Talbot hamlin architecture an art for all men pptx

DEC
9
1978
00447
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iOV
3
1981
720.1
ID22
IfcnXIn
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AUG
26
1977
ARCHITECTURE
an
art for
all men
Taliesin

West,
near
Phoenix,
Arizona:
main
entrance. Frank
Lloyd
Wright,
architect
P,
(lu
TALBOT
HAMLIN
ARCHITECTURE
an art for all men
Architecture is an art for all men
to
learn
because
all
men
are
concerned
with
it
Ritskin
New York COLUMBIA
UNIVERSITY
PRESS
COPYRIGHT

1947
COLUMBIA UNIVERSITY
PRESS,
NEW
YORK
First
printing
March,
1947
Second
printing
November,
1947
Third
printing
1955
PUBLISHED IN
GREAT
BRITAIN,
CANADA, INDIA,
AND
PAKISTAN
BY
GEOFFREY
CUMBERLEGE: OXFORD UNIVERSITY
PRESS,
LONDON,
TORONTO,
BOMBAY,
AND

KARACHI
MANUFACTURED IN
THE UNITED
STATES
OF
AMERICA
TO THE MATE OF THE
AQUARELLE
FOREWORD
THIRTY
YEARS
have
passed
since
my
Enjoyment
of
Architec
ture
was
first
published.
These three
decades
have
seen
a
revolutionary
change

in
the architecture of the
whole
world.
The
old
eclecticism
which
then still
reigned
over
large
areas
has
faded
into
impotence,
though
here and
there it continues to lead
a
strange
half
life
in
real-estate
speculative
building
and
in

the
minds of senti
mental
government
or
ecclesiastical
authorities.
The
economic
con
ditions
which
fed it
and
the
ideals
of culture in
which
it
flourished
have
passed away,
as
industrialism has fired
questions
in
our faces and
new
complexities
have

forced us
to
attempt
a
severer
and a
more
disciplined
thinking.
Architectural
movements
which
thirty
years
ago
were
merely
little
pinpricks
in
an
almost
universal
complacency
have
grown
into
well-nigh
universal
acceptance;

no
longer
revolution
ary,
the basic
principles
which lie
behind what is
generally
termed
"modern architecture" have
established their
validity.
Now,
most
of us
realize that
our era is
in
every
way
a
different
age
from
that
which existed before
the
First
World

War;
it
demands,
and
will
inevitably
achieve,
a
new
kind of
architecture
as
its
expression.
The
Enjoyment
of
Architecture,
whatever
its merits
or
faults when
it
was
written,
expressed
that older
age
and not the
present;

it
could
no
longer
serve
the
purpose
which
engendered
its
writing.
That
pur
pose,
as
the title
implies,
was
to
open
to
readers the
rich
stores of feel
ing
and
understanding
that a
sympathetic appreciation
of the

build
ing
art
might
bring.
It
was a
book on architecture
in
general
and
not
on
any
one
particular
phase
or
style.
Since its
appearance
there
has
been
no other work
in the
United
States
of similar
scope,

and
the
increasing
amount
of
architectural
writing
that has been
published
has
been
devoted to
works
on
various
phases
of
architectural
history,
to
propaganda
books on
behalf
of "modern
architecture"
(the
necessary
tools
of
a

revolutionary
struggle),
and to books on
special
aspects
of
architecture
such
as
housing,
city
planning,
or home build
ing.
Yet the
need
for
the more
general
type
of
approach
still
seems
Vlll
FOREWORD
real.
Architecture
still remains
terra

incognita
to
large
sections
even
of
the
more
sensitive
among
the
population;
in
our
cluttered
and
stimulus-jaded
existence
the
majority
rush
in and
out
of
buildings
and
hurry
past
them
without

a
thought
as
to their
quality
or
any
aesthetic emotion
whatsoever,
so
that
even
the most
thoughtful,
the
most
creative
of
our
architects
are
forced
to
work
in a
kind of
intellectual
vacuum,
shut
in

and
hampered
by
the wall of
popular
ignorance.
It
is
only
this
nearly
universal
apathy
an
apathy
nour
ished
by ignorance
and
insensibility
which
permits
our cities
to
grow
into
incoherent
ugliness
and
spawns

sordid
and
stupid
real-
estate
subdivisions
all
over
the
countryside.
It
thus
seemed a
propitious
time
to
undertake
a
complete
rewriting
of
The
Enjoyment
of
Architecture,
with
the
double
aim
of

preserv
ing
its
original
character
as
an
elementary
guide
to
the under
standing
and
appreciation
of architecture
as
a whole and of
making
it
an
introduction
to the
architecture
of
today.
We
live in a
world
in
which,

despite
wars
and
change,
the
past
has left us
a
priceless
herit
age
of
buildings,
and
it
would
be
as
stupid
to limit
one's
architectural
appreciation
to
the
buildings
of
the
last few decades
as it

