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<title type="245" TEIform="title">Design Review: Volume 4, Issue 5 (October-November 1952)</title>
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<titlePart type="main" TEIform="titlePart">Design Review</titlePart>
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<docEdition TEIform="docEdition"><hi rend="c" TEIform="hi">Vol.</hi> 4 <hi rend="c" TEIform="hi">No.</hi> 5</docEdition>
<docImprint TEIform="docImprint"><hi rend="c" TEIform="hi">One Shilling &amp; Sixpence</hi><lb TEIform="lb"/>
<hi rend="c" TEIform="hi">October–November</hi>, 1952</docImprint>
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<head TEIform="head"><hi rend="c" TEIform="hi">Design Review</hi></head>
<p TEIform="p"><hi rend="sc" TEIform="hi">Volume</hi> 4, <hi rend="sc" TEIform="hi">Number</hi> 5 <hi rend="sc" TEIform="hi">October/November</hi> 1952.</p>
<p TEIform="p"><table rows="8" cols="2" TEIform="table">
<head TEIform="head"><hi rend="i" TEIform="hi"><hi rend="c" TEIform="hi">Contents …</hi></hi></head>
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<cell role="data" rows="1" cols="1" TEIform="cell"><hi rend="c" TEIform="hi">Here and There</hi>: <hi rend="i" TEIform="hi">Sharawag</hi></cell>
<cell rend="right" role="data" rows="1" cols="1" TEIform="cell"><ref target="n4" targOrder="U" TEIform="ref">104</ref></cell>
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<row role="data" TEIform="row">
<cell role="data" rows="1" cols="1" TEIform="cell"><hi rend="c" TEIform="hi">The Nan Kivell Collection</hi></cell>
<cell rend="right" role="data" rows="1" cols="1" TEIform="cell"><ref target="n6" targOrder="U" TEIform="ref">106</ref></cell>
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<row role="data" TEIform="row">
<cell role="data" rows="1" cols="1" TEIform="cell"><hi rend="c" TEIform="hi">A House in Stokes Valley</hi>: <hi rend="i" TEIform="hi"><name key="name-400120" type="person" TEIform="name">William Toomath</name></hi></cell>
<cell rend="right" role="data" rows="1" cols="1" TEIform="cell"><ref target="n10" targOrder="U" TEIform="ref">110</ref></cell>
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<row role="data" TEIform="row">
<cell role="data" rows="1" cols="1" TEIform="cell"><hi rend="c" TEIform="hi">To Build or Not to Build</hi>: <hi rend="i" TEIform="hi"><name key="name-102930" type="person" reg="Maurice B. Patience" TEIform="name">M. B. Patience</name></hi></cell>
<cell rend="right" role="data" rows="1" cols="1" TEIform="cell"><ref target="n12" targOrder="U" TEIform="ref">112</ref></cell>
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<cell role="data" rows="1" cols="1" TEIform="cell"><hi rend="c" TEIform="hi">Craftsman from Sweden</hi>: <hi rend="i" TEIform="hi"><name type="person" key="name-400059" TEIform="name">Beatrice Ashton</name></hi></cell>
<cell rend="right" role="data" rows="1" cols="1" TEIform="cell"><ref target="n16" targOrder="U" TEIform="ref">116</ref></cell>
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<cell role="data" rows="1" cols="1" TEIform="cell"><hi rend="c" TEIform="hi">Work by the Wellington Technical College School of Architecture</hi></cell>
<cell rend="right" role="data" rows="1" cols="1" TEIform="cell"><ref target="n18" targOrder="U" TEIform="ref">118</ref></cell>
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<cell role="data" rows="1" cols="1" TEIform="cell"><hi rend="c" TEIform="hi">Art Review</hi>: <hi rend="i" TEIform="hi"><name key="name-121195" type="person" reg="Edward C. Simpson" TEIform="name">E. C. Simpson</name></hi></cell>
<cell rend="right" role="data" rows="1" cols="1" TEIform="cell"><ref target="n20" targOrder="U" TEIform="ref">120</ref></cell>
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<row role="data" TEIform="row">
<cell role="data" rows="1" cols="1" TEIform="cell"><hi rend="c" TEIform="hi">Gramophone Notes</hi>: <hi rend="i" TEIform="hi"><name key="name-400215" type="person" TEIform="name">John Gray</name></hi></cell>
<cell rend="right" role="data" rows="1" cols="1" TEIform="cell"><ref target="n20" targOrder="U" TEIform="ref">120</ref></cell>
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<p TEIform="p"><hi rend="sc" TEIform="hi">Design Review</hi> is published bi-monthly by the Architectural Centre Inc., Wellington, and produced voluntarily by a group of people interested in good design. It is not produced for profit, and, because of the aim of maintaining a high standard of illustration and printing, the publishers have difficulty in meeting production costs. If you are interested in furthering the improvement of design in New Zealand you can assist by introducing new subscribers.</p>
<p TEIform="p"><hi rend="sc" TEIform="hi">The Editors</hi> will always be pleased to receive suggestions for the improvement of <hi rend="i" TEIform="hi">Design Review</hi>. Letters and contributions should be addressed to the Editor, <hi rend="i" TEIform="hi">Design Review</hi>. P.O. Box 2460, Wellington, C1, accompanied by a stamped addressed envelope. If writing under a pen-name, the writer must enclose his name and address.</p>
<p TEIform="p"><hi rend="sc" TEIform="hi">Advertisers</hi> are reminded that the readers of <hi rend="i" TEIform="hi">Design Review</hi> are interested in well-made and well-designed products of all kinds. Rates for advertising may be obtained on application to the Advertising Manager, <hi rend="i" TEIform="hi">Design Review</hi>, P.O. Box 2240, Wellington, C.1, or from accredited Advertising Agents.</p>
<p TEIform="p"><hi rend="sc" TEIform="hi">Design Review</hi> is printed by Geo. blade Ltd., Wellington. Blocks by Thompson Photo Engravers Ltd., Wellington.</p>
<p TEIform="p"><hi rend="sc" TEIform="hi">A subscription</hi> is a good way of getting your copies of <hi rend="i" TEIform="hi">Design Review</hi> regularly on publication. The subscription is 10/- for six issues post free for one year or £1 for twelve issues post free for two years, and should be sent to <hi rend="i" TEIform="hi">Design Review</hi>, P.O. Box 2460, Wellington, C.1.</p>
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<head TEIform="head"><hi rend="c" TEIform="hi">Here and There</hi></head>
<byline TEIform="byline"><hi rend="b" TEIform="hi"><hi rend="i" TEIform="hi">Sharawag</hi></hi></byline>
