The daily morning journal and courier., 1907-12-11

plan on too large as to plan on too small a scale.
 A curved street or deheeted offers as fine opportunity for design as straight one.
 Varying grades form no obstacle to architectural beauty.
 The height of building should bear relation to the length of it's facade and especially to the height of neighboring buildings and the width of the street or place it faces. The height of the main lines of buildings in groups should be uniform though towers, domes or roofs may be -.--~lually above them.
 Buildings of necessarily great height or prominence should be placed as facal points. not as incidents of a 1 group.
 The number of stories in a monumen- tai building should be limited to three if possible (two is better) and should never exceed four
 Color is as important as form and should always be consistent with or in harmony with the group as a whole.
 Texture is of equal importance, a rock faced granite wall cannot be ex- pected to harmonize with finely dres- sed granite wall.
 Scale both in architectural design and in material Is essential, for in 1 stance, a wall made of small stones has not the same scale as a wall built of large stones, though it's length and height may be precisely the same, So the use of classic order in one building is not sufficient to bring it into harmony with another unless the dimension of the "order" is the same though the building may be of different dimension.
 A large scale may be employed to mark the central axis, but the lines of the minor buildings of the group should be recognized in the axial structure. A building of brick in a street of granite or marble unreleved by fol- iage is a note out of harmony and, conversely, either may be fine in its proper environment.
 Every building or group should have it's proper setting. As the build ing is formal and conventional, it should be brought into relation with the formal character of the streets around it bB suitable approaches and while masonry, terraces and steps are of great value in design, they should not be of too great extent. l Buildings (partlcularly those for ] public use) should be designed in har- mony with the traditions of the site. 1 Certainly, New Haven should not depart Srom the almost classic tradi- { ton of the old colonial days. The beautiful old Georgian architec- i ture should not be abandoned, but J should be accepted as the traditional architectural style of the city, and this style or it's prototype should be adopt ed for the new buildings of the city, particularly around the green.
 It has been impossible to procure satisfactory illustrations as had hoped of Buenos Ayres, Rio Janeirc and other southern cities or even of ! our own American cities, to show what has been accomplished or what Is being damned, and so am able only to show you a few pictures of the proposed de- ivelopment of Washington and illustra- lions from European cities which may be more or less familiar, but whose beauty will be their excuse.
 It will be seen, am sure, that, If a fine grouping of public buildings is to be obtained, the location must be provided in suitable city plan.
 I dislike the phrase, City Beautiful, for it conveys a wrong idea and sug- gests the romantic, the sentimental and the superficial.
 Beauty should be an element of the city plan and of the city buildings, Out before beauty comes use. If 1t be not useful it lacks the essential element of the economy of life, namely, the fulfill nent of need.
 The foundation then lies in the need, in the development. beauty is the flow CT it is the perfection of the expression its completes, adorns and makes fit the thing we use. II Is the expression of the ideal dominating the material