THE ARCHITECT by FREDERICK J, KIESLER We are introducing with thie ive 9 new ap= ‘roach in architectural and art eriiczm. The Inferest of architects, generally, in fine ond applied arts, including specifically painting, reulpture, stage design, the th losign, tonto, photography, iz» roult of both training and broad purposes of architec: ture, The exhibitions of our communities in art ‘centers, museums, th ote for adult education. Exhibitions keep the lie and, notably, the architect informed. We have asked Mr, Frederick J. Ki jor, Fart tors, galleries and out re are found 49 be cultural classroom: ub IN SEARCH OF... architct, stage designer, fo serve at our odi= fori desk as design etc, Through his many practical experiences abroad and it fry Me. Kiesler seams fo be expec filed at commentator on all forms of att ro Vitaly important to © progressive and com temporary architecture, Mr. Kiesler worked with Adolf Loos on the first slumclearance projects for the city of Vienna. Sines 1923 he hat been an active member of the international architects grou "De Stil" He was architect of the Theater Festival of the city of Vienne, 1924, whore he bull the first Space-Stage in Esrope, since widely adopted in many counts. The Aur ‘an Government nominated him divector and atchtect of the architectural, theatrical and ‘il eats at the Werld's Fair in Pare, 1928. (On his fist visit to thie county he designed 4 mutoum project for the Society Anonyme, 1927, He was later designer for Sols Fifth ‘Avenue, New York City During the last four ars he has worked consistently in the indus: ‘ial design eld. He is a member of the faculty of the Juilliard Foundation. Building TypesINDUSTRIAL BUILDINGS in this issue—war prepared by Stamo Papadati sho, before his selection for this special study, had perficipated in the design of varaty of inducrial stractors. MARCH «+ » ENGLISH NUMBER This issue, edited by Editors of The Archi tectural Review, London, hat boon in ion over « period of several months. was formulated about « year age wh Editors of The Architectural Review, London, ‘would adit one ietue of The Record wile The Record Editors would at the same time edit The Review. ‘The purpose of this exchange it to enable the respective editors to. present the pi of architectural and collaborative detign prog: cess that is taking place in each country. The English Isue of The Record will contain ‘2 résumé of recent advance made in Brilish design, To do this special articles were pre- ed by outstanding English writers setting forth the background of English architecture {elloved by the development of changes within the profesion and changes in the character of English design ARTICLES IN THE MARCH ISSUE 1860 -1930. By Nilolaus Pevsner. Tracing the changes in architecture in England up to the advent of the modern morement THE ENGLISH SCENE. By Hugh Casson PLANNING IN TOWN AND COUNTRY. By Thomas Sharp. THE ARCHITECT AND HIS PATRONS. By JM, Richards. THE WORK OF THE ARCHITECT. By LW. Thornton White. WHERE ENGLAND LOOKS TO AMERICA, By Herbert Read. The portfolio of ilstations gives a review 9 towns, ‘design of schools, industrial and bullding The English Review is roted as the most byiliantly edited architectural magazine in England. Ht is litewise the finest in. type: ‘graphical appearance. This same skil in lay- ‘out, in toxt and general appearance hat beon applied by our visting Editors in producing the March Architectural Record APRIL + MEXICAN NUMBER Ilusraions by Esther Born Arrangement by Eznest Born MEXICO CITY haz patsed through = boom period of building. School, markets, office buldings, apartment, residences, worker? houses, airports, many of which are of extreme interest, have boon built there during the past ESTHER BORN, whote photography work is FORTHCOMING MARCH @ HOUSING favorably Inown to architects and magetine coditors, recently relutned from Mesico with hundreds of views of the now architecture there. She alio gathered comment by archi ‘ects of that country on planting and design problems. ERNEST BORN i producing page arrange: rents and drawings for this Mexican lee in April BUILDING TYPES APRIL @ SCHOOLS THE ARCHITECTURAL RECORD VOLUME 927 FEBRUARY 2 NUMBERCAPITAL TACKLES TWO TYPES OF HOUSING con i ors i Mire WASHINGTON'S ONE AND ONLY SLUM-CLEARANCE PROJECT IS HOPKINS PLACE, recently completed by the Dwalling Authority with WPA funds. Light 'or slum cond ehabilitated Behind its classic marble facade, Wash- ington has long concealed one of the nation’s strangest slums—the inhabited alleys.* And little, if any, of the mile lions recently lavished on the recon- struction of the Capital found its way into these areas. The Alley Dwelling Authority—set up, as its name implies, to alleviate this’ condition—has re- cently completed a small project to demonstrate ways and means by which these slums can be “cleared. Hopkins Place “was designed to provide the least expensive acceptable dwellings that are possible in the ‘old’ city” under existing laws: and to give the project the greatest demonstration value it included both reconditioned old dwellings and new structures. But the Authority hoped, by this proj to answer two basic questions: Is it Alley Dwellings Unlike most cities, where advisable from either or both the social and the economic points of view to re- ‘condition old dwellings of this kind, of which there are many hundreds’ in Washington? Is it advisable to erect new dwellings in the “old” city for the lowest income families? Detailed analysis of the project in terms of de- sired standards, planning and cost led to an affirmative decision. Nucleus of the project were 2 rows of IL alley dwellings in southeast Washington ; acquired at the same time was some adjoining vacant land with a street frontage. On this were erected 2 rows of 6 houses each, bringing the total to 23 2story, 4-room units. ‘These are grouped around a U-shaped court open on the street; all have pri- vate rear yards, But a fairly wide variation both in size and accommoda- tions was deliberately maintained. Six of the old houses were rebuilt to in- oo ian” oe fronton fe ena ite teri Sate oh Jomandc ie clude complete bath, hot-water supply, wi bath, range and hot water are omittee in favor of an outdoor toilet. Saving $183.20 or $1.85 per month rent. AD new units have baths, but one group has complete kitchen equipment while in the other only hot water is provided Rents in the Hopkins Place project run from a minimum of $5 per room per month (in the reconditioned bath- less houses) to $7.19 in the completely equipped new units. They are natur- ally oversubscribed, but shortage o: funds makes further work of this sori by the Authority uncertain. To House U.S. Off “To provide suitable living quarters ir the City of Washington for member: of the U. S. Congress, Federal Judici ary and Cabinet Officers,” Congress ‘man Beiter (N. Y.) last month intro duced a bill for a $6,000,000 housiny project. Startling in its directness, th Bill calls for a development “whereit the full and proper degree of privacy will be provided for 600 members © Uncle Sam's legislature, judiciary am executive branches, According to the Beiter Bil, “Congress Corporation” will be set under Delaware laws, empowered borrow not more than $6,000,000 fron REC. It shall acquire a suitable plo of ground, near the Capitol and Hous and Senate Offices, at a price not t exceed $1,500,000—this plot to be pro tected by a 600-foot belt of properly zoned property. On this plot th Cotporation is to erect a structure con taining at least 600 units comprisiny “not less than a large living room, bed room and bath. The height of build ings shall be a height limit of two hun dred feet above the present grade, no including flagpoles or wireless tower: The type of building design shall rep resent the best obtainable in architec ture and engineering. Furnishing and equipment shall be of a kind, chat acter and quality that will best’ serv the purposes of this Act.” ‘The capital stock of the Corporatio: is to be divided into 600 shares of n pat value, one share to be held in trus by each Congressman, member of th Federal Judiciary, and Cabinet, presi dent and vice-president. These stock holders have full powers on the Corpe ration Board while in office, the stoc ig to their successors. They ar fo levy from all tenants an annual sur to cover interest, amortization, ete. N STfea es ‘ ans Shel STEEL HOUSES ARE NOTHING NEW TO home owners of the Ohio. steel Middletown. Here are four bull x 10 and right across the street sie more in the process of erect Wide Word Photo With stow aut TREAD, CERTAIN habitting « housing for the American. people LOW RENTS IN THE SOUTH WILLIAM 8, PATERSON COURTS Unit ‘Average Weekly Rent 2 rooms $2100 5 rooms taal 4 reoms 340 5 rooms 450 LiBERTY SQUARE Unit Renter Week Average 2 room yeas 3 rooms 13 4 rooms a6 5 roome 525 U.S. Steel Town Touts Steel Houses From four-room cottages to a two- story house with porcelain enameled exterior, Middletown, Ohio, has 24 steel residences—"to say nothing of ‘numerous service stations and other steel buildings’—and workmen are putting finishing touches on six more. Two local companies—Steel Buildings, Inc., and The Insulated Steel Con- struction Company—are producing these self-framing steel houses for ap- proximately the cost of conventional construction “Various investigators state that the