The Americans

by Hugo Münsterberg

Although the American colonist remained under the influence of English architecture, his environment forced him in the first place to build his house of wood instead of stone as in England, and in wood he could not so easily copy the pattern. It had to be a new variation of the older art. And so architecture, although it more slavishly followed the mother country than any other art, was the earliest to strike out in some respects on an independent course. It borrowed its forms, but originated their applications; and while it slowly adopted new ideas of style and became gradually free of European styles, it became free even earlier in their technical application, owing to the new American conditions. More than any other feature of her civilization, American architecture reveals the entire history of the people from the days when the Puritans lived in little wooden villages to the present era of the sky-scraper of the large cities; and in this growth more than in that of any other art the whole country participates, and specially the West, with its tremendous energy, which is awkward with the violin-bow and the crayon but is well versed in piling stone on stone.

In colonial days, English renaissance architecture was imitated in wood, a material which necessitated slender columns and called for finer detail and more graceful lines than were possible in stone. One sees to-day, especially in the New England States, many such buildings quite unaltered; and the better of these in Salem, Cambridge, and Newport are, in spite of their lightness, substantial and distinguished as no European would think possible in so ordinary a material as wood. Large, beautiful halls, with broad, open staircases and broad balusters, greet the visitor; large fireplaces, with handsomely carved chimney-pieces, high wainscotings on the walls and beautiful beams across the ceilings. The more modest houses show the same thing on a smaller scale. There was this one style through the whole town, and its rules were regarded as canonical. In certain parts of the country there were inconspicuous traces of Spanish, French, and Dutch influence, which survive to-day in many places, especially in the South, and contribute to the picturesqueness of the architectural whole.

After the Revolutionary period, people wished to break with English traditions, and the immigration from many different countries brought a great variety of architectural stimulation. A time of general imitation had arrived, for in architecture also the country was to grow from the provincial to the national through a cosmopolitan stage. At the end of the eighteenth century, architecture was chiefly influenced by the classic Greek. Farmhouses masqueraded as big temples, and the thoughtless application of this form became so monotonous that it was not continued very long in private houses. Then the Capitol at Washington was begun by Latrobe and finished by the more competent Bulfinch, and it became the model for almost all state capitols of the Union. Bulfinch himself designed the famous State House of Massachusetts, but it was the Puritan spirit of Boston which selected the austere Greek temple to typify the public spirit. The entire century, in spite of many variations, stood under this influence, and until recently nobody has ventured to put up a civil structure in a freer, more picturesque style.

Many of these single state capitols built during the century, such as the old one at Albany, are admirable; while the post-offices, custom-houses, and other buildings dedicated to federal uses have been put up until recently cheaply and without thought. Lately, however, the architect has been given freer play. Meanwhile taste had wandered from the classic era to the Middle Ages, and the English Gothic had come to be popular. The romantic took the place of the classic, and the buildings were made picturesque. The effect of this was most happy on church edifices, and about the middle of the century Richard Upjohn, “the father of American architecture,” built a number of famous churches in the Gothic style.

But in secular edifices this spirit went wholly to architectural lawlessness. People were too little trained to preserve a discipline of style along with the freedom of the picturesque. And even more unfortunate than the lack of training of the architect, who committed improprieties because uncertain in his judgment, there was the tastelessness of the parvenu patron, and this particularly in the West. Then came the time of unrest and vulgar splurge, when in a single residential street palaces from all parts of the world were cheaply copied, and just as in Europe forgotten styles were superficially reproduced. The Queen Anne style became fashionable; and then native colonial and Dutch motives were revived.

This period is now long past. The last twenty-five years in the East and the last ten years in the West have seen this tasteless, hap-hazard, and ignorant experimenting with different styles give place to building which is thoughtful, independent, and generally beautiful; though, of course, much that is ugly has continued to be built. Architecture itself has developed a careful school, and the public has been trained by the architects. Of course, many regrettable buildings survive from former periods, so that the general impression to-day is often very confused; but the newer streets in the residential, as well as the business, portions of cities and towns display the fitting homes and office buildings of a wealthy, independent, and art-loving people. In comparison with Europe, a negative feature may be remarked; namely, the notable absence of rococo tendencies. It is sometimes found in interior decorations, but never on exteriors.

