APPROACH ACROSS THE CABRILLO BRIDGE AT THE SAN DIEGO EXPOSITION.Cram, Goodhue & Ferguson, Architects.

*<1 I*<~he PANAMA-CALIFORNIAEXP0 SIT ION. ~llj)ieOo. Calildrni(j

BertraOl GJloo{)ffUe and Ine Renaissanceof J'poniS~fuolonjol:71rcbiteclUre r::i5:il

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IN writing on any subject so largeand so involved as an exposition, itbecomes necessary carefully to sepa­

rate the several considerations which areto be regarded as germane to a brief an­alysis.

There should be regarded the archi­tectural nature of expositions in generaland their style from the standpoint ofgeneral design, the architect's part, thehistory and nature of the expositionunder discussion, the architectural styleadopted for it, and the manner in whichthe intention, general and specific, wascarried out.

Since an exposition, from its natureand purpose, is intender! to attract, and,having attracted, to offer pleasure and

All photographs reproduced In thIs artIcle. ex­Cl!pt on pages 2M and 240. copyrIghted, Hit 5, bythe Panama-California Expo.ltlon.

diversion, its architecture should obvious­ly be of a festi\'e or cheerful nature,whether with or without color. Sincean exposition, further, is intended totypify or express given traits, local ornational, its architecture should, besidesbeing festive, be appropriate, and thestvle selected should be one stlccted es­sentially for the expression of such ap­propriateness. The "White City" of theChicago \Vorld's Fair was successful be­cause of its beauty rather than becauseof any attempt at any specific appro­priateness-the buildin~s of the Pan­American and St. Louis fairs were un­successful because there was no basicidea of architectural appropriateness intheir design, nor any conspicuous achieve­ment of architectural beauty in their exe­cution.

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230 THE ARCHITECTURAL RECORD.

GALLERY IN THE FINE ARTS BUILDING(PERMANENT)-SAN DIEGO EXPOSITION.

Cram, Goodhue & Ferguson, Architects.

Expositions are peculiarly complex andinvolve dealings among many individualsand committees. There are always agood many architects interested in thewhole or a part of the design, and a greatdeal of confusion usually exists in thepublic mind in this connection.

OF THE ARCHITECT'S PART IN

EXPOSITIONS.

In a world's fair, buildings represen­tative of foreign nations are ordinarilydesigned by foreign architects; in a na­tional fair the State buildings are ordi­narily designed by architects from theStates represented, while in a State fairthere are architects of the immediatelocality and others from various parts'of the State. And in all expositions, in­ternational, national or State, there isaways a consulting or directinp-" board ofarchitects, or an individual architecturaldirector of high professional standingand ability. In addition there is a super­vising landscape architect, in consultationwith the architectural heads, and also, asin the Chicago 'World's Fair. an eminentpainter to direct and apportion all muraldecoration. and an equally eminent sculp-

tor to execute the same function withregard to sculpture.

It is thus apparent that in press ac­counts of any exposition there is con­siderable confusion, since the wholescheme may be the conception of one di­recting architectural mind, or of severalin consultation, while individual build­ings are (or should be) specifically cred­ited to individual architects who havedesigned them. Too great care cannottherefore be taken in making clear theauthorship of such buildings as are con­spicuously successful, or in giving creditwhere credit is due on all parts of thework and on the scheme in general.

Thus, in the case of the exposition atSan Diego, the function of advisory andconsulting architect was vested, as an in­dividual, in Bertram G. Goodhue, of thethen existing ,firm of Cram, Goodhue andFerguson, who, in addition to consultingsupervision and actual work on the lay­out of the exposition and on the greaternumber of its buildmgs, personally de­signed as a member of his ,firm the Cali­fornia State Building and the Fine ArtsBuilding, which, with the bridge over theCabrillo canon, designed by the Directorof Works, are permanent structures.

Mr. Goodhue's representative on thework was Mr. Carleton M. Winslow, towhom was entrusted the greater part ofthe detail of the temporary buildings,the actual construction of all but thetwo permanent buildings being carriedout by the Division of Works under itsdirector, Mr. Frank P. Allen, to whomshould be credited also the details of theplanting, as distinct from the generallandscape layout.

OF THE NATURE ANI) INTENT OF THE

EXPOSITION AT SAN DIEGO.