number of residential units that should be built is from 400,000 to 750,000 annually for the next ten years,” said Charles R. Hook, Armco president, "There is no doubt in my mind that the solution lies in the mass pro- duction of houses with its resulting lowering of cost and increase of em- ployment.” PWA Achieves $4 p.r.p.m. Preparing to open two more projects on PWA's national program of slim clearance and low-rent housing, Harold L. Ickes recently fixed rents for Wil- liam B. Paterson Courts in Mont- gomery, Alabama, and Liberty Square in Miami, Florida. Under the George- Healey Act, which governs the rent- ing of Housing Division projects, tenancy is restricted to families of established low income, not exceeding five times the rent and utility charges (utility charges for heat, light and cooking will be paid by tenants). Rents ‘will average around $4-$4.50 per room per month ‘According to surveys just com- pleted in connection with William B. Paterson Courts, there are 5,940 self: sustaining negro families in Mont- gomery who live in housing which is not decent, safe or sanitary. Close to 2,000 of these will be eligible, on the store of income at least, to” become tenants of the new community, but only 156 units are available. Some idea of accommodations now available may be found in the disclosure made by the survey, that there are apparently nly 300 negro rental ‘units in the city equipped with such elementary facil ities as private water-closets Charity Demands Housing As discussion over New York's Multi- ple Dwelling Law reached a crescendo HOUSING STILL NO BED OF ROSES before it went into effect last January 1, Manhattan’s old and august Charity Organization Society went into action. At hearings on the Law, Sydney Maslen, chairman of the Society's ‘Tenement House Committee, sub- mitted a report which proposed that: legislation be enacted requiring the “demolition or complete renovation of uninhabitable buildings” ; that the city rehouse at the same rentals all families whose homes are vacated or demol- ished; that the city itself recondition and manage all “boarded-up” tene- ments and make a survey of tax- delinquent properties suitable for hous- ig “with a view to utilizing them for providing decent low-rent housing, primarily for displaced low-income families.” NPHC Holds Fourth Housing Conference Held last month in Washington was the Fourth Annual Conference of the National Public Housing Conference. NPHC delegates first drank tea with ‘Mrs. Eleanor Patterson, publisher of the Washington Herald, heard Mrs. Franklin D. Roosevelt. Subsequent discussions were “Subsidies for 2 Na- tionwide Housing Program,” “Price Value and Acquisition of Land,” “The Worker as Builder and Tenant,” “Or- ganizing the Public Demand for Public Housing.” The Conference closed with a bus tour of Greenbelt (Tugwell- town), Maryland, RA’s subsistence project on the Capital’s outskirts. NHA Folds Up With the close of 1936 the National Housing Association, after 27 years of active work in the national feld, has decided to discontinue its activities and disband as a national organization, ac- cording to a recent report. “The situation which led to the establishment of the Association 27 years ago no longer exists. At that time there were no national organiza- tions dealing with the problem—in fact, few local ones outside of New York City. Today, that is not the situation, ‘The pioneer educational work in field has been done. There are now a number of national organizations and ‘many local ones and numerous Gov- ‘ernmental agencies dealing with hous- ing, the latter with vast funds avail- able.” ISSUE OF FEBRUARY 123 NEW S 3THESE MADE THE HEADLINES PARIS To boat the flooding Seine, foundation plans for the United States Pavilion were last mouth radioed to the Paris Fair. First commercial ap- plication of the transoceanie radio facsimile, the transmission took less than an hour, While many distin guished visitors at R.C.A.’s Mankat- tan office looked on, the 8° x 10" plans were wrapped onto a slowly revolving drum. As the drum revolved a small lamp scanned the surface, creating elec- trical impulses corresponding to the lines and figures of the drawing indi- cating the location of piles and walls of the building. Wires conveyed the electrical in pulses to a powerful transoceanic trans- ‘mitter on Long Island. Near London, @ receiver attuned to the American wave, and a facsimile recording ma- chine, reversed the New York process and reproduced the plan on a film ‘which was then developed, printed and sent to Paris. The designers of the United States Pavilion, Wiener, Higgins and Levi explained that while the foundation work is in progress on the Quai d’'Or- say, the building proper would be in process of prefabrication in this coun- Iry and ready for assembly in the French capital immediately the flood ‘waters have subsided. NEWS 4 LONDON A new inn just opened out: side London. Called “The Comet,” in memory of the plane which won the Melbourne Air Race, the aerial mo- tive runs throughout the architecture, the whole building being designed in the shape of an airplane. The sign is 1a 15-foot stone pylon topped by a mod- cl of the “Comet.” PACIFIC OCEAN Where this mod- ern hotel now stands, “'gooney” birds once played undisturbed; Midway Island in the South Pacific, now one ff the overnight stops in the new air- line to the orient. Almost overnight this desert islet was converted into a ‘modern self-contained cammunity with hotel, complete staff quarters, radio and meteorological station. KENTUCKY In the blue grass near Lexington this clubhouse and grand- stand was recently opened in conjune- tion with a new race track. Although the “Derby” ig held at Louisville, the breeding and stud farms center here; with these luxurious accommodations Lexington can now bid for big-time events, FORT BELVEDERE ‘The gardens that rocked the British Empire; seen from the air, the pool and tennis courts which Mrs. Simpson helped the former King install wear a neglected air. Here it was that Edward made his famous choice. With both parties now in exile, Fort Belvedere is now rumored to be for sale, ENGLAND \Workmen putting the fin- ising touches on “The Mill on the Floss.” This model, along with many others, will be washed away in a Lilli putian flood during the filming of the famous novel of the same name. SCHENECTADY ‘This new home for WGY, with the latest studio and con- trol-room equipment, will shortly be built. The new structure, two stories in height, will contain five studios ; it will be stone finish with glass blocks. THE ARCHITECTURAL RECORDIN MEMORIAM TO COMMEMORATE THE VICTORY WHICH made Tesat free, thie shalt will ste 565 fo inthe San Jecinto Battlefield. tt base con: the rip 10 esy matter for vistors TO COMMEMORATE A DEAD DICTATOR, eral Justo Barrios, Guatemala recently ‘ited this memorial inthe. suburbs ‘cf the spite city. “Originaly conesived in limeston nny American engineers ware. able fo. point Sut that tosh would be for safer than Stone 1 this eerthquabewidden sounty. They. got fe contract. SSUE OF FEBRUARY 1937 Princeton Announces Fellowship, Princeton's School of Architecture an- nounces the annual award of the Low- ell M. Palmer Fellowship for advanced study of architecture. ‘The holder is exempt from tuition fees, and may re- ceive in addition a cash award from the Lowell M. Palmer Fund sufficient to enable him to complete a year of residence at Princeton, ‘To receive consideration for appoint- ment for 1937-38, gether with supporting documents, ‘must be received not later than March 15, 1937. Application blanks from School of Architecture, Princeton Uni- versity, Princeton, New Jersey Also, two competitive prizes of $500 each, in the School of Architecture, are announced for the year 1937-38. The purpose of these prizes is to per mit men of unusual ability to complete their professional training. The prizes will be awarded as the result of a com- petition in design to be held from 9.00 am. April 16 to 9.00 am. April 26, 1937. The winners are exempt from Candidates for these prizes shall be unmarried male citizens, not less than twenty-one nor more than twenty en years of age on September 1, 1937, who have been employed as drafts. men in architects’ offices for not less than three years, or who have other- demonstrated their ability in architectural design. Applications must be filed on or before March 13, 1937 further information from Professor M. L, Beck, McCormick Hall, Princeton, New Jersey. applications, to- Rotch Travelling Scholarship ‘The Rotch Travelling Scholarship will this year be awarded for a term of not less than 15 months of study and travel abroad, the amount of the prize being $2,500 payable quarterly beginning October 1 Examination of candidates will be held early in April, but candidates must register before March 1, 1937, and must fill out application blanks which will be furnished on request. The Com- mittee of the Boston Society of Archi tects will make personal investigation of all applicants; right is reserved to determine after “personal appearance before the Committee whether or not such candidates are qualified. Further details from C. H. Blackall, Secretary 31 West Street, Boston, Mass pers United Wall Paper, Inc, is sponsoring a wall paper design competition, First prize is $1,000, and there will be an indeterminate number (not fewer than three and not more than ten) of $100 prizes. Awards will be made March 10, 1937. Designs must be received by United Wall Paper Factories, Inc Jersey City, N. J., not later than 3 P.M,, February 2 Pratt Alumni To Organize The Art Alumni Association of Brook- lyn’s Pratt Institute will hold its First Annual Convention at the Waldorf Astoria, New York City, February 12 and 13. Increasing demand for a mod- em and efficient art association was influential in bringing about the or- ganization of this group, which will provide for the exchange of ideas neces- sary for keeping abreast with the rap: idly changing conditions in the field FAECT School Begins Spring Term Registration for classes in architecture, engineering, chemistry and mathemat= ies, as well as cultural subjects con- tinues at FAECT’s school in New York City. A special course is offered for preparation for professional license exams. No prerequisites are required, other than “familiarity with the sub- ject gained by work in the field.” Fur- ‘her information from FAECT School, 114 Bast 16 Street, N.Y. C CALENDAR OF EXHIBITIONS AND EVENTS ¥ I—Prite and Drawings of Ar Galleries K'37-40, Motrapalifen fion of The AM Alumni Associaton of Pratt Institue," WaldorF Arora Hotel, Now York February 13—Opening, Spring Term, School of! Architecture end "Aled “Ave New York University, New Yor City February 17.19Elocticel Industry Ea bition," Masonic. Tamale, Detroit, Mich {© February. 21—{Not later than ® PM.) ng date for desiane in competition sponsored by United Wall Paper Factors Inca Jersey City, Ne J #\dareh. I—Closing date for Roteh Traveling Scholarship. Information from C.'H, Blackall Secretary, 31 West Stroot Goto + applications Lowell M, Palmer Falowship, School of Ar Frineston Univesity Preston, March 15-19—Netions! Air Conditioning Expos Pa © duly 17—Opening, x! Gros of Architect: Per Burning ond idelohtaBUDDHA STATUE of the seventh century A.D. standing one hundred and seventy {feet above ground in the BAMIAN VALLEY, AFGHANISTAN. The niches in the ines or dwellings of pest. Prom the French film, THE YELLOW CRU text paTHE ARCHIT mam CT IN SEARCH OF... de a column on exhibits, the theater and the cinemo gn correlation By FREDERICK J. KIESLER cart, Art, ART Trapped by the Federal Art Project of the Works Progress Administration (WPA) in association with TRAP (Treasury Relief Art Projects), approximately 5,300 Fine-Art-Artists have produced art-works. Samples exhibited recently at the Museum of Modern Art and at the Whitney Museum offered two critical evaluations: the discovery of new talent, and the interrelation of architecture and the fine arts. Note immediately Point I: critic-skipped artist Number One in the catalog of the Whitney Museum—Bertrand R. (R missing in official catalog) Adams. ‘An unknown artist, best, in my opinion, in his mural for the Dubuque, lowa, post office. His self-written biography [thanks to special service of Washington's TRAP director) follows: "Born, Webster City, lowa, November 29, 1907. Began art career, studying taxidermy with local taxidermist. Found out how robins hop and chickens walk... and never vice versa. 1925 seriously began art pursuit by enrolling in a commercial art correspondence course. 1928 entered University of lowe. Majored in both art and economics."” Certainly a prac- tical American approach to the life artistic. "1934, after five years of college, began work in lowa State College Library—murals, under PWAP. Hobby— bookplate collecting and etching. Recreation—farming.” Judged by the display of his talented accomplishments, @ foundation of taxidermy—followed by a correspondence course in art—with economics and farming as recrea- tions—are hereby strongly recommended to all arf-aspirants. hotoprphe cortez French Motion Pitars Cor THE ARCHITECTURAL RECORD © FEBRUARY 1997 78 The presentation of the Federal Government's paintings and sculptures at the hospitable Museum of Modern Art unmistakably displayed the high aver- age capacity of its “relief” artists. Interesting is to observe the crystalliza- tion of a national style in painting and sculpture in any country: more so in the U.S. A. Up to now fine-art-production in this country reflected only @ cross-section of old and oldest, as well as new "foreign" Museum-Masters, as indeed the population itself is a human amalgam of almost all un-American nations. Best samples of an American trend in painting new emerging con sciously from this international conglomerate of art-influences were furnished by two Art-Workers: Louis Gugliemi, with his "Wedding in South Street,” and Gregorio Prestopino, with his "Green Mountain Village.” Both painters were unknown to the general Art-Public before this exhibition, including deal ers, critics and other voyeurs, snobs, art lovers and bystanders. Holger Cahill, Federal Art Director, earliest early American folk-art searcher, has thus justified the fitle of his exposition "New Horizons in American Art." OF course, con- sidering the vastness of the plains of the U. S. A. these horizons are quite far away, but on a clear day a good binocular will see them. What are the objectives by which art, nationally defined, can be measured? It seems such artwork will first need to be examined for: its geographic authen- ticity (birthplace of the artist, his residence);second: the locale of his subject: third: the method of treatment (aim, composition); fourth, most important: his technique. The further we advance in these four points, the more difficult becomes artistic identification; and the last point (the technique) is the most intricate of all because of its very sublimation of the artist's creativeness. The stronger the artist, the more definitely will he arrive at his own technique of interpretation. Still, it is amazing that his individuality will not be seen “at once," although later, by repeated acclaim, it will be pointed at by guides, like Grant's Tomb, or La Tour Eiffel. Searching the American art field with these four beams of identification, what do we find? Measured by this arbi- trary standard, we are compelled to deduce that the two above-mentioned works are chiefly distinguished: by the artist's poignant preoccupation. with smooth detail, a true trace of “early art’ in any country, and further: by @ general expression of loneliness almost amounting to despair, or, as in the picture of Bertrand R. Adams, a loneliness self-sufficient in its social romanti- cism. As if American artists, influenced by the functional tidiness of a highly mechanized culture, had a definite predisposition towards technical neatness and clean-cut effects in their work. The total impression is one of overwhelm- ing, sanitary bleakness—of almost arctic isolation. Perhaps this quality is a good enough test of their creative integrity in a country where their special apti- tudes have been overshadowed by a mass-psychosis of commercial fixations. Their work indicates a three-way direction: social romanticism [vise 1), social criticism (cictre 2), and glorification of technic {rictre 2) "Wedding in South Street” is, aside from all “artistic” qualities, » deep denunciation of social conditions. The diminuily of the human and his personal affairs in comparison to matter-of-fact business-structures-and-monumenis is almost documentary. Slumhouses comated with Greek columns, but nevertheless "to let," are a fine criticism of our multiple dwelling laws * Some painting re dificult to interpret, if ona insist on national demarcation, Whistler was American born of Irish sttraction, but hit pictorial exprssion spiritually and techrically is. typical Enalith 4, German-born, fesided during his lifetime on the German side of the Rhsin (Frank hafenburg|, close enough to France to be strongly influenced by French culture: fac that mates his work entry diferent from any "German KIESLER © THE ARCHITECT IN SEARCH OFbetween murals without walls and walls without murals Point number two: regarding the interrelation of architecture ‘and the fine arts—there is interesting news for the outsider. “The Treasury Department has become one of the greatest, if not the greatest, architectural client in the world.” We are quoting from the catalog of the exhibition. "The association of the Treasury with art goes back to the earliest days of our history, since it was 40 the Treasury that Washington himself gave the command of Federal architecture. Although today there is a Capitol architect's office, which has supervision over the Capitol, the House and the Senate office building and the Library of Congress, and, although various technical structures, such as fortresses and naval bases, are designed and con- structed by their own departments, the greater part of Federal architecture comes under the aegis of the Treasury Depart- ment." (No sketches were exhibited for possible decoration of fortresses, although loneliness engendered by waiting for an enemy might well be mitigated by dioramic paintings) "The ‘vast expansion of the country has greatly increased the need for Federal buildings, which include post offices, courthouses, mints, buildings for the Customs, Immigration and Coast Guard services, and general office buildings. In short, the Treasury Department, having had as one of its traditional duties the supervision of federal architecture, has now taken over the ‘educational and aesthetic work