The Quality of Fitness in Architecture.

Progress, Volume XII, Issue 7, 1 March 1917, Page 891

The Quality of Fitness in Architecture.

By J. F. WARD.

This Essay won our Fiftieth Prize Competition set by Mr. Basil Hooper, of Dunedin, whose Criticism appears on another page of this issue.

In analysing works of Architecture, with a view of distinguishing between the gold and the dross it is necessary to first place the whole subject under several broad headings. Thus one appreciates Architectural works from the standpoint of their beauty, usefulness, strength, repose and such-like qualities. To pass the test or standard, an Architectural creation

Dealing first with the functions of a building, it is not only necessary that the structure he actually suitable; it must also have the appearance of being so. For instance a wooden bank building, with a properly constructed strong-room, is quite a safe place in which to deposit valuables; but a bank with brick or stone exterior would appear to offer more security. Accord-

should possess amongst other qualities, that of fitness. The quality of fitness in Architecture may be best described as being ‘ ‘ the right thing in the right place. ’ ’ To satisfy this requirement it is not sufficient for a building to be beautiful in form and design, and structurally sound. The design and construction of the work must also be in keeping with the purposes to which the building is to be placed; the decorative details must also be appropriate to the materials used; and the complete building be in harmony with its natural surroundings and local tradition. Briefly, to fulfil the quality of fitness a work of Architecture should be true to its purpose, materials of construction and locality.

ingly most of our bank buildings are designed with a heavy classical “motif”-—not in the style of say a tea-kiosk. A fine example of this sense of fitness was old Newgate Prison, expressing severity and justice in every great block of which it was built. Dance, the architect, might have designed, in the style of a Florentine palace, a buildingquite strong enough to bold any number of criminals—but which for all its elegance, would not have satisfied the eye as to its fitness for the task. Restraint characterised the whole building; its simple mouldings, lack of ornament, severely designed openings and general sombre appearance combined to give one the impression of its fitness as a prison.

Bearing in mind the function of a monumental building where beauty and grandeur are the prime considerations, our sense of fitness is not disturbed when we observe practical convenience sacrificed to appearance. On the other hand, in a commercial structure, such a subordination of utility to appearance would offend, because in this latter building the function is that of use. When it is considered that the home is the life-long shelter of the family, the pranks of design committed by architects of the eighteenth century cannot be tolerated. With them, convenience and homeliness gave way to effect and symmetry; bedrooms went windowless so as to fit in with the grand fenestration schemes of the front, and to obtain symmetry of masses, kitchens were separated

frontages, are gems of Architecture. But the question of site is so important that, placed in a rural setting, these flats would appear altogether stiff and cramped and totally unsuited to the surroundings. Going further afield we find latitude and climate considerable factors in deciding the quality of fitness. it is hard to imagine that the broad simple designs of the Greeks could have evolved in Northern Europe, where the temperate sun would never have modelled them. The Parthenon seen on an average English day could never seem that same Parthenon which originated in sunny Greece. Bearing this in mind, we might have a partial explanation of the cold and cheerless appearance of many of London’s classic buildings. It would be hard to realise how say Salis-

by the length of the house from the dining rooms. In endeavouring to impart a monumental character to homes, they failed to bear in mind the whole fitness of purpose in domestic Architecture. Coming now to the second requirement in judging Architecture from the standpoint of fitness, one is impressed with the great influence exerted by the nature of the setting. How perfectly, for instance, does the rambling country house nestle into the expanse of surrounding country! In the town, where every inch counts, its rambling Restful appearance is not suitable to the busy confined space. On the other hand it cannot be denied that many of London’s mansions, designed in beeping with their narrow 1

bury Cathedral could have arisen in Greece where the powerful sunlight would reduce the intricate Gothic detail to a meaningless jumble of dark and harsh shadows. Even the beautiful Greek mouldings were found rather unsuitable to the low-altitude rays of the northern sun, which did not give, a sufficient shadow to model the flat refined curves. And so in Gothic detail we find deep undercut moulds so suitable to the easting of deep shadows. In bygone days owing to lack of transport and intercourse, local building materials had perforce to be used. As a result types of buildings became indigenous to their districts. This explains half the charm and sense of fitness in England’s rural

domestic Architecture. In Somersetshire where stone abounds, one finds stone walls and roofs; in (Hampshire a combination of brick and timber with tiled roofs: while in wooded Herefordshire, timber framing with wattle-dab filling is the prevailing material. Now in days of increased facility of manufacture and transport, it is often cheaper to build with imported materials. Remembering that local materials are more fitting to the site, it becomes increasingly difficult to choose from these foreign materials, just those that will not clash with the natural surroundings of the site.

Among the considerations of fitness that influence the use of building materials are the texture, grain, natural strength and origin of the particular material and the tools used to fashion it. Some materials seem naturally fitted for certain positions. The halftimbered stories of an Elizabethan manor seem to sit quite naturally on the lower storey of brick. Brick having the greater compressive strength is appropriately employed to support the lighter construction of wood and plaster. Then among varieties of stone granite to the eye excels as a base for softer stones or brick. Why? Because we know and see that the characteristic qualities of granite are great compressive strength and durability. Knowing the hardness and coarseness of grain of granite we do not look for delicate carvings and mouldings— for a bold treatment. On the other hand we have in marble, a stone which is fine in texture, takes a high polish and is anpropriate to fine carving. But there are marbles and marbles. Thus one is satisfied to see a large plain surface of figured marble which if carved as white marble frequently is, would lose half its splendour. beautiful as the carving may he.

