The Christchurch War Memorial Competition.

Progress, Volume XVII, Issue 2, 1 October 1921, Page 31

The Christchurch War Memorial Competition.

The design for the Christchurch War Memorial Bridge Competition, which was won by Messrs. Prouse and Gummer, of Wellington and Auckland, is reproduced in this issue. The assessor for the competition was Mr. Leslie D. Coombs, of Dunedin. Twenty-four designs were sent in, the first prize being £IOO and the second £SO. The designer's notes explaining his drawings run as follows :—■

The author feels that this problem calls for the fullest knowledge and most delicate handling in order to meet adequately the utilitarian requirements of a thoroughfare bridging a stream, and to express the highest emotional architectonic qualities necessary in such a permanent record of the Great War.- His endeavour has been to make lines of principle in architectural and engineering design the governing factors in the whole scheme rather than to produce a design based upon traditional architectural features which may or may not have any. direct relation to the problem in hand, either as structural necessities, or as providing some link with the past, which has its pre-sent-day significance. His endeavour has been to bridge the stream adequately, to provide a memorial of the Great War, and to wed the whole, not only to its immediate surroundings, but to the town at large.

Utilitarian Requirements.

These requirements have been accepted as the basis of the scheme. The river has been spanned with one arch lift. 6in. from water level to crown and of 49 feet span, a dimension which is the, average width of the river at this point. As the variation in water level is so slight this is deemed sufficient. It is felt that a single span has the advantage over a series of arches, in creating an impression of ample passage way for boats, and in obviating the necessity for piers in the river, which, with the long length and comparative smallness of span of the arches, would give the appearance of culverts rather than that of

a bridge. It is considered that the real bridge impression is created by the feeling of "span," which necessitates the use of an arch for the bridge not less in span than the width of the roadway above. This feeling of " span " is'perhaps a relic of the days when primitive man felled a tree across a stream, but whatever its origin, the length of line and grace it gives are the legacies it has left in the most successful bridge designs. The author's reading of the problem is not that he is to provide a bridge on a main thoroughfare from the town to the Park or a tramway route, which thoroughfares are to be found in adjacent streets, but rather the provision of a bridge leading to the more quiet residential quarters between the river and the Public Gardens; a lay-out rather more intimate in feeling than would be possible with a main thoroughfare.' Thus he has made his roadway on the bridge '23ft, wide

and the side arches 6ft. 6in. wide. It is obvious that the design is elastic enough to allow of the modification of dimensions as more particular knowledge of requirements demands. The widening of the footpath east and west of the bridge is eased at its juncture with the bridge proper. This easement is effected by means of squinch arches (see elevations). The roadway from the overhead arch to centre of the bridge has a grade of 4in. in this length. This grade allows of slight increase in height of the arch of the bridge, but also offers more effective drainage than with the level causeway. In such a length this rise would not be appreciable to the spectator. On the west side of the bridge the grade is 1 to 28. The requirement of an overhead arch at the eastern approach of the bridge makes a quick turn necessary in the road to the bridge from south Oxford Terrace. Special care has been taken to provide a line of footpath kerbing at this juncture which will make a ready easement for vehicles coming from this turn on to the bridge. It is also remembered that vehicles so approaching have an almost open view along south Oxford Terrace of all traffic on the bridge.

The Evolution of the Design from Factors of Site and Utility.

Though the bridge and overhead arch are but two elements in one composition, they are dealt with separately for the sake of clearness. Line in this bridge, in the sense of obtaining a natural and easy-looking access from one bank to the other, has largely dictated the shape of the arch for the stream and the run of the parapets. It will be noticed that, taking the centre line of the bridge as a base, the river flows at an angle of 30 degrees. This fact provides the basis of the design in plan and elevation, and all planes in the bridge and overhead arch have some relation to it, and are, therefore, complimentary to one another, being in plan either at 30 degrees, with regard to the direction of the bridge, or at some multiple of this angle, as 60, 90, or 120 degrees. The plan is, in fact, built up on the angles cc-ntained in the hexagon (which form has «been adopted in the main piers of the overhead arch), and is carried out to the smallest detail. The author believes that the most successful bridge designs are those which depend entirely on the line of the arch or arches, together with the run of the parapets for their effect. In this case especially, he has felt that undue elaboration of the parapets or spandrils of the bridge arch would mitigate the emphasis which he feels should be found in the overhead arch as the climax of the composition. As a consequence, the enrichment of the bridge centres mainly in the central panel with the inscription: " Hunc Locum Inumbrant Nomina Magna " (great names overshadow this spot), and under, a decorative treatment of the rosemary plant (for remembrance) over the coat of arms of the city. This quotation has a special significance through its position over the large shadow of the arch of the bridge. It suggests that the spirit of great men is memorialised therein. The bridge has not been considered simply as the quickest means of getting from one bank to another. It is a spot where one feels one would rather walk across than motor across, hence the comparatively wide footpaths to the width of the roadway. The widening out of the footpath is, the author considers, a desirable, feature. It provides an additional lead in from the south Oxford Terrace footpath, and it does for the plan at this part what the buttressing to the south pier of the overhead arch does for this portion of the lay-out: in other words, taking the centre line of the overhead arch as the centre of gravity of the composition, this widening on the flat balancing the weight of the height of masonry'at the north : end. Further, it provides an open space where people so inclined could sit (were an appropriate seat provided), a little removed from the public way, 1 or perchance lean over the parapet, with the branches of the trees overhead and the flitting lights and shade and reflections in the water. Flowing water has always been a great attraction to the average human being. One has only to think of some of the most successful mediaeval bridges, such as the charming little three-way bridge near Crowland Abbev, in Norfolk, to the larger erection at Monmouth, and also that at Semur, in France, to realise how much the success of these