of adding distinction to its architecture, by means of painting and sculpture.” Certainly ‘a matter of vital concern to every practicing artist and archi- fect in the country, and one which compels him to take a creatively decisive attitude, “This cooperation between the three great Arts is what gives the program its essential char- acter of permanence and its social and educational force. Important, that this new authorization to coordinate public, painting, sculpture and architecture is again inaugurated by @ great public agency, as has already been done in past cen- furies, excepting that today i is perpetrated on an enormous scale. Selection of suitable decorating artists, such as painters, sculptors and industrial designers, is based on national com: petitions, but the choice of qualified architects for these buildings is NOT determined by any test which would demon- strate equal competence, meaning: artistic integration. We quote agoin: "In each case employment is limited to profes- sional artists capable of meeting the standards established by the Supervising Architect's Office for the decoration of Federal Buildings.” co-constructors lf | read correctly, it sayst standards established by the Supervising Architect's Office, Do these stendards mean: the un-American cross-breedings of Romanic, Gothic, Greek, modemistic columns—archway and window— ‘orders, to which the prize-treasury-winners have 10 interrelate ‘heir mural designs and sculptures? The objection listed here does not concer itself with imitations of classical murals within re-created classical architecture: criticism of such affinity is superfluous. The objection concerns only modern murals within a framework of classical or semi-classical architecture, ‘They can not integrate. They can not balance to unity. One of the two must submit against will to numbness. Both will finally degenerate. Does it mean that contemporary talents 10 KIESLER THE ARCHITECT have fo furnish a living vitality for these pathetic architectural ghost-brides of the past? Would it not be practical to estab- lish new commandments for creative integration for the Super vising Architect's Office, of this, the world's greatest client, and ‘establish standards underwritten by sculptors and painters and industrial designets, whose status has already been demon- strated by successful emergence from 2 nation-wide compe- tition? Or shall we continue to accept the artistic standards of the Supervising Architect's Offico—for the Supervising ‘Architect himself and in addition to that: for all private artists? Is this proposition not too one-sided? Is not the artist under such architectural circumstances merely an em ployee measured by wallfootege, while in reality he is 8 creator and as a muralist certainly a co-constructor? Of course, we understand that the government agencies have to relieve the sudden impact of building problems with means immediately at their disposal and are therefore handicapped in their best intentions. And any solution depending on a new interaction of governmental laws. traditions, routines and so forth, and temperaments of artists and technicians, needs time fo grow-—but consider the predicament of the contemporary ‘American muralists. Functioning as they do within the ancient framework of outmoded architectural concepts, they are pre~ vented from approaching their present-day problems with 0 proper regard for the paramount element: Time. In short |: what is the life span of the building structure, specifically of the wall? 2: what is the technological aspect of paint and its durability? 3: what is the time-gauge by which the pul is expected to view the mural and absorb its meaning? 4: provision of controlled artifical and natural light-intensities necessitated for clear vision of murals according to distance from observers, stopping or in motion, and in relation to the proportions of the design as a whole and in detail. The answers to these basic questions cught to be the chief technological considerations of the muralist and of the architect, no matter ‘what message is to be delivered. Actually, not only the archi- fects but the mural painters too are completely out of step with the current fime-siructure. muralizing What is their general psint-procedure? The brush filled with watery paint is set right into the wall: this is genuine mural painting. The brush with creamy paint set on canvas or wood or glass or any material which is hung in front of a wall, is eatel painting. If this is right, many of the modern paintings called mural paintings are not mural paintings but easel paintings muralized by pasting @ painted canvas on the wall. Mosaic seems to have been an industrialized genuine mural painting of the past, so here is @ very early sample of industrialized handicraft in the field of fine arts. Many painters might object to being called handicraftsmen because they feel as though they were aristocrats of the order of fine arts. The public, of course, i not interested in how the painting is painted, mural or easel; it is interested in the effect, in the message of the work [or not even in that]. But craftsmen and +echnicians know thet the technique of work is its final expres- ion. In that span which consists of the tiny space between the material a painting is painted on and in the final surface- epidermis of the paint lies the story of the mastership of its creator. It is in genuine mural painting, the micro-minutest IN SEARCH OF...space [Giotio’s frescos), and in easel-cilpainting, the micro- mightiest one (Rembrandt's later pictures). And that because ‘the mural painting buono ab fresco sucks the painting into ‘the wet wall ground and interbinds it with the building struc- ture while swallowing it. If your hand glides over the mural painting, you do not feel it, but the roughness of the wall itself: your skin gliding over an cil painting feels the bulk of paint and siroke. This transparency of watery al fresco painting was one of the great attractions for the painter and architect and they definitely played with the wall ground as to color and texture which glowed through the paint into the eye of the observer. That sensitive texture-technical feeling of @ ‘mural painter is too inherent with the talent of such a craftsman to have been lost at any time anywhere in these centuries, but it seems natural also that in certain periods this sense might have remained undeveloped or restrained in its exercise. Of course, in regard to mural painting, there is not only the se tivity of the painter—a deciding factor—but the environment- ‘loments foo, the architectural structure that underlies his paint and composition, and the building as a frame coordinating his ‘wn composition into a “heterogeneous unity." An easel painter has the control of the unity and finality of his work in his own mind and hand, not so the mural painter. Even the coordination of the easel painting to a wal is in the hand of the easel painter by his designing end choosing of a frame for nis strictly bound composition. This frame of wood, carved or slain, colored or naturel, is the independent intermediate petween his painting, @ very personal expression, and the sur “ounding wall of a room, @ general and super-personal back- round. vis major or vice major? The question is, can you de- tach the quality of a work from its technique? | am inclined to say: No, OF course, any artist of quality will express this ality in every medium but, and that is the crux, he will use sach medium rightly. If somebody paints a mural painting on canvas in oil paint {as in the case of Gorky’s mural for the Newark airport), he is either revolutionary, on amateur, or one sho is prevented by vis major* from doing what he thinks is ‘ight to do: for instance, the lack of material, the lack of >roper wall preparation, the shortness of time, or the neces- ity for a "mobile" mural painting detachable from a salvaging doint of view, due to shortlived building structure as a whole. successive painting and The fresco fechnique, which sre-prepared paintings — many of the modern muralist amploy, belongs to the past of highly individualistic periods, Jictatorial or monarchistic, as in Asia, Central America and rope. To paint, to prepare foot by foot the material for ‘succes intings," is enachroristic. Technically it belongs '0 the stone and plaster agel Objectivity of optical mural anguage, as propagated by revolutionary artists (with the ex- ‘option of the Mexican Sequeiros, is directly opposed to this sid fresco-technique. By their paint-technique, they propa- jate high individualism, but socially they propagate collect. sm. A fresco of this kind is untimely for the extreme mobility oF contemporary life: it is too long-lived for us—and too short. Taw, a superior force which gations. is held fo exempt from contract “HE ARCHITECTURAL RECORD « FEBRUARY lived for posterity! Further: the mural painters of the past labored in the certainty that their works were displayed in buildings where people gathered in silence and meditetion (mainly in churches). It was eminently appropriate to speak to them by means of static pictures, their language of com munication. This had a logical influence on the design and color schemes and conditioned their choice of suitable ma- terials for walls and paint. Today, almost all modern muralists have been influenced by