Fig. 10
Let us see if we can apply the same kind of process of evolving expression in regard to a building. We will take again the very simplest form of building (Fig. 10), a square house with a door in the center and uniform rows of windows. There cannot be said to be any architectural expression in this. There is no base or plinth at all, no treatment of the wall. The slight projection at the eaves is only what is necessary to keep the rain from running down the walls, and facilitate the emptying of the gutters, and the even spacing of the windows is essential for constructive reasons, to keep the masses of wall over each other, and keep the whole in a state of equally balanced pressure. The first thing we should do in endeavoring to give some expression to the building would be to give it a base or plinth (Fig. 11), and to mark that and the cornice a little more decidedly by mouldings and a line of paneling at the plinth.
Fig. 11
The house being obviously in three stories, we should give it some echo externally of this division into horizontal stages by horizontal mouldings, or what are called in architectural phraseology "string courses," not necessarily exactly at the floor levels, but so as to convey the idea of horizontal division; observing here, as in the case of the wall and column, that we should take care not to divide the height into equal parts, which is very expressionless. In this case we will keep the lower string close down on the ground floor windows, and keep these rather low, thus showing that the ground floor apartments are not the most important; while the fact that the first floor ones are so is conversely made apparent by keeping these windows rather higher, putting a double string course over them, and a slight extra depth of moulding, forming a kind of cornice over each.
The space left between these and the roof, in which the attic windows are placed, is treated with a series of mullions and panelings, into which the attic windows are worked, as part of the series of openings; this gives a little richness of effect to the top story, and a continuity of treatment, which binds the whole series of windows together. To have treated the whole of the walls and windows in this way would have been merely throwing away labor; what little effect it has consists in the "character" given by the contrast of this top story treatment with the plain wall surfaces below.
The last thing is to emphasize the door, as the principal opening in the walls, and quite distinct in use and meaning from the other openings, by giving it a little architectural frame or setting, which may be done in many ways, but in this case is done by the old fashioned device (not very logical certainly) of putting a little entablature over it, and a column on either side; there is, however, this to be said for it, that the projecting tablature forms a semi-porch, protecting those at the door somewhat from rain; it must be carried in some way, and columns are the readiest and most seemly manner of doing it, and they also form, practically, something of a weather screen; the bases on which they stand also form a framework or inclosing wall for the steps, which are thus made part of the architectural design, instead of standing out as an eyesore, as on Fig. 10. We have now given the house a little general expression, but it still is vague in its design as far as regards the distribution of the interior; we do not know whether the first floor, for instance, is one large room, or two or more rooms, or how they are divided; and the little house is very square and prim in effect.
Let us try grouping the windows a little, and at the same time breaking up the flat surface of the front wall (Fig. 12). Here, as before, we have divided the building by a horizontal string, but only by one main one on the first floor level, keeping the same contrast, however, between a richer portion above and a plainer portion below; we have divided the building vertically, also, by two projecting bays finishing in gables, thus breaking also the skyline of the roof, and giving it a little picturesqueness, and we have grouped the windows, instead of leaving them as so many holes in the wall at equal distances. The contrast between the ground and first floor windows is more emphatic; and it is now the more evident that the upper floor rooms are the best apartments, from their ample windows; it is also pretty evident that the first floor is divided into two main rooms with large bay windows, and a smaller room or a staircase window, between them; the second floor windows are also shifted up higher, the two principal ones going in to the gables, showing that the rooms below them have been raised in height. Windows carried up the full height of these rooms, however, might be too large either for repose internally or for appearance externally, so the wall intervening between the top of these and the sill of the gables is a good field for some decorative treatment, confined to the bays, so as to assist in separating them from the straight wall which forms the background to them.
Fig. 12