Colour and texture plav a bv no means insignificant part in deciding the appropriateness of building materials in certain nlaees. Coarse surfaced and roughly treated materials seem fitted to art as foundation to the lighter and finer grained varieties. How beautifully is this prmmnle annlied in the facade of the Palazzo Recardi, Florence! On the ground floor are great nuarry-faced stones with deeply recessed channelled joints, which support a storey of smaller dressed blocks and less pronounced channels, on top of which rest still smaller stones with fine joints. Thus the Avail treatment satisfies the reouirements of fitness, which demands that where compression is greatest the texture shall indicate the material with greatest eomnressive strength. Though unite capable of forming the base, ow incongruous it would appear to us. to see the finely worked ashlar as the foundation of the great hewn blocks of granite.

Considering the use of colour in Architecture Ave should take a lesson from nature. In nature the vivid tints are not too prominent, but are confined to small patches which nestle amongst large on an titles of more restful and sombre hues. To obtain successful and appropriate colour schemes it should first be decided whether the general effect is to be light or dark, and then accordingly the smaller colours should he grouped about the .points of interest and importance. What could be more interesting and fitting than the white stone entrance and white window sashes of a building with Avail expanses of brick; or say the

red brick capping of a white stuccoed chimney. Although a brick chimney may be admired of itself, placed in a roof of brick coloured tiles, it loses its charm. The colour scheme should also be in keeping with the purpose of the structure. For while it is proper to employ strong and lively colours on a place of amusement, such gaiety would seem strange and out of place on a church, prison, or monumental building. One of the commonest violations against the quality of fitness is that of imitating in a material, the characteristic decorations of another material. Even the great Grinling Gibbons carved stone in imitation of forms more suitable to wood. Taken away from the carving of wood, he indulged in deep undercutting, with the result that many of his stone carvings break way and have to be renewed. How often is wroughtiron work copied in cast iron! A founder seeing a beautiful wrought-iron gate, endeavours to imitate it in cast iron, and fails to produce a thing of beauty or utility. The long attenuated forms of the wrought iron are unsuitable to cast iron, which has not the tensile strength of the former. This does not mean that cost-ironwork may not be just as beautiful and useful as wrought iron productions. Designed with a knowledge of its deficiencies, many a cast iron gate or railing is to he seen, which could not be surpassed by any wrought iron creation.

The quality of fitness is not transgressed when plaster or stucco is used to cover materials, structurally strong enough, hut inferior in appearance. When however we mark off stucco in imitation of courses of stone, we are imitating another material, and using cement in a manner unfitted to its nature. Again while there is nothing to be said against the use of corrugated iron as a roof covering, it is wrong to manufacture tin in the form of tiles or slates. Then iron is often made into sheets, stamped and painted to imitate a plastered ceiling. In this case one material is making a poor pretence at being another material, when it is unsuitable to the use and moulding of the original —and the artifice is revealed when the paint wears off.

Another violation of the quality of fitness is the placing, in our commercial buildings, of whole facades of brick and stone, apparently on a foundation of plate glass. Anyone knows that no glass could he made which would bear this weight, but even the fact that the concealed steel columns do the work, does not remove the sense of unfitness. A recent instance occurred in a local draper’s shop, where the steel columns were actually encased on all four sides with glass mirrors.

A striking lack of fitness has been displayed in our domestic Architecture, Avhieh up till recent years, has consisted of attempts to embody on a small scale the “features” of the English Georgian style. Amongst the legacies left by that, ponderous style, were the paner-marhle dados which appeared almost genuine until they peeled off! Then there Avere the imitation plaster cornices, in cardboard, and external! v such atrocities as wooden ouoinstones, battlemented parapets, etc. All sense of fitness seemed to have been lost. Our houses were no longer homes, hut museums. In keeping with this struggle after the ostentatious, every little villa (no matter how

small) had its useless drawing room, more useless reception hall and so on, through the whole category. Having once perceived that there was a sense of fitness about simplicity and repose in domestic Architecture, we have thrown most shams overboard, and are now content to build homes,' exhibitions —of what we have or have not. Following in the wake of this revulsion, has come the simple cottage and bungalow design, the plain but good mission furniture, with its natural wood finish ; more money is being spent on the kitchen and less on the front elevation, so that our houses no longer merit the title of “Queen Anne fronts and Mary Ann backs.” This new conception of domestic Architecture, with all its faults, is thoroughly in keening with the repose and simple dignity of home life.

In the development of a truer sense of fitness in modern Architecture there awaits a great problem. Until our architects are given a more thorough training in the right use of materials, and a little less time on the “orders.” one may not look for much improvement. All the great advances made in machinery, cheapness of transport and production of new materials cannot be ignored. To keep in touch with them, Architects must adapt themselves to new conditions, and, the general fitness of modern work. For a sense of fitness in Architecture can onlv he developed on a basis of a real knowledge of modern materials and methods, their uses and deficiencies.