San Diego is a city growing towardan eighty thousand population, enjoys aremarkably salubrious climate and has a.tine harbor which is the first port of callnorth of the Panama Canal. It is aboutone hundred and twenty-five miles southof Los Angeles and about five hundredmiles south of San Francisco.

Strictly speaking, the San Diego Ex­position, officially called the Panama-Cal­ifornia Exposition, is not an international

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THE MAIN GATEWAY, ENTERING THEGROUNDS-SAN DIEGO EXPOSITION. CRAM.GOODHUE & FERGUSON. ARCHITEcrs.

Ornament and Figures Modelled by Piccirilli Brother..

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THE CALIFORNIA STATE BUILDING (PER­MANEST)-SAN DIEGO EXPOSITION. CRAM,GOODHUE & FERGUSON, ARCHITECTS.

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ENTRANCE FRONT OF THE CALIFOR.NIA STATE BUILDING. CRAM, GOOD­HUE & FERGUSO:-l. ARCHITECTS.

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THE ARCHITECTURAL RECORD.

THE SOUTH FACADE OF THE VARIED INDUSTRIES BUILDING, FROM ONE OF THE "PORTALES"OR CLOISTERS ALONG THE PRADO.

Bertram G. Goodhue, Advi.ory and Consulting Architect.

affair, but an exposition intended ratherto express and typify the history, re­sources, prosperity, industries and prod­ucts, as well as the golden-lined futurepromise of the Southwest. "It is an at­tempt to embody the romance of oldSpanish civilization, with its mixture ofthe spirit of adventure and the spirit ofdevotiqn, to build such a city as wouldhave fulfilled the visions of Fray Juni­pero Serra as he toiled and dreamedwhile he planted missions from San Die­go to Monterey."

The enthusiasts who conceived the ex­position, in the early stages of its or­ganization, in the summer of 1909. de­cided not to copy either the forms orideas of other big fairs. but to evolve anexpression of their Southwest in archi­tectural terms at once historically andlocally appropriate. but in practical termsas well, in the nature of the exhibits.their scope and their serious purpose.

The committee set about devising an af­fair of their own which should be dis­tinctly different not only from the sub­sequently projected Panama-Pacific Ex­position only five hundred miles away atSan Francisco, but from any other ex­position of the past.

Realizing California to be one of themightiest States of the Union, and fur­ther that its prosperity and importanceare due to diverse conditions existing indifferent sections of the State, it wasdecided to present not only industrialexhibits, but horticultural and agricul­tural exhibits of the greatest economicsignificance. Thus, instead of piles offruit in a "Horticultural Hall:' there areactual planted orchards of oranges. lem­ons, grapefruit, comquats, tangerines andother citrus fruits, made possible by theclimatic advantages of Southern Cali­fornia. Tea-plants, planted and grown inthis country. are among the exhibits, hav-

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DETAIL OF ENTRANCE TO CAUFORNIA STATEBUILDING (PERMANENT)-SAN DIEGO EXPOSITION.CRAM, GOODHUE & FERGUSON. ARCHITECTS.

Ornamtnt and Figurt. Modtlltd by Piccirilli Brothtra.

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DETAIL UF EAST AND WEST WINDOWS,CALI FORl\IA STATE BUILDING. CRAM,GOODHFE & FERGUSON, ARCHITEcrs.

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DETAIL OF WINDOW-CALIFORNIA STATE BUILD.ING. CRAM, GOODHUE & FERGUSON, ARCHITECTS.

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238

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THE ARCHITECTURAL RECORD.

ARCHITECTUR4-L STYLE AT THE SAN DIEGOEXPOSITJQN.

The architectural style selected for theexposition at San Diego is one which isas generally unfamiliar in this country

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C.OMMERCE AND INDUSTRIES BUILDING, ACROSS THE LAGOON OF FLOWERS, SAN DIEGOEXPOSITION.

B~rtram G. Goodhu~. Advisory and Consulting Archit~ct.

ing been brought over from Sir Thomas as it is historically and logically appro­Lipton's estates in Ceylon, to prove in priate in its use here.a new way the possibilities of the South- It is the architecture of the early Span-west for agricultural development. ish colonists in Mexico--an architecture

The San Diego Exposition, therefore, not so austere or necessarily primitiveis not to be confused for a moment with as the early missions of the Pacific Coast,the contemporaneous exposition at San but a style as complex and rich as theFrancisco, either in its intent or nature. Baroque of Europe. Mexico is rich inNot only is it local, but intensively so, examples of the style, variously knownand a spontaneolls expression of the pros- in its developments as Churriguerescoperity and ambition of a certain section .. and Plateresco. There are many plain wallof the United States. surfaces and ample instances of large ar­

chitectural conceptions, but it is in thematter of detail that this Spanish Colo­nial style is distinctively remarkable.Doorways and windows especially wereenriched in a manner paralleled in noother sort of design. Like the Baroque

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THE ARCHITECTURAL RECORD. 239

BALVANERA CHAPEL, CHURCH OF SAN FRANCISCO, CITY OF MEXICO.(From ''The Spanish Colonial Architecture of Mexico," by Sylvester Baxter. Millet, Boston.)

