The Arkansas-Oklahoma Building, designed by George R. Mann, of Little Rock, was built and furnished by private subscriptions by citizens of the two states. It is a roomy bungalow designed for the convenience of visitors from Arkansas and Oklahoma, and exhibits some of their products.
The Texas Building, Page and Brothers, Austin, architects, is a pleasing example of Mexican architecture as distinguished from the California Mission style. It suggests the Alamo, and bears the Lone Star pierced through its raised cornice. Within is a patio, reached by broad entrances from the verandas at front and rear. A motion-picture hall, a ballroom, offices and rest rooms occupy the greater part of the building. The state exhibits are in the Exposition palaces.
The North Dakota Building, Joseph B. De Remer, formerly of Grand Forks, now of Los Angeles, architect, owes its unique ground-plan to a three-cornered lot. That it is a pleasing structure is witnessed by several dwelling houses now being built in California after its plans. The building is French in style, treated in a simple manner. It contains interesting exhibits of the products of the Northern State, including a noteworthy display of pottery made at the University of North Dakota, an institution which devotes much of its effort to promoting state industries.
The Montana Building, Carl Nuese, San Francisco, architect, is one of the group of classic structures finished in plastic travertine. The only display made in the building, which serves as a social center for visitors from Montana, is a school exhibit. The State is, however, largely represented in the Palaces of Mines, Agriculture and Horticulture.
The Idaho Building, Wayland and Fennell, of Boise, architects, was the first state structure completed at the Exposition. It is built in the manner of the Italian Renaissance and looks out over the bay. Like most buildings of the Western states, it is equipped with a moving-picture theatre, as well as rooms for visitors. Idaho's exhibits are chiefly in the Exposition palaces.
The Nevada Building, designed by F. J. De Longchamps, of Carson, is another structure in the style of the French Renaissance. It is the headquarters of the Nevada Society of California and of visitors from the Sagebrush State. Nevada has important exhibits in several palaces.
The Utah Building, Cannon and Fetzer, of Salt Lake, architects, is a classic structure with deep porticoed front. All its furniture is an exhibit, made by the pupils of the manual training department of the Utah schools. The building contains interesting models of copper and gold mines, and an exhibit of the processes of salt-making, displays of building-stone, grains and grasses, and collections from the cliff dwellings. Other exhibits are in the Palaces of Mines, Education and Horticulture.
The Hawaiian Building, C. W. Dickey, of Oakland, architect, excellently represents the Pacific isles. In style it is French Renaissance, built with a half rotunda at the rear to accommodate a semi-circular aquarium. In the center of the main hall is a clump of palms and tree ferns, and native singers give the island touch. The aquarium contains a wonderful collection of the many-hued fish of the South Seas. Interesting displays of native cabinet woods are made in the finish of the offices. Though small, the Hawaiian building has proved one of the most popular.
The Philippines Pavilion, designed by the Bureau of Architecture, is one of the Exposition places which no one should miss. It marks the creation of an original style of exposition building. It is Filipino in all its motives. Its groups of four columns suggest the four essential posts of native hut construction; the broad roofs are tiled; the windows are not glass, but of thin shell, the common material used in the islands; the walls are finished in split bamboo matting. The same style of construction is used also in all the Philippine booths in the palaces. The materials are used with restrained taste, and this, with the magnificent cabinet woods employed throughout the construction, has resulted in a beautiful building. It is a little hard to realize the richness of the woods used here. The very floors in the pavilion and the booths are good enough to make piano cases of. The central portion, upstairs and down, is floored, wainscoted and ceiled with the costliest of timber. The two offices to right and left of the main entrance are finished in a beautiful, hard, heavy rosewood, called narra, the one to the right in yellow narra, that on the left in red narra. The stairway is of a magnificent, richly figured, claret-red hardwood called tindalo, the favorite material for such construction in the islands. The panels of its wainscoting and the balusters are of a dark velvety epil, so dark and so glossy in some places that it looks almost like agate. All the columns are natural trunks of the palma brava.