No_3_October_1963 — Page 92

Naturally commodity as such is of little use if it costs too much, and economic design must play a vital part in this second element of good architecture. It is a fact that produc- ing a building which is both admir- ably suited to its purpose and also inexpensive is one of the most diffi cult tasks an architect has to face. He can master from books the science of building. When his own skill is insufficient to deal with the more complex structural problems he can call on the advice of his friends the engineers and surveyors. but the problems of economics combined with suitability of function can be resolved only by the individual from his experience and personal capabili ties.

There is little control of the econo- mic planning of buildings in the legislation of Hong Kong. Certain essential requirements are made in the code of practice for escape in case of fire, and in the provision of sanitary accommodation, whilst or- dinances like the Education Or dinance and the Places of Public Entertainment Ordinance make cer- tain details of design compulsory. more from the point of view of safety than of economy. although there is reason to believe that one is related to the other.

assume

It may be reasonable to that any

such legislation would stultify development, even if it could be enacted.

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So we come to the third, and most argumentative, facet of the architec tural gem. If there was ever a Frenchman who coined that telling and much overworked epigram "chacun a son gout" he was either a tourist in an English restaurant or an architect.

Architects so often disagree on the relative merits of a building. The only point of agreement seems to be that each could have done better himself. Even at the design stage. the early sketches, the criti- cisms start. There are different ways of going about it. The direct approach critic looks rather scathingly at the sketches, ink still wet, and says "Don't like that, old man. It'll never work. You've for- gotten the staircase." That he is perfectly correct is no consolation.

On the other hand the insidious commentator is much more likeable -to begin with. "I say." he en- thuses, "this is good! I like that bit of flummery over the west fenestra- tion. Gives the whole thing mar- vellous character. There's just one tiny thing, though. Why not try a little more ogee in the ogives. And this pedimentation-well, it is just a wee bit pedantic. don't you think? Oh, oh, oh! I don't really want to interfere but the aspect is a little odd. Or do I mean the prospect? And..."

By this time the enthusiasm, the joy, the heart-tingling excitement of success has expired. Only worse is the silent colleague who stands

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glumly sucking his pipe and drop- ping ash all over the drawings. say- ing never a word. until he looks up with an air of infinite sadness. shakes his head, and walks away.

Is it any wonder then that mere laymen should fail to recognise a triumph of architecture when it rears its head before them in all its glory. Yet. surprisingly enough. it does happen! Not always through a period of indoctrination either. Of course there will always be the awe-struck visitors to the architec- tural monuments of the past. "Cor, ain't it luverly" as they stare at St. Paul's.

Newer additions to the skyline of London or Hong Kong are treated in three ways provided they

have any architectural merit at all. The avant garde, the mutual admira- tion society, goes into its usual rap- tures, particularly if the architect is a member; the blase sophists ex- press a bored desire to see it cover- ed as quickly as possible with wisteria; and the great majority look, and form their own opinion. and go their way.

It was once said to me that, above normal eye-level in city streets, all buildings are the same, There is a great deal of sense in the remark. In New York it was brought home most forcefully to me when. walking along Fifth Avenue for the first time. my companion suddenly said "Look up!" I raised my eyes and tilted back my head further further

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and still the massive bulk of the

THE HONG KONG & FAR EAST BUILDER-VOLUME 18. NUMBER 3

Empire State building rose higher and higher until it seemed to be lost in infinity. But until my attention had been diverted above eye-level it was just another building with a shop selling a most attractive line in male footwear.

What standards are required, then, in the element of delight in a building? Through the ages scientists, architects. mathema. ticians and engineers have attempt- ed to solve the problem. Some have produced theories of a geome. trical kind to reduce delight to a theorem; books have been written; papers have been read: léctures have been delivered. All these ap. proaches can assist in the apprecia- tion and creation of architecture, and a study of the theories as well as they way in which they have been put into practice is gravely es- sential before even a start can be made understand architecture. whilst the final achievement is only possible to the lucky few who are endowed with the right taste. As in any art, the artist is born, not made.

to

It was at a luncheon that a group sat chatting about the merits of each member's calling. There was a solicitor and a doctor and

a broad- caster and an architect. All extolled the virtues of his chosen avocation, until it came to the architect. "It's all very well to be proud of one's profession" he said, "but what about the mistakes you make? You, now. You are a solicitor. Your mistakes lie in dusty files, soon to be forgot- ten. And you doctor. What of your mistakes? In the churchyard, buried, mostly. You, a broadcaster. are heard, and in a moment your mis takes are scattered in the air. But me? I'm only an architect. I can't afford to make mistakes, for when I do they stand there for years in the public eye, to be regarded for ever with scorn."

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So, when you make that journey up the Peak and look out out over the architects' mistakes in Hong Kong, try to remember the elements of firmness and commodity and de- light, and all the difficulties the archi- tect has in reconciling them with the views of the Buildings Ordinance Of- fice, his client and the public taste.

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