. 60 Photograph of Workmen’s Cottages. 61 Photograph of Architectural Exhibition in Paris. 62-63 Photographs of Architectural Exhibition in Vienna. 64 Ground Plan and Facade of a Country House in Erba. 65 Perspective of a country House in Erba. PROFESSOR DR. M.C. JOSEPH HOFF- MANN, VIENNA I 66 Project for the Beethoven Music Hall in Vienna, Perspective and Ground Plan. 1:1000. 67 Perspective of the Vestibule in the Beeth- oven Memorial in Vienna. 68 Perspective of the Austrian Pavilion at the Exposition des Arts Decoratives, Paris, 192 9: PAE OE PE Be ide 4 [ Ta) ivaigenty wh 404 ad ton teem girteels brocusdyee AY (MTG sa i] 74 rudosté wT ’ us i M aay bi32 7 ast . lé st atin “2 yaa 9 Beads wit} lareuat of em ined ahem. -oceaiq sch , & T r , ‘ ‘ 4 * i ne ¢ ! j if si ee a. tg {3 ~ A P ) bye a | ivi: i ay ‘ we . * f~ Air. §G ‘ io Da i .* Hes" eS -\ 74 is a —! 2x: 4 - oie } - ion f 3 6 t ' . nye oF U vv : Eyles! 7+ Ve 7. ree . 1 e f i ray x 4 ‘ i 5 230M -orReOL 5 MeO Tt Z vEr4" wal | chy BEE ye : a eERersin or { rel . aa > at ao ~tpeae) we. ee a i sont Ee byeph tay yal sapiens ~~ yd et ok Serene iraboat yd ier a SHER. As “ih G&S viadve 3 Sioa $0 0 goose ned couUniqQeaae to mobteon ae nvynted Gort Gis ke heh yerane! os. sone 4 —— watt 45a. ietustits the al vobet? ang ce hat toad Sais orcad to ade aay pew auile whol fil dA again. ist he ; ont fie Lanter ei of oO htieeil ai euan wired oy wee bp atts SRG] 7 YRS ree oo . ete Wey (ie. use seit te: citi? 31) SEAS OP te 244i TWO ae ity juts. elicit 3 lad ie ma eeitr 2 a ‘aT va a rane meses? ar J Log se . sae of. bate wy ‘arg pacts rata be rie sushi “3 ite ites wie oh etase do fr locrr NW i t; -~y- te ho ee ed - ai “iff “Veubd bi ROTOR ATU TAS bittees: Eeia ou pave yh aeitt “ 4401 ts rv siienta eye aris to one 1 Sieeio, serum. hs io. saci: sak — a aria a A ail Way cual get Mie indo ah a mak “a2 non ir lesshervigz: isk oma wht of ats wbhadina % aienies eras (: (eer he ateseels tasandae i sisval desad 4e onevadl Pi -* ; . - betty aendaeer at? te any irae | eine am wy. wine | crite Mp snokwos sdb statins spe neces eg OHO ph Hoffmann PROJECT FOR BEETHOBEN MUSIC HALL IN VIENNA By Jose 11 RUROINI . A j bh ; eae 4 SS i hom EL MODEL WCRK'!NGMAN’S UNIT HOUSE By Oswald Haerdatl Photographs of Country House. A. Z. Ulrich. j ‘eS mune | SERRE RS aaa ao it 2 num PT TTT TTI mam | PT Ty TLE LE LLU) L-} ee ait ae 98 BADBANLAGE = M*ESO UY ENOL FACIRR +E 0-8: A-- ROFE MANN WHS ry #52 é bassy Building in Angora. Country House in Angora. ; |, Bh Bi: EE awe Seeeseeeeeseeeoe AS : 69-70 Photographs of Inner Rooms. 1. Corri- Photograph of Country House. Phil. dor. 2. Pantry. Ginther. 71 Photograph of Dwelling House. 81-83 Photographs of Country House. Phil. ; 72 Photograph of County House in Velden Ginther. and Ground Plan. 84-85 Photographs of Country House. A. Z. 73 Photograph of Hall. Ulrich. 74 Photograph of Lady’s Dressing Room. 86 Plans of Country House. R. Trestler. | 87 Plans of Workmen’s Cottages. R. Trestler. CLASS IN ARCHITECTURE 88 Plans of Country Houses. C. Panigl. 89-90 Photographs of Hotel. H. Steindl. Sues DEM. C.J. HOFFMANN, 91 Photograph of Cottages. St. Simony. VIENNA | 92 Photographs of Cottages. R. Trestler. . 93-94 Photgraphs of Country Houses. R. Trestler. 75 Ground Plan of Country House. Ulrich. 95-96 Photographs of Country Houses. C. Panigl. 76 Ground Plan of Cottages. Ulrich. 77 Photograph of Bath Room. Lilly Engel. 78 epeeseaph of Country House. A. Z. DR. OSKAR WLACK, VIENNA VI Ulrich. th as aitn hi onan - 79-80 Photographs of Cottages. A. Z. Ulrich. 97 Perspective and Ground Plan of an Em- “a = PROJECT FOR BATH-HOUSE (MODEL) By Lili Engel, Pupil in Master-Class Prof. Joseph Hoffmann, Vienna 12 d Bt A ‘ af i ifs.) ™% me i iste ate = P + j i & , ° i 29819 ‘ iv a eed ee > \ ye arts y,] . a€ 7 | oe * att ¥ ¢ rs * ; pe Aer MAAR TIO 1 *% \ a ee mm ae : fae: ee TE awe > +3 +f Dire 3 oe one kim " Pied As Pie GR, - oth eo i r , "a a ’ ——~e bs ft J 3 “i ‘ : f age ; Wy. a =~ Zh oh, - % tee . ee r ? 2 : at, pies _ in eS : — a , we ‘ : ; . we soa 6 ae i ea a i | Pa =i ROT ate * ‘ee ey: i al WAM te te 12 : a ne . ae a ee Ns ,; HEX P 4 2 RGSK EO Beer Sew ene i We "5 . a Wee We oe Sa oe ee g > Bie ecsere ot Ree j PEN Bid b ie bP aa a Be fet oe 6 1 : Ueds 8 _ LD td oe Wars : ¢ } +N (i A “if on < 5 t as ce bt , DAs: MACHINE AND ART T IS indisputable that the basis of Art al- ways remain the same, even though the exterior forms of Art change, the spirit of the epochs is reflected in these forms. Before the period of the Renaissance, Art was bound to the religicn, and was mystic in general. These yariation of forms were called “Style”. Thru these different styles, we recognize the different spirits of the epochs which are reflected therein. Let us look at the Egyptian style which, through its monumental character, reminds us of the mysteries of the eternity of the Earth. Let us look at the Gothic style which precip- ‘tates itself towards the heights of religious spirit. This styles was only possible during the Middle Ages when the tension of religious be- lief was pushed to extremes. Many other out: side expressions tell us of the spirit of passed epochs. I prefer not to dwell on the period of the Renaissance, because this form of Art contains less than any other, and I think that the histo- rians are wrong in calling that period “Renais- sance” for it was, in truth, the decadence. Let us take the present epoch—The Machine Age. If we were not so close to it to-day, and if we could see with an eye embracing many centuries at one time, it would be easy for us to distinguish that the present period is the time of Machine and Action. Since Art is the reflection of life, it is evi dent that the Art of to-day must be bound to Action. I willingly attack this subject for, at present, I am working in that direction myself. There is great danger if the bad road be taken in solving the problem of the union of Art with the Machine. I am giving, herein, the danger ous road as well as the correct road. I find the dangerous road in painting which represents only fragments of machines. For example, futurism and dadaism. The artists of these two schools have painted and installed in their pictures, fragmentary wheels, mechanical parts in an illogical order which only express Rhythm, not the rhythm of movement, but rather the rhythm of distance and color. These paintings remind us of junk shops, but in no case do they speak of our time, the Epoch of Action. I do not think that the right road would be SCULPTURE By Alexandre Archipenko 13 wre ; i > Sate: 4 % - » Pa “4 BS 4 v r 7 fT iJ te; be * ; WAL ee I ms - “ OMS i z md 4 Sii2 By ew * Loy, oa Pes ~ , Oi i if . " ‘ee Sa rial ' V A et lo 3 a < ; J arly a huni isa 4 aes" enthinas tA jo caus. 3 “odetel ott acy ieee '*, a, ae = iy : , esi a” : Ein rey 3 beatae +s f . ~ ee | 5 ide, ‘s Sunabesabs i ¥ a 7 - age Oe ae , ? “4° : 5 ie, wide ad T-~dooe Z | i. ae Dns eho a ons nit seaomrdins sty ae mak yeas wl Lalo of 2: boieq Jase 4 had a at * — “ . VIA GER.” ome. whwweh OR = on y + ' oY? to build a machine which wou'd accomplish the movement, even if this machine were useful: an automobile