DESIGNS, AND THEIR EFFECT IN EXECUTION.
DISAPPOINTMENTS frequently arise in carrying out certain designs which look exceedingly well on paper, often to the astonishment of committees, who advertise for, and afterwards decide on, competition drawings. It may be a matter of surprise to them as well as to amateurs in general; but that they are disappointed in their expectations of beholding models of taste and elegance in their preferments, is a common occurrence. The result probably happens through want of experience in contrasting drawings with their respective constructions, and ignorance in the application of truthful geometrical features to edifices; particulars, neither understood by the amateur nor the "practical man;" many designs which are prepossessing on this scale, grow displeasing on the full scale of construction, and when the deep shadows of every little break and panel almost disappear, or blend into the tone of the material used, the builder stares at the monotonous expression of his edifice.
There are, too, certain small matters scarcely ever taken into consideration, which render the best outlines displeasing, and sometimes make a wide difference between drawings and buildings; even wherein we may acknowledge the neatness of the former, in contradistinction to the slovenliness of the latter. One of these instances is, where the same color is given to stone or cement by the draughtsman; and again in execution, where one material by being painted is made to resemble another. Such deception produces many failures, as may be observed in façades, where cement capitals surmount stone columns, and ornamental members in any kind of foreign composition are mixed up with stone for the sake of cheapness.
A brick building cased with stone, is perhaps required for a public institution. From the fifty designs sent in, the committee without partiality, may select one of a quadrangular form, or rather laid out in three sides of a square; with a tetrastyle porch on each flank, and a hexastyle one on the principal front for the sake of distinction. The drawings also recommend the choice, finished with accuracy; and every little break and minute line of moulding being well marked and deeply shadowed, the design shows an elaborate variety, and a pleasing union of art with novelty. Thenceforward it is forced on the approbation of the public, who patiently await the result of the undertaking. The edifice is finished, but does not produce the admiration expected. It turns out to be a plain stone building with the usual number of common place windows. What was intended to be a cornice appears a simple string; the flimsy mouldings on the capitals cannot be seen, and the imaginary pilasters altogether disappear from the surface; and, at the distance of three hundred yards, this colossal building, which cost the community so much money, does not show one-tenth part of the features exhibited on the drawings, resembling an asylum built for a needy incorporation in indigent times, instead of an institution erected by wealthy and benevolent citizens. The committee should not allow themselves to be misled by errors, arising from want of judgment while there are architects in this country to whose decision an appeal can be made.
AN APOTHEGM.
"The Architect who raises in the air
Enormous structures, massive, grand, and fair,
Leaves to the world the genius of his mind
And is a benefactor to mankind!"
Oh! Andrew Park, your apothegm is rare,
For few, indeed, the mighty truth would find,
That those who build their castles "in the air,"
Become the benefactors of mankind.
P. De T.