<div2 id="t1-body-d1-d1" type="subsection" org="uniform" sample="complete" part="N" TEIform="div2">
<head TEIform="head">Auckland Out of Hand</head>
<p TEIform="p"><hi rend="sc" TEIform="hi">Like the Americans</hi>, New Zealanders are still inclined to measure value by size or rate of growth. It is an attitude we should like to break down. Auckland, our largest city, is growing at a break-neck rate, but I do not think Aucklanders should necessarily be proud of the fact. By world standards Auckland's 330,000 is not a large agglomeration, but measured in terms of distance and area it is surely one of the biggest cities in the world. Every year some two thousand acres or more of farm land are swallowed up by the tide of little houses spreading their rash over the once peaceful and productive landscape. The Metropolitan Planning Organization's plans include a green belt. But is it any use? If the green belt can, in fact, be kept green, how do we stop the rash jumping the belt and starting again on the other side. If we are going to have large cities in New Zealand, and I see no reason why we should not the only way to build them is to build them up, not out. Instead of 10 persons to the acre, there will need to be 50, or even 100, and a much more economical rise of land. That means planning, it means people living closer together in apartments and terrace houses, and it means large scale state or municipal housing schemes.</p>
<p TEIform="p">Planners already realize this. So, too, do most of the mass of local bodies that make up our larger cities. The great Freeman's Bay rehousing scheme in Auckland was initiated not only as a slum clearance project, but because the City Council realized that the continuing sprawl of little houses at three or four to the acre on the outskirts is creating vast social and economic problems as well as a town planning debacle. But unfortunately the Auckland planners refuse to accept higher densities, or tall blocks because, they say, of their higher cost. The Freeman's Bay scheme consists of only two and three storied terrace houses. No more people will be rehoused than are on the land now. The scheme, then, contributes nothing to the problem it was intended to solve. What, I should like to ask, is the cost of the alternative–of continuing the sprawl?</p>
<p TEIform="p">* * *</p>
</div2>
<div2 id="t1-body-d1-d2" type="subsection" org="uniform" sample="complete" part="N" TEIform="div2">
<head TEIform="head">The Good Old Days</head>
<p TEIform="p">In reading through some correspondence of Early New Zealand–about 1860–I came across some interesting figures of building costs. Someone had bought a house for £80! Not much of a house by our standards to-day, I am sure, but what part of a house could you buy for that now? It wouldn't even pay for a roof. They had a housing shortage then, too; many had to live in tents until their houses were ready. In fact, some families brought their own houses with them, prefabricated. What surprised me was that many of the building materials were imported from England. It seems foolish enough to-day to have to import cement from England, but at least we have large and fast ships. But imagine in 1860 a 400-ton vessel spending about three months in bringing bricks and limestone half way round the world. Bricks must have been a luxury then, for they were £8 to £12 per thousand, even more than to-day. Sawn timber was 18s. to 25s. a hundred feet, which seems high for those times. But a good labourer was paid only 30s. a week.</p>
<p TEIform="p">Skilled workers seem to have been as scarce then as they are to-day. ‘No skilful masons are to be had’ sounds as appropriate to-day as it apparently did then.</p>
</div2>
<div2 id="t1-body-d1-d3" type="subsection" org="uniform" sample="complete" part="N" TEIform="div2">
<head TEIform="head">Popular Demand</head>
<p TEIform="p">A few years ago <hi rend="i" TEIform="hi">Design Review</hi> heralded the appearance of a well designed flush light switch and cover, made in Christchurch. I now find that, in Wellington at least, these are now unprocurable–because, I was told, there has been insufficient demand. We must now choose between the fluted and the striped variety.</p>
<p TEIform="p">* * *</p>
</div2>
<div2 id="t1-body-d1-d4" type="subsection" org="uniform" sample="complete" part="N" TEIform="div2">
<head TEIform="head">Too Many Complaints?</head>
<p TEIform="p">I have been accused of having a complaining attitude. On looking back over Sharawag's paragraphs I find that many of my comments are indeed of the complaining kind. But I would like to assure my critics, however few in number, that I am far more concerned in an achievement in local design than in our many examples of ineptitude. But I feel it is necessary to draw attention to the bad as well as to the good. Criticism helps to maintain standards.</p>
<p TEIform="p">* * *</p>
</div2>
<div2 id="t1-body-d1-d5" type="subsection" org="uniform" sample="complete" part="N" TEIform="div2">
<head TEIform="head">Fluorescent or Bust</head>
<p TEIform="p">Once a movement gets under way, or a fashion starts, you're out on a limb if you don't follow suit. Any office or shop that to-day has not installed fluorescent lights is definitely not of this age. That, at least, is what the fluorescent light manufacturers would like you to think. I have nothing against fluorescent tubes–in fact, they are an advance over the incandescent globe. But I do object to the indiscriminate way in which they have been installed. There are few things more trying or disturbing than a naked light. A naked fluorescent tube may not be as distracting in itself as a naked globe, but when you hang several of them from a ceiling, unprotected or unshaded, the room is cut to ribbons. To make matters worse, the tubes are often arranged in patterns, sometimes with one crossing another at right angles. Now, as every architect or interior decorator knows, the light source should never be seen. And there is no reason why fluorescent tubes cannot be concealed. Enamelled steel reflectors for the factory and work bench, perspex troughs, aluminium egg-crates and reflectors from the wall or ceiling for the shop or office, give the designer all the scope he needs.</p>
