THE NEW ARCHITECTURE

Gisborne Times, Volume LXXXIV, Issue 12876, 1 June 1936, Page 3

THE NEW ARCHITECTURE

— A DEFENDER OF MODERNISM. “Whence comes this modernism ?” 0 a. question asked and answered by a well-known architect. Air W. Ward Welkin. in the “American Archi'teot-.” lie liolds that economy Jias induced simplicity in design. The tendency has been, towards a greater fixedness of standards within, which 11io zeal of competitive architectural talent can produce beauty. “Economy in its application to architecture. in the sense of a scientist problem, has heen too little studied, ” Air Ward Watkin continues. “Economy lias frequently meant only inferior material with the substitution of imitations of one type or another—and with the expression of inferiority made evident in the result. From the purely architectural viewpoint, with the acceptance of the problem in the manner of science, it should he hut a. definite problem, the elements of which are known and whose*truthful solution becomes beautiful with the application of the architect's skill. “This reaches not alone the choice of material of lowest cost with enduring quality of the omission to a point consistent with refinement of all varied form and ornament, but also iu severe analysis of every plan requirement, seeking saneness iu the use of space, with elimination of dimensioifb which aro possessed of pomp rather than reason.- Under these conditions design takes added interest. “This" spirit ofapproach creates economy as a. fascinating factor and it in no way denies the ultimate attainment. of refinement and beauty within or without. What appeal to our people could he more true and timely than a conservative interpretation of this tenet of economy which the modernist, holds! Have we not al 1 listened for many years to the popular exaggeration of the architects’ extravagance? Has not this exaggeration in part.’ -possibly in major part, been tho - unconscious outcome of continued expansion of the ‘styles’ with more and more careful study into an infinite range of historic example, the fitting nature of which lias become increasingly doubtful? “Through this indirect manner the j architect has too easily cultivat'd temperament, a, quality setting him apart from rather than in touch with. Ihe scientific produce and reasoning of his age. Since temperament is a w- ak contender against logic, the art truly expressive of an age requires that its creators take their themes and mrtv terials from tlieir age. find not from the cemeteries of archaeology. “With all the fantastic and ugly that modernism has offered as a. solution, it also is offering an increasing number of examples of •crystalline clearness and beauty?”