would
to
limit
one's
musical
knowledge
to
the works
of
Stravinsky
or
Hinde-
mith.
Architecture an
art
for
all
men
is
the result. So
complete
were the
changes
that were found
necessary changes frequently
of basic
attitude and
so
large
the

amount of new
material,
both
in
text
and
illustration,
that
a
new
title
to
indicate the new
approach
seemed
desirable.
Understanding
and
appreciating
archi
tecture
is
no
longer
a mere matter of
"enjoyment";
it is
a
matter
so

deeply
implicated
in
the
tissue
of
our
living
that
it should be
as much
a
part
of
our
lives as
is
a basic
understanding
of
politics
or
economics.
The
major
part
of
the work of
this
rewriting

was
performed during
sabbatical
leave from
my
regular
work
at
Columbia
and carried on
during
a
protracted
cruise
on
a
small
motor cabin
boat,
the
Aquarelle.
As the
pressures
of
my customary
work
receded,
as
cities
were

dropped
behind,
as
we
passed
through
bay
and
sound,
river
and
canal
and
marsh
cut,
with level
horizons,
with the
challenges
of
wind
and
storm
and the
necessities
of
ordinary
living
architecture
seemed to take

its
rightful
place
in
life
with
greater
and
greater
per-
FOREWORD
ix
sistence.
Its
essential
nobility
of
purpose
and its enormous
poten
tialities
for
the
life
of the
future
appeared
with
increased
clarity,

and
the
pressing urgencies
of
its
tasks
today
showed
themselves
in
truer
and
sounder
proportion.
This
temporary
separation
from
a too close
attention
to
buildings,
instead
of
diminishing
the
importance
of the
art of
building,

seemed
to
place
architecture
in
a
higher
and
stronger
position.
It is
my
hope
that
something
of
this new
and
strengthened
sense
of the
high
place
architecture
has held
and
must
continue
to
hold

in the
life of the
world has
entered
into
the new
work.
My
indebtedness for
assistance in the
preparation
of this
book
is
wide.
First
of
all,
I
owe
more
than I
can
say
to
the
continual
inspiring
and
perspicacious

assistance
of
my
wife,
Jessica
Hamlin,
as
editor,
as
preserver
of
standards,
as
long-suffering
secretary.
Next
I
must
express
my
gratitude
to
the
staff of
the Columbia
University
Press
for their
co-operation
in

suggesting
the continued
need for
this
work
and
in
giving
it
physical
and
concrete
reality.
The
staffs
of
the
Avery
and
Ware
libraries
have
been
continuously
helpful
in search
ing
for
and
lending

illustrative
material.
I
also
wish
to thank
Dean
Leopold
Arnaud
of
the
School
of
Archi
tecture
of
Columbia
University
for
encouragement
and
for
reading
the
manuscript;
Mrs.
Elizabeth Mock
and the
staff
of

the
architec
tural
department
of
the
Museum
of
Modern
Art for
help
and
sug
gestions
in
connection
with
illustrations
and
for the
loan of
many
photographs;
Mr.
F. L. S.
Mayer
for
photographs
of the Nebraska
State

Capitol;
Mrs.
James
Ford
and
the
Architectural
Book Publish
ing
Company
for
permission
to use
illustrations
from
Ford
and
Ford's
The
Modern
House
in
America
and the
same
authors'
Design
of
Modern
Interiors;

G.
P.
Putnam's
Sons for
permission
to
repro
duce
figures
i, 22,
and
28
from
the author's
Architecture
through
the
Ages;
the New
York
Daily
News
for
the
photograph
of
the
Daily
News
Building;

Bonwit
Teller,
Inc.,
for
the
photograph
of the
Bon-
wit
Teller
store;
and
the
Austin
Company
for
the
photograph
of
the
Vickers
plant
in
Detroit.
The
complete
credits
for
the illustrations
are

given
in
the list
of illustrations.
T.
F.
H.
Columbia
University,
June, 1946
CONTENTS
1.
The
Appeal
of
Architecture
3
2. Architecture and
Construction
22
3.
Planning
36
4.
Form
in
Architecture
66
5.

The Architect's
Materials
100
6.
Interiors
in
Architecture
125
7.
The Decorative
Material
of
Architecture
144
8.
Decoration
and Structure
178
9.
The
Meaning
of
Style
200
10.
Architecture
and
the
Community
225

Suggested
Supplementary
Reading
257
Epilogue
255
Index
263
LIST
OF
FIGURES
1.
Diagram
of
Typical
Steel-Frame
Fireproof
Construction.
From
Talbot
Hamlin's
Architecture
through
the
Ages
(New
York,
G.
P.