or a turbine. I see the right road for the union of Art with Action, only by means which permit the interpretation of Ac- tion through movable forms and colors. | have been working directly in this for several years, being inspired by the Einstein Theory of Rela- tivity as well as by the ambience of the most modern city of the world, New York. I have invented “Peinture Changeante” with which I can paint different movements, rhythms, all kinds of changes and transformations of line, color, form and subject, beginning with natu- ralistic forms through the most abstract forms. This invention is called “Archipentura” which means, superior painting. I do not disapprove of static painting which has refle-ted the most refined variations of the soul and human spirit, but as this painting does not possess the means of reproducing the real action, | do not think it the right means to express our time cf Action. To this end, Archipentura is superlative, be- cause it can show real action in the picture, ALEXANDER ARCHIPENKO PROJECT FOR A RADIO BROADCASTING STATION By Knud Londberg-Holm 14 COAL POCKETS A : By Charles Higgins, New York es ycoptogs: Sylar duithy satfizan & ring SOR iat ets (bee, at Jus ot dee) orate ver Sa wet dw dA oom | pare ots Sane | «sobs Dre etn aldgvom fi ray S15" 1} ‘13 it ae ot ] lo vas. mind “a es 6 sorties oda vd 26k pet walt bhow si “omg suit” 2b hy garisb OR rt eotib. a sqnesgsihetence arr die giewniyed onden rtiha dros ny ‘g | A * oct acttsatiete ih bs ily . pirat? tet bb b his 4 ence Sl dee ales ort) Tiel i Ngee rth | fans te a Wk #4 ae gas pth amy I aie f re dt Jag sdb 1) gaa Pee | A jo sit sat cries dd orcmiyeue 1 oeg TWIT Orr] a ned PPA ARK : mn 3 amy ——— = ¥ n ' : ’ “s 4 Fy se 4 % < ¢ cheat i) 7 we ey re a! ; 4 ” — y yee { =, ike t Le $ ++ % * ae se My ey bs ‘“ : vga: Hoe oh i Neat tae CO en PS ae Ny i re dhe : yes 9 Gag Ra ee SE GARMENT CENTRE. NEW YORK F. A. Fairchild’s Aerial Service BELGIUM R! ACKE, COURTRAI 99 Moving Picture Theatre “De Gouden Lan- teern” at Courtrai (fa¢ade). 100 The Same (Interior). M. BAUGNIET, BRUSSELS 101 First Sketch for Smoking Room. V. BOURGEOIS, BRUSSELS 102 The Modern City. Place des Coopérateurs at Brussels. 103. The Modern City. Apartment Building in Brussels. Ee. KONINCK, BRUSSELS 104 Miscellaneous. L. DE KONINCK AND L. FRANCOIS 105 Apartment Building in Brussels. J. DELIGNE, BRUSSELS 106 Hall for Dancing Lessons at Brussels. 107 House at Brussels. J. EGGERICQX, BRUSSELS 108 Villa “L’Escale” at Le Panne (Belgian coast). L. FRANCOIS, BRUSSELS 109 Dwellings at Palerme and at Brussels. 110 Interior of Shop at Brussels. M. GASPARD, BRUSSELS 111 Furniture for photographic accessories and for the display of useful objects. 112. Interior and Furniture. J. F. HOEBEN, BRUSSELS 113. Villa de Mme. S. at Reeth-Anvers. 114 City Plan for the Suburb of Molenbeek St. Jean at Brussels. H. HOSTE, BRUGES-LINDENHOF 115. “Noordzee Hotel” at Knocke (Belgian coast). 116 Hotel for Unmarried Workmen (industrial city of Salzacte, Flandre Orientale). 117. Church of Zonnebeke near Ypres. “WA Ta ie Rw, ee 7 ar. oy .s o = , ’ ra i t “ia r ' ; ty a # al , y ‘ “= a 4 be} ” * ~ 4 » a ‘n Fae Ray a y= ‘ ane 5 ‘ i a - ‘ fe ii en ¥ , ia} 2 Wi = Pi ar * ie * * \ % 4 + a . My a $ r a ¥ ce ee gee a are & ai ae $ ms ove (leds f : ri b ¥ . ‘ Sih = rage) t ie eS te ee 2 2 re MPG QZAD —— i? a erent a. oe MED cokey Seo Son 4 Sibi Homey ey meri amet. of Be ao An yp mh gms ks — IOV -230URG sTeOH HM hla hott” aushawit” ~~ Fy) frm bp vrtreragis Wt ine Pf t wtilat Jo qt ihn ipa: Ti ‘ a o. i a é ’ ¢ Louis Lozowick H. HOSTE AND L. VANDERSWAELMEN, ser To Pe AND E. VANDERSWAELMEN, F.GOSSE,BRUSSELS + 118 Sculptor at Genéve. 119 Monument to the Belgian Soldiers Interned at Amersfoort Pays-Bas. 120 Pylone. Front and Side. S. JAZINSKI, BRUSSELS eee OSES 121 Cabinet and Couch for a Music Room. MARES & ZANDHOVAL, BRUSSELS MARES & ZANDHOVAL, BRUSSELS 122 School at Maestricht (Holland) at Maestricht (Holland). NYST, BRUSSELS 123 House at Brussels (detail of the entrance). 124 House at Brussels (facade). A. POMPE, BRUSSELS 125 Orthopedic Institute at Brussels. 126 Miscellaneous. P. RUBBERS, BRUSSELS eee PE. 127 Houses at Brussels. 128 Inexpensive Houses at Kappeleveld. L. VANDERZWAELMEN, CITY PLANNER, eee ete ET he AINE BRUSSELS 129 City Plan of the Industrial City of Sal- zaete (houses in the city by the archi- tect Hoste). 130 Plan of the City of Kappeleveld (houses in the city by the architects Hoste, Hoe- ben, Rubbers, Pompe). A. VAN HUFFEL, BRUSSELS 131 House at Ghent. 16 P. VERBRUGGEN, BRUSSELS 132 133 Corner house with apartments. Institute of Bacteriology at Antwerp. R. VERWILGEN, CITY ENGINEER BRUSSELS 134 City Plan in the Devastated Regions. E33 The Same. COSTUME FOR “MACHINE-VENGEANCE” By Vera Idelson i AF Ld ©? ene - + om, ! com ; 5 ¢ 4 of » i ' ao ee ; . ; ‘ | ’ 4 Be ! i j 4 pan ee + - “4 i7 < 7 : ‘ ; ¥ V4 : un 7 me) es ew 5. a 7? ay y oat J as 4 ry) J * , my 0A, ' — a a. on } IMfam” WOM Re Teo> entieh) oot 4h eporers. ae yess, seis Sih sibel ari} ooo 4 pad 1s 2 he inom if oath ee &. 128078. sa thostl)) Appeal Ee Lia sli 3 t@ {oo eee st a) ik 4a be bing oak GRAIN ELEVATOR, BUFFALO, N. Y. Built by Monarch Engineering Co. ISOTTA-FRASCHINI MOTORS INC. 401 Air Engine. EIMER & AMEND 402 Display of Chemistry Glass. HUNT DIEDRICH 403 Fire-Screens. DEPERO 405-406 Tapestries. Loaned by Nina Perera. FAIRCHILD AERIAL SERVICE 406-415 Photographs. SAUNDERS DRAPER 416 Design for Motor Car. RAVENNA MOSAICS, INC. 417 Glass Mosaic Panel. “Three wise men”. 418 Modern Stained Glass. 419-421 Photographs of Mosaics and Stained Glass Windows. Executed by Ravenna Mosaics, Inc. STEINWAY & SONS 42 423-42 2 Steel Frame (Piano). 4 Moving Parts. RALPH STEINER 425-438 Photographs. GEORG JENSEN 439 Hand-made Silver. U.S. ARMY DEPT. 440 Machine Gun. 441 Rifles. PULMOSEN SAFETY EQUIPMENT CO. 442 Industrial Safety Garments and Masks. G. LASCHAISE 443 Seated Figure. Loaned by Helena Rubenstein. E. NADLEMAN 444 Head. Loaned by Helena Rubenstein. 17 ea = " : ¥ ‘| , ‘ i i * . ‘ ‘ a eh: a eee roe rie mh ¥ £ ws 4 i yr - \ 7 aT 2 i Sa A ee ‘ ‘ j oe? : i ite . a, ; 4 cele | . haa : r ts . : he 7 i's om “ae A wa Ns ys “it AOE CPS NGM, he” PN anaes es L Ate + <4 P| r elee My ’ ~ 2 fv . e 4 vi at ey ; me ABs £3 ye ce OO 40 , ae -— 22 an 5 nie - ; wml Ta YAR Se Alek Tae pe al, ie 24 is? peti iD 4 VISAS MagQamdUN ie oe. Er ape beet ne | sie mt 321 6H 508.1 3) i « til em. moms ‘°3 f | Seer trp MIRAE ‘ Mans JQOAW ce Rares mmm 1 hee papas Louis Lozowick THE AMERICANIZA- TION OF ART F ONE were to grant the allegation that America possesses a meagre cultural her- itage and lacks the weight of established tradition, it would by no means follow that material for creative activity in wanting. The intriguing novelty, the crude virility, the stu- pendous magnittude of the new American env- ironment furnishes such material in extravagant abundance. To the truly creative artist the fallow rawness of the field should prove only an additional incentive to its intensive cultivation. The artist’s task is to sift and sort the material at hand, mold it to his purpose by separating