Base (architecture)

“ This is about the same as to consider architecture simply as the art of building solidly and conveniently. This is, certainly, the first requisite, but a great deal more is still necessary before we can consider it as one of the fine arts. What we require of architecture is, that it should combine these essential objects of an edifice with beauty of plan and harmony of proportion, and give to the whole a correspondent impression. ”

“ Of the fine arts, architecture alone subserves utility. We build for use. But the geometrical proportions which the architect observes, contain the element of beauty and powerfully influence the soul. Into the language of arch and aisle and colonnade, of cupola and façade and pediment, of spire and vault, the architect translates emotion, vague perhaps but deep, mute but unmistakable. When we say that a building is sublime or graceful, frivolous or stern, we mean that sublimity or grace, frivolity or sternness, is inherent in it. ”

“ Structure should never be contradicted, and in the best buildings it is pleasantly exhibited and enforced; in this very porch the joints of every stone are visible, and you will find me in the Fifth Lecture insisting on this clearness of its anatomy as a merit; yet so independent is the mechanical structure of the true design, that when I begin my Lectures on Architecture, the first building I shall give you as a standard will be one in which the structure is wholly concealed. ”

“ The effacement of the difference has been marvellously, triumphantly brought about; and, with all the ingenuity of young, fresh, frolicsome architecture aiding and abetting, has been made to flourish, alike in the small structure and the great, as the very law of the structural fact. Thus we have the law fulfilled that every part of every house shall be, as nearly as may be, visible, visitable, penetrable, not only from every other part, but from as many parts of as many other houses as possible, if they only be near enough. ”

“ Thus we have church building, house building, ship building, and coach building. That one edifice stands, another floats, and another is suspended on iron springs, makes no difference in the nature of the art, if so it may be called, of building or edification. The persons who profess that art, are severally builders, ecclesiastical, naval, or of whatever other name their work may justify; but building does not become architecture merely by the stability of what it erects ”

“ Now, we have defined the province of the architect to be, that of selecting such forms and colours as shall delight the mind, by preparing it for the operations to which it is to be subjected in the building. Now, no forms, in domestic architecture, can thus prepare it more distinctly than those which correspond closely with the first, that is, the fixed and fundamental, part of character, which is always so uniform in its action, as to induce great simplicity in whatever it designs. Nothing, on the contrary, can be more injurous than the slightest influence of the humours upon the edifice ”

“ With few exceptions, any architectural beauty that we create is but a feeble echo of theirs. Some day we may be able to produce something worthy to be placed by its side, but only when we have sanctified our life with communal aims. The aesthetic effect of a building depends upon many factors, of which only a few can be analyzed by us in this short chapter. If we abstract from its relation to purpose, architecture is fundamentally an art of spatial form. ”

“ We study adaptation both of the several parts to subordinate uses, and of the whole to some general design. But we also keep in view some pattern, style, or order, according to which the whole is arranged, and the mutual relations of the parts are adjusted. The architect must adhere to some order of architecture, and to some style within that order. ”

“ INTRODUCTION WHAT ARCHITECTURE IS—MATERIALS EMPLOYED—DEFINITION OF DISTINCTIVE FEATURES OF THE TWO MAIN STYLES, TRABEATED AND ARCUATED It is only when a building entirely fulfils the purpose for which it is intended and bears the impress of a genuine style that it takes rank as a work of architecture. This definition, exclusive though it at first sight appears, brings within the province of the art every structure which combines with practical utility beauty of design and execution, from the humblest cottage to the most dignified temple or palace. ”

“ We have always considered these circumstances as most remarkable proofs of the perfect dependence of architecture on its situation, and of the utter impossibility of judging of the beauty of any building in the abstract: and we would also lay much stress upon them, as showing with what boldness the designer may introduce into his building, undisguised, such parts as local circumstances render desirable; for there will invariably be something in the nature of that which causes their necessity, which will endow them with beauty. ”

“ I have limited these to the determined and purposed suggestion of a mode of support other than the true one. The architect is not bound to exhibit structure; nor are we to complain of him for concealing it, any more than we should regret that the outer surfaces of the human frame conceal much of its anatomy; nevertheless, that building will generally be the noblest, which to an intelligent eye discovers the great secrets of its structure, as an animal form does, although from a careless observer they may be concealed. ”

“ Infinitely more correct and rational would it be to say that architecture is building greatly refined upon,—elevated to the rank of art by being treated æsthetically, that is to say, artistically. In short, architecture is building with something more than a view to mere utility and convenience ”

“ To accomplish the majestically practical work, to shape the whole architecture like a statue, base nothing on impossible modifications of human nature; await nothing from pity. ”

“ Looking at the matter in the broadest possible way, it may be said that the building impulse throughout the ages has expressed itself in two fundamentally different types of structure: that in which the architecture—and even the ornament—is one with the engineering; and that in which the two elements are separable, not in thought alone, but in fact. For brevity let us name that manner of building in which the architecture is the construction, Inherent architecture, and that manner in which the two are separable Incrusted architecture. ”

“ Modern architects, in such minor imitations as they are beginning to attempt, endeavor to dispose the parts in the patterns so as to occupy certain symmetrical positions with respect to the parts of the architecture. ”