<p TEIform="p">* * *</p>
</div2>
<div2 id="t1-body-d1-d6" type="subsection" org="uniform" sample="complete" part="N" TEIform="div2">
<head TEIform="head">Correction from Dunedin</head>
<p TEIform="p">A Dunedin correspondent has written that my complaint of the demolition by the Dunedin City Council of the home and garden of the late Sir John Roberts was misleading. Though it is true that the house has been demolished and the grounds bulldozed, the result, it is claimed, is satisfactory. The house, it seems, was no great architectural piece, and certainly far from possessing the grace and beauty of some of the earlier timber houses seen from time to time in <hi rend="i" TEIform="hi">Design Review</hi>. The treatment given to the grounds was not ruthless, as I reported, and care was taken in bulldozing the site to retain some of the best trees.</p>
</div2>
</div1>
<pb id="n5" n="105" corresp="Arc04_05DesR04" TEIform="pb"/>
<div1 id="t1-body-d2" type="section" org="uniform" sample="complete" part="N" TEIform="div1">
<head TEIform="head">Father Christmas is Dead!</head>
<p TEIform="p"><hi rend="i" TEIform="hi">Readers may remember this arresting headline in the daily press some time ago, quoting the remarks of an M.P. who wished it to be clearly understood that when the party he represented took office, Father Christmas died. A report of the death, if indeed true, of such a widely-known and generally respected figure could surely be expected to shock the country, and cause consternation in cottage and farmstead from North Cape to the Bluff. But no account of the reception of the news subsequently appeared in the press, and in view of this apparent oversight</hi>, Design Review <hi rend="i" TEIform="hi">decided to investigate. Time did not permit a house to house canvass, but it was considered that public reaction could well be judged by approaching various individuals selected to represent a cross section of the national life. The selection was carefully made and in every case the people concerned were grateful for the opportunity of expressing their views. Here are some of the comments received</hi>:</p>
<p TEIform="p"><hi rend="sc" TEIform="hi">Henry T. Boomworthy</hi>, Esq.–Member of—Chamber of Commerce. Father Christmas dead? Not a chance. Speaking as a fairly prominent member of the business community of this town, and as one who is in a position to make a careful analysis of the facts, you can take it from me that shop sales have shown, if anything, a marked increase over the past three Christmas seasons, and that the concerted drive on the part of our larger department stores to bring the old man with the grey beard into closer contact with the buying public has shown encouraging dividends. An American business executive acquaintance of mine–a key man–told me only the other day that Mother's Day and Father's Day were steadily gaining ground in the States, but nothing would ever take the place of Christmas in the retail set-up.</p>
<p TEIform="p"><hi rend="sc" TEIform="hi">Timothy Smallbones</hi>–aged 4½. So that's why I didn't get my train last Christmas. I wrote train at the top of my list but when I woke up I got a school bag and a pair of gum boots. I was so annoyed with Father Christmas but I expect he must have been very sick then.</p>
<p TEIform="p"><hi rend="sc" TEIform="hi">Mr. F. A. Bowness</hi>, Agent, Providential Life Insurance Co. I'm certainly glad to hear it. Too many people in the past have been relying on Father Christmas to provide in cases of family emergency. Now, if every family man in the country were to take out one of our universal reciprocating multiple endowment policies you can be sure that Father Christmas would become a forgotten man. Can I send you one of our brochures?</p>
<p TEIform="p"><hi rend="sc" TEIform="hi">Mr. Sidney Nash</hi>, Auckland. I don't believe it for one moment. Brother, if we can get cur Harbour Bridge and electric trains you can't tell me that Father Christmas is no longer in the land of the living-</p>
<p TEIform="p"><hi rend="sc" TEIform="hi">Mrs. Sarah Scrubbs</hi>, mother of seven. Well really I don't know what to think. There have been times when it looked as if seven stockings to fill would be just too much for Father Christmas, and I wished the whole business had never been invented, but somehow the stockings have been full on Christmas morning and the kids get a great kick out of it, so we might as well keep him going.</p>
<p TEIform="p"><hi rend="sc" TEIform="hi">Miss Abigail Stern</hi>, Secretary,—Temperance Society. Do you mean to tell me that you have nothing better to do than pester people with such fatuous questions? Personally, I was never, in my youth, persuaded that there was such a person as Father Christmas, and I don't believe that children should be fed on fairy stories. What I feel we need in this country is a more serious and realistic approach to the pressing social and environmental problems which to-day confront us. Have you, for instance, any idea of the actual quantity of alcoholic liquor consumed in New Zealand per annum, per man, woman and child? And did you realise that the consumption curve begins to rise sharply about the 20th December? Yes, certainly you may be excused–I have important work to do.</p>
<p TEIform="p">As readers will appreciate, the results of the survey were not altogether conclusive. For ourselves, we rather hope that the reports of the death of Father Christmas were, like Mark Twain's, grossly exaggerated, and hasten to take the opportunity of wishing our readers</p>
<p TEIform="p"><hi rend="b" TEIform="hi">A Very Merry Christmas and a Happy New Year.</hi></p>
</div1>
<div1 id="t1-body-d3" type="article" decls="text-1-bibl" org="uniform" sample="complete" part="N" TEIform="div1">
<pb id="n6" n="106" corresp="Arc04_05DesR05" TEIform="pb"/>
<head TEIform="head"><hi rend="c" TEIform="hi">The Nan Kivell Collection</hi></head>
<p TEIform="p"><figure entity="Arc04_05DesR106a" id="Arc04_05DesR106a" TEIform="figure">
<head TEIform="head"><hi rend="i" TEIform="hi">Missionary Settlement at Rangihona, on the north side of the Bay of Islands, New Zealand.</hi><lb TEIform="lb"/>
<hi rend="i" TEIform="hi">Oil. Size 8⅞″ × 12″.</hi><lb TEIform="lb"/>
<hi rend="i" TEIform="hi">Artist unknown.</hi></head>