the plastically essential from the adventitious and, in this manner, enrich the existing culture and help to establish a new tradition. The history of America is a history of stub- born and ceaseless effort to harness the forces of nature—a constant perfecting of the tcols and processes which make the mastery of these forces possible. The history of America is a history of 18 gigantic engineering feats and colossal mechan- ical construction. The skyscrapers of New York, the grain ele- vators of Minneapolis, the steel mills of Pitts- burgh, the oil wells of Oklahoma, the copper mines of Butte, the lumber yards of Seattle give the American industrial epic in its diapason. Environment, however, is not in itself art but only raw material which becomes art when re- constructed by the artist according to the re quirement of aesthetic form. The artist cannot nd should not, therefore, attempt a literal soul- less transcription of the American scene but rather give a penetrating creative interpretation of it, which, while including everything relevant to the subject depicted, would exclude every- thing irrelevant to the plastic possibilities of that subject. Every epoch conditions the artist’s attitude and the manner of his expression very subtly and in devious ways. He observes and absorbs env- ironmental facts, social currents, philosophic speculation and then chooses the elements for his work in such fashion and focuses attention on such aspects of the environment as will reveal his own esthetic vision as well as the essential character of the environment which conditioned iG The dominant trend in America of today is towards an industrialization and standardiza- tion which require precise adjustment of struc’ ture to function which dictate an economic utili- zation of processes and materials and thereby foster in man a spirit of objectivity excluding all emotional aberration and accustom his vision to shapes and color not paralleled in nature. The dominent trend in America of today, be- neath all the apparent chaos and confusion is towards order and organization which find their outward sign and symbol in the rigid geometry of the American city: in the verticals of its smoke stacks, in the parallels of its car tracks, the squares of its streets, the cubes of its fac tories, the arc of its bridges, the cylinders of its gas tanks. Upon this underlying methematical pattern as a scaffo'ding may be built a solid plastic structure of great intricacy and sublety. The artist who confronts his task with original vision and accomplished craftsmanship, will note with exactitude the articulation, solidity and weight of advancing and receding masses, will define with precision the space around objects and be- af : anetioam Imeclos bag stew) yrrroorgad pio ot ; onuD rane TR -4i4 is “eS TY wet- ogre ae aL 4% to allen trate $88 dileg conn 3 eee a9 343 .emnodnll® Yo ellow he sda aie gig altics2 to abtcy sedinwi oo) 2d - eset OOD By I> Lereeeesioey Bis epee ls «thy - ¥ . d ne Veen on eee rrewod RY orsit seiual y ie , toe the aorcpoged fom arene wu, ? ominonss wise SH ya belt Teno » Bi4 ti ts } ; rip | ;323s ys STIGAETS GP levoTll & 3 7 His) on biped pat it feDit mf % i nodoreise era ' ’ vigEevT uti IME > 3S? gets ? : pas ie? eet oy es foarte yn fa tov iis binow r$h yooh Si Gy i 33 ) BSE Ie PJ ra te tt +} OF WOES Hy : chetd y ey) 2 >, a! * ‘ 4 sia ¢ { 2 VEST Sess ” | 3H ewew sporvel:ai , ? -- iy , iin | t ie 326 Kirn aire - - 4 : ‘i ei is ib re \ . $ MIRE + . - i ; & 10 rr t ey «tt ; 4 7a JP4 eos wos - ve : { bec) pad me : 4 han sat hs: im) h) TST v4 , ' hn ’ i ee begs ths rey getters Ott : wert if Lira ? * Gf ey fl a] ’ ’ . - ¢ ai al f ( tA : SE a f - (nid ‘ fi e\ k \ : l a wT eY — es “ry P a {fF fy al - ¢ ery * i LTE wr bur ¢ TY ‘ fy - hh tye) > , . 4 i i i? rt , ; : se 9 141 of) , : © j : t f rf ‘ eS he : at AG t 4 im : ; } 4 — } \ i Marana ast hi t ; } 4 thé ete ‘ , ra me y - ~-ASIMAOTAS » TRA WOU int} Gateneiis 26? Oh youd le sty i hE off} £ AT sai oo aw od wilay ober ag woo nee waged 3, aes see eo oo: lei sit Site oct. ee As gine Way inser 43 + ose syste 231-0 te ieriatse ait des bom Fy wis prituvatee ye SOD bene art Fes she sets a7. brs swwikio Sfiniexa wis Acts either) eee duse to vrotdid 2 sore: lo asotal att ond of Mole bac aloot oft lo gottvelsor See sot sant to yoann sft erotead sa inomA to hee oe ‘3 tween them; he will organize line, plane and yolume into a well knit design, arrange color and light into a pattern of contrast and harmony and weave organically into every composition and all prevading rhythm and equilibrium. The true artist will in sum cbjectify the dominant experience of our epoch in plastic terms that possess value for more than this epoch alone. A composition is most effective when its el- ements are used in a double function: associa- tive, establishing contact with concrete objects of the real world and aesthetic, serving to create plastic values. The intrinsic importance of the contemporary theme may thus be immensely en- hanced by the formal significance of the treat- ; ; . 60” SUPERIOR McCULLY ALL STEEL GYRATORY ment. In this manner the flowing rhythm of CRUSHER modern America may bz gripped and stayed — Built by Alls-Cllalmers and its synthesis eloquently rendered in the na- tive idiom. The whole of mankind is vitally affected by industrial developement and if the artist can make his work clear in its intention, convincing in its reality, ipevitable in its logic, his potential / = audience will be practically universal. . “e And this is perhaps as high a goal as any artist = might hope to attain. — | LOUIS LOZOWICK ; f INDUSTRIAL PLANT Louis Lozowick Russia 19 4 r etn stuals cori! ozinep i Bie ews P : . e ‘ i A tL F ee : ome ene 3 x ia 4 vs Pie a 5 ‘ 4: hf ; hi f bal . i 4 ; : pe Sy 13 , st -* e ‘ Pee ™" i a ‘ A \ i * ‘ a i >} cae ip’, Peat n a “He i . af a é : ! a 0 Vis shots oH tee petted Re peepee ROIWORLD ei GARDEN FOR NVON. LE VICOMTE DE NOAILLES A HYERES By Gabriel Guevrekian ROOF GARDEN, HCUSE GF NON. E. B.. VERSAILLES By André Lurcat 20 < f, F - ud ‘ , \ o> * gy * rw "= yu ’ ~ = | 2) ie “. ‘ss i ¢ . : F ae ‘ dew or J . i 2 hae 9 Ale. 7 ath: VILLA AT GROSLAY NEAR PARIS By Jean Moreux HOUSE AT BOULOGNE-SUR-SEINE By Robert Mallet-Stevens FRANCE GABRIEL GUEVREKIAN, PARIS 136 Photograph—Garden for Mon. Le Vicomte de Noailles A Hyeres. 137 Plan for same. 138 Colour drawing of same. 139-140 Photographs of model for Garage. 141-146 Studio Alban. 147. Plan Perspective Axometrique of same. 148 Villa for Mon. R. W. 149 Arts Decoratifs, Paris, 1925. 150 Garden Arts Decoratif. 151 Music Shop “Au Sacre du Printemps.” 152 Music Shop “Au Sacre du Printemps,” Interior. 153-157 Plans for Garage. ANDRE LURCAT, PARIS 158 Plan for Workingmen’s Dwellings. 159 House of Mme. E. B. Cite Jeuret-Paris.. 160 House of Mme. E. B. Cite Jeuret-Paris, Garden Facade. 161 House of Mme. E. B. Cite Jeuret-Paris, - Interior Stairway. 162 Garden of same. 163 House of Mon. A. M., Versailles. 21 ~ nes ' 6) * iat ‘" , be ‘Tr ue . « ¥ Dp 5 a ay 7 Fe ‘ T * ¥. 