the Mexican school which uses the illustrative method to the point of overcrowding. And, al- though they abandoned the pure decorative elements of the nineteenth century murals, they have fallen into the other ‘extreme of shouting 2 hundred clamorous messages from pain- fully overburdened walls, which no contemporary con absoro at once. Mexican artists, fully aware of this incongruousness between thought and technique, but hampered by a lack of choice in a land of small industries, are compelled to continue their expressions with ancient media. But the U. S. A, do- signers have no such excuse to offer. They could, and ought, to attempt a contemporary mural-technique! A powerful optical challenge for the preoccupied and speeding spectotors who pass through public buildings. Light steel frames, for instance, covered with enameled metal in a hardened porcelain process —easily removed and yet durable—might help the evolution of @ new concept on the pert of the muralist: industrialized There are too many unexplored technological possi bilities 10 be accounted for here, but certainly the use of graffito, fresco and cil painted canvas in a time which is so rich in new technical expressions shows an amazing sluggishness on the part of our much fouted native ingenuity. Do we went the murals te endure or do we want the murals perish within five years or fifty, through their own demerits, through building-wreckers, through both, or none? Do we want the designed message to be readeble, or do we want just pay for 2 job? We have to make up our minds about it. The result ‘of that decision will help distinctly to decide the composifion- technique of the mural and the building materials and the design of the structure as a whole, Not e single attempt at a contemporary technological approach fo this problem was is- played either at the Museum of Modern Art or at the Whitney Museum. Nor were any signs of such an attock exhibited of the Museum of Modern Art Mural show in 1932. heterogeneous unity The architect of today is again, after 9 pause of twenty-five years, at work to coordinate such strange parts as painting, sculpture, industrial furnishin and building siructure into a heterogeneous unity, called Arc! tecture. For such a problem the modern architect has not been trained, since it belongs to a tradition which was both willingly and unwilingly lost. This breathing-spell from décor in building- structure hes set our minds free and has given industry a chance for inventing additional techniques of reproduction. (The Ark creating-machine has not yet been invented) Already today, any building surface, flat or curved, with any texture, rough or smooth, can be sensitized and the mural-image then projected cn an emulsioned ground by any ordinary photo-projactor. It is then developed like a photographic print and by means of spraying the picture is permanently fixed. It is washable 1997 11tnd, if so desired, can be removed by chemical means. This is a new way of mural painting.* Summing up: the old way of mural painting is fresco. A newer technique, very frequently employed by Federal WPA artist, ie oil-painted-canvas pasted on a wall which might be called murals without wall, because the painting is not merged with the wall surface, as in fresco. The new process of sen- sifizing walls gives us not the common photo murals, but pro- jected murals: walls transformed into pictures by means of light. Strangely enough, all modern European architects pleaded for walls without murals. In this Europe still persists. The U.S. A. relief projects have, however, put fo rout all European arch-ortattitudes and have “ordered” murals, no matter what technique, no matter what architectural surroundings, as long 2s they were allocated to public buildings. Tho question at present arses: if the muralist will be dropped from his scaffold by the government restricting or closing the WPA, will it mean that he will be dead and that contemporary architecture will drop back to walls without murals? Or will the “Federal art-technique” be taken over by private enter prise, the muralist kept artificially alive as long as their funds last? Or will a new technique of pictorial, sculptural end struc tural integration be undertaken, now that the artificial stimulus ‘of WPA relief art has troubled the dormant minds of archi- 4ects, engineers and fine-art-arists into thinking? And by that | don't mean the replacing of old, directhand techniques. by more indirecthand called machine) techniques, but by an entirely new spirit emerging in conjunction with new social and technological intensities. ‘Reported in The Architectural Record of September 1936 new scenic design by progressive play-direction Designs in the Federal Relief Theoters are usually progress They are summoning the attention of the public and the pr fessionals. Gerald Losey, "Living Newspaper” man, bocan with his rapid scene-battering WPA production "Triple Plowed Under." the Federal Labor-Theater's Boy number Ol in contrast to Orson Welles who, éwenty-one years of age, t came, with his direction of Shakespeare's “Macbeth” plac in Haiti's surroundings, the Federal Triple A ART-Theate Boy number ONE. Plowing under the traditional belief that only stars can he 2 show on Broadway, Losey proceeded with the WPA seco production, "Injunction Granted.” and Welles with "Horse E Hat and "Dr. Faustus,” successfully playing to packed hou ot a fifty-five cent top. This is real Folk-Theater, and credit must be given to the government. The productions « inexpensive in construction ond rich in stage ideas. Ar although not very new in regard to the modem developme of the world's theater, are new enough for commercial Broz way, end brisiling with young life We show a model of the unit-ramp-setting with and withe actors (similar to one | sed two years ago at the Metropol Opera} on which action of all acts and scenes took place. ferent environments were indicated by properties carried and off stage by the actors. Important historical annotations the scene were projected on a big back drop in black and wh and in color: portraits of American leaders were effectiv projected on a white panel suddenly lowered to catch the p jection. The first production, "Triple A Plowed Unde effected changes by using back-screen-projection, shadow tures in motion and litle rolling wagons on which actors mo’ con and off with the scenery. Architects might note the eff tiveness and efficiency of this sort of mulf-scene producti 12 KIESLER THE ARCHITECT IN SEARCH OFslums survive The French Citron Auto-division for propaganda vision, under the direction of . M. Hardt, returned from the "Roof of the World” with a film-odyssey called THE YELLOW CRUISE. Main purpose of the first motor trip across the Himalayas, from Beyrouth to Peking was to demonstrate triumphant automotivity. For the designer this documentary film has many instructive views, First of all, the patented vehicle called Auto-Chenille, invented by A. Kégresse which serves for mountain-climbing as well as soft-ground (sand) travel. The equipment is obviously unfit for narrow roads and water-locomotion. Frequently the expeditioners had to dismantle their Auto-Chenille-caravan into minute parts. After each river and lake crossing or surmounting unsuit- able paths, the various machine fragments, having been carried on the shoulders of coolies, had to be painfully reassembled into mobile units. Paying due respects to the hardihood and tenacity of the leaders, it cannot be denied that the Himalayas are still to be conquered by the wheels of an automobile. This should not detain you from seeing the picture wherever it is available, since there are many “documents visuels" of old Asiatic building-structures not commonly found on library shelves. Most interesting of these: Century-old technique of theater-acting vitally alive today.=7 Tower-inclosed windmill, located on mountain tops, and the eternal slums of Turkestan, Kashmir, Mongolia, China, as well as the almost eternal sculptures of the Ming tombs. stations.» frontiap f HE ARCHITECTURAL RECORD « FEBRUARY 1937 13mobile design-symbols The Mesicon government in iiated, long before our depression, creative work done by ar- sts, For this purpote they employed not only native talents bt also invited “Yoraign” Americans such as citizens of the U.S. A. end put them on the government pay rol—sculptor Noguchi, twin muralists Grace and Marion Greenwood end lately, Peul Strand, embarrassingly little-known ace camera man. Photographer Strand worked in Alvarado, » fishing vik lage on the Gulf of Vera Cruz, and the result is not @ mural KIESLER but 2 film, for @ change. The project was inaugurated by Paul Strand and Carlos Chavez, the composer, who was at that time (1933) head of the fine arts department in the secretariat off teducetion in Mexico. Music was composed by Sylvestre Revuel- tos. Strand also wrote the story in collaboration with Velasquez Chavez, and supervised the entire production. Seemingly the best method of procedure to objein such welkintegrated com- positions as Strend's film, is to work within o small group, whose mombers understand each other—men of uniform intentions ‘and varying sills — in. stead of being an out- sider within a firmly crystallized super-produc: fion company. OF course in the latter, financial compensation is greater, but the survival of an idea