taken down for $10 per M. For beams and arches the labor cost is much higher. Such work cannot be even approximately estimated from any rule of thumb, but must be carefully computed from the detailed plans of the structure; taking account of the size of the job, the special difficulties to be overcome, and the prevailing cost of common and skilled labor in the locality.

SECTION II

CONCRETE ARCHITECTURE

CHAPTER IX

THE ARCHITECTURAL AND ARTISTIC POSSIBILITIES

OF CONCRETE

A New Style of Architecture.-For a century or more architects have been vainly trying to create a new style of architecture; back and forth they have vacillated, but never forward. They have tried every possible combination of the ancient masterpieces but without results; and it seems that again, as in the fable of old, the hidden treasure was not in foreign lands but right at our own door, beneath our very feet. It is a recognized principle of architecture that the material of which a structure or monument is made is (after the idea or need that called it into existence) the main factor in determining the form, color, and structure of the monument. This being true, it is likely that a material, having so many characteristics that no other material has, is certain to introduce many new features into a structure and finally create a new style of architecture; and this is especially probable because designs hitherto attainable in other material only at great expense, can be obtained so cheaply in concrete.

It is so easy to obtain very high ornamentation in concrete that it is necessary for the artist to exercise self denial in refraining from unmeaning display for the sake of show. The popular notion that architecture is the heaping of pretty things onto a structure to hide its construction is wrong. True art is always the result of a clear and forceful expression of the idea and use of the structure. Expression in art must be obtained by making some parts plainer than others, thus bringing out the richness or elegance of the main idea. Make your structure look like what it is,-concrete; solid, strong, substantial, beautiful. The ornamentation chosen taste

fully to accord with the idea expressed and with the natural surroundings, construct with a feeling of modesty, dignity, simplicity, and repose, and you will have a design alive with purpose that will live through the ages.

Mr. R. Van Deerlin, Chief Engineer, Hennebique Construction Company, says:

"Concrete, with the aid of steel, is adaptable to almost every kind of structure, not only economically but architecturally. Unfortunately it has been handicapped by the attempt to force it to imitate other materials. This probably results from its plasticity and reluctance to depart from well recognized methods of architectural design. Being generally composed of stone for an aggregate, it somewhat naturally suggests that the same line of design would be appropriate for concrete as has become the recognized standard for stone. Such, however, is not the case, as there is a material difference in the general appearance. After the temptation to imitate is overcome the plasticity of concrete makes it not only an excellent building material but also an architectural one as well.

"The most striking examples of architectural beauty are noted for their simplicity and freedom from confusing details and effects that distract the attention from the keynote of the design. Previous to this century, the limitations of building operations have made it necessary to have the size of the units of construction small in order to keep the cost within bounds. This gave definite construction joints which were accentuated and developed along certain lines to create certain impressions. Now that concrete is available, it is no longer necessary to have these lines or joints and they can be eliminated entirely or used only where they are really an architectural benefit. Simplicity in concrete design is to be desired also from an economical standpoint, because one of the most expensive items in concrete construction is the form work. The cost can be trebled easily if the forms are complicated.

"The future of concrete treated architecturally lies in a development on surfaces and not lines. Who, for instance, would prefer a concrete bridge, built to represent one of cut stone to one where the concrete is honestly shown on pleasing surfaces, free from the lines which are supposed to represent the joints of the stones, and only showing the lines which are there for purely architectural reasons.

If it were possible to economically eliminate the joint lines from the stone bridge, it is very probable that no one would ever have attempted to use similar artificial lines for effect. Compare a concrete tower treated as a monolith with one built to imitate stone. The plain surface is far more pleasing than the other. Compare also the many pleasing concrete-surfaced houses with those constructed with the rough concrete blocks.

"When the problem of arranging the structural parts of a building is considered, there is no material that so readily lends itself to the

required adjustment as reinforced concrete, both economically and effectively. If a perfectly flat ceiling is desired, the structural floor can be designed in the mushroom system or constructed with terracotta and concrete. The slight additional expense of these two methods over an ordinary slab-and-beam construction is less than the cost of an expanded metal lath and plaster ceiling, as plaster can be very easily applied directly to the surface of either. If the rooms are small the doubly armed panel allows them to be freed from projecting beams as the beams can be placed over the par

titions. This system is also adaptable to large rooms, where paneled ceilings are desired."

Concrete block architecture and handsome stucco effects, both of which are treated in succeeding chapters, have come into extensive use, the former now emerging from a period of doubt and suspicion following the influx into the market of poorly made material, a question which will be discussed later on.

The preparation and artistic treatment of concrete surfaces have done a great deal in developing the architectural possibilities of concrete, and much credit is due to the pioneers in bringing out the many beautiful surface finishes. It is only necessary to go to sections like Long Beach on the Long Island southern coast and see the varied styles of beautiful concrete residences, to realize that a new architecture has been born, which, owing to its economy and fireproofness, as well as beauty, will supplant the classics of bygone days.

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