1 ; A * 5 ee Sa) ‘ ' } dg ee z ; aS ze i — ‘ ALe a 3 : + Me MOS i ig wordt : : prt, , wear, p LZ ! jet. “ay. tee “ip Rat me winks Wh tea): \ A noted ont al ' ~ ‘ 1 . + ” > ne | nee { ivf GARDEN FACADE, HOUSE OF MON. E. B., VERSAILLES By André Lurgat 164 House of Mon. A. M., Garden Facade North. 165 House of Mon. Jean Lurcat (Painter). 166 House of Mon. F. T. Cite Jeuret. 167 House of Mon. E. B., Versailles. 168 Living Roome of same. 169 Furniture in Library by Gravures. 170 Houses of Mon. A. H. and Mme. E. B. Cite Seurat, Garden Facade. J. CH. MOREUX, PARIS t2t 72°" Plans. ROBERT MALLET-STEVENS, PARIS 172 Photograph, House at Boulonge-sur-Scine. 22 tes * * 4 if f. FRENCH ARCHITECTURE HE BALANCE sheet of French archi- tecture up to the time of the present movement may be summed up as follows: Tradition abandoned in 1820; since then a cen- tury lost. This unfortunate result has come about in spite of the isolated efforts of such architects as Viollet-le-Duc, de Baudot, Tony Garnier and Perret to recover the line of pure tradition. The lack of response to their work may be accounted for by the general confidence felt in the teaching given by the state schools under the successive governments of the past century. q =e | (e - * "7 ' | df ‘ - a ies a | e i y v! ‘ a ‘ ; Ay * § » 4 % i : ; | ¥ ' a ae % , a a ; 3 “ rt ta, ie Daas ; ' « 5 ae, - SS Ce * ‘ i= re H : . 4 io he v, Pie ae - ab: i 2 “fi is A ; * sal r J A 4 th ' dee. - ir s ’ vs | Oe Leek Spe My a ae ie: 4 | 3 Bee A Pee & Ge : ’ _ ia ; > % is ; ‘ at © TF ere £54 he oe ee eee a , ren, i” 4 a ay 1 r TD: AN EN: fs qu oe Me “4 | ra 35 | val watt ah owlatwioy act! HF TRANS 4 inst benne fereig oly wl a6) 2uWInio> Jon ah eaieeOy a. = a - a - ° 7 > ay — “4 5 _ +e ~* oe ‘3 Ca eongee > aoet i UR ond asi clei, ie Ne on, ; f a8 H ana ye he a a --* 7 ; Our School of Fine Arts was founded a hun- dred years ago on a false theory, and from the beginning its teaching has been empty and un- real, based on a misunderstanding of tradition. It must die now of its own malady; we can do nothing to help it. In the first years after the war a few archi tects appeared who had observed the spirit and needs of their time closely. These men were trying to draw up technical and aesthetic laws for new buildings, adapted to modern life and enriched with the immense possibilities offered by the expansion of industry. Under the stimu- lus of such an opportunity very young archi- tects, not connected with any official organiza- tions, are now beginning to develop, thereby justifying their forerunners. The Frenchman, who is both intelligent and distrustful, has a fear of innovators. He must observe them before accepting them. This re- sistence, however, is a source of fresh energy for us, as only those who welcome struggle and op- position will survive. The hangers-on of the early days are being automatically eliminated, and our own efforts are consequently more fo- cussed and willed. The few “modern” architects in France to- day—for we are not many—may be considered innovators. (1) Unfortunately our small number is not all that prevents effective acticn. We are also hampered by our fundamentally individualistic habit of mind: no organization, and hence a scattering of effort; no influence in official quarters when competitions are held; and no aid from the state for propaganda in France or abroad. These are serious drawbacks in our time, when architecture should be essentially collective. The “modern” architect in France at present is completely isolated, unknown by the public and ignored by artists. It is important to stress the continuity of the instinct which leads French architecture away from theoretical research and toward construc- tions uniting both plastic and structural values. During those years which were so rich for us in plastic, and so lean in technical experience, we were concerned chiefly in saving the intellectual and structural values from being wiped out. But we also had to avoid the dangers of the machine-attitude (a misunderstanding of a new form of beauty), which could result only in suppressing all life and lyric quality in the plastic expression of an art already abstract in itself. We began by completely shedding all decora- tive formulas and following simply the nature of our materials. This brought inevitably the unity of appearance and simplicity of expression which are the strict basis for the future of a new plastic development. Our first constructions show clearly that we are using only primary elements, whether in volume: cube, prism, cylinder, sphere; or in surface: square, rectangle, circle. The future will show whether this shedding of an empty culture, resulting from a plastic purification and the economic conditions of our time, has helped to develop architects who will recapture the tradition abandoned a hundred years ago and who, for this purpose, will find the laws of their own aesthetic within them- selves. / ANDRE LURCAT January, 1926 (1) YOUNG FRENCH ARCHITECTS: Guévrékian, Le Corbusier, André Lurcat, Mal- let-Stevens, Moreux, Guilleminot. To be recalled: Augusté Perret, Tony Garnier. (2) CONSTRUCTIONS: Guévrékian: shops and gardens. Le Corbusier: private houses, Paris and vicinity; public garden, Bordeaux-Pessac. André Lurcat: vicinity. private houses, Paris and Mallet-Stevens: private houses, Paris and the provinces; garage. Moreux: industrial plant, Paris; country homes in vicinity. Guilleminot: Note: Since this article was written, the impulse of the young has gained strength and the public seems much more favorable to our movement, apparently recognizing its necessity and truth. 23 won 6 to giibamieishwue a ni vino Mest) Bhi doariy oo) gh : 3 mM Vel esas ¢ is fe T. Spee POAT Le ris 6 SIOIGE SS ELD x a> i ibis r i! ao <0 ea , VW stt oi) Yep warwey i eprarert yee i oF : cae j Sri Ve > et vv Mf bs . eee Re Bes | te) Tai Sy ort afd tol weed Genre oat ak Aare Voi 21h rf ‘ , rer tj ; / 1% i 91 aes Tia 7st ’ > { AT! boat wis ae Tp P 7 ie a | i + Dee t Live. (ey a eett ; ot - ' “ ' 7 ritj es i ¥ é 4 “Sh air ls ” 3 i A iy \ t tH} * rc r , a } i/ } bee rae ‘4 " , rity ; ~— , 4 ive iJ ~ ry ;? es) f d Bi ; > 1 mi { peti rT ee |] msrtTt eo ; ¢ } ‘ sh ; \ Ll TS0I8g Vas, + ‘cepa : ‘a = On Severs: ib (z | ae ae oo Car sURIOIOS Ako Tks hag | sieving “ctepued, Sabie met «69SISVTHY 2G) eRe Ysa t Pt . thy . igi pulled MV eT a: i Povey traiq isreubat cero PLM INT tS tonics of) uesitiow asw site eh aoe tt Cs ~ _ ~ ad on Zt Ff oo) - bing doynsite Loniey and yeert oct lo sala’ Bt 93 gidsswew ft 1 aust eres: culduq ad ot eiaeesnené dnacawonn don bas foe ys ne oy hs bovinale sei kes csi ory mitt bas 0 apis 3 sna bea viguy Agee needy odbans ® ¥yetaee ‘ ob aka var vphalaent ale atta pa aeodt seleainks satis worn bow lected yap shyt Wiss OF byrshe souslidiong “rns He vba hak. see? eer -ssuienio Leites vie: fads Sere OF Ling sowie droll eici 3 sarote rtm * acl .owdt.ae ee SE eae dese) Log ae boys ee a BURECE ° es i eee re satuotle iin ote of fy eeaepaee wd sneTd ova havesienoo sel oni is e? hx son eh sor Saat cals os 2W oe sieisubivieh yllert ne & outed Lee Aeusas Sat lasdie al < if msi we: big ae Dae pyre 10 soerl ¢ ‘ qilarsaeee POWER PLANT 4 os ee DOUBLE-HOUSE, BAUHAUS Dessau Germany, By