Putnam's
Sons,
1940,
1944)
.
Drawn
by
G.
J.
Wise.
26
2.
Freeman
House,
Los
Angeles,
California
(plan).
Frank
Lloyd
Wright,
architect.
Drawn
by
the author.
43
3.
Tugendhat
House, Brno,
Czechoslovakia

(plans).
L.
Mies
Van
der
Rohe,
architect. From
Hitchcock
and
Johnson's
The
International
Style
(New
York,
Museum
of Modern
Art,
1932).
45
4.
House
in
New
Haven,
Connecticut
(plan).
Murphy
&
Dana,

architects. Drawn
by
the
author.
46
5.
A
House of
Today
(plans
and
elevation).
The
author.
48
6.
Nebraska State
Capitol,
Lincoln,
Nebraska
(plan).
B. G.
Goodhue,
architect.
From the
American
Architect,
October,
1934.
51

7.
House
in
Miquon, Pennsylvania
(plan
of
the
master's
suite).
Kenneth
Day,
architect.
Redrawn
by
the
author
from
Ford
and
Ford's
The Modern
House
in
America
(New
York,
Architectural
Book
Publishing Company,
1940).

58
8. Amiens
Cathedral
(plan).
63
9.
National
Gallery,
London.
Drawn
by
the author.
69
10.
Notre
Dame,
Paris.
Drawn
by
the author.
75
11.
Chartres
Cathedral.
Drawn
by
the author.
76
xv
LIST

OF
FIGURES
12.
A
Small
Library:
alternate
elevations
to
explain
balance.
Drawn
by
the
author.
78
13.
A
Cambrel-Roof
House,
Kennebunk,
Maine.
Drawn
by
the
author.
107
14.
A
Hipped-Roof

House,
Newton
Hall,
near
Cambridge,
England.
Drawn
by
the author.
108
15.
Cathedral of
St.
Nazaire, Carcassonne,
France.
From
France
artistique.
1
19
16.
Harvard
House,
Stratford-on-Avon,
England.
Drawn
by
the author.
121
17.

Gothic
Ribbed
Vaulting: diagram
showing
ribs
and
filling.
1
37
18.
Pendentives.
139
19.
The Common
Moldings.
Drawn
by
the
author.
149
20.
Temple
Gateway,
Karnak,
Egypt.
Drawn
by
Genevieve
Karr Hamlin.
151

21.
A
Typical
Classical
Cornice. Drawn
by
the
author.
152
22.
Development
of the Greek
Doric Entablature:
wooden
prototype
and
terra-cotta
sheathing.
From
Talbot Ham-
lin's
Architecture
through
the
Ages (New
York,
G,
P.
Putnam's
Sons,

1940,
1944);
drawn
by
the
author.
154
23.
The
Most Common Decorated
Moldings.
Drawn
by
the
the author.
157
24.
Cornice
from the
Wing
of Francis
I,
Chateau of
Blois.
Drawn
by
the
author.
161
25.

A
Capital
from
Southwell
Minster.
174
26. French
Gothic
Capitals.
174
27.
An
Early
Cypriote
Ionic
Capital.
206
LIST
OF
FIGURES
XV
28.
Development
of
the
Greek
Ionic
Capital.
From
Talbot

Hamlin's Architecture
through
the
Ages (New
York,
G. P.
Putnam's
Sons,
1940, 1944);
drawn
by
the
author.
207
29.
Plan
of
Marshall,
Michigan.
Based
on
an
old
plan,
sur
veyed
by
O.
Wilder,
circa

1831,
courtesy
of Harold
C.
Brooks;
redrawn
by
the
author.
247
LIST
OF
PLATES
Taliesin
West,
near
Phoenix,
Arizona:
main
entrance.
Frank
Lloyd
Wright,
architect.
From
a
photograph
by
P.

Guerrero.
Frontispiece
I.
International
Building,
Rockefeller
Center:
lobby.
Reinhard
&
Hofmeister;
Corbett,
Harrison
&
Mac-
Murray;
and
Hood
&
Fouilhoux,
architects.
From
a
photograph
by
F. S.
Lincoln.
24
II.
Colosseum,

Rome.
From
a
photograph
in
the
Ware
Library,
Columbia
University.
24
Bonwit
Teller
Building,
New
York.
Warren
&
Wetmore,
architects.
From
a
photograph,
courtesy
Bonwit
Teller.
24
III.
Daily
News

Building,
New
York.
John
Mead
Howells,
Raymond
Hood,
and
Andr<
Fouilhoux,
architects.
From
a
photograph,
courtesy
Daily
News.
2
4
IV.
St.
Peter's,
Rome:
interior.
Bramante,
Michelangelo,
Bernini,
and
others,

architects.
From
a
photograph
in the
Ware
Library,
Columbia
University.
2
4
V.
Nebraska
State
Capitol,
Lincoln,
Nebraska.
B.
G.
Goodhue,
architect.
Exterior
and
corridor,
from
photographs
by
Gottscho-Schleisner;
rotunda,
from

a
photograph
by
}.
B.
Franco,
courtesy
F.
L.
S.
Mayer.
5
VI.
Op6ra,
Paris:
stairs.
Charles
Garnier,
architect.
From
a
photograph
in the
Ware
Library,
Columbia
University.
$