</figure></p>
<p TEIform="p">In the days before photography the artist played an extremely important part in recording the scenes and events of his time. But there were many besides professional artists who possessed the ability and inclination to sketch and record what they saw. With the passing of time the works of such men who came to this country during the eighteenth and early nineteenth centuries are becoming only too rare, but when collected together can provide an immensely valuable pictorial recard of our history.</p>
<p TEIform="p">Mr <name key="name-400174" type="person" TEIform="name">Rex Nan Kivell</name>, a London art dealer has had the enthusiasm and the opportunity to assemble a remarkable collection of early New Zealand oils, watercolours, lithographs, prints, and drawings. This collection, which has been brought to this country on loan from its war-time sanctuary in Canberra, is expected to be on public exhibition in Wellington early next year and later in other districts.</p>
<p TEIform="p">Containing, as if does, a wealth of original and priceless material, including watercolours by James Webber, who voyaged with Cook, records of the military campaigns, rare drawings of Maori dwellings and storehouses of the earliest recorded period, and many fine prints and lithographs of the first settlements, it would be a cause for regret if the collection should be allowed to leave the country. But even if it should not be possible to retain it permanently in our national archives, the many New Zealanders who will have the opportunity of seeing the pictures will be grateful to <name key="name-400174" type="person" TEIform="name">Mr Nan Kivell</name> and the organisers of the exhibition. It remains to add that <name type="person" key="name-400174" TEIform="name">Mr Nan Kivell</name> is a New Zealander and a director of the Redfern Galleries.</p>
<pb id="n7" n="107" corresp="Arc04_05DesR06" TEIform="pb"/>
<p TEIform="p"><figure entity="Arc04_05DesR107a" id="Arc04_05DesR107a" TEIform="figure">
<head TEIform="head"><hi rend="i" TEIform="hi">Portrait of <name type="person" key="name-034630" TEIform="name">Abel Tasman</name>, his second wife and child by his first wife.</hi><lb TEIform="lb"/>
<hi rend="i" TEIform="hi">Oil: Size</hi> 42″ × 51¾″.<lb TEIform="lb"/>
<hi rend="i" TEIform="hi">Artist unknown, but probably contemporary.</hi></head>

