A n exhibition of this type should be provocative of much interest and discussion. The architecture of hereditary forms: Classic, Byzantine, Romanesque, Gothic or Renaissance, is too well-known, respected and beloved to stir emotions of wonder and resentment, al¬ though each in its turn was to its day as modern as the architecture of to¬ day seems to us. In this exhibition are shown some recent architectural developm.ents of Toledo and the vicinity: Classic styles adapted to modern uses. Gothic, Renaissance, Georgian and Eclectic, using something of various forms combined in a harmonious whole. There is also contemporary architecture. These great dignified and beautiful buildings prove the growth and aesthetic development of Toledo. Designs are shown, of the Toledo Museum of Art soon to be eight timies as large as the first unit completed in 1912, ihe Greek architecture of that first unit determining the future growth in the same simple, utilitarian style easily adaptable to museum uses, also of the Gothic Cathedral, a beautiful and majestic interpretation of the place of worship of the Middle Ages, the new University, the Hospital, theToledo Scale Company, the schools, club houses, skyscrapers, stores, garages and great industries, some of which exemplify the mode-n movement. In this exhibition are also shown the works of Peter Behrens and the architects working in the Academy of Fine Arts of Vienna under Profes¬ sor Behrens. The diversity of the subjects is characteristic of the creators of today, who attack all problems with the same basic logic. The subjects of these Viennese architects cover factory buildings, airplane landings, hangars, monuments, ski huts, steamers, stadiums, theatres, garages, country homes, hotels, crematories, lighthouses, churches, grain elevators, pavilions, tombstones, steelworks, power stations, astronomical museums, solutions of traffic regulations and so on. Architects of today have the courage to pile utilitarian masses upon masses, these masses building their own monuments as in the pyramids of Egypt. How strange the architectural form of those great functional shapes must have looked to Joseph and Mary when they came to the banks of the Nile in their flight into Egypt. One sometimes wonders what Handel would have done with a grand piano and how the Gothic architects would have used the tools of today, steel and concrete. It is not possible to conceive of their being indifferent to such plastic material. In their time they used ever)' resource then available to the limit of its constructional possibility. The Gothic building aspired to reach nearer to God and now we find the skyscraper has stretched up far nearer to Heaven than they. At any rate it is interesting to wonder and imagine. However, willingly or unwillingly we have stepped foot into a new era and we cannot draw back. No amount of blindness, ignorance or negation on our individual parts can stop this forward movement. In architecture as well as in painting, sculpture, music and literature and science, progress has its foot on the accelerator. All over the world new constructions are raising their heads and demanding recognition. We find them in Austria, Sweden, Germany, Russia, France, Poland, Spain, Italy, England, Czeco-Slovakia, Poland and America. .
Imitators of the modern architects just as the imitators of the modern painters, work from external evidences only, instead of from the core outward and throw together flat roofs, huge sheets of glass, plane surfaces of concrete into meaningless hybrids. To understand the new movement and differentiate between the true and the false, it is necessary to understand the objective of these builders. Bruno Taut, the Berlin architect, sets it forth as follows: 1. The first and foremost point at issue in any building should be how to attain the uttermost utility. 2. The material employed and the construction adopted should be entirely subservient to the first principle. 3. Beauty originates from the direct relationship between building and purpose, from the natural qualities of the material and from elegance of construction. 4. The aesthetics of modern architecture recognize no demarcations between facade and ground plan, road and courtyard or between the back or front of a building. Nor does any detail exist for its own purpose alone, but should be designed to serve as a necessary part in the general plan. Everything that functions well, looks well. We simply do not be¬ lieve that anything can look unsightly and yet function well. 5. The house, as a whole as well as in detail, forfeits both demarcation and isolation. In the same way that the details depend on their common interplay, so does the house depend on its comrades. 11 is the result of collec¬ tive and social ideas. Thus repetition is not undesirable—on the contrary it is the most important factor in art. The same constructions for the same requirements, for which exceptions should only be made in the case of exceptional requirements. Special requirements, for which exceptions in repetitions of style would be made, we admit only, or principally, in a building of collective, that is to say, social significance. He adds that the simple thesis for the new aesthetic ought to be the following: “The aim of Architecture is the creation of the perfect, and therefore also beautiful, efficiency.” .