Walter Gropius STATE THEATRE JENA By Walter Gropius and Adolph Meyer, Germany x: wy | 4 tl wa di 2 al 2 . *. ' f ™ ‘ * ” 4 a me ‘ign % ae ; ie. ‘ 7 one wats BERLIN CENTRAL A!RPORT AT NIGHT Photograph Courtesy German Railroads ae ge ET TTT ke TTT: HE ttt ys isa ety RFT PRATER CET a IS LO FTE TORR ow | aa ‘ iH @ i " Ad HATE CHILI-HOUSE, HAMBURG 26 GERMANY GERMANY Lis 174-179 180 181 186-209 210-211 ee to tm — ty2 Municipal Gas-Works Berlin, Photograph. Industrial Architecture, Photographs. Modern Factory Building, Hanover. Photograph 4 motor—nine passznger plane ‘Air Hansa.” Photograph, Berlin’s new West Harbor. Photograph, Three motor plane manned by two pilots. Photograph, The Bow of Chili House, Hamburg. Photograph, Giant Cooling Tower Berlin Generating Station. Photograph, New German Architecture. Photograph, Factory, Eric Mendelsohn. State Theatre Jena, Walter Gropius and Adolph Meyer. Model for a Garage for 1000 Automobiles. rte wr = os re epene TRE TA for a «2 ¢ ge - eon, ane ‘ : ns — = da ‘ad » ve ATELIER AT BAUHAUS Dessau Germany, By Walter Gropius MODEL FOR A GARAGE FOR 1000 AUTOMOBILES By The Brothers Luckhardt and Alfons Anker, Berlin PPPPPrrr Pebhrretherige iss: Ferrrrrrr Perr h rrr PPP PP a 27 , x = G2 31 Porcelain Computing Cylinder Scale, which automatically indicates the weight and price of the article being weighed. 332 Mahogany Fully Automatic Card Time Recorder, equipped with program de- vice to ring bells, sirens or other signal equipment. ALEXANDER ARCHIPENKO 333 “The Glorification of Beauty” Bronze. 334 “Flat Torso” Gilded Bronze. 335 “Silhouette of a Woman” Bronze. Silver J. R. HERTER & CO. 36 “Spring” (Printemps) Modern. 37 Stained Glass Effect (Copy of Mediaeval design modern treatment). 338 Flower Basket (La Vasque) Modern. JACQUES LIPSCHITZ 339 Toreador. 340 Woman. 341 Musical Instrument. MAN RAY 342 Chess. OSSIP ZADKINE 343 Head of Young Man. 344 Lady with Fan. 28 THE FAFNIR BEARING CO. 345 AMERICAN CAR & FOUNDRY 346 CHARLES DEMUTH 347 348 THEO. VAN DOESBERG Double row, radical bearing, self-aligning type. Model of 47ft A. C. F. Cruiser. “Business”. “Brom the Window of the Chateau”. 349 Card Players. 350 Colour Construction. 351-353 Time Space Constructions. LETT-HAINES 354 Painting. PEVZNER 355 Wall Decoration (Red). 356 Wall Decoration (Cork). 357 Construction in Relief. 358 Head. 359 Head. GABO 360 Lighting Tower. 361 Torso. ds ARCHITECTURE RAW SULPHUR STORE-ROOM, GERMAN INDUSTRIAL Photograph Courtesy German Railroa wee we wr q — , e : ; . i ay ee Fs ‘weit " lugie “ fants yeh + i 7 sid “a 38 i TILES RaW: ts at lo Ora @ , i | ‘ ro. a « . ,= ‘ : i : Ss sen ) qaayony “g kg VLOALIHOYY WOG 7 —e > ee ee a ae rere SRN a” ee ee eS es ee ee rn rs SRN eg 6 en ae ee ee . , ‘ . A ee j vusoLVIeEd Bloemea He MS Were OBVROD F UOMO! ad Avia F980 . = 431) worrog : : dd a A | ! 2OTI BVOImjeny Cress -D ey Greasy eyuEKe QZTIIEGPOUSES YebzD WA VHA IA CA WanIzoOg BuUjVAZsenw QPyaZO eine AGS mt Ee jued Stonod | MO eugse Ose Hrd Woz. ‘ Caiduens eu) VINSLIHOUV WOO es VLHSLIHOYV WOO j LYAaHOV1'S - cs £S fo ’ > = a See eR ee nee iy ene eee eR. ae. a eee eee ee ee oe oe ee ee ee eT 9 —_—--— aera sis cecal " ary Pan oo ee a aS Se ee Ta ia it ie tP: : eave: id SER hE a Ae, “6 et: - 7 ? Ns : f D 4 ae i * : Pag aan % Vee GRty vee ez te weeny SR. To eqee "Ab Gh Ses a er a7 fi i. \ iy bm 4 "Tt ts eke i {ly Pi A, wa Po: itt _ 7 ae ole “ay ‘ ¥ he’ i. a Og ~ Mn rs \ ‘ F : t, ‘ Le Pe He Neds ‘ vel’ a fe allt atte ; “inhi gh oe ARCHITECTURE OPENS UP VOLUME F ALL the plastic arts architecture is the most closely bound to human life—life conceived not merely as a physiological function but also as a certain process of vital rhythm, as the composition of life. An architectural work blends with space. It might be said to recover the space which is out- side and to functionalize the space which is inside it. That is to say, it gives a well-defined purpose to each segment of space which enters into it. The functioning of space, entering into an architectural work acts as a scale. In every house, during the period of its destiny, daily life is played upon the notes of that scale. The construction of a modern building is based upon a new conception of space in archi tecture. The architect of the past ENCLOSED SPACE IN VOLUME. The historical steps in the conception of space in architecture may be indicated as follows: CLASSIC ARCHITECTURE placed volumes side by side or on top of each other—the lighter on the heavier. The prob- lems of form were solved by a juggling of pro- portions, which at that time expressed the whole notion of art. Result: the period of revolt, characterized by an aesthetic hypertrophy and the degeneration of ideas of proportion. Consequently modern art renounces classic art from the ground up and even refuses to try to modernize it. CUBISM made efforts to unite volumes by means of their reciprocal penetration. CONSTRUCTIVISM placed heavier volumes on top of the lighter. Problems of form were neglected in favor of problems of pure technique. Result: technical hypertrophy. 30 SUPREMATISM balanced the relationships between volumes. PURISM made compositions of the lines of walls, enclos- ing space. THE NEW LAWS OF ARCHITECTURE are based on a heroic composition of communr cating passages, and neither place volumes on top of each other nor side by side. THEY DESTROY VOLUME ONCE FOR ALL. Mcdern technical means will allow the archi- tect partly to move and partly to destroy the elements which make up volume; that is to say, to open volume out upon space. The interior, opened by this mobility, will blend with the rest of space and take on architectural values through the functioning of each section. THE CUBE WILL NO LONGER EXIST. Walls and openings will become a subordinate part of the building,—they will be movable. The only stable elements left will be the up- rights, about which all living necessities will be centralized. The new schools of plastic architecture make use of modern technical means, and the latter serve not only to construct but also to create the forms in which the courage of abstract cre- ation will henceforth actualize itself. It will thus be seen that the creative thought of the architect has left the path prepared for it by classic architecture; for that path was a blind alley. Having left this path, the architect found new conceptions rapidly succeeding each other, and each time of course the theory anticipated the technical possibilities of realization. Every day, however, is bringing us new tech- nical possibilities and new experiences. Cubism, purism and suprematism have al- ready become links in the long chain of archi- tectural creation, and OPEN VOLUME will soon be one more such link. Ss. SYRKUS Warsaw, 1926. aE iis ¥ fisq Jat ol -enrgtidea sake See ‘SATA TE Pwo Me@ed edideccitee: att beowsted eras , P a 7: > Blip \ ellaw Ye vari! od? io «netting sham x ae Res ers Bink» ae E> ALA) VEAP ae TPT TH A, : - a> . iO rea: MINI & Ma beowine 28 new EG wilttien bak avesepee mess i $, vf ot ws) hie if- oa (po? ‘ : VASE TEE® | AOS TAG swoile Ui etteoun jeoweebeed me aie t | nnd epijay Tt Steet Auer ease - P y \ Cea | Sit ti ) ff wis y 4 i Thaw Lah | we Vinee: a 8 ae | iss Ott a“ fo z . ‘ . 