ARTS EXHIBITION.

New Zealand Herald, Volume LXIV, Issue 19691, 18 July 1927, Page 12

ARTS EXHIBITION.

ARCHITECTURAL SECTION,

THE EXHIBITS APPRAISED.

SUGGESTION FOR EXTENSION. nr G. S. KEESING, A.R.1.8.A., M.I.A. (N.S.W.). Although the exhibits in the architectural section of the Arts Society's exhibition reach a high standard, it is to lie regretted that they are not more representative. Architecture is the art which combines all others in a utilitarian entity. Well-designed rooms are the ideal setting for most objects of art, while many of the most renowned pictures and sculptures of modern and ancient times are or were actually incorporated with architecture. When a society of artists is so broadminded as to incorporate an architectural section in its exhibition, and architect members on its council, an opportunity is lost if the position of architecture among the arts is not upheld by a thoroughly representative section. The standard of work being done by the architects of Auckland is a high one, and the public should be given an opportunity to realise this. Perhaps at a future exhibition loan works could be obtained from New South Wales, where conditions are so similar to those 111 the Auckland provincial district, and then with a good local exhibit including country as well as city work, and town-planning schemes featuring bird's-eye views of estate and suburban subdivisions, the public would have a better appreciation of the important position of architecture relative to the other arts in this country. The society in the future might give some encouragement to architectural exhibitors by dividing the work into classes such as town-planning, commercial, ecclesiastical and domestic, and by having all photographs hung apart front the other exhibits in the section. Also, unlike paintings, no accepted exhibit should be iiung wnere it cannot be examined at close quarters, low screens being suitable. Domestic Work. My remarks must give first place to domestic work, which is the best represented. Jones and Palmer's residence, Eastbourne Road, Rernuera, combines a restful exterior with pleasing and no doubt convenient interiors, as does G. E. Tole's home for Mrs. Mowbray, but it is a mistake not to include key plans with domestic exhibits. Jones and Palmer's residence at Victoria Avenue, Remuera, gives an attractive exterior well set in a thoughtfully arranged garden; but hero the plans, while showing the relation of the rooms, could have reduced to key plans, and their space more equitably filled with detailed ' views. The same firm's two houses in Portland Road, Remuera, give similar restful restraint com bined with careful detail.

H. L. Massey has worked out a delightful sunny pergola effect for "Arbroath," Epsom, and one would like to see more of his "Casa Mia," Remuera, the two photographs of which indicate a sunny Spanish treatment suitable to the climate. A beautiful crayon rendering of Brown and Kirk's residence, Kohimarama, gives a type of perspective which shows without any fake or exaggerated effect almost an exact presentation of the finished building. This should be especiallly noted by architectural students. R. A. Lippincott's studies for homes at Kohimarama and Remuera are interesting little preliminary sketches to show a client. Bloomfield and Hunt demonstrate by their design at Wheturangi Road how the smaller type of home can be made both attractive and inexpensive. Wilson and Moodio are the sole exhibitors of black and white pen work. Their residence at Remuera thus portrayed lacks a key plan, and the draughtsmanship of the entourage does not portray the right type of garden treatment for the scheme Chapman Taylor's water-colour perspective and plans show an unusual treatment, which might look better in execution, if freed from the singularly mechanical and monotonous window hangincs indicated. Ecclesiastical Designs. Ecclesiastical work comes next in importance to the domestic class in the section. Generally the settings of {he perspectives are unsatisfactory, so that the designs may not show to advantage. King's College Chapel (R. Atkinson Abbott), however, shows its importance compared with its entourage, and the interior views give a good idea of careful detail.

The Roman Catholic Church (G. E. Tole) at Otahuhu should look well in execution. The Church of St. Mark, Te Aroha, and St. David's Church, both by D. B. Patterson, have portions appearing out of scale, but this may be on account of poorly presented perspectives. Commercial architecture is noteworthy for the high standard of the perspectives shown. Four of these would appear to advantage in the large architectural exhibitions held abroad. Yorkshire House, by Bloomfield and Hunt, is a wholly satisfying design, as well ais being a beautiful specimen of snappy pencil work splendidly rendered. Wilson and Moodie's Bank of New South Wales is a difficult problem happily solved and ably presented with a clean, crisp scholarly watercolour perspective. "Hotel Auckland," by Grierson, Aimer and Draflin, gives a business-like rendering of an ambitious scheme, free from the florid affectations so often adopted for this class of work. The building is so shaped that it sits well on its site and the design would seem to suggest that the long-overdue adoption in Auckland of a good brick treatment for a commercial building has every possibility of being realised. Bird's Eye Presentation, A. J. Brown gives a sunny presentation of a seaside hotel of pleasing design, but suffering from the absence of a keyplan. The building group is a little overpowered by the strong rendering of the middle and far distance. It is to be hoped that Mr. Brown will have an opportunity in the future to use the skill this sketch shows he possesses for bird's eye work for similar presentations of group and town-planning schemes. The photographs of the. Remuera Library by Gummer and Ford show a charming renaissance building so representative of the delightful suburban libraries which are the surprise and envy of visitors from overseas. G. E. Tole's shops in Parnel) are the only design of this type of work in the section. The design is a neat and refined renaissance, but there appears to be too strong a contrast in materials. The War Memorial, by H. L. Massey—the only monument presented—lacks detail in parts as shown in the perspective. Grierson, Aimer and Draffin, in their preliminary sketch for a Golf Clubhouse, have adopted a suitable mission treatment. The clerestory mars an otherwise clever sketch and design, but preliminary sketches invariably emphasise such defects, and it is to discover such that the architects themselves go to the trouble of making them. The Mount Roskill Fire Station, by Jones and Palmer, shows an unusual pastel study, which avoids emphasising the otherwise ' unexpected adoption of a purely domestic design for use as a fire station. Use of Perspective. The public, in examining the exhibition after reading, this criticism, should remember that the few defects noted are just as apparent to the designing architect as to the critic, and that the chief use of perspectives and all except the actual working and contract drawing is to find in what respects the progress studies are out of scale and proportion. Once so shown, these defects are rectified on the working drawings. The craftsmanship of the photographs exhibited com pare very favourably with the best work in other parts of the world. Hard effects are avoided and a good atmosphere created.