is usually at stoke. The of group work is limited in funds but not in fime and ef fort. And good spiritual and technical. teamwork between designers, script writers, technicians, act- ‘ors and property-builders needs. tims time. The Strand film took ten months, but that it con be done without losing ‘ground in spite of super- production - competition was demonstrated by this ‘American Strand even in conjunction with a for- eign government, and by the American Virgil Thom: son, with the support of private capital, by pro ducing “Four Saints in Three Acts.” Soon it wil be known that the film Redes" by Strand de serves a high place in the U.S. A. cinema annals method time, lis message, light-pro jected on a canvas screen will reach many more thousands, via the U.S. A than any paint projected mural. possibl could. Mexican and Amer ican designers might wel consider; whether mobil designsymbols are not « better medium for reach ing the populace tha static mural fixations. THE ARCHITECT IN SEARCH OFinematic anti-propaganda —Photosin-motion that might nterest architects end music-makers is the film “Amphi ryon." The treatment of vocal and pictorial correlation is yew; the story is as old as Jupiter. if not older. As a mat. ‘er of fact, it has been utilized so frequently that the French writer, Jean Giraudoux has filled his play “Amphitryon 38 © indicate that his is the thirty-eighth version of the tale. he plot concerns itself with the lust of Jupiter for an earthly voman end the complications which arise therefrom. In nodern times munitions end money makers are invariably recused of fomenting wars, but the ancient Greeks had another cause for it. They had 2 postic predilection for xscribing the troublesome source of this mischief 40 women, “he film version, UFA’s (39th), differs from Giraudoux (38th) 1 this, that in the play Jupiter instigates war in order to rid rimself of Amphitryen, the soldiet-husband of the beautiful Mlemene. In the film, Zeus-Jupiter discovers. his earthly hatmer by means of @ magnifying glass (no propaganda for ‘eiss) after her husband has already gone off to the wars. Disdaining his old ‘tricks of appearing in the guise of clouds vy celestial rays, Jupiter decides to transmute himself into a human being. To quote, “ihe lowest creature of his creation, and appears as Amphitryon Il. Of course, the second only to the spectator but not to Alemene. It is superfluous fo repeat the details of the story since itis too well known and, if you ere unfamiliar with all the developments, see this pictorial demon: stration offered in the film. But particulary call your attention to the GreekModern architectural settings of this motion picture, because as designers they merit your interest, if you like such style perversions. Conceived with good taste, the unit-set lends itself to @ great variety of good shots. Its value might have been heightened by tapping a satirical vein, os was done in the treatment of the script, the costumes and direction. Its design-board values are credited to Robert Herlth and Walter Roehrig, wellknown seb-setters abrosd, Greek maidens in the manner of Rockettes and Gold-diggers—t of 1937 cavort pleasantly through » musical score satirical in rhythm and cantilena, unfortunately lacking in the orchestra: tion, A rare vocal continuity compensates for the comparative uninventiveness of the themes. However. you will probably enjoy the satire on war and authority, an unintentional propa- gande-film in reverse, by Germans with French actors. DEATH IN THE MACHINE AGE Streamlined car of Harry Fiaroont DESIGN FOR DYING his last good-bye HE ARCHITECTURAL RECORD © FEBRUARY PRIMITIVE DEATH Contemporary nec Solomon Islande 15 0 desian 1937WOTION PICTURE THEATERS By BEN SCHLANGER lere are two types of motion picture audiences each of tich should be considered separately in determining the 'd for new theater construction. One type is the audience vlving from a given neighborhood or township, where Patronage is the same most of the time, ‘The other type located in popular busy shopping or theatrical districts, lere the patronage is more transient. ‘The number of nsient patronage type theaters in a given location is sub- t largely to the importance of the locations, and the ‘mber of entertainment-seeking transients found therein, wever, in the case of the community patronage type, ibility of the erection of an additional motion picture ater is determined by taking several factors into con- eration. Since the community patronage theater is the most preva- t and most popular, it should be given most study. Here, a distinction should be made between the city neighbor. ad and the small town theater, a distinction, however ich is lessened to a certain extent by the automobile. For unple, smaller and more frequent theaters would be neces- ¥ in small towns, were it not for the popular use of the “omabile Basically, the need for the erection of new community ronage theaters can be determined by consulting these \. Density of population for a given area, 100 seats for 00 persons (based on attendance for 1936) is recommended. ‘sian Booth layout for mashiney, witing and ot oa’ Regt of the Proecon”Prsaie co phere Reece Cone ay” be eld |E ARCHITECTURAL RECORD « FEBRUARY NEWS REEL THEAT PARIS b. Availability of suitable film product ©. Frequency of attendance (increases with quality and quantity of available film produet and reduction in admission prices). 4. Obsolescence of existing theaters. e. Proximity of other theaters, In the matter of type and number of motion picture the- aters desirable, the patron and the exhibitor naturally have entirely different points of view. If the theater-owning exhib- itor had his choice, there would not be much new theater construction. He would much prefer exhibiting films in a centrally located, large seating capacity nit, regardless of how inconvenient it would be for the patron to reach the theater or how obsolete and unsuited the theater might be for the effective enjoyment of the film. On the other hand, the theater patron would rather have ast two theaters of more intimate capacity (of about 600 seats instead of one 1,200-seat house) convenient to hhim and offering more choice in film selection, Owing to the increasing number of desirable new films and the reservoir of good films made in the past, suitable for revival, a new attitude in motion picture exhibition has come about, popu larizing the community intimate motion picture theater, located as closely as possible to the patron, CHOOSING A SITE In choosing a location for the neighborhood or small town ‘motion picture theater, first consideration should be given to the convenience of the patron in reaching the theater. Most desirable would be a location in the center of the population to be served. 1937 17DIAGRAM. [. Valuable seating area limits determined by Dia sacuirements showing ‘alative eficieney of aiffrently Droporioned. shapes ia plan {see tet]. While it is of some advantage to be located on the chief business street of the neighborhood or town, it is not most essential. Usually, a location immediately adjoining the more valuable property should be chosen. Where property is ‘excessive in cost, it is quite common to find the more valuable part of the property devoted to shops, locating the theater by means of an entrance from the important street, having the bulk of the building in the less costly area to the rear ‘As the importance of the motion picture itself increases, however, the use of costly land becomes less necessary. The tendency is towards a building which may have in it, at the most, a few small shops to help reduce the rental of the theater portion. Wherever possible, the use of minimum-cost iminating the need for shops, is desirable, thus per- mitting full architectural advertising value for the facade of the theater building. In selecting a site, a comer plot or an inside plot having a public street or alley immediately to the rear of the plot is ‘most desirable for the arrangement of emergency exits, con- trolled by local ordinances. In the small town theater where automobile patronage prevails, parking space adjoining the plot is quite essential. A secondary entrance to be used by persons alighting from automobiles should be considered. For most efficient plot widths see Diagram No. 2, allowing additional width on inside plots for exit courts. FINANCING ‘The amount of money that may be justifiably invested i a motion picture theater structure and equipment is con- trolled by the necessary rapidity of amortization of original 18 BEN SCHLANGER © DIAGRAM 2. Schematic sile arrangements for highest eiteloney in space wage allowable by New York City Building Code(s tet) costs. Most investors feel that the highly specialized natu of the motion picture theater structure calls for a she amortization period. ‘There is only one justification for th attitude and that is the possibility of a drastic shift in pop lation from a given community. Large-scale housing stu and developments, and city and town planning tendenci obviate the necessity for considering this aspect. Howev it is logical to assume comparatively short amortizati periods varying from three to ten years for the equipme fof the theater, ‘Ten years is a fair amortization period f the construction cost. But for three important consideratio which cannot be overlooked, home