1 yim £ Mo OS SE A - ’ 2% y. vy 4s VF i? 5 Li} aT 75 *y THY ie ean Gre ae ywl-— onli saa ho pian 2 ; oh LV io arrears sete. view seh 4 } i te) ESS a 5 52 oii rt A i: t fed ia 2B ‘A mesa ite at russohisie oMeals to chew geen aT f + . i UW Mog ised navbar oes. lay Iain oF FE ‘yt sree 3 i teh . ul ee ae : 2 _ ‘ BrP On Fe a At ts at oe ie 4 nhl nnd eds 7 . ‘ res Hee srtiicuide (Neiicicend ow ede Be a brie » ; Tee ; Ae pi ; J wht S SAT! «ae A be) at ‘ Sy f 1 ; “ ; LIT Y tH ae oe ae Py oor FY) Va pris i a set Beans A rs Sere , ee ee ye a, ee Seay” Rute : Sot ROT! SHOOT seg wigaind o .orgard web ¢verll. swort hott aviadiiaior: Leste 4d weursn@ue its aeie eee i of) mM anil somo Ybety iV VAG) Bice cecieeeae fas Heit face FISIN. Sk vd ewe Meee aks ald Yer arabia i ry. vane AE es " asuToati 3MUIOV qué 6 nit re et seh stikengtt sauped os ai a . a wi a on yim Liss ht aegnang mucha. £4 #. sokes si ahinsd th ‘ete 0 sonla seacte sa 4 19 . ia feist te pie Ta wt . = hand shelve a xerty Sagal . reat taeda i hie ' a 8 tar wire: wre + SAE, cae ct aloe = ee ial ish pynisesly eth Be (Glem aedks *h geibled aust ‘ct = “Whe. as soieepe Tey i Cea si NOt 3h} ean sat mwolot am Lisg il phase \ oo) a4 “pH i 28T re * eq io wig ey aicse fig been SAT cg Be eee yee wa Ae onceat = Me Varsaw i Syrkus, feld and § PROJECT FOR A CHURCH By H. Oder CONFECTIONER'’S SHOP cx Bruka!ski. Warsaw eed By Stanis cn Mi ‘ S i < te 7 : k oe i# SPE ..0N mtd ; 4b je POLAND ST. BRUKALSKI 214-220 Confectioner’s Shop. ST. AND B. BRUKALSKI 221-223 Country Church. J. MALINOWSKI 244 Interior of a Bed Room. { W. STRZEMINSKI 225 Cafe. =: - meee ee nee = ets ere eee rete ie Se S. SYRKUS, IN COLLABORATION WITH W. STRZEMINSKI 226-228 Fur Shop. H. STAZEWSKI 229 Office. H. ODERFELD, S. SYRKUS 230-234 Plan of a Church. B. LACHERT, L. NIEMOJOWSKI, J. SZANAJCA 235-238 Inexpensive Houses. Siac B. LACHERT, J. S7ANAJCA 239 Villa a Gdynia. B. LACHERT 240 Architect’s House. J. SZANAJCA 241 Notary’s House. B. LACHERT, J. SZANAJCA 242 Wooden Country House. B. LACHERT, J. SZANAJCA 243 Houses En Serie. Plan of the School of Political Sciences at Warsaw. 32 ocieaeneinemmeatenti set ae EMEA : ss ve Soe dee si z - 4 cB nm yas ee RE SRS URES ROT GERON CRORE PORE WTTD BESTT SUE EI Sakae AGH PRELD Eee ice t oo “ “ia ee SB ai Pe eT rh sa / # 1s SR NS: NAS RN: 2 US oe O21 om: en ee ee ee RUSSIAN INDUSTRIAL ARCHITECTURE Photograph Amtorg Trading Corp. rete loge eae - rene oe ee oe "G40 Surposy, Ssoqmy y¢vssoj0yg BSUNLOALIHOYV TIVINLSNGNI NVISSNY pee ore P= TWN HniqQHBsViitHaulaosSti ; ' t a » Se eee en ole —— 33 ge 77 “Uti t ee 54 pele jas een sett * * aw Peed eas doseges * nO i” oy ‘. e) hott A Snag a in oR aes =| SL TLE TORR ORIN © Se PETE 8 RT BGILERS Russian RUSSIA 244-273 Work of the Society “OSA”. 274-281 Work of the Association “ASNOVA”. 282-288 Work of Mellnikoff. The Russian Section will arrive too late to cata- logue in detail. 289 Boilers. 290-294 Industrial Architecture Photographs loaned by Amtorg Trading Corp. Note—Russian Section except Industrial Photographs courtesy of The American Society for Cultural Relations with Russia. COSTUME FOR MECHANICAL THEATRE By Alexandra Exter, Russia ae 4 INDUSTRIAL ARCHITECTURE Russia LABOUR BUILDING, MOSCOW By Vesnin TORSO By Gabo GRAYBAR ELECTRIC CO. 361 Electric Ironer. 362 Hamilton Beech Electric Motor. TCHLIETCHEFF 363-368 Machine—Age Costume Designs. HANS ARP 369-372 Decorations. FRANKLIN SIMON & CO. 373. Screens: Courtesy of Display Dept. JOHN STORRS 374 Sculpture in Metal Design for Clock Tower. BARTLETT HAYWARD CO. 375. Blue Print of Waterless Gas Holder. 376 Photograph of Waterless Gas Holder. LOUIS LOZOWICK 378 Lord and Taylor Centennial. a—Setting for Fashion Show. b—Window Display. 379 Stage Setting for “Gas”. 380 Machine Ornament (series). 400 American Cities. 4 03 3 BOM? We — oo ~ ae 7 ames 4 * i a re " ” GPU ta eae . wie oy mo |e oy, tu at » 7 . T79 ‘ - n ey y ta ) CRAWYAH TI3SATRR . — will omen i 4 et te} 7. 8 at; rors ¢ eer ot ab) ba ae: a NOMWOLTO.! Pas cand shpat tapas ma halal LMMES Te wie, i bea beak. RTE ic foutesyd tal wane emit) wading AP ef r qo) qartied eae OP ) soared cone (Ae aah) etsy . OR MACHINE-AGE EXPOSITION HE Machine-Age Exposition will show actual machines, parts, apparatuses, pho- tographs and drawings of machines, plants, constructions, etc., in juxtaposition with architecture, paintings, drawings, sculpture, constructions, and inventions by the most vital of the modern artists. There is a great new race of men in America: the Engineer. He has created a new mechanical world, he is segregated from men in other ac- tivities . . . it is inevitable and important to the civilization of today that he make a union with the architect and artist. This affiliation will benefit each in his own domain, it will end the immense waste in each domain and will become a new creative force. The snobbery, awe and false pride in the art- game, set up by the museums, dealers, and second-rate artists, have frightened the general public out of any frank appreciation of the plastic arts. In the past it was a contact with and an appreciation of the arts that helped the individual to function more harmoniously. Such an exaggerated extension of one of the functions . . . the extension of the mind as evi- denced in this invention of Machines, must be a mysterious and necessary part of our evolution, see in the Machine nothing but a menace or a utility. There are others who are alive; who have become impatient with the petrified copy- ing of the dead and dying; who are interested in things dynamic. WE ADDRESS OUR EXPOSITION to Tonk We will endeavor to show that there exists a parallel development and a balancing element in contemporary art. The men who hold first rank in the plastic arts today are the men who are Organizing and transforming the realities of our age into a dynamic beauty. They do not copy or imitate the Machine, they do not worship the Machine,—they recognize it as one of the real- ‘ities. In fact it is the Engineer who has been forced, in his creation, to use most of the forms once used by the artist . . . the artist must now discover new forms for himself. It is this 36 GATE-VALVE 72” By Crane Co. ““plasticmechanical analogy’’ which we wish to present. The artist and the engineer start out with the same necessity. No true artist ever starts to make “‘beauty”’. . . he has no aesthetic intention —he has a problem. No beauty has ever been achieved which was not reached through the necessity to deal with some particular problem. The artist works with definite plastic laws. He knows that his work will have lasting value only if he consciously creates forms which embody the constant and unvarying laws of the universe. The aim of the Engineer has been utility. He works with all the plastic elements, he has created a new plastic mystery, but he is practi- cally ignorant of all aesthetic laws. . . . The beauty which he created is accidental. Utility does not exclude the presence of beauty . . . on the contrary a machine is not entirely efficient without the element of beauty. Utility and efficiency must take into account the whole man. Let us take one of the simplest and most obvious examples . . . the motor car. Take the first cars .. . the lack of rhythmic bal- ance in their organization, their stupid, sterile, he. > oh gl MS af , 4 oe oe ye 4 *® ¥ . € ——— veo thar ouiaeayll AUS UGQE aay nave Wp vgitierante re caf Rotate ad vusebios « pits Lite Saga Gee sh “ng v? >i “Ree: ar eon ee ot ab aA om ies ae St Ke SOHE?.