THE PUBLISHERS’ PAGE
The sketch on the cover of this issue is reproduced from the architects’ final study of Manhattan Tower, a skyscraper church in New York, designed by Tillion & Tillion. The lower floors are to be used by the church, while the upper stories are given over to a hotel. The general mass follows present tendencies in skyscraper design, with setbacks conforming with the zoning laws, while certain ornamental forms have been introduced to emphasize the ecclesiastical character of the edifice. Plans for the erection of the building, according to the scheme presented in the perspective sketch, have been filed with the New York City Bureau of Buildings, and it is expected that construction work will start in the early Spring.
Woolpert & Brown have designed an unusually interesting Y. M. C. A. in St. Petersburg, Fla., which is to be fully presented in an early issue. The treatment of both the exterior and the interior is in keeping with the architectural style characteristic of that section of the country, and the design seems to be thoroughly appropriate to the purpose of the building. The plan has been carefully studied to conform to the requirements of a modern Y. M. C. A. building. While in a country of such a size as America it is natural that certain styles of design lend themselves to the prevailing social, economic and climatic conditions, it is important that the design express the purpose to which the building is to be put, if based on the fundamental principles of architecture in its every detail. The design of the St. Petersburg Y. M. C. A. has been so conceived and we are glad to present it to our readers.
Among the more recent additions to the Yale University group of buildings at New Haven, Conn., none, perhaps, is more interesting than the William L. Harkness Hall, designed by Delano & Aldrich. This building is to be illustrated in the
April 5 issue of The AMERICAN ARCHITECT. It is a stone structure which in its design recalls the English Gothic. It includes several class rooms and a lecture hall. The latter room is treated with an elaborate timber ceiling, in a similar character to the famous lecture rooms of Oxford.
The high esteem in which our service department is held may be judged from the type of questions that are sometimes sent in for replies. A recent one asked: What colors will predominate in
1928 in house decorations? Architects and those decorators who prefer to be known as interior architects can see the absurdity of such a question. But the fact remains that probably a majority of home owners will be unusually interested in the answer and many of them will go to great efforts and expense to change the color schemes of their rooms to comply with the decision. This is fashion. Fashion is a thing which tells us what to do, whether we like it or not — whether it is logical or not. And it is the bowing of the public generally to the whims of fashion which accounts for a lack of individual expression in our customs, our dress and in the decoration of our homes. Modern art, as that expression is commonly and erroneously interpreted, is more of a fashion than a natural evolution in the development of design.
Speaking of modern art, we are to publish in the next issue, April 5, photographs of a theatre recently completed in Brooklyn, N. Y., designed by Schlanger & Ehrenrich. It is a small intimate theatre, seating one thousand. It is modern in character. By that we mean that its design is based on the use of modern materials and methods of construction, and that modern requirements have left their influence on its plan. Its design is modern in that the building serves the demands of a modern theatre.
The exclusive right to present to the architectural profession illustrations of the Marshall Field Estate at Lloyd’s Neck, Long Island, has been granted this journal by the owner. In co-operation with the office of John Russell Pope, the architect of this project, special articles describing the problem and its solution; the organization perfected to carry on the work; and the solution of the engineering features involved, are being prepared for
presentation in The AMERICAN ARCHITECT issue of April 20, 1928. The entire issue will be given over to the illustrating and describing of this 2, 000 acre estate. While an estate of this type offers an opportunity that comes to but few architects, the many features provided by this development, we believe, will hold something of interest to all readers of this magazine. The buildings on the estate include a summer and a winter residence, farm group, indoor tennis court, bath house, cottages, power house and other structures necessary for the maintaining of an estate of this magnitude.
Please do us a favor. If your magazine does not come regularly on time, drop us a postcard or a letter. Address us — 501 Fifth Avenue, New York City.
The sketch on the cover of this issue is reproduced from the architects’ final study of Manhattan Tower, a skyscraper church in New York, designed by Tillion & Tillion. The lower floors are to be used by the church, while the upper stories are given over to a hotel. The general mass follows present tendencies in skyscraper design, with setbacks conforming with the zoning laws, while certain ornamental forms have been introduced to emphasize the ecclesiastical character of the edifice. Plans for the erection of the building, according to the scheme presented in the perspective sketch, have been filed with the New York City Bureau of Buildings, and it is expected that construction work will start in the early Spring.
Woolpert & Brown have designed an unusually interesting Y. M. C. A. in St. Petersburg, Fla., which is to be fully presented in an early issue. The treatment of both the exterior and the interior is in keeping with the architectural style characteristic of that section of the country, and the design seems to be thoroughly appropriate to the purpose of the building. The plan has been carefully studied to conform to the requirements of a modern Y. M. C. A. building. While in a country of such a size as America it is natural that certain styles of design lend themselves to the prevailing social, economic and climatic conditions, it is important that the design express the purpose to which the building is to be put, if based on the fundamental principles of architecture in its every detail. The design of the St. Petersburg Y. M. C. A. has been so conceived and we are glad to present it to our readers.
Among the more recent additions to the Yale University group of buildings at New Haven, Conn., none, perhaps, is more interesting than the William L. Harkness Hall, designed by Delano & Aldrich. This building is to be illustrated in the
April 5 issue of The AMERICAN ARCHITECT. It is a stone structure which in its design recalls the English Gothic. It includes several class rooms and a lecture hall. The latter room is treated with an elaborate timber ceiling, in a similar character to the famous lecture rooms of Oxford.
The high esteem in which our service department is held may be judged from the type of questions that are sometimes sent in for replies. A recent one asked: What colors will predominate in
1928 in house decorations? Architects and those decorators who prefer to be known as interior architects can see the absurdity of such a question. But the fact remains that probably a majority of home owners will be unusually interested in the answer and many of them will go to great efforts and expense to change the color schemes of their rooms to comply with the decision. This is fashion. Fashion is a thing which tells us what to do, whether we like it or not — whether it is logical or not. And it is the bowing of the public generally to the whims of fashion which accounts for a lack of individual expression in our customs, our dress and in the decoration of our homes. Modern art, as that expression is commonly and erroneously interpreted, is more of a fashion than a natural evolution in the development of design.
Speaking of modern art, we are to publish in the next issue, April 5, photographs of a theatre recently completed in Brooklyn, N. Y., designed by Schlanger & Ehrenrich. It is a small intimate theatre, seating one thousand. It is modern in character. By that we mean that its design is based on the use of modern materials and methods of construction, and that modern requirements have left their influence on its plan. Its design is modern in that the building serves the demands of a modern theatre.
The exclusive right to present to the architectural profession illustrations of the Marshall Field Estate at Lloyd’s Neck, Long Island, has been granted this journal by the owner. In co-operation with the office of John Russell Pope, the architect of this project, special articles describing the problem and its solution; the organization perfected to carry on the work; and the solution of the engineering features involved, are being prepared for
presentation in The AMERICAN ARCHITECT issue of April 20, 1928. The entire issue will be given over to the illustrating and describing of this 2, 000 acre estate. While an estate of this type offers an opportunity that comes to but few architects, the many features provided by this development, we believe, will hold something of interest to all readers of this magazine. The buildings on the estate include a summer and a winter residence, farm group, indoor tennis court, bath house, cottages, power house and other structures necessary for the maintaining of an estate of this magnitude.
Please do us a favor. If your magazine does not come regularly on time, drop us a postcard or a letter. Address us — 501 Fifth Avenue, New York City.