(architecture of Europe, it is composedupon many forms basically of the Renais­sance, but (also like the Baroque) it isthe spirit of Renaissance gone mad. Itis a riot of motives, all related but ap­parently in a sort of architectural crazy­quilt. Columns and pilasters are divert-

eel in a hundred different ways betweenbase and capital, yet retain their charac­ter. Broken pediments, curves, twists,flutes, scallops-theoretically a sort ofarchitectural buffoonery, yet actually astyle of strange and pe~uliar delight.

Curiously enough, for so great a mas-

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240 THE ARCHITECTURAL RECORD.

CHURCH OF SAN DIEGO. Gl!ANAJUATO, MEXICO.(From "The Spanish Colonial Architecture of Mexico," b)' S)'\vester Baxter. Millet, Boston.)

ter of Gothic forms and feeling, Mr.Goodhue has long been an enthusiasticand painstaking student of Spanish Co­lonial architecture, having twice visitedMexico and collaborated extensively onthat remarkable work which unfortu­nately exists only in a limited edition-

"The Spanish Colonial Architecture ofMexico," by Sylvester Baxter, publishedin 1902.

Mr. Goodhue has found conspicuouslysuccessful expression in this style, to citetwo examples, in his designs for the Pro­Cathedral at Havana, Cuba, and for the

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PATIO IN SOUTHERN CALIFORNIA COUN­TIES BUILDING. BERTRAM G. GOODHUE.ADVISORY AND CONSULTING ARCIDTECT.

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242 THE ARCHITECTURAL RECORD.

LOOK! 'G OUT ALONG THE CABRILLO BRIDGE FROM A LOGGL<\ OF THE FINE ARTSBUILD! G (PERMA ENT)-SAN DIEGO EXPOSITION.

Cram, Goodhue & Ferguson, Architects.

Washington Hotel at Colon, C. Z., theeastern entrance to the great canal thecompletion of which the two PacificCoast fairs are celebrating. By reasonof his extensive studies, as well as hisactual practice in the Spanish Colonialstyle, he was obviously and logically thearchitect best equipped and· most able tocarry out the buildings at the San DiegoExposition.

The impression, or "atmosphere,"which it was desired to create here wasthat of "a Spanish City of flower-grownwhite surfaces, reflecting the sunlightand the history and the romance ofSouthern California."

Certainly no architectural style couldsO appropriately have been chosen to ex­press literally these thoughts in terms atonce historically apt and architecturallypicturesque, and the heads of the expo­sition are further to be congratulatedupon the success with which, for the most

part, the idea has been carried out, espe­cially in the permanent structures.

While Mr. Goodhue drew liberallyupon his extensive knowledge of exam­ples of Spanish Colonial architecture inMexico, no one of the buildings is di­:ect~y base~ on the design of any build­mg In l\Iexlco, although several accountsof the exposition have giv'en specific in­stances of distinct derivation. It' wassaid, for example, that the tiled domeof the California State Building is a"copy" of the dome of the Cathedral atOaxaca. The writer was shown by Mr.Goodhue an excellent photograph of thiscathedral, and it was immediately ap­parent that such a statement regardingthe California State Building was as in­accurate as it was palpably absurd. Aswell to say that it was based on St. Pat­rick's Cathedral. There are, to be sure,many cases in which parts of certain ofthe buildings have been inspired by the

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244 THE ARCHITECTURAL RECORD.

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POOL BY THE BOTANICAL BUILDING. COMMERCE AND INDUSTRIES BUILDING TO THE LEFl'.HOME ECONOMY BUILDI G TO THE RIGHT.

Bertram G. Goodhue, Advisory and Consulting Architect.

architecture of Mexico, and it is perfect­ly natural that this should be so, and for­tunate that the work was done underthe supervision of an architect so pecu­liarly equipped to work in the tyle fam­iliarly, and with knowledge of its mdn)'colloquialisms.