PETER BEHRENS 1 Administration Building of the Dye Works at Hochst-am-Main. 2 Administration Buildingofthe Mannes- MANN Factory at Dusseldorf. 3 Administration Building andWarehouse OF THE “Good Hope Foundry’' at Oberhausen, Rheinland. 4 Administration Building for the Stumm- KONSERN, Dusseldorf. 5 Apartment House of the Laborers Settlement in Stuttgart. 6 Bassett-Lowke Residence “New Ways” Northampton, England. 7 Benedictine Seminary of St. Peter in Salzburg. 8 Benedictine Seminary of St. Peter in Salzburg. 9 Building Plan for the Alexanderplatz, Berlin. 10 Community House for Vienna. 11 Cult Building in the Spirit of the Middle Ages at the Industrial Expo¬ sition, Munich, 1922. 12 Exhibition Pavilion for the Associ¬ ated Plate Glass Factories, Cologne. 13 Factory Buildings of the General Electric Company at Berlin. 14 Gas Works, East Frankfort-am-Main. 15 German Embassy in St. Petersburg. 16 Hangar of the Hannoverian Coach Factory. 17 Office and Apartment Building, S. Adam, Berlin. 18 Settlement at Lichtenberg. 19 Settlement of the German Dock-Yards IN Altona. 20 Stock Exchange and Board of Trade Building, Cologne. 21 Tomb of President Ebert in Heidelberg 22 Winter Garden in the Austrian Pa¬ vilion AT THE Paris Exhibition in 1025. .
RICHARD BANDIAN 23 Monastery and Museum EMIL BUSCH JOSEF DEMETZ 24 Lighthouse for San Domingo FERDINAND CAPKA 25 Stock Exchange 26 Theater FERDINAND CAPKA JOSEF MESAR 27 Parliament Building for Prag JOSEF DEX 28 Film Sets (Scenery) 29 Lighthouse and Coast Guard Station Salvore 30 Water-power Station 31 Monument to the Unknown Soldier, (Vienna) 32 Pavilion at a Lake WILHELM DORANTH 33 Broadcasting Power Station JOSEF DEX ANDREAS SZIVESSY 34 Proposed Traffic Regulation Potsz- DAMER PlATZ, BeRLIN RUDOLF GRIGKAR 35 Touring Club-Hotel on the Lake of Constance KARL HARBERGER 36 Stadium for Vienna HOFFMAN 37 House of a Customs Collector ADOLPH HRABAL 38 Tide Power Station OTTO JANKO 39 Elevator for Salzburg ROBERT KRAMREITER 40 Earthenware Factory KARL LANGER 41 Children's Recreation Home .
WILLIAM MUSCHENHEIM 42 Apartment Hotel for New York 43 Dance Pavilion at the Ocean 44 Summer Residence on the Dunes WILLIAM MUSCHENHEIM ERNEST PLISCHKE 45 Community Apartments for Vienna GEORGE NEIDHARDT 46 Airport for Vienna 47 Erontier-Bridge ALFRED NEUMANN 48 Country House 49 Houseboat 50 Sanctuary at the Dead Sea OTTO NIEDERMOSER 51 Refuge Hut in the Hoch Schwab 52 Ski Hut ADOLF PARR 53 Crematory for Salzburg WALTER PIND 54 Gas Works ERNST PLISCHKE 55 Academy of Sciences 56 Carbonic Acid Bath for Carlsbad 57 Crematory for Linz 58 Theater and Concert Hall ALEXANDER POPP 59 Grain Elevator 60 Office Building for Danube River Steamship Company, Belgrade OTTO PROSSINGER 61 City Plan for the Southern part of Salzburg FRIEDRERICH PUNZMANN 62 Fisherman’s Cottage at Traun Lake 63 Planetarium ERICH RICHTER 64 Community Park with Gymnasium and Swimming Pool 65 Hotel in Dalmatia .
