PROBLEMS OF MODERN ARCHITECTURE 645 



proportion, of balance and rhythm, of line and light-and-shade; of 

 variety in unity, of appropriateness and common sense. The beauty 

 which consists in the realization of the highest attainment in these 

 qualities is the fundamental beauty which underlies all the varied 

 forms of expression it has received in different ages from different 

 hands; which we recognize in Greek temple and Gothic minster, in 

 the mosques and tombs of India, the palaces and domed churches 

 of Italy, and the masterpieces of all times, ancient and modern. 

 How futile, in comparison with the securing of this fundamental 

 beauty, appears all preoccupation with minor questions of style and 

 fashion; how useless the setting forth of this or that formula of design 

 as the sure recipe for architectural reform! It must be the study of 

 modern architects to rid their profession and its practice of every 

 burden which embarrasses them in their quest of artistic perfection, 

 in their pursuit of the ideal beauty. Many, in spite of obstacles, are 

 faithful to their ideals; the spirit of the artist lives in them and 

 breathes in their work, but we need more of such men. The greatest 

 of dangers confronting modern architecture is that which threatens 

 to change it from an art into a business a pursuit an activity 

 controlled by other than artistic ideals a side issue of engineering. 



As subdivisions of this great general problem, we must, I think, 

 recognize five special problems or groups of problems as pressing 

 for solution in the architecture of the twentieth century. The first 

 is the problem of the artistic handling of modern structural devices 

 and materials. 



The second is the problem of the right division of labor and respon- 

 sibility, in the production of modern buildings, between the architect, 

 the engineer, and the craftsman. 



The third - related to the second is the problem of the relation 

 of architecture to the arts and crafty, and the recovery for the crafts- 

 man of activities that have fallen wholly under the control of the 

 factory system. 



The fourth is the problem raised by the contract system: the 

 question as to how far the burdens imposed by that system can be 

 lightened, and the largest measure of artistic progress secured under 

 such as cannot be thus lightened. 



The fifth is the great problem of the education of the architect. 



I have stated what I believe to be the problems which most seri- 

 ously confront the architecture of the coming years. Their solution 

 lies not with any one person, but with the profession as a whole, both 

 here and abroad. There is no seer gifted with the power to forecast 

 that solution; but every thoughtful man who reflects upon them may 

 reach individual convictions, the free discussion of which can be 

 made helpful and stimulating to those who take part in it. This i< 

 mv excuse for the further observations I have to offer. 