© oe anny “i 2 peered 5 ott. ds bes Hew 3 rhe Paro | OO ee YES Ae itl Fasey rf LP oe wats: aces Lawless sclt bsnaihee wit to. ARs fie toni *¢ eee wi oft beqled sit ares ‘ vlvncaea ie cptty ia rae m Lt 19%; readlows >i a t ‘ws See, & Guha cw cihe 348 ios botrag Ss byseeTsiih FS a Seca Phe) > ae ‘ ‘ Pa uy pars Mile Fete Cee are mh oy see ie soitihen a yaan torr ob y welt QeeeTcAy donk a UE isot 3cJ a oe on aig od and ode nee ve sit ty lat mid OF wo kum hing sF..78 vids. i 0k «| seen pe vertical lines frustrated all feeling of horizontal notion and velocity. Today the finest cars with heir rhythmic coordination of lines induce a sonsciousness of velocity and motion even greater than their actual speed in miles per hour. The experiment of an exposition bringing to- gether the plastic works of these two types of artist has in it the possibility of forecasting the life of tomorrow. All of the most energetic artists, both here and in Europe: painters, sculp- tors, poets, musicians, are enthusiastically organ- ized to support this exposition, the Engineers are giviny it their interested cooperation. —jh. J. R. HARBECK 295-296 Radio Construction. SARCO COMPANY, INC. 297-298 Temperature Regulators. U. S. DEPARTMENT OF COMMERCE Bureau of Standards. 299 Telemeter, Carbon Resistor Type. YARNALL-WARING CO. 300 Yarway Seatless Valve. PUBLIC SERVICE PRODUCTION CO., NEWARK 301 Model Harrison Gas Works. BOSTON GEAR WORKS 302 Exhibit of various types of gears. INTERNATIONAL HARVESTER CO. 303 Electric Farm (Model). 304 Toy models of implements. Vv 305 Industrial Tractor. 306 Plow. CRANE CO. 307 Gate Valve. sd 308 Stop-Check Valve. 309 Oil Separator. CURTISS AEROPLANE CO. 310 Model of Plane. 311 Engine. NORMA-HOFFMANN BEARING CO. 312 C-94 Norma Ball Bearing. 313 RLS-27 Hoffmann Roller Bearing. W. F. HIRSCHMAN CO., INC., LE ROY, NEW YORK 314 Effico Rotary Ball Bearing Ventilator. A. SCHRADER'S SON 315 Diving Pump. 316 Diving Dummy Mounted with complete equipment. 317 Complete Telephone Outfit. 318 Picture and Easle (View of S-51 Sub- marine). HYDE WINDLASS CO. 319 Propeller. v INTERNATIONAL BUSINESS MACHINES 320 Coffee Grinder. 321 Meat Carver. 322 Time Clock. STUDEBAKER CORP. OF AMERICA 323 Crankshaft. EDISON LAMP WORKS OF GENERAL ELECTRIC Harrison, N. Y. 324 Largest and smallest lamps made. 325 Photograph of bulb-blowing machine. 326 Ossiphone. JANES & KIRTLAND, INC. 327 Steel Dresser. V SOCONY BURNER CORP. 328 Arrow Oil Burner. INTERNATIONAL BUSINESS MACHI NES CORP. 329 Double End Coffee Mill with adjustable burrs, equipped to pulverize and granu- late coffee at a high rate of speed. 330 Meat Slicer, slices hot and cold meats to any desired thickness within a range of 1/64 of an inch to Y4 inch. 37 ' 3 SHAS” cel Tay melt Wombat oe sega 14é 2 | OMIA ASS ARAMTIOH-AMAOM 7 or ee 48 - my [LITE an GYROSCOPE STABILIZER By E. E. Sperry THE POETRY OF FORCES BF Although we may come unacknowl- edged, as poor relations, still we turn to our fellow scientists, and salute them as furnishing us with tools and symbols for our work, for indeed we feel more related to them than to the brotherhood of poets who continue to build poems from materials with which we should blush to be guilty of concern. It is interesting to be shown by the scientists that the gases composing the air we breathe are electricity, as are likewise all the elements of the material universe. Penetrated, permeated, and in a sense created, as we are by this force, it follows that the human mind is no exception—it too is electricity. We find it not only natural and poetic to become practitioners of the poetry of forces, but inevitable. From this basis, or spring-board, we plunge mentally and boldly into the seeth- ing universe of electrons and vibrations, beyond which forces repose. Having reduced all the elements to their common denominator, elec- tricity, we move about more freely, in ethereal behavior. We have apparently reached the common substance out cf which diversity springs. But it is necessary to say something like this: if the common germ thinks like a plant, it will unfold a plant; if it thinks of itself as a fish, it will dirt forth a fish. This seems to hint the identity of subject and object: to turn perception in a direction where it no longer views the evoluticn of ages, but where it be- holds the instantaneous manifestation of forces. MARK TURBYFILL 38 MODERN GLASS CONSTRUCTION UPPLYING daylight to buildings is one of the most important problems of the architect. This problem becomes more complicated as the cities become more congested and buildings are closer to each other. So far, windows and, in the upper stories, skylights have been the only possible means of supplying daylight to the interior of buildings, as there was no practical way of constructing luminous walls which would preserve the necessary privacy, be poor conductors of heat and cold, need no up- keep and give the protection necessary for the average building. The problem has been simpli- fied by the fact that in modern building con- struction the outside walls usually do not have to carry any load in addition to their own weight, being simply curtain walls. The inside partitions are also only intended to divide the space into rooms, the entire weight of the build- ing being carried by steel columns and beams. The solution of this problem has now been accomplished by the use of glass units designed in a way that they would distort the light rays to such an extent that all transparency is elimi- nated. This has been obtained without the use of any milky or other admixture in the glass material which would decrease the transmission of light. The individual glass units are as- sembled with cement mortar to form tiles or blocks of a convenient size for masons to lay up in walls, each tile having a cement border to supply the necessary suction for the mortar used in laying up the tiles to set in the same length cf time it would take in the case of concrete tile, and at the same time emphasizing the structural nature of the work. Buildings constructed in this manner receive the greatest possible amount of light. Windows may be inserted in the walls wherever it is de sired to have a view of the outside. This con- struction presents to the eye the same solid ap- pearance as a brick wall while affording the same protection as to visibility of the interior from external observation. The interior of the wall forms a luminous surface shedding the greatest amount of light possible without the disadvan tage of large window surfaces which destroy privacy, admit too much heat and cold, and also are a scurce of continuous expense for upkeep. van ? mony bi ay wy : f yw i) ‘ Thiet ‘ tie 4 J bf. a OF ie ART its] ve wobehar. suit (@ Y 5 F Ces a . 