bridges depends not only on giving- adequate passage to man and beast, but also to their absolute oneness with their surroundings and to their ability to make the beholder appreciate and feel in intimate and harmonious relation with the whole scene. At all intersections of the bridge and the bank, the footpaths are widened, and this serves to link the bridge to the bank naturally, and also gives a buttress-like effect to the abutments of the bridge, and attractive modelling to the elevations from any point of view. This on the north elevation leads directly to the buttresses of the overhead arch, making the latter and the bridge comprehensive in treatment.

Overhead Arch.

In this the author feels that the problem calls for a treatment in which the arch motive is predominant, in which all the supports or abutments possess some relation in dimensions to the stresses generated by the arch, as opposed to the treatment of a simple arched opening in a wall. The nearest approach to this use of the arch to the author's knowledge has been developed in the cross section of the Gothic Church. The arch, fully used, expresses as no architectural motive can, endless activity, striving; it symbolises life itself. Thus the author has attempted to use the arch motive, and wishes it not only to appeal and impress by its light and shade and detail at comparatively close quarters, and from the long vistaed views, but also as a symbol of the Great War. He believes it silhouettes and stands adequately by its own abutments without any crude excess of materials. It has been studied from every angle in an endeavour to obtain as attractive a modelling and play of light and shade as possible, particularly has the juncture with the bridge been considered in order that the quality of " oneness " should be imparted to the whole. In passing it should be noted that the author has tried to avoid all heavv or anv traditional architectural forms devoid of significance in connection with this memorial. The ostentatious and somewhat brutal glorification of war and the expression of overwhelming might which the average arch of triumph typifies has been avoided, and an attempt made to glorify'the deeds of war rather than war itself, and to do homage to a victory of right rather than of might. Practically evendetail is the outcome of the adoption of the hexagonal form of pylons to the main arch, which as stated previously was derived from the angle which the river forms with the line of the bridge. It will be noticed that in elevation this hexagonal plan by its light and shade emphasises the way through the arch. Commemoration purely rather than ideal symbolism has been attempted in the_ details of this arch. In a memorial column the symbolising of ideal human aspirations in the highest possible form seems perfectly appropriate. People of necessity go round a column and in such circulation there is a suggestion of reverence. People go under or through an arch, perhaps in motor cars in this case, consequently a sense <-f propriety seems to forbid highly emphasised sculpture of a particularly spiritual character. One never rushes through a cathedral. Adequate symbolism, however the-e is. The pylons on either side of the main arch carry uplifted torches typifying the everlasting- remembrance of all that the names of the chief battle fronts on the panels above stand for. Above these panels the pylons carry up as mam abutments of the arch until they terminate 'in a bronze band, nearly the width of the monument, in which the words "Bridge of Remembrance " are worked The band mates with the, symbol of the Cross, the emblem of sacrifice in the centre. The downward stem of the Cross forms the keystone of the arch. The arch typifies life • the idea to be conveyed is that the spirit of sacrifice is after all the basis of human character. The minor arches soanniner the footways have above' each a panel in which the British Coat of Arms is inscribed. Terminating the buttresses, in which the minor arches occur, are further symbols of the Empire: namely, the British Lion depicted fresh from conquest, pa win the honourable spoils of con nuest, but with the rest of the body in full readiness for further action. The side elevations have the lions in full front view. _ Save, for the modelling of the various parte 'bpse elevations are devoid in the main of sculpture until near the top. where the uplifted torch and the Cross as the symbol of sacrifice, appear in slight relief.

Electric Lighting.

The author i's of the opinion that in the main the effective lighting of this bridge and its approaches might, considering the limited sums allowed for this scheme, be a matter for the City Council to undertake. The length of the bridge i's such that if the approaches were properly lighted nothing more would be required. For purposes of

emphasis by night, however, this design allows for a bronze electric fitting, specially designed, fixed almost flush in the crown of the soffite of the overhead arch. This fitting would flood the roadway through the arch with light. This design also allows for one bronze wall-light on each side of the minor archway at the north-east end of the bridge (see. drawings).