Evening star., 1938-09-25
By Leila MechHn.

Arts and the American Institute of
Architects a most notable and in
formative exhibition of American
architecture since the great war" has
been assembled and will be sent on
tour to museums, universities and
other public institutions throughout
the United States during the coming
season. Washington was selected for
a first showing and it is now on view
in the great foyer of the United States
National Museum. Constitution avenue
at Tenth street, under the auspices of
the National Collection Of Fine Arts,
sponsored by the Smithsonian 1nsti-
tuition.
The collection was assembled by the
Committees on Special Exhibits and
on Education Of the American Institute
OF Architects, during a period of two
years. In response to letter sent to
chapters Of the institute, in various
parts Of the country 1000 photo
graphs Of buildings were submitted,
from which $50 were selected, which
number was eventually decreased by
100. The selection covers buildings in
20 States and the District of Columbia,
located in u cities and towns from the
East to the West Coasts The photo
graphs themselves are of the best, in
quality as we'll as subject matter, and
are displayed admirably on large
mounts, approximately 80 by 48 inches
in dimensions. Because of the pic
torial quality of the photographs and
of l,;, y,
speaks to the observer visually in no
uncertain terms,
IN SOME respects this is the most
reassuring exhibition of art that has
come to attention for some years, for
the reason that it is at one and the
same time dominantly modern and
obviously fine. Sitting, as we are at
the present time, on the rim Of a
volcano, which threatens to erupt at
any moment and blow not only man
but the civilization he has upbuilt
through succeeding centuries, to atoms,
1t is strangely gratifying to be able to
observe that in the highest branch of
the arts those Of our own day and
Nation have made notable contribu-
tion. No one could see this exhibition
and deny it.
Not only is this reassuring but a
thought provoking exhibition. In the
first place it shows that through the
use OF new materials and to meet new
and urgent needs our architects have
almost unconsciously developed a style
bOcn new and original which takes its
place with dignity and beauty along
side the great styles of the past; Sec
ondly, 1t clearly evidences the fact that
the new materials of today-steel,
concrete and glass-do not lend them
selves congenially or adequately to the
expression OF the styles of by-gone
days; thirdly, it reminds us that ma
terlals alone, no matter how skillfully
handled. do not produce works of art
That back of them must be the creative
designer, the man of genius and taste
the artist, If the result attained is to
stir our emotions and merit our ad-
miration.
In a recent issue of the Carnegie
Magazine Ralph Adams Cram. the
leading exponent OF the Gothic style
IN church building and several times
represented In the current exhibition.
Is quoted on the good and bad in
modern art.
Il contend" he says, that modern.
St art Is neither to be accepted nor
rejected as a whole, but that the good,
which is conspicuous, must be SAL
vaged from the bad, which is even
more conspicuous.
There is no service the sane and
true modernists can do at the present
time greater than that of making it
perfectly clear that they reject and
cast out the silly, ugly and diseased
exemplars of false and poisonous
type OF modernism in order that the
real thing may not suffer through
contaglon, but may continue to hold
and reinforce the position it now very
justly has acquired"
Not only is this great concession
on Mr.. Grams part but an exact
deflnition Of what the jury of selection
OF this exhibition has done Obvi-
ously, there Is not and probably never
can be, unanimity OF opinion in regard
TO the comparative merit of contem-
porary production, but we are here
shown representative work which a
pody OF professionals has considered
OF outstanding significance. We may
judge for ourselves.
HEHE are in the collection certain
extreme examples of the modern
ana also some which are ultra
conservative. but in both instances
they have been adapted to contempo-
rary usage and touched by the fire of
inspiration. The outstanding expo
nents OF modernism in this archi-
tectural display are the firms of Hola-
bird & Root Of Chicago and Howell
Hood & Fouilhoux of New York. IN
tne neid OF the monumental, and, indi-
Vldually, as designers of domestic
architectural themes, Frank Lloyd
Wright Of Arizona and Richard ]
Neutra OF Southern California.
Holabird & Root have for years had
one OF the busiest Offices in this coun-
try and executed some of the biggest
commissions. They are represented
here by the North Dakota State Cant
tol, the Ramsey County Courthouse
and st. Paul City Hall, Chicago Dailv
Press Building and United States
Forest Products Laboratory, Madison.
Wis.
THESE buildings are all extremely
plain, utilitarian undecorated. and.
while bulking large, unimpressive as
individualistic creations. The first
gives no indication in exterior design
OF the purpose for which it was
created, and the last looks more like
monstrous pipe organ which has
strayed from cathedral than a build
ing for scientific use. In all of these
buildings emphasis is laid on the per-
pendicular and rhythm attained bv
repetition of similar units. 1t is
strong work, but not beautiful: sane.
but not it would Seern ipspired