Chapter 21: Notes

Footnote 433:

The use of aluminium in architecture became widespread only some forty
years later, it should be noted, although it had supplied the cap of
the pyramid with which T. L. Casey finally completed the Washington
Monument as early as 1884—its first use in architecture. In the
nineties Thomas Harris already foresaw its great importance in
building; see his _Three Periods of English Architecture_, London,
1894.

Footnote 434:

See ‘Ornament und Verbrechen’ in Loos, A., _Trotzdem: Gesammelte
Aufsätze 1900-1930_, Innsbruck, 1931, first published in the _Neue
Freie Presse_ in January 1908. A French translation of the article
appeared in _L’Esprit nouveau_, I (1920), 159-68.

Footnote 435:

Considering that Wright’s open planning had by no means matured while
Loos was in Chicago, American influence (if any) came probably from
the houses of the Shingle Style. Because of his close _rapport_ with
England, however, one may assume that the influence of Baillie Scott’s
plans was more important; while the treatment of interior trim comes
closest to Voysey, as has been noted.

Footnote 436:

The recurrent suggestions of Richardsonian influence in Europe in the
nineties are not yet adequately explained. Townsend in England knew of
Richardson’s work from American and English publications, and there
was in England one house by Richardson, Lululund at Bushey, Herts, now
largely destroyed except for the entrance. This was designed shortly
before Richardson’s death for Sir Hubert von Herkomer, who had painted
his portrait, and executed without supervision. Boberg had been for a
short while in Chicago and Bruno Schmitz (1858-1916) in Indianapolis;
but there are others whose work also seems somewhat Richardsonian,
such as Theodor Fischer, who certainly had not. Berlage did not visit
America until 1911, when it was Wright’s work that most impressed him.
He and Fischer might, of course, have known Richardson’s buildings
from publications. For foreign publications of Richardson’s work
before 1900, see pp. 333-5 in the 1961 edition of my Richardson book.

Footnote 437:

See Berlage, H. P., _Gedanken über den Stil in der Baukunst_, Leipzig,
1905; _Grundlagen und Entwicklung der Architektur_, Amsterdam, 1908;
German ed., Berlin, 1908; and _Studies over Bouwkunst_, Rotterdam,
1910.

Footnote 438:

The work of K. P. C. de Bazel (1869-1923), a pupil of Cuijpers who
represents a rather different stream in Dutch architecture of the
early twentieth century, is especially close to that of the
contemporary German leaders but hardly at all related to
Expressionism. His massive office building for the Nederlandsche
Handel Maatschappij in Amsterdam of 1917-23 is quite similar to
Behrens’s nearly contemporary office blocks in Hanover and Düsseldorf,
but much more intricate and inventive in its brick-and-stone detail.

Footnote 439:

Although it is unlikely that de Klerk actually owed anything to the
sets that Bakst, Benois, and others were designing for the Ballet
Russe, the visual investiture of the Diaghilev productions certainly
had a loosening effect on Western European taste in these years just
before the First World War. For the first time Russia impinged
visually on European art, but that impingement had only an oblique
effect on architecture, for the art that was exported was not, of
course, very architectural.

Footnote 440:

See _American Architect_, CXXVIII (5 October 1925).

Footnote 441:

See ‘The American Radiator Company Building, New York’, _American
Architect_, CXXVI (1924), 467-84.

Footnote 442:

It is this that makes it so difficult to decide which architects
should be discussed in Chapters 18-21 and which in Chapter 24. No two
critics will agree, but most now recognize that the boundary line is
not a sharp one. For this reason in _Modern Architecture_, published
thirty years ago, I labelled the work of this generation ‘The New
Tradition’ and did not then reject the work of the Scandinavians as
too ‘traditional’ to be classed, broadly at least, with that of
Wright, Perret, Behrens, Wagner, and Loos, as I have done here.

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