“ Architecture has its fundamental form, growth from below upward, prescribed by static necessity; window and roof necessarily provide the intermediate and finishing configuration; these are eternal and inviolable requirements of the art. ”

“ The artistic structure of architecture is not erected entirely as an object in itself, but rather as an external frame, embellishment and local habitation for something else which it subserves. A building is not complete until it has received the statue of the god or the society of human beings who make their dwelling therein. ”

“ This is beautifully illustrated in architecture, where a monotonous multiplication of like elements is replaced by figures of differentiated elements. No longer is a uniform facade recognized as beautiful, but a variety of features in a variety of elements must be presented in order that a temple, a mart, an executive building, or a business structure may be considered as a pleasing example of architecture. ”

“ But before that everything had been a simple development of the construction and the material of the building, and since that men have thought they perceived that architecture was one thing and building was another, and they have gone on to design buildings without any sort of reference to the materials of which they were composed, or the manner in which they were put together. ”

“ And in like manner it does not matter one marble splinter whether we have an old or new architecture, but it matters everything whether we have an architecture truly so called or not; that is, whether an architecture whose laws might be taught at our schools from Cornwall to Northumberland, as we teach English spelling and English grammar, or an architecture which is to be invented fresh every time we build a workhouse or a parish school. ”

“ We already do so, in every other branch of art except architecture, and we only do not so there because we have been taught that it would be wrong. Our architects gravely inform us that, as there are four rules of arithmetic, there are five orders of architecture; we, in our simplicity, think that this sounds consistent, and believe them. They inform us also that there is one proper form for Corinthian capitals, another for Doric, and another for Ionic. ”

“ The very architecture is characteristic, nouveau riche again, like those who paid for it, the elaborate ornament and sumptuous detail of the Perpendicular taking the place of the simple majesty of the Early English style. It is just the sort of architecture that a merchant with a fortune would pay for. ”

“ It resembles architecture in the nature of the configuration of its content as based on rigorously rational principles directed by human invention. It supplies the architectonic of the extreme of ideality as architecture supplies that of the external material of sense. ”

“ For this reason, though we shall notice every class of edifice, it does not come within our proposed plan, to enter into any detailed consideration of the inferior buildings of each class, which afford no scope for the play of the imagination by their nature or size; but we shall generally select the most perfect and beautiful examples, as those in which alone the architect has the power of fulfilling the high purposes of his art. ”

“ They are sharply and unmistakably divided into the parts that every building needs to be a work of architecture, the members that mark the division are carefully and successfully adjusted with reference to their place and their scale, and the treatment of the different parts is so varied as to avoid both monotony and miscellany. ”

“ Let us add that if it is according to rule that the architecture of a building should be adapted to its purpose in such a manner that this purpose shall be immediately apparent from the mere aspect of the building, one cannot be too much amazed at a structure which might be indifferently—the palace of a king, a chamber of communes, a town-hall, a college, a riding-school, an academy, a warehouse, a court-house, a museum, a barracks, a sepulchre, a temple, or a theatre. However, it is an Exchange. An edifice ought to be, moreover, suitable to the climate. ”

“ Harking back, we find that each particular type of house represents a stage in the development of architecture. They cover a period when architects were practically unknown. Many were evolved from the master builder's brain, while others have been developed little by little from [Pg 3] early designs. Monuments of departed days, they stand models to which our present-day architects turn for inspiration. ”

“ But such primitive structures cannot be considered as architecture, and we will now concern ourselves only with buildings of a permanent nature on which a certain amount of trained skill has been bestowed, buildings, in fact, which convey definite information as to their arrangement, and may be classed, more or less, as works of art. ”

“ These are the two typical buildings of the time and they are typical too of the whole tendency of neo-classic architecture throughout the decadence, a tendency away from variety, away from movement and charm, towards gravity and dignity, but also towards cold uniformity, with nothing to break it except the semi-Roman Order, more or less well understood, more or less graceful in itself but having no real mission to fulfill and therefore not forming part of the organized and perfect whole which we call style in architecture. ”

“ The buildings stood insulated and independent, not, as now, merging their separate existences into connected ranges, with a front of tiresome identity,—but each possessing features of its own, as if the owner's individual taste had shaped it,—and the whole presenting a picturesque irregularity, the absence of which is hardly compensated by any beauties of our modern architecture. ”

“ If, therefore, in the case of the temple of classical architecture it is the external form which is of most importance, and we find it remaining by means of the colonnades more independent of the interior construction, romantic architecture presents a contrast to this not merely in the fact that the interior of the building is more essentially important, for the reason that the whole purports to be simply an enclosure, but also in this, that the interior permeates the very form of the exterior throughout, and determines its specific shape and mode of articulation. ”

“ There are examples, in the work of our modern architecture, of architects who design with this same truth, with this same reality, with this same sincerity that animated the old builders before the coming-in of this artificial and irrelevant system of design, and one of them is the building in which I am informed a great many of you spent last evening ”

“ In architecture mere forms apart from their functional offices and relations are not enough to enable us to apprehend the distinctive characteristics of styles. Semicircular forms instead of straight beams may, for instance, be used to bridge the spaces between the upright supports of a building without a result which would constitute between a building employing the latter form and one employing the former, a difference of architectural style. ”