GOTTFRIED RUCKDESCHEL 66 Eestival Theater for Salzburg 67 Home for Cripples THEODOR SCHOLL 68 Garage Building JOHANN SCHREINER 69 Central Railroad Station for Vienna 70 Coal-Washery 71 Water Tower 72 Water-power Station LEO SMOLKA 73 Church in the Carpathians JOHANN SPINCIC 74 Harbor Project for Susak 75 Slovenian Church HANS STEINEDER 76 Astronomical Museum 77 Electro-Steel Works 78 Marine Airport 79 Stud Earm in Pinzgau ANDREAS SZIVESSY 80 Hydro-aeroplane Harbor, Budapest 81 Traffic Center HERMAN WEISER 82 House of an Astrologer FRITZ WERMER 83 Artists Colony WINAND WIERTZ 84 Country House ANTON WILHELM 85 Church for Gmunden BOLLINGER & HAYES 86 1. O. O. F. Building BRITSCH & MUNGER 87 Central Eire Station 88 Dorr Street Presbyterian Church 89 High School COMES, PERRY & McMULLEN 90 Queen of the Holy Rosary Cathedral .
WILLIAM M. FERNALD 91 Sub-urban CommercialBuilding NORMAN BEL GEDDES 92 The Toledo Scale Company EDWIN M. GEE 93 J. D. The Robinson Junior High School GEROW & CONKEIN 94 West Toledo Branch of the Toledo Public Library EDWARD B. GREEN & SON—AEBERT H. HOPKINS 95 The Toledo Museum of Art Front Elevation Music Hall Eloor Plans Model AEBERT HAHN 96 Hillcrest Arms RARE B. HOKE 97 Sketch of Indiana Avenue Branch Y. M. C. A. LANGDON, HOHLY & GRAM 98 Fire and Police Alarm Building JOKEL & LANGE 99 Business Block 100 Commerce-Guardian Savings Bank 101 Mount Vernon School 102 Sketch for School MILES, RHINES, BEEEMAN & NORDHOFF 103 Ohio Bank Building 104 St. Mark’s Church 105 The University of the City of Toledo 106 Ottawa Hills School 107 Old Ladies Home M. 108 Y. C. A. Central Building 109 Second Church of Christ Scientist 110 The Toledo Parking Garage 111 The Lamson Building 112 Nazareth Hall, Ladyglen-on-the- Maumee 113 Freeman Building .
114 Tower of the University of the City of Toledo 115 Chandeliers for the Ohio Bank Building 116 Chandeliers for the Freeman Building 117 Peoples Savings Association Cartoon FOR Mural by Fttore Caser GEORGE RHEINERANK 118 Business Block—Sketch 119 Business Block—Photograph SCHMIDT, GARDEN & ERIKSON 120 The Toledo Hospital STOPHLET & STOPHLET 121 New County Hospital for Lucas County Infirmary HARRY W. WACHTER 122 Business Block 123 City Convention Hall on Erie Street 124 Maternity & Children’s Hospital 125 Monroe Street M. E. Church 126 Morris Plan Bank 127 Model for Summer Camp of H. D. Bennett on Rattlesnake Island 128 Mortuary MUNICIPAL PLANS, IF Mayor Wm. T. Jackson, Wm. SCHROEDER, DIRECTOR OF PuBLIC SERVICE 129 Toledo Civic Center, BY Harland Bartholomew, City Plan Engineer 130 Maumee Bay and Lake Eront Develop¬ ment 131 Bridge over the Maumee River at Toledo by Cass Gilbert, Architect & AND Waddell Hardesty, Consulting Engineers 132 Sewage Disposal Plant by H. P. Jones & Co., Engineers 133 Jefferson Street Extension and Park —Drawing 134 Jefferson Street Extension and Park —Model by Lois MacLean .