</figure>
<figure entity="Arc04_05DesR107b" id="Arc04_05DesR107b" TEIform="figure">
<head TEIform="head"><hi rend="i" TEIform="hi">Valley of the Waikato.</hi>,<lb TEIform="lb"/>
<hi rend="i" TEIform="hi">Watercolour. Size</hi> 10″ × 14″.<lb TEIform="lb"/>
<hi rend="i" TEIform="hi"><name type="person" key="name-124873" TEIform="name">John Alexander Gilfillan</name>.</hi></head>

</figure>
<pb id="n8" n="108" corresp="Arc04_05DesR07" TEIform="pb"/>
<figure entity="Arc04_05DesR108a" id="Arc04_05DesR108a" TEIform="figure">
<head TEIform="head"><hi rend="i" TEIform="hi">Auckland 1858.</hi><lb TEIform="lb"/>
<hi rend="i" TEIform="hi">Watercolour. Size</hi> 16⅛″ × 24″.<lb TEIform="lb"/>
<hi rend="i" TEIform="hi">J. Bunney</hi>.</head>

</figure>
<figure entity="Arc04_05DesR108b" id="Arc04_05DesR108b" TEIform="figure">
<head TEIform="head"><hi rend="i" TEIform="hi">Typical drawing of Moko with detail analysed.</hi><lb TEIform="lb"/>
<hi rend="i" TEIform="hi">Black and white. Size</hi> 11⅛″ × 8⅓″.<lb TEIform="lb"/>
<hi rend="i" TEIform="hi"><name key="name-102145" type="person" TEIform="name">H. G. Robley</name>.</hi></head>