The positive features which especially strike the European are the prevalence of Romanesque and of the sky-scrapers. The round arch of the Romans comes more immediately from southern France; but since its introduction to America, notably by the architectural genius Richardson, the round arch has become far more popular than in Europe, and has given rise to a characteristic American style, which is represented to-day in hundreds of substantial buildings all over the country. There is something heavy, rigid, and at the same time energetic, in these great arches resting on short massive columns, in the great, pointed, round towers, in the heavy balconies and the low arcades. The primitive force of America has found its artistic expression here, and the ease with which the new style has adapted itself to castle-like residences, banks, museums, and business houses, and the quickness with which it has been adopted, in the old streets of Boston as in the newer ones of Chicago and Minneapolis, all show clearly that it is a really living style, and not merely an architectural whim.

The Romanesque style grew from an artistic idea, while the sky-scraper has developed through economic exigencies. New York is an island, wherefore the stage of her great business life cannot be extended, and every inch has had to be most advantageously employed. It was necessary to build higher than commercial structures have ever been carried in Europe. At first these buildings were twenty stories high, but now they are even thirty. To rest such colossal structures on stone walls would have necessitated making the walls of the lower stories so thick as to take up all the most desirable room, and stone was therefore replaced by steel. The entire structure is simply a steel framework, lightly cased in stone. Herewith arose quite new architectural problems. The subdivision of the twenty-story façade was a much simpler problem than the disposal of the interior space, where perhaps twenty elevators have to be speeding up and down, and ten thousand men going in and out each day. The problem has been admirably solved. The absolute adaptation of the building to its requirements, and its execution in the most appropriate material—namely, steel and marble—the shaping of the rooms to the required ends, and the carrying out of every detail in a thoroughly artistic spirit make a visit to the best office buildings of New York an æsthetic delight. And since very many of these are now built side of one another, they give the sky-line of the city a strength and significance which strike every one who is mature enough to find beauty in that to which he is not accustomed. When the problem had once been solved, it was natural for other industrial cities to imitate New York, and the sky-scraper is now planted all over the West.

American architecture of to-day is happily situated, because the population is rapidly growing, is extraordinarily wealthy, and seriously fond of art. An architect who has to be economical, must make beauty secondary to utility. In the western part of the country, considerable economy is often exercised and mostly in the very worst way. The pretentious appearance of the building is preserved, but the construction is made cheap; the exterior is made of stucco instead of stone, and the interior finish is not carved, but pressed. This may not, after all, be so much for the sake of economy, as by reason of a deficient æsthetic sense. People who would not think of preferring a chromo-lithograph to an oil-painting do not as yet feel a similar distinction between architectural materials. For the most part, however, the buildings now erected are rich and substantial. The large public and semi-public buildings, court-houses and universities, state capitols and city halls, libraries and museums are generally brilliant examples of architecture. The same is true of the buildings for industrial corporation, offices, banks, hotels, life-insurance companies, stock-exchanges, counting-houses, railway stations, theatres and clubs, all of which, by their restrained beauty, inspire confidence and attract the eye. These are companies with such large capital that they never think of exercising economy on their buildings. The architect can do quite as he likes. New York has a dozen large hotels, each one of which is, perhaps, more splendid in marble and other stones than any hotel in Europe; and while Chicago, Boston, and other cities have fewer such hotels, they have equally handsome ones.

The fabulously rapid and still relatively late growth of handsome public buildings in the last decade is interesting from still another point of view. It reveals a trait in the American public mind which we have repeatedly contrasted with the thought of Europe. American ambitions have grown out of the desire for self-perfection. The American’s own person must be scrupulously, neatly, and carefully dressed, his own house must be beautiful; and only when the whole nation, as it were, has satisfied the needs of the individual can æsthetic feeling go out to the community as a whole—from the individual persons to the city, from the private house to the public building. It has been exactly the opposite on the European Continent. The ideal individual was later than the ideal community. Splendid public buildings were first put up in Europe, while people resided in ugly and uninviting houses.