is entirely homogeneous in type. This is why such extremely subtle compositions can be created within the limits of an urban fagade, by simply arranging these rectangular elements so that they constitute an organic pattern. How the pattern may become organic will be discussed in a subsequent paragraph. I am at the moment concerned to emphasise the fact that this unity and formal accord between the window openings cannot be achieved if these latter are given other shapes, whether they be bounded by curves or else straight lines, assuming these latter be not mainly vertical and horizontal.
Famey Shapes
Imagine a row of circular windows, for instance. Each one is a complete artistic whole, utterly self-sufficient, and seven circles in a row remains a plurality however they be treated; a plurality, moreover, that does not readily accord with the rectangular frame in which they are placed. As a diversion, however, and sparsely introduced as in the upper storey at Hampton Court, such windows may have a certain charm, but it may easily be imagined what an unsatisfactory result would have been achieved if all the windows of this illustrious building had been circular. In the first place it would no longer have been illustrious! Likewise a series of windows of triangular or other obtuse or acute - angled rectilinear shape could never constitute a coherent pattern. Thus it need not be anticipated that any
modernist ” or other architectural innovators will suc
ceed in rendering the rectangular window out of date. It remains to be asked to what extent the arched window can suitably find a place in a street fagade. Here again it is clear that semi-circular arches tend to isolate the window and separate it from its neighbours, but if confined to one storey of the building, a row of such windows may prove attractive in appearance, the arches perhaps giving formal emphasis to the most important suite of rooms. It is clear, however, that if all the windows in a manystoreyed building were arched, the effect would not be pleasing.
B.A. 1927
The Organic Pattern
Let us consider how it is possible to give to an arrangement of windows an organic quality. It has been established that the windows, if they are placed in rows and are of rectangular shape, have already taken the first step in this direction; for when their upper and lower boundaries are in alignment and when these lateral boundaries are formally in accord with one another to the extent of being at least parallel, the windows have displayed a certain consciousness of their mutual relationship.
This ‘ ‘ consciousness ” is the key to the whole problem; the fagade must be sensitive and express certain ideas which belong to the subject of the building. It is not sufficient that a facade should consist of nothing but a repetitive series of equal windows equal distances apart. If such an arrangement were good design, then the task of designer would be an astonishingly easy one. Supposing, however, that we are dealing with a large block of flats consisting of many storeys of identical plan and function, what reason is there for departing from this monotony of fenestration? In the case of the American skyscrapers, for instance, the fagade windows are produced, one might almost say, by the acre, and swift lifts convey the passengers to the various storeys, it would only lead to fussiness and confusion in the design if the windows varied much in size or were elaborated by ornament. One. element of formality, however, every fagade must have, if it is to be an organic whole, if in fact it is to have the most elementary kind of unity, it must have a boundary of some sort. It must not seem to be a fraction of something else, cut off at random. Often this particular formal emphasis of the extremities of the fagade, although it is aided by other factors as well, is achieved in the patterns of the fenestration which, to this extent, becomes organic.
Three Examples Contrasted
In the Lloyds’ Bank building here illustrated we
see this pleasing differentiation in the window types,
LLOYDS BANK, RICHMOND.
Horace Field, F.R.I.B.A., Achitect.
Famey Shapes
Imagine a row of circular windows, for instance. Each one is a complete artistic whole, utterly self-sufficient, and seven circles in a row remains a plurality however they be treated; a plurality, moreover, that does not readily accord with the rectangular frame in which they are placed. As a diversion, however, and sparsely introduced as in the upper storey at Hampton Court, such windows may have a certain charm, but it may easily be imagined what an unsatisfactory result would have been achieved if all the windows of this illustrious building had been circular. In the first place it would no longer have been illustrious! Likewise a series of windows of triangular or other obtuse or acute - angled rectilinear shape could never constitute a coherent pattern. Thus it need not be anticipated that any
modernist ” or other architectural innovators will suc
ceed in rendering the rectangular window out of date. It remains to be asked to what extent the arched window can suitably find a place in a street fagade. Here again it is clear that semi-circular arches tend to isolate the window and separate it from its neighbours, but if confined to one storey of the building, a row of such windows may prove attractive in appearance, the arches perhaps giving formal emphasis to the most important suite of rooms. It is clear, however, that if all the windows in a manystoreyed building were arched, the effect would not be pleasing.
B.A. 1927
The Organic Pattern
Let us consider how it is possible to give to an arrangement of windows an organic quality. It has been established that the windows, if they are placed in rows and are of rectangular shape, have already taken the first step in this direction; for when their upper and lower boundaries are in alignment and when these lateral boundaries are formally in accord with one another to the extent of being at least parallel, the windows have displayed a certain consciousness of their mutual relationship.
This ‘ ‘ consciousness ” is the key to the whole problem; the fagade must be sensitive and express certain ideas which belong to the subject of the building. It is not sufficient that a facade should consist of nothing but a repetitive series of equal windows equal distances apart. If such an arrangement were good design, then the task of designer would be an astonishingly easy one. Supposing, however, that we are dealing with a large block of flats consisting of many storeys of identical plan and function, what reason is there for departing from this monotony of fenestration? In the case of the American skyscrapers, for instance, the fagade windows are produced, one might almost say, by the acre, and swift lifts convey the passengers to the various storeys, it would only lead to fussiness and confusion in the design if the windows varied much in size or were elaborated by ornament. One. element of formality, however, every fagade must have, if it is to be an organic whole, if in fact it is to have the most elementary kind of unity, it must have a boundary of some sort. It must not seem to be a fraction of something else, cut off at random. Often this particular formal emphasis of the extremities of the fagade, although it is aided by other factors as well, is achieved in the patterns of the fenestration which, to this extent, becomes organic.
Three Examples Contrasted
In the Lloyds’ Bank building here illustrated we
see this pleasing differentiation in the window types,
LLOYDS BANK, RICHMOND.
Horace Field, F.R.I.B.A., Achitect.