</figure>
<pb id="n9" n="109" corresp="Arc04_05DesR08" TEIform="pb"/>
<figure entity="Arc04_05DesR109a" id="Arc04_05DesR109a" TEIform="figure">
<head TEIform="head"><hi rend="i" TEIform="hi">Coast of New Zealand with marching soldiers.</hi><lb TEIform="lb"/>
<hi rend="i" TEIform="hi">Oil. Size</hi> 25″ × 30″.<lb TEIform="lb"/>
<hi rend="i" TEIform="hi">Artist and locality unknown</hi>.</head>

</figure>
<figure entity="Arc04_05DesR109b" id="Arc04_05DesR109b" TEIform="figure">
<head TEIform="head"><hi rend="i" TEIform="hi">Canterbury Mill, 1853.</hi><lb TEIform="lb"/>
<hi rend="i" TEIform="hi">Drawing and wash. Size</hi> 6⅝″ × 10″.<lb TEIform="lb"/>
<hi rend="i" TEIform="hi">E. Dobson.</hi><lb TEIform="lb"/>
<hi rend="i" TEIform="hi">(Dobson was designer of the Lyttelton Tunnel.)</hi></head>

</figure></p>
</div1>
<pb id="n10" n="110" corresp="Arc04_05DesR09" TEIform="pb"/>
<div1 id="t1-body-d4" type="article" decls="text-2-bibl" org="uniform" sample="complete" part="N" TEIform="div1">
<head TEIform="head"><hi rend="c" TEIform="hi">A House in Stokes Valley</hi></head>
<byline TEIform="byline"><hi rend="b" TEIform="hi"><hi rend="i" TEIform="hi">Architect: <name key="name-400120" type="person" TEIform="name">William Toomath</name></hi></hi></byline>
<p TEIform="p"><figure entity="Arc04_05DesR110a" id="Arc04_05DesR110a" TEIform="figure">


</figure>
<figure entity="Arc04_05DesR110b" id="Arc04_05DesR110b" TEIform="figure">


</figure></p>
<p TEIform="p"><hi rend="sc" TEIform="hi">Here</hi> is a well-designed low cost family house. The family consists of Mr. and Mrs. J. Morgan and their three young children. The plan shows how the relationship of parents and children throughout the day has been considered. There is no banishment of the housewife to the kitchen—cooking is done virtually in the same area as the living room, the recess or foot of the L-shaped room avoids any feeling of thrusting pots and pans into visitors' vision. It is only to be expected that children will tend to play round their mother's feet and where the kitchen is small, preparing a meal can be frustrating and even dangerous. With the kitchen becoming part of the living room, dangers are
<pb id="n11" n="111" corresp="Arc04_05DesR10" TEIform="pb"/>
avoided and the mother is within sight and sound.</p>
<p TEIform="p">The general atmosphere of this end of the house is friendly and light–the kind of atmosphere children naturally gravitate to–when it can be found. There is no need to guard or fence off vases on tables at the other end of the room, nor need to ‘forbid’. The children naturally seem to prefer their end of the room to play in.</p>
<p TEIform="p">The separation of the bedrooms has proved very successful. The children's rooms, opening off the end of the living room, are not places removed from the protection of parents at night and the children do not feel cut off and alone when they are sent to bed.</p>
<p TEIform="p">The large area of glass in the play room has contributed largely to the general warmth of the house, and the visual effect of opening up on to the terrace adds a spaciousness to the room itself. It has been found that there is little more danger of breakages than with normal windows-only the very young have to be supervised.</p>
<p TEIform="p">The house has been planned so that when the family breaks up as the children marry the parents can sleep in the children's room and the wall between the parents room and the living room can be removed, thus further enlarging the living room.</p>
<p TEIform="p"><hi rend="sc" TEIform="hi">Construction</hi>: The stud walls are lined with 4in. T &amp; G Heart Rimu vertically on Sisalkraft with Gibraltar board inside. Walls were finished with raw linseed oil. carefully taken into the tongues and grooves and allowed to soak in. Spar varnish was then applied. The roof consists of a central 10in. × 2in. ridge beam with 6in. × 2in. dressed rafters at 3ft. centres, checked into the beam and resting on the walls. Pinus ply was laid on the rafters face downwards, and building paper, purlins and corrugated aluminium were then laid on top.</p>
<p TEIform="p"><hi rend="sc" TEIform="hi">Method of building</hi>: This type of construction and planning, although approved by the State Advances Corporation, was sufficiently unusual to worry the builders who were invited to give a price. Prices given were out of proportion to the estimated cost. One builder offered to bring down his quote on condition that a tiled roof and conventional ceiling be introduced! This was too much for the owners who decided to employ labour and do the contracting themselves. This they did and so were able to prove that a house of good design and character can cost even less than the conventional type of house to-day.</p>
<p TEIform="p"><figure entity="Arc04_05DesR111a" id="Arc04_05DesR111a" TEIform="figure">
<head TEIform="head"><hi rend="i" TEIform="hi">Kitchen</hi></head>

</figure>
<figure entity="Arc04_05DesR111b" id="Arc04_05DesR111b" TEIform="figure">
<head TEIform="head">Living Room</head>