television may be offer as an argument to reduce this amortization period. First the technical dificulties encountered in producing a suital large enough home television screen have not as yet be overcome. Secondly, people still prefer to congregate seeking entertainment, as may be evidenced by the continu popular demand of the motion picture in spite of the hor radio, ‘Thirdly, it is also quite possible that the moti picture industry would play a large part in the control home television, distributing full length entertainment public assembly buildings and shorter programs to the hor ‘Economical land and construction costs, and simplificati of interior architectural treatment should be stressed to duce the initial investment. This does not preclude caret studied planning which will afford proper functioning of 1 structure and ample comfort conditions for the patron, DESIRABLE SEATING CAPACITIES ‘The small town of city neighborhood motion picture « ater minimum seating capacity is, on one hand, correc determined by the technical problems involved and, on other hand, by the commercial aspects of motion picture £ distribution. From a technical standpoint, considering id viewing conditions, no motion picture theater should hi MOTION PICTURE THEATEFSCREEN LiMITs— DIAGRAM 3. An outline of the motion picture seraen shape ting the potions of Th patron's view from various ‘more than approximately 1,000 seats; preferably, nearer to 600 seats. Commercially, the chain-exhibitor prefers to con~ trol the first run of a given film and drain as much of the community population into one sitting as is possible. Recent construction of the more intimate motion picture theater by independent exhibitors, showing in most instances second and third-ran films, has proven by the patronage enjoyed that the quality in film presentation is important, and that the patron prefers the theater having nearer to 600 seats. The intimate motion picture theater is more technically perfect for exhibiting films, ‘This may be fully appreciated when the following data on maximum conditions advisable for viewing motion pietures are analyzed, FILM AND AUDIENCE SIZE AND SHAPE the limiting factors in determining the maximum. seating capacity from a standpoint of correct screen portrayal are: (1) physical width of the film, and (2) the proper relationship of the resultant maximum size sereen to the audience shape and size, ‘The width of the film for professional use is 35mm. The absolute maximum size of sereen to be projected from this film width is 35 ft. Further magnification of the film will produce (1) the visibility of the grainy structure of the film imaterial, and (2) a tendeney to destroy the contrast values in the photography. A 35-ft. sereen necessitates a magnification of the film image to about 400 times its size. It is highly preferable to reduce this rate of magnification to achieve good pictorial quality. Where a good sercen image is desired, the sereen width should not exceed 25 ft ‘The proper relationship between the sercen size and the audience size and shape is determined by 1, Avoidance of seating positions from which a distorted view of sereen images oveurs, distortion being due to the two-dimensional characteristic of the sereen surface. (See Diagram No. 1 showing tolerable and desirable viewing angles.) 2. Fixing minimum distance between screen and first row of seats, The maximum angle for horizontal range of vision, being aout 60 degrees, determines this dimension. 3. Fixing maximum distance between the screen and the THE ARCHITECTURAL RECORD o FEBRUARY row of seats furthest trom the sereen by a. Visual acuity, that is, the ability to discern details of photography b. Proper subtended angle formed by the screen to the viewer's eye, insuring undistorted perspective of sereen images. gram No. I shows absolute maximum viewing distance fixed at a distance measuring from the screen equal to five and a half times the screen width based on the screen shape proportion in present use. Diagram No. 1 also shows limits fixed at five and four times the sereen width—five heing the advisable limit, and four being the more ideal limit confining the areas in which all of the photographic details of impor- tance can he diseerned by the viewer. While the close-up shot used in motion picture photography is effective and, to a great extent, helps vision from the remote seats, it must be remembered that for effective motion picture portrayal the photography must consist of a large proportion of what is known as middle and distance shots upon which the details to be discerned are smaller. Limited viewing distances are essential to maintain a more intimate relationship of the spectator to the screen action. ‘The screen area should, as much as possible, predominate the field of view of the spectators’ eyes, thereby eliminating distracting excessive wall and ceiling surfaces and interven- JEWEL THEATER, BROOKLYN, NEW YORK BEN SCHLANGER, ARCHITECT GROUND FLOOR MEZZANINE Mentaine tier developed within unusully mit height rele space bal ’mettasie. for important lounge ard abby 1937 19WALDO THEATER, WALDOBORO, MAINE BEN SCHLANGER, ARCHITECT Tops night ila 20 ‘velde” and” general illuinetion. Genter ‘tho promenade ‘pace behind orchestra seat. Plate glast opening between the main lounge ing audience area. ‘The viewing distance limits and the tolerable viewing angles given on Diagram No. 1 have been arrived at from such investigations as have been carried fon by the Society of Motion Picture Engineers and the author. Determination of preferable seat locations was made both from actual tests of tolerable distortion with a picked audience, recording their reactions, and observing the pre- ferred seat locations as they became occupied in theaters in operation, The factor of fixing viewing distances from a standpoint of determining proper subtended angles of the screen images is more directly concerned with the cinematography. Actually, there is one distance from the screen from which the picture ‘may be viewed offering the same undistorted perspective and the same apparent sizes or subtended angles of images as seen from the camera lens point in the taking of the picture, This means that the original intended full force of the film director's efforts can be fully appreciated only at this distance from the picture. By coordinating both the focal lengths in projecting: and taking optical systems, this point can be fixed at a distance marking exactly one-half of the seating depth, thereby reducing this phase of perspective distortion to the greatest minimum possible, provided that the seating depth is not excessive to begin with Viewing distances confined to limits set for proper visual acuity would be the best guide for practical purposes to determine maximum seating depth which would maintain proper subtended angles to the screen image. Diagram No. 1 shows two plans, A-1 and A-2, each representing one-half plan only on either side of the axis line, These plans illustrate the method to be used to obtain the maximum number of desirable viewing positions for a given area. Area A shows the desirable positions, B and C the tolerable but less desirable positions, all as determined by the factors already stated. Both plans contain the same amount of seating area. Plan A-2 requires a slightly larger basic rectangular plot but, what is more important, the A area percentage of the total seating area is about 209% less than in Plan A-L. A general rule derived from the findings in Diagram No. 1 is that the screen width should come as DIAGRAM 4 (boiow). A schematic longitudinal section of the, motion pichire theater shawing vertical sereen petition and three diferent typet of floor slopes [seu feat and companying photos exph BEN SCHLANGER @ MOTION PICTURE THEATERSslose to the width of the auditorium as is practically possible 1 obtain high efficiency in desirable seating positions. If possible, the width of the auditorium should be an amount qual to the screen width plus one-third of the screen width, ‘0 allow for possible wide-film adaptation, plus an additio amount equal to one-third the screen width for curtain space, and sufficient additional width for exit passage on either side of screen inclosure when such exits are necessary. Practical adaptation of the rules here given is subject then ‘0 the selection of a screen width and auditorium width which will produce the seating capacity desired. ‘The most ficient auditorium widths from a standpoint of obtaining he maximum number of seats with the minimum circulation urea ate fixed by Building Code Rulings. See Diagram No. 2 which shows six schemes of aisle arrangements for audi- ‘orium widths based on New York City Building Code, which Dermits no more than 14 seats from aisle to aisle and no more than seven seats ftom wall to aisle. On the basis of this ‘ling, auditorium widths are most efficient at 14, 28, or 42 seats actos the width. However, the number of aisles vithin the seating widths may vary as shown on Diagram No. 2 While the least number of aisles is desirable for ‘pace efficiency in some instances, the use of the scheme ‘equiring an additional aisle is advisable. For example, the scheme in Diagram No. 2, Plan 1-a, for 14 seats in width vequires less width of structure than scheme Plan 1-b, but it a serious sacrifice of choice seat locations. On