The City of Domes [16]
Square Tower might be described as a relative of our own Ferry Tower, which is decidedly one of the best pieces of architecture in San Francisco. And it's plain enough that these four towers and the Ferry Tower are related. The top of the four towers, by the way, has a history. It comes from the Choragic Monument of Lysicrates, the little temple in Athens that was built by one of the successful chorus-leaders in the competitive choral dances of the Greeks, who happened to be a man of wealth. Afterward, when a chorus-leader won a prize, which consisted of a tripod, it was shown to the people on that monument."
"Some critics," I said, "have complained of the coloring and the pattern on those towers."
"They can't justify themselves, however. Though this plaster looks like Travertine, it nevertheless remains plaster, and it lends itself to plastic decoration. The Greeks and the Romans often used plaster, and they did not hesitate to paint it whenever they chose. Kelham's four towers have been criticised on account of their plastic design, which has a good deal of pink in it. But that design provides one of the strongest color notes in the whole Exposition, a delightful note, too. It happens that makers of wallpaper have had the good sense to use a design somewhat similar. But this fact does not make the design any the less attractive or serviceable."
Between the houses on the hill we could catch glimpses of the South Gardens between the glass dome of the Horticultural Palace and Festival Hall. The architects rightly felt that in general appearance they had to be French to harmonize with the French architecture on either side. In the distance the Fountain of Energy stood out, like a weird skeleton that did not wholly explain itself. Stirling Calder, the sculptor, must have forgotten that the outline of those little symbolic figures perched on the shoulder of his horseman would not carry their meaning.
Now, before our eyes, the Exposition revealed itself as a picture, with all the arts contributing. It suggested the earlier periods of art, when the art-worker was architect, painter and sculptor all in one.
II
The Approach
"You see," said the architect as we started down the hill, "when the Exposition builders began their work they found the setting of the Mediterranean here. It justified them in reproducing the art of the Orient and of Greece and Rome which was associated with it, modified of course to meet the special requirements. Besides, they didn't want to be tied down to the severe type of architecture in vogue in this country."
First of all, he went on to explain, they had created a playground. There they appealed to the color sense, strong in the Italians and the Orientals, and weak among the people in this country, decidedly in need of fostering, and the appeal was not merely to the intellect, but to the emotions as well. Color was as much a part of architecture as of painting. So, in applying the color, Guerin worked with the architects. He never made a plan without taking them into consultation. Then, too, Calder, acting head of the Department of Sculpture, and Denneville, the inventor of the particular kind of imitation Travertine marble used on the grounds, were active in all the planning. In fact, very little was done without the co-operation of Guerin, Calder, Denneville and Kelham, chief of the Architectural Board. In getting the Exposition from paper to reality, they had succeeded in making it seem to be the expression of one mind. Even in the development of the planting the architects had their say. Here landscape gardening was actually a part of the architecture. Faville's wall, for example, was built with the understanding that its bareness was to be relieved with masses of foliage, creating shadows.
Before the Scott Street entrance we paused to admire the high hedge of John McLaren. We went close to examine the texture. The leaves of the African dewplant were so thick that they were beginning to hide the lines between the boxes.
"Faville realized the importance of separating
"Some critics," I said, "have complained of the coloring and the pattern on those towers."
"They can't justify themselves, however. Though this plaster looks like Travertine, it nevertheless remains plaster, and it lends itself to plastic decoration. The Greeks and the Romans often used plaster, and they did not hesitate to paint it whenever they chose. Kelham's four towers have been criticised on account of their plastic design, which has a good deal of pink in it. But that design provides one of the strongest color notes in the whole Exposition, a delightful note, too. It happens that makers of wallpaper have had the good sense to use a design somewhat similar. But this fact does not make the design any the less attractive or serviceable."
Between the houses on the hill we could catch glimpses of the South Gardens between the glass dome of the Horticultural Palace and Festival Hall. The architects rightly felt that in general appearance they had to be French to harmonize with the French architecture on either side. In the distance the Fountain of Energy stood out, like a weird skeleton that did not wholly explain itself. Stirling Calder, the sculptor, must have forgotten that the outline of those little symbolic figures perched on the shoulder of his horseman would not carry their meaning.
Now, before our eyes, the Exposition revealed itself as a picture, with all the arts contributing. It suggested the earlier periods of art, when the art-worker was architect, painter and sculptor all in one.
II
The Approach
"You see," said the architect as we started down the hill, "when the Exposition builders began their work they found the setting of the Mediterranean here. It justified them in reproducing the art of the Orient and of Greece and Rome which was associated with it, modified of course to meet the special requirements. Besides, they didn't want to be tied down to the severe type of architecture in vogue in this country."
First of all, he went on to explain, they had created a playground. There they appealed to the color sense, strong in the Italians and the Orientals, and weak among the people in this country, decidedly in need of fostering, and the appeal was not merely to the intellect, but to the emotions as well. Color was as much a part of architecture as of painting. So, in applying the color, Guerin worked with the architects. He never made a plan without taking them into consultation. Then, too, Calder, acting head of the Department of Sculpture, and Denneville, the inventor of the particular kind of imitation Travertine marble used on the grounds, were active in all the planning. In fact, very little was done without the co-operation of Guerin, Calder, Denneville and Kelham, chief of the Architectural Board. In getting the Exposition from paper to reality, they had succeeded in making it seem to be the expression of one mind. Even in the development of the planting the architects had their say. Here landscape gardening was actually a part of the architecture. Faville's wall, for example, was built with the understanding that its bareness was to be relieved with masses of foliage, creating shadows.
Before the Scott Street entrance we paused to admire the high hedge of John McLaren. We went close to examine the texture. The leaves of the African dewplant were so thick that they were beginning to hide the lines between the boxes.
"Faville realized the importance of separating