</figure></p>
<p TEIform="p"><hi rend="c" TEIform="hi">Builders: Perry &amp; grainger</hi></p>
<p TEIform="p"><hi rend="i" TEIform="hi">Photograph by C. M. Rogers and Co.</hi></p>
</div1>
<pb id="n12" n="112" corresp="Arc04_05DesR11" TEIform="pb"/>
<div1 id="t1-body-d5" type="article" decls="text-3-bibl" org="uniform" sample="complete" part="N" TEIform="div1">
<head TEIform="head"><hi rend="c" TEIform="hi">To Build or Not to Build</hi>?</head>
<div2 id="t1-body-d5-d1" type="subsection" org="uniform" sample="complete" part="N" TEIform="div2">

<p TEIform="p"><hi rend="sc" TEIform="hi">Although</hi> the demand for new houses seems to be as great to-day as ever, the cost of building shows little or no sign of reduction. Where costs are so predominant a factor, every move in the game (or is it war?) of building assumes an added importance; the consideration of even minor matters is therefore of practical significance, and it is hoped that this article may render less troublesome the many problems which beset the home builder to-day.</p>
</div2>
<div2 id="t1-body-d5-d2" type="subsection" org="uniform" sample="complete" part="N" TEIform="div2">
<head TEIform="head"><hi rend="lsc" TEIform="hi">Getting a Section</hi></head>
<p TEIform="p">Don't misunderstand this title. What follows doesn't tell you how to conjure up a building section out of thin air–we leave such stuff to the professional magician.</p>
<p TEIform="p">It does however try to show some pointers toward getting a good section, for there are certain standards of evaluation. Plato was once asked by someone who considered his ideal republic unattainable and hence useless, what purpose such a proposal could have. He got the reply that through knowing the ideal, then other offerings could be adjudged by comparison with it and that which differed least from the ideal was therefore best. This is the intention behind this article.</p>
<p TEIform="p">Probably your first desire will be to live in a particular suburb, even if only because your mother-in-law doesn't live there. Whatever the reason may be let us assume that your attentions are confined to a certain area. What, then, are the things to look for?</p>
</div2>
<div2 id="t1-body-d5-d3" type="subsection" org="uniform" sample="complete" part="N" TEIform="div2">
<head TEIform="head"><hi rend="lsc" TEIform="hi">General</hi></head>
<p TEIform="p">1. <hi rend="i" TEIform="hi">Locality</hi>.–Nearness to shops is an important consideration for the housewife and a point quite often overlooked in the pleasure of finding something of a smp.</p>
<p TEIform="p">2. <hi rend="i" TEIform="hi">Freedom from through traffic</hi>.–This is a factor of prime importance when young children are gaining mobility without having developed any awareness of the dangers of through traffic. Those fortunate parents who may have built in a blind street know much less of the secret dread of speeding cars than do those who live on main traffic routes. Needless to say, however, convenience demands that main tram, bus, or train routes should be near at hand.</p>
<p TEIform="p">3. <hi rend="i" TEIform="hi">Nearness to schools</hi>.–When the child becomes of school age the daily journeys to and from school may be a long drag or a short pleasurable walk. If there are pedestrian routes from home to school then both children and parents are satisfied.</p>
<p TEIform="p">4. <hi rend="i" TEIform="hi">Nearness to play areas and parks</hi>.–Any housewife will tell you of her annoyance at having children under her feet all day. Look for a section then, where a playground or park is reasonably handy.</p>
</div2>
<div2 id="t1-body-d5-d4" type="subsection" org="uniform" sample="complete" part="N" TEIform="div2">
<head TEIform="head"><hi rend="lsc" TEIform="hi">Site</hi></head>
<p TEIform="p">Now consider your prospective section on the basis of the following points:</p>
<p TEIform="p">1. <hi rend="i" TEIform="hi">Size</hi>.–The normal section of to-day approximates 32 perches in area–or 1/5 acre. Now for many people such a section is too large, and requires more in the way of attention than they either can or are prepared to afford. If you don't want to spend all your spare time in the garden, buy a section of about the area of 20 to 25 perches.</p>
<p TEIform="p">Again, beware of the narrow section. More often, than not, you find yourself jammed up alongside houses on each side–a situation bad for privacy and in most cases very bad for sun. If you want to spread yourself, spread yourself laterally and choose a 66 ft. wide section rather than 45 ft. (See <ref target="Arc04_05DesR112a" targOrder="U" TEIform="ref">diagram 1</ref>.)</p>
<p TEIform="p"><figure entity="Arc04_05DesR112a" id="Arc04_05DesR112a" TEIform="figure">


</figure></p>
<p TEIform="p">2. <hi rend="i" TEIform="hi">Adjoining buildings</hi>.–It is generally a good plan to see your section in midwinter. One section I looked at recently received at the most one and a half hours sun daily in mid-winter, from sunrise until first a tree shadow and then a shadow from the adjoining house (a building on higher ground to the north) fell over the only area flat enough for economical building. Result–in winter the frost never left the ground. So try to estimate the effect of shadows from adjoining objects upon the property and remember the lowness of the angle of winter sun and consequent long shadows. (See <ref target="Arc04_05DesR112a" targOrder="U" TEIform="ref">diagram 2</ref>).</p>
<p TEIform="p"><figure entity="Arc04_05DesR112b" id="Arc04_05DesR112b" TEIform="figure">