the other rand, scheme Plan 2-a, for 28 seats across, proves to be roth efficent in structure width and in preserving the best at locations. In the ease of schemes Plan 3-a and Plan 5b, having 42 seats across, scheme Plan 3-b, although it ‘quires an extra aisle, is preferable for the purpose of naintaining side wall aisles for extra emergency exits nece ary in the larger capacity theaters. Scheme 3-b is recom- nended as the widest auditorium width advisable for the tse of 35 mm film width projection, It is even advisable ta slight sacrifice in efficiency to decrease the 42 seats ceross in scheme Plan 3-b to 36, to keep the maximum tructure width nearer to the maximum screen size PER LEVELS OF SEATING Seating capacities ranging from 2,200 down to 300 seats nay be developed using the rules given. The maximum mum- vet of seats on one floor is about 1,700 seats, the 2,200 naximum quoted being obtained with an upper tier of cating. Wherever possible, a properly designed upper tier f seating is advisable. Firstly, it makes a smaller plot nore adaptable to a larger capacity; secondly, it has a dency to reduce viewing distance and auditorium wideh, nd thereby the screen size, which is always desirable, The ssumption is, of course, that the last row of the upper tier vould be no further away from the screen than is advisable or the lower tier. There is an additional value to be had vith the upper tier of seating in that it produces a higher vercentage of seating positions in the A area shown on Yiagram No. 1, since the upper seats can conveniently be ‘laced in this area, ‘The vertical disposition of the motion picture theater WALDO THEATER, WALDOBORO, MAINE BEN SCHLANGER ARCHITECT ROUND FLOOR Spacious quality in the approach from the exterior to the intimate auditorium, « compect vertical plan using resulting in minimum cubege HE ARCHITECTURAL RECORD « FEBRUARY 1937 21NEWS REEL THEATER AT MARSEILLES P. DE MONTAUT AND A. GORSKA, ARCHITECTS MEZZANINE The addition of an upper level of seating in this theater made possible by the aco of the reverse orchestra floor slope scheme Seveloped by Ben Schlanas form is important also for the following reasons 1. The amount of obstruction of the view of the screen surface by the heads of the immediately preceding spectators, 2. Design of upper tier of seats, 3. Posture comfort. 4. The amount of distortion of the sc ‘The location of the projection booth, 6 Obtaining minimum mumber of cubic feet of structure for maximum number of desirable seating positions. FLOOR SLOPES Diagram No, 3 shows various amounts of the area of the sereen which cannot be seen by the spectators in various seating positions due to the obstruction caused by the head of the person seated immediately in front. The level of the seating floor in relation to the level of the sereen and the character of the slope of the floor control the resultant amount of the obstructed screen area, In the case of the stage theater where no motion pictures are exhibited, only the slope of the floor is taken into account, the general level of the stage floor being always about the same. ‘This is so because the level of the performance (that is, the stage floor) is necessarily a fixed level. It has heen a fallacy in the past in designing the floor slope of the motion picture theater to conform to that of the stage theater. Unlike the stage floor level, the motion picture sereen can be fixed at an: level desirable for producing correct clearances and other conditions desirable for properly viewing the screen. The ability to overcome obstruction of the view of the perform tance becomes greater as the distance from the performance increases, Because the function of viewing the screen nec es a seating plan of greater depth in relation to the width than does the function of viewing a stage performance, the obstruction problem is more serious in designin picture theaters, Diagram No. 4 is 2 longitudinal section of an auditorium having in the depth 30 rows of seating. This is an average depth for motion picture theaters although a great number of larger capacity motion pieture theaters run as deep as 40 rows, in which case the obstruction problem is even more acute. Three different types of floor slopes are indicated on Diagram No. 4. The floor slope marked “B" is an adapta- tion of the stage theater slope for motion picture use. The confusion caused by the uncertainty of whether or not the motion picture was a form of entertainment capable of having a structure designed for its sole use has produced a great many theater structures which are not suitable for motion picture performance. An attempt was made to provide for stage performances at the sacrifice of the motion picture Yet there is considerable objectionable obstruction from the remote rows of seating even for the stage performance. Slope B produces obstruction which amounts to from 22 inches in the first row to 107 inches in 30 rows, the obstruc- tion increasing uniformly as the depth from the sereen in- creases. This increase is in the reverse order of what it should be, See amount of obstruction as outlined in Diagram No. 3 by lines A-l and A-2, Both outlines A-I and A-Z represent 93 inches of obstruction of the height of the screen, A-1 being from a seat in the rear rows and A-2 frotr a images. ‘motion 22 BEN SCHLANGER © MOTION PICTURE THEATERSa seat in the front rows. Note that greater obstruction in the front rows is more tolerable because less of the width of the screen is obstructed. In any case, however, 93 inches is an intolerable amount of obstruction. This happens to hie the average amount of obstruction to be found in the last fen rows of slope B. Obstruction cannot be suficiently minimized using the type of floor slope similar to slope B for two reasons. Firstly, it is impossible to increase the rate of pitch of the floor at the rear, the straight portion of the pitelr already being the maximum permissible by most building cores and advisable for safe walking. Second the clevation of the rear portion of the floor occurs generally at 100 high a position in relation to the position of the sereen, thereby causing the sight line over the head of the preceding viewer to arrive at too high a point on the screen, Floor slope A on Diagram No. 4 is developed to show the rise necessary to overcome the objectionable obstruction found in slope B. Here the obstruction is reduced to an average of 22” for the last ten rows, The need for steppings in slope A introduces the stadium type of plan. ‘The stadium, plan is niot adaptable for the motion picture auditorium because the circulation to seats must occur at the beginning of the stepped seating levels, thereby giving over to circula- tion in the form of a eross-over and vomitories the area of seating which happens to he at a distance from the screen most desirable for viewing motion pictures. Both floor slopes A and B are poorly adaptable for the addition of an upper tier of seating, because the necessary high position in relation to the screen position of an upper tier in these instances would cause a steep incline. The stepped levels of seating in steeply-pitehed balconies must be more than a common riser height, thereby causing the introduction of intermediate steps in the aisles, a most objectionable feature because of the alternate narrow and wide treads in the aisle. Steep balcony design also has the disadvantage of forcing excessive cubage of structure, excessive projection angles due to the necessarily high placing of the projection booth and also produces seating positions at a height from which the screen images are distorted still further than the amount caused hy the steep angle of projection ‘The design of upper tier seating is controlled to a great ‘extent by the design of the orchestra tier. A suitable solution for orchestra floor slope design is therefore important hefove attempting the design of the upper tier. Motion picture theater floor slope design is determined by 1, elimination of objectionable obstruction, 2. placing of the screen in the vertical sense at a level which would permit vision of its entire height without experiencing physical strain to see upward. Obstructed views of the sereen can be overcome entirely by physical strain on the part of the patron to see the upper part of a raised sereen and, similarly, physical strain can be entirely eliminated by adapting a low position for the screen, at the sacrifice of having resulting: serious ‘obstruction of vision of the sereen. It is therefore necessary to determine maximum tolerable amounts of distortion anc maximum upward ‘vertical angles of vision for the most cficient floor slope design. See Diagram No. 3, which shows tolerable amounts of obstruction as indicated by areas out- lined by B, C, and D. Note that obstruction area B, although NEWS REEL THEATER iN PARIS P. DE MONTAUT AND A. GORSKA, ARCHITECTS GROUND FLOOR ‘Another illastration of tho use of the reverse floor slope, milder fcorsopes and ow sbnucion of naw of the erat reat REX THEATER AT ANVERS, FRANCE | l l rho} a I | iI | + iF = ' | HTL. es | [mi SECTION Like the pen of News Reel Theater at Marsilles, here too ‘of seats ic made posible by to of the orchetve 2. Use af the faor slope "B (Diagram 4) would mn impossible sleep Belcony in thete instances an upper revere produced THE ARCHITECTURAL RECORD 6 FEBRUARY 1937 23