While speaking of derivations, it isinteresting to record the original concep­tion of the bridge over the Cabrillocanon. Inspired by the great AlcantaraBridge at Toledo in pain, Mr. Goodhueoriginally designed a similar structurefor San Diego, with three giganticarches, of which the centre and by farthe largest arch, laid out with twentycentr s, would have had a span of twohundred feet. This was carefullyworked out with the collaboration ofMr: Mueser, who built the sea wall atGalveston, Texas, but in sundry con­ferences the scheme was overruled on-grounds of expense, in favor of the pres­ent bridge, of the aqueduct type, the costof which, however, according to localrumor has far exceeded the amount al­lowed Mr. Goodhue.

Returning for a moment to the ques­tion of style-it was said the SpanishColonial is appropriate because logically

and historically expressive in connectionwith the buildings of the an Diego Ex­position. It may further be said to po -e s a wider appropriateness for expo i­

tion buildings in general, considered inregard to mass, color and detail.

In mass there is opportunity for ahighly diversified and interesting sky­line, broken by towers and turrets anddomes. In color there is the sanction ofprecedent for the use of the most bril­liantly colored tiles such as are found inthe old buildings of Spain, Mexico, Ma­deira and the African coast of the Medi­terranean-a legacy from the rich andmysterious art of the Moors. Further,color is introduced in the planting, wheresemi-tropical shrubs abound in a riot ofcolor, and vines grow quickly to softenhard comers and diversify large ex­panses of plain wall surface.

In detail, the peculiarly ornate and richtreatment accorded by the Spanish Colo­nial style to doors, windows, and bal­conies, affords ample and unusually in­teresting architectural incidentOF THE LAYOUT OF THE SAN DIEGO EXPO­

SITION.The planning of any exposition calls

into play much the same sort of archi-

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THE ARTS AND CRAFfS BUILDING-SAN DIEGOEXPOSITION. BERTRAM G. GOODHUE. AD.VISORY AND CONSULTING ARCHlTECT~

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246 THE ARCHITECTURAL RECORD.

AN ARCADE ON THE COMMERCE AND INDUSTRIES BUILDING, SAN DIEGO EXPOSITION... Designed by the Division of Works.

tectural ability that is involved in cityplanning. There must be, primarily,certain axes, certain groups, a definiteidea with regard to the approach, and alogical arrangement and disposition ofthe main buildings. Such a plan in­-eludes, also, the larger lakes or bodies ofwater, if any, while the actual plantingresolves itself, comparatively, into aquestion of detail.

During the progress of the work onthe San Diego Exposition, many changesin the locations of some of the buildingsbecame necessary, though the mainpoints of the plan as laid out by Mr.Goodhue, as advisory and consulting.architect, were put into execution.

The tract selected for the Expositionis known as Balboa Park, and com­prises l,400 acres of land within tenminutes of the heart of the city of SanDiego. This lies across a deep ravine,.or canon, and, as an approach, there

was conceived the great Spanish bridge-El Puente Cabrillo-a quarter of amile long, and carrying a roadway onseven tall arches, a hundred and thirty­five feet above the Cabrillo canon be­low.

It has been remarked that the distantappearance of the Exposition, from thisavenue of approach, is that of an ancientfortified city of Spain, the tower anddome of its cathedral rising at the farend of the great bridge. Certainly thecomposition of these buildings and thebridge is one as picturesque in itself asit is unusual in comparison to the effortsof former expositions in the matter ofapproach.

Going from the city, the bridge leadsdirectly to a monumental gateway, afterthe manner of a gate in an old "walledcity," and this is carried out in a veryfine sort of Spanish Renaissance, farmore restrained than the more Baroque

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THE ORIGINAL LAYOUT OF THE SANDIEGO EXPOSITION. BERTRAM G. GOODHUE,ADVISORY AND C.ONSULTING ARCHITECf.

248 THE ARCHITECTURAL RECORD.

THE NEW MEXICO BUILDING, SAN DIEGO EXPOSITION. ARCHITECTURALLY BASED ONTHE PUEBLA OF ANCOMA.

Rapp Brothero. Architects.

kind within. The impression is one ofdignity; then, perhaps, of romance.