4 i : “Z ‘ fy : Awe F { : > ee . y i; e 7 4 % er f ” ¥ ‘ft fa . 3 iA irs iG 4 Gil at AN 112 3 ‘ies ie os | i ey ‘ 4 ¥ S LILES RMIT TaS es): ; itl ’ ; t MOG Sitti) oar oe PED PEs SSL, Gale RS ‘ j Bk i) Veuy 8 ov ET Oe IP j a aa as 1) ( these fomnaria w flaw soinvdur ke soenaeel utiary OF @h finntlonioag 3 rourest ahs tov? iyit> & erred aici “ aot a MORO Oo ‘pet Aza OOF tendon eoavery won inooth syne. & ste spelled a pre + cs ages fetinsn yin ; | gee e 3a | oe ee nines ac ask ave oe it 2 rr oll: me of fea tora ot ways olen § uinode sep foniw & ertenighn &i 2) * WE gat gurkt ese mS as Horioss sin SAR fectynaucee si fs S te bees hoe at OER) bg OREO | a ‘ a srg bers Vitae epyat te es. Aaeodegenrs:: 7 dyson ot? aiah gibt a. en 46 30, ite ty Me beeches | — tees ab on leone. 4 ie . hoor oar) peib oe | Rory wht Pre a ome seania ¢ wiht sted) “aa share Gt: he aged? i ace “AT ah wi NY fips CS te ark . P RAVENNA MOSAICS, INC. The Five Wise and the Five Foolish Virgins Design by Prof. £. Dulberg Weimar These glass tiles may also be used for inside partitions, allowing daylight to pass from one room to another and ye. at the same time assur ing to the occupants all tne advantages of com- plete enclosure. This principle of lighting up spaces by means of large luminous surfaces in preference to com- paratively small spots of light may be applied to artificial light as well as to daylight. Ornamental glass relief ceilings may be installed in rooms about eightecn inches below the plaster ceiling. SG w “a& LS Me ‘ ( ( ¢ r Ge G« we a s ‘ ~~ * 3 a . hes % Ss cod Pe) : io < » fe s e *DSity, ie Fs" ha Why eV ot ae é ir wi” % = fadadiar pu yy * ! ) ><) km ee’ | . 8 a Soe a ae ce g 2 é Fy : ek % ES - : ; ee ; = | a cf . a ae t Electric light bulbs may be installed in the space between the two ceilings in a manner to throw the light against the ceiling which, in turn, re- flects it from the relief glass to the room below. By the use of amber-colored glass the effect of warm sunshine may be achieved, lending a most pleasant atmosphere to the entire room. The treatment of the ceiling in relief prevents the light from being “spotty’’ and makes the entire effect harmonious. FREDERICK L. KEPPLER 39 -" ey / 4 an 4 a Ad - ‘ F : nik AOIRG Ps sy . ; 4 \ vedind siyd Singpelal Mi 3 “wiped iJ pal sila 2 Yous aris i 1: tow ol er ley : val (Pa VR at LP SLE i quis dasa 2 ofa to iim ye cri ady't Ruined tonils Bree fy “id Paay eer APREYD oy Soi ats 5 ia steed 307 be wiv ih DKs Gas? ) ey on “time, smi SA 9 {8aS 7 af en ft Ya ‘ ot Lotkergs off yter letpsurt mua) aed OO ES y @ meas INARA RECLAIM SUT VLG LF Fe a JOHNS~ MANVILLE ft. BECK ENGRAVING PICTORIAL, REVIEW Y SCIENTIFIC ENGRAVING CO mS SPENCER- KELLOGG CO. “>, 47 ‘STARRETT & VAN VLEECK (7 fas ANDREW H. KELLOGG & CO, — CZ YALE UNIVERSITY = ZG Fos LER PRESS ATIONAL ANILINE CHEMICAL ae EO SYDENHAM HOSPITAL Nemes co STANDARD OIL COMPANY OF ‘\Y wy E.1.DU PONT oe ha en wan . \ MURPHY VARNISH COMPANY VALENTINE €& COMPAN ‘ee c Y —) a SH EXCHANGE SS BEECH- NUT PACKING COMPANY O Co AMERICAN WOOLEN COMPANY “Oe a % — — en We “hy 4 a ‘ : se , ee 3 + - i * f ’ : ‘ ¥ e P > : 7 2 © ~<, by x ‘ , . ‘ Fay A a." » io me ' ¥ n Wet acid - See —-s . P oem } ‘ 1 Fe fe ‘ 3 j ” fot ot ot & ” "ie: my “© # . & ~ oe , yf - > lied a ff P * Pi v 1s ny y Ps . ‘t a a ; { rfc we Ag bil: , ‘ ‘>, - i F om) : ELITE. 4 » 4 . + 3 é F ya RONG HD i oh mes oo — "2 ade of w TACHA Le o--s : ) + wee ee * Yr. a rf t bok! Oe é o . ; ; 7 i “ ‘ea 4 nid 7 : Meal j ins a \" ‘. " ? , 2 33 ¥ re / ced we ht 6 y oad ie we, . a ; Po , \< "4 hd S Vita Glass The new window glass that transmits the ultra-violet health rays of the sun ODAY, buildings are being de- signed especially to let in sunlight. And yet the sunlight that their windows admit has been robbed of all its health value. For ordinary window and plate glass do not transmit the vital ultra- violet rays of the sun—rays that promote health, help to prevent rickets in children, kill germs and increase mental and physical energy. Vita glass does transmit these rays. It is now possible therefore to bring outdoor health indoors. Vita glass is genuine glass, manufactured in two forms—clear and cathedral. Both glasses are supplied cut to specifications, ready for installation, each light bearing the trademarked label. Because of the im- portance of Vita glass to health, its installa- tion naturally increases re-sale values and makes houses, apartments and offices easier to rent. The value of Vita glass is attested by eminent authorities. We should be glad to furnish details. Vitaglass Corporation, 50 East 42nd Street, New York City. BUILDERS Are Turning West to Dr. Charles V. Paterno is one of the first of New York’s greatest apartment builders to buy land in Bergen County. Others are bound to follow this great “Pioneer” Builder just as they followed him on Park Avenue, Riverside Drive and Washington Heights. I say you, Home-seekers, Builders, In- vestors, Speculators and Operators, you should make no mistake in following Dr. Paterno to Bergen BERGEN COUNTY County. Tides of population should turn west and flow over the Hudson River Bridge at a greater rate than they have flowed East to Queens. Think what it means to have an opportunity to buy at Auction a “Paterno” property in Bergen County. See this Paterno property for yourself. Study the future growth and make your plans to buy as many of these Paterno Bridge Zone lots as you can afford. Public Auction Sale 565 PATERNO BRIDGE ZONE [ ots At Sylvan Avenue and on Newly Opened Van Nostrand Aye., Through to Jones Road, Opp. Englewood Golf Club BERGEN COUNTY ENGLEWOOD sensty Saturday, May 28th @ Decoration Day, Monday, May 30th oy On Installment 80 /o Contract 67 Liberty Street New York City Auctioneer Tel. Cortlandt 0744 Balloon Leeates Lots Inc. 2.30 o’clock, Under Tent, on Property Send for Bookmap HOW TO GO—To reach property via Fort Lee (125th Street) Ferry, to Palisade Avenue, right to Main Street, Fort Lee, left one block to Lemoine (Sylvan) Avenue, right to Van Nostrand Avenue to balloon on lots. Via Dyckman Street Ferry, up ferry approach to Palisade Avenue, straight two blocks to Sylvan (Lemoine Avenue, left to Van Nostrand Avenue to balloon on lots. —— oti antos a ae eal * ij £ : 7 ‘ule i ee r ad « 4 4 flood ta! hover] ra t " oe ¢ OF TH 2VG%. 49 onbuse.”; weaby ora tiay ta emily Ay Sb pied oe “| ui Vite ORL FOIS--“PeR? CMe Aglgemniie a dol . ATR | ae ben Le Wiel? dnd? Aegilaue re “ol ge Tete Sein ade es OI vi oetteee 4 . ie 4 ii b 653 af) ‘ e" ‘ is id a i 2 rie eye om nity Laid sgt > cola £ j Tee JOLIE EA LS, $403 : 4 tena tit ee ™ 7 ar feet tty ; ag cz rte 7 Lee 14s" F Preeat ih Gh sate: 3A ; - - a a aeeeeticeiecie tie te eee ee ee a Tae pee serra . ? o '® , a -| e : ik Tle t ll +, ‘ 1 Jeqa uae rey ‘ = rat Tuned eel - ' { BOE apie gest base “4 tai gis: fi brs legis i) .. Meewwus mie G oat Qetesiize* sai, Raed #1 2 fat ‘ ose ee ay 4 > ie 7 2 Siwy my sowpgu Ss or) May seg eae | Q ; $ 0 A fej 3 at: wh 2, i: . \ ip 5 aA <4 ¢ #7 5 aa ‘or TTA 7 422 Anes) ete? 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