The American Architect
The ARCHITECTURAL REVIEW
VOL. CXXVWEDNESDAY, FEBRUARY 13, 1924NUMBER 2439
THIRTY-NINTH ANNUAL EXHIBITION,
THE ARCHITECTURAL LEAGUE of NEW YORK
FOR a smoothly working organization, one
that functions efficiently in every way, let us consider The Architectural League of New York. No obstacles, no matter how serious, appear to daunt the men of this organization. It is but to recall history to refer to the fire that wiped out in two hours on the opening date an exhibition that it had taken a month of painstaking effort to arrange. It was but a matter of a few days’ work, however, to assemble a new, if smaller, exhibition and thus maintain unbroken a series of presentations of architectural work, each one very much to be commended.
Criticism has been made of other art organizations that, aside from a spasmodic exhibition once or twice a year, they have been moribund the rest of the time. This may not be truthfully said of the League. Exhibitions are not its only constructive work. Its monthly meetings and dinners each have a well defined purpose. Things are accomplished. Public opinion as to architecture properly directed and the big task that the League has set itself, the encouragement of industrial art and the promotion of a better crafts
manship, is always being consistently accomplished. It is well to stress this point, if for no other reason than to combat an idea that the sole purpose of the League is to hold these annual exhibitions.
Even success may, in a certain sense, become monotonous. Success marks this year’s exhibition in the same brilliant manner that it has marked those of the last ten years. With succeeding years, the interpretation of architectural exhibitions becomes broader. No longer are they planned and executed as something of purely professional interest. Rightfully, it seems to us, exhibitions are now more largely a motive for popular education in architecture. This value is served by the fact that when the man on the street has visited an architectural exhibition he has received in part a liberal education as to what properly constitutes civic pride. He learns, to use a homely expression, to stand on his hind legs and look through his eyes; to elevate his vision from the sordid level of usual observation and to gaze with appreciation on the good architectural expression that is everywhere to be
SPRING
OVERDOOR PANEL IN ORIENTAL GALLERY OF CHAUNCEY McCORMICK, CHICAGO, ILL. ANTHONY DE FRANCISCI, SCULPTOR — PHILIP L. GOODWIN, ARCHITECT
The ARCHITECTURAL REVIEW
VOL. CXXVWEDNESDAY, FEBRUARY 13, 1924NUMBER 2439
THIRTY-NINTH ANNUAL EXHIBITION,
THE ARCHITECTURAL LEAGUE of NEW YORK
FOR a smoothly working organization, one
that functions efficiently in every way, let us consider The Architectural League of New York. No obstacles, no matter how serious, appear to daunt the men of this organization. It is but to recall history to refer to the fire that wiped out in two hours on the opening date an exhibition that it had taken a month of painstaking effort to arrange. It was but a matter of a few days’ work, however, to assemble a new, if smaller, exhibition and thus maintain unbroken a series of presentations of architectural work, each one very much to be commended.
Criticism has been made of other art organizations that, aside from a spasmodic exhibition once or twice a year, they have been moribund the rest of the time. This may not be truthfully said of the League. Exhibitions are not its only constructive work. Its monthly meetings and dinners each have a well defined purpose. Things are accomplished. Public opinion as to architecture properly directed and the big task that the League has set itself, the encouragement of industrial art and the promotion of a better crafts
manship, is always being consistently accomplished. It is well to stress this point, if for no other reason than to combat an idea that the sole purpose of the League is to hold these annual exhibitions.
Even success may, in a certain sense, become monotonous. Success marks this year’s exhibition in the same brilliant manner that it has marked those of the last ten years. With succeeding years, the interpretation of architectural exhibitions becomes broader. No longer are they planned and executed as something of purely professional interest. Rightfully, it seems to us, exhibitions are now more largely a motive for popular education in architecture. This value is served by the fact that when the man on the street has visited an architectural exhibition he has received in part a liberal education as to what properly constitutes civic pride. He learns, to use a homely expression, to stand on his hind legs and look through his eyes; to elevate his vision from the sordid level of usual observation and to gaze with appreciation on the good architectural expression that is everywhere to be
SPRING
OVERDOOR PANEL IN ORIENTAL GALLERY OF CHAUNCEY McCORMICK, CHICAGO, ILL. ANTHONY DE FRANCISCI, SCULPTOR — PHILIP L. GOODWIN, ARCHITECT