Directly within the gate are the twopermanent buildings (of which morelater), flanking two sides of a smallplaza. Through another portal, on axiswith the entrance, stretches the Prado,or main avenue of the Exposition, a widestreet planted luxuriantly with acaciaand citrus trees and banks of poinsettias,the chosen flower of California. Alongthe Prado the sidewalks are cloisteredunder covered arcades-portales, theyare called-a cool retreat from noondaysun, and a beautiful arrangement ofsunlight and shadow.

Consulting the layout plan reproduced,the disposition of the transverse axes isapparent, and there is presented a com­pact and well arranged grouping of themain buildings, all placed with carefulconsideration, not only of the existinggrades, but of the requirement of openspaces for growing agricultural and hor­ticultural exhibits.

In the matter of planting it is to besaid that the sort adopterl for the Expo­sition is not in exact historic keeping

with the buildings, but of a nature moremodern and more characteristic of theplanting of private grounds in Californiatoday.

In the Spanish Colonial house, or inthe house of Spain itself (if one recallsSeymour Hayden's remarkable etching,"Grim Spain"), the exterior appearancewas that of a fortress in a desert. Itswalls rose abruptly from the bare ground.devoid of shrubs, vines or flowers, andthe windows in the outer walls were smaIl.set high and protected by iron grilles.Such vines or flowers as were cultivatedwere only in the patio, or inner court.So austere an idea of planting, how­ever, could hardly be regarded as wise indesigning an exposition, no matter howactually true to fact; so the grounds atSan Diego are laid out with lawns and aprofusion of flowering shrubs, while thewalls of the buildings along the Pradoare mostly covered with verdure andflowers.THE PERMANENT BUILDINGS OF THE SAN

DIEGO EXPOSITION.In view of the painstaking architec­

tural care which has been exercised in

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THE ARCHITECTURAL RECORD. 249

THE BOTANICAL BUILDING, SAN DIEGO EXPOSITION.B~rtram G. Goodhu~, Advisory and Consulting Archit~ct.

FACADE OF THE COMMERCE AND INDUSTRIES BUILDING, SAN DIEGO EXPOSITION.B~rtram G. Goodhu~, Advisory and Consulting Archit~ct.

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THE ARCHITECTURAL RECORD. 251

the design of the main buildings of theSan Diego Exposition, and the high de­gree of architectural attainment mani­fested in their execution, it is fortunatethat the entire exposition is not to bethe "City of a Dream," but that twostructures are to be permanent.

These are the California State Buildingand the Fine Arts Building, flanking theplaza at the entrance from the CabrilloBridge.

It is intended that the CaliforniaState Building shall be maintained as aState institution for the dissemination ofinformation on the natural resources ofCalifornia, aptly suggested in the Bibli­cal text that runs, in tile, around thedrum of the dome. The passage, takenfrom the Latin of the Vulgate, readsin the English version, "A land of wheatand barley, and vines and fig trees,and pomegranates; a land of oil, olivesand honey"-actually no exaggeration; alegend the applicability of which will beupheld with ardor by every Native Sonof the Golden West.

Both this State building and the FineArts Building are of fireproof construc­tion throughout so that they may be asafe repository for historically valuablearchives and exhibits. Since thegrounds, at the termination of the Ex­position, will be developed into a citypark, the bridge is, of course, anotherpermanent structure, so that there willnot be such complete regret as was, no

doubt, felt by many architects and othersat the demolition of the beautiful "WhiteCity" of Chicago, in 1894.

Of the three structures destined to re­main after the Exposition is done with,the Cabrillo Bridge, the Fine ArtsBuilding and the California State Build­ing, the last is, perhaps, the most re­markable. The details of the doorwayto this building, and of its windows, willremain as monuments of an unusuallysympathetic and conscientious study ofthe style in which they are executed,while the dome and tower are no less ex­cellent in their execution.

To any unfamiliar with the Churri­gueresco and Plateresco development ofthe Spanish Colonial style, the detail ofthe doorway and windows of the Cali­fornia State Building might, perhaps, ap­pear over-ornate. It would be difficult,however, if not impossible, to exaggeratethe profusion of forms which occur inwork of this style, and in this articlethere are included photographs of twoactual examples in Mexico, characteristicand typical. .

It was from such monuments, as speci­fic examples of the style, and with criti­cal understanding and fine architecturalsympathy that Mr. Goodhue stampedupon the architecture of the San DiegoExposition a character essentially Amer­ican, locally and generally appropriateand thoroughly unique in the design ofexposition buildings.