</figure></p>
<p TEIform="p">3. <hi rend="i" TEIform="hi">Slope</hi>.–Perhaps the sections left for building in Wellington, rather than sloping are relatively mountainous, their degree of slope being measured more easily from the vertical than the horizontal. Nevertheless when the slope is to the north even excessive steepness is acceptable for the reason of the improved relationship of the land surface to the sun. However–the reverse situation with land having a southerly slope is never really good, even with only a moderate slope. (Diagrams 3 and 4 will illustrate this point.)</p>
<pb id="n13" n="113" corresp="Arc04_05DesR12" TEIform="pb"/>
<p TEIform="p"><figure entity="Arc04_05DesR113a" id="Arc04_05DesR113a" TEIform="figure">


</figure></p>
</div2>
<div2 id="t1-body-d5-d5" type="subsection" org="uniform" sample="complete" part="N" TEIform="div2">
<head TEIform="head"><hi rend="lsc" TEIform="hi">Accessibility</hi></head>
<p TEIform="p">If building materials can be conveyed from the road to the building by gravity rather than by the hard labour of hauling or winding you should see an effect not only upon the readiness of builders to consider doing the job but also in the less exaggerated estimate of the cost of their services to you.</p>
</div2>
<div2 id="t1-body-d5-d6" type="subsection" org="uniform" sample="complete" part="N" TEIform="div2">
<head TEIform="head"><hi rend="lsc" TEIform="hi">Orientation</hi></head>
<p TEIform="p">The last point to notice is the orientation of the section in regard to north. You may say such a consideration is immaterial–but compare the two orientations in diagram 5. One shows a section with an east-west orientation with a house placed parallel to the side boundaries. Notice that the south wall receives practically no sun at all. Now if you look at the orientation north-east, south-west the same wall always receives some sun even in winter. If you can afford to buy a really large section then, of course, by swinging the house on the ground the same result may be achieved.</p>
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<head TEIform="head"><hi rend="lsc" TEIform="hi">To Sum up</hi></head>
<p TEIform="p">The best section then is:</p>
<p TEIform="p">On a blind road or cul-de-sac.</p>
<p TEIform="p">Near a play area.</p>
<p TEIform="p">With shops and school near at hand.</p>
<p TEIform="p">Well served by public transport.</p>
<p TEIform="p">If sloping, then with a slope to the north and preferably below the road.</p>
<p TEIform="p">With an orientation NE and SW rather than E-W.</p>
<p TEIform="p">And not under the lee of adjoining buildings or plant growth cutting out winter sun.</p>
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<head TEIform="head"><hi rend="lsc" TEIform="hi">Getting a House</hi></head>
<p TEIform="p">Having, we hope, found a good building site, the next question to discuss is the thing you propose to place upon it. One of the most exasperating factors you will be confronted with is the cost adjustment that will surely be necessary from the scheme you first desired to the scheme you can afford; only to find in the end, perhaps, that your hoped-for savings have been nearly swallowed up with further price increases.</p>
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<p TEIform="p">As the consideration of this question of substantially reducing building costs seems more a question to be referred to the economist and the statesman, let us, as indeed we seemed forced to do, accept the high cost of building and turn our attention to tackling the problem of gaining a reduction in the cost of our houses by following certain procedures.</p>
<p TEIform="p">There seem to me to be certain things one can do and these fall into two categories: (1) Build the house yourself and eliminate the builder's profit and his percentages on materials and sub-contractors' work. If you can't do this, then build with a builder in one or other of the ways described later.</p>
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<head TEIform="head"><hi rend="lsc" TEIform="hi">Design and Cost</hi></head>
<p TEIform="p">In this title notice the two words ‘design’ and ‘cost’ and for a moment or two briefly consider the word ‘design’. What is meant by this word?</p>
<p TEIform="p">Design in a thing may be said to imply the possesion of certain qualities. The thing, be it a house, a chair, a window or an electric toaster, shall, if it be well designed, possess (1) a fitness for its purpose; (2) suitability of material; and (3) pleasantness of appearance.</p>
<p TEIform="p">Now in a house, which is, as a French architect has observed, a machine for living in, fitness for its purpose merely means that its arrangement shall ease the living-habits of its occupants.</p>
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<p TEIform="p">As no two families live in quite the same way, then to design a house for a particular family means so to arrange the component parts as to suit the life of that family. The first thing you must decide, then, is the way you intend to live, or to note the idiosyncrasies in your mode of life, or at the least your definite preferences.</p>
<p TEIform="p">Again–materials. For example, I think it is wrong to put plaster over a wooden frame. Firstly a stucco house nearly always cracks because a rigid material has been fixed over a material that is in a constant state of movement varying with temperature and humidity. And a stucco house fails, I find, to convince me of its being built of wood–there always seems to be lurking in the recesses of its false face a hint of a would-be concrete frame. So whatever you do, be honest with your materials.</p>
<p TEIform="p">Lastly–pleasantness of appearance. Here we are on rather vexing ground, for whatever someone puts forward as pleasant some other person will condemn. Perhaps if we said merely freedom from mannerisms we might be nearer the mark. This is a consideration that affects the lover of modern things as much as the lover of old things. It is just as stupid to use the trappings of the past as to embrace the eccentricities of to-day. So whatever you do, don't be cranky.</p>
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<head TEIform="head"><hi rend="lsc" TEIform="hi">Building with a Builder</hi></head>
<p TEIform="p">This is, of course, the usual way of getting a house built and still seems for those with limited time or capacity to be the best way; or for those whose preferences for the unusual are not so definitely decided.</p>
<p TEIform="p">There is a definite connection between the words ‘design’ and ‘cost’. In terms of building, the moment you depart from the standard you incur increases in cost; at least such has been my unhappy experience. For instance, the standard type of window is based upon the 4 ft. × 1 ft. 10 in. sash. If you happen to be addicted to large glass areas or pleased by the appearance they give to a house you are forced to step outside the standard window size and up goes your joniery cost immediately. This is unfortunate, for windows, like eyes to a human face, give character to a house. Again, if you are fortunate enough to employ a builder with no aversion to trying unorthodox solutions you can give some rein to your imagination. Generally, though, builders are conservative creatures and from choice or habit they build in a certain way, and because habitual things require little or no thought they seem to be the cheapest way of doing the job even if, in fact, such may not be the case.</p>
<p TEIform="p">So–as we have been concerned with the questions of design and cost in this article, your attention is drawn to certain limiting factors which should be realized.</p>
<p TEIform="p">1. <hi rend="i" TEIform="hi">New ideas generally cost money</hi>, both because of their strangeness and because some of them may not work as well as we imagine.</p>
<p TEIform="p">2. <hi rend="i" TEIform="hi">Keep it Simple</hi>.–A house with four corners need not be unattractive–in fact, its simplicity is, if properly handled, its main attraction. And remember–every additional corner means providing more watertight flashing, more mitreing of weatherboards, more time in setting out of foundations, more bending of steel reinforcement, more setting out of roofs, and so on. So don't be deluded by stories of the angular ‘sun-trap’ house. You can't afford to listen, and anyway the main point is correct orientation.</p>
<p TEIform="p">3. <hi rend="i" TEIform="hi">Keep to Standards</hi>.–If you can afford to try some variation for the sake of the spice of life, do so, but find out your builder's standard way first–it will probably be cheaper.</p>
<p TEIform="p">4. <hi rend="i" TEIform="hi">Plan your Space</hi>.–Space is what you are paying for, so make use of it. If you can't work it out properly and economically then employ some one who can.</p>
<p TEIform="p">To-day, as every foot of space is costing you so much, no space should be wasted. Halls can be dispensed with or enlarged into usable rooms. Passages can be cut to a minimum. Rooms can be eliminated or telescoped into others, always bearing in mind, of course, that these ideas can be carried to excess. For example, it is just no use labelling certain parts of a large room as ‘living space’, ‘dining space’, ‘study space’, etc., and imagining that in practice such things work out. They do not. If study must be provided for, say, in a home with children of High school age, then a fitment in the youth's bedroom, rather than a corner of the living-room called a study corner, is surely required.</p>
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<head TEIform="head"><hi rend="lsc" TEIform="hi">Premium on Privacy</hi></head>
<p TEIform="p">With all this telescoping of space you will find privacy at a premium, so remember the relation of your rooms and the needs of their occupants. Parents in a small house need privacy just as much as children, so try to segregate your functional areas.</p>
<p TEIform="p">5. <hi rend="i" TEIform="hi">Plan Your Services</hi>.–Planning and plumbing costs go hand-in-hand, so don't put the bathroom in one corner, the laundry in another and the kitchen in a third. Group them.</p>
<p TEIform="p">6. <hi rend="i" TEIform="hi">Limit your Built-in Furniture</hi>.–If you don't, the price will probably force you to do so. Find out just how much cupboard space you need in your kitchen.</p>
<p TEIform="p">Building with a builder can be varied. You may also try these alternatives:</p>
<p TEIform="p">A. <hi rend="i" TEIform="hi">Partial Completion of Your House</hi>: Most New Zealanders are handy up to a point with tools, and that point is generally a more competent one than perhaps they imagine. Some serious consideration should therefore be given to a scheme of getting a price from a builder for, say, the following:</p>
<p TEIform="p">Putting in the foundations, erecting the framework and completely finishing the exterior work and putting down the floor. Then the building owner can arrange the electrical installation, the plumbing work, interior joinery work with separate tradesmen, and assumes himself the task of fixing the internal linings and internal finishings after these other tradesmen are out of the building, and, finally, he can do painting and decorating. I know of at least one instance when this system was followed out to the complete satisfaction of the owner–to his financial satisfaction, which was accompanied by a surprised pride in his own tradesmanlike achievement. It is therefore worth your consideration.</p>
<p TEIform="p">If desired, the builder may be engaged in addition to finish, say, the bathroom and one bedroom so as
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to permit early occupation of the building and the owner can then eliminate the inevitable time loss through travelling to and from the job.</p>
<p TEIform="p">B. <hi rend="i" TEIform="hi">Building only a Nucleus</hi>: Some years ago I prepared a scheme for operation by the Rehabilitation Department. The basic idea was the Expandable House and proceeded from the argument that half a loaf is better than no bread. In some cases I believe the idea is still a good one to-day. There are however certain things you should realize about such a scheme. The basic unit, of course must include in the first stage all plumbing work, and therefore your first cost is bound to be of a higher unit rate than would otherwise be.</p>
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<p TEIform="p"><hi rend="i" TEIform="hi"><hi rend="c" TEIform="hi">Unit Rate</hi></hi>: Suppose for sake of argument your plumbing cost is of the order of £250 out of the cost of £2000 for the basic accommodation of living room, bedroom, bathroom and combined kitchen-laundry comprising an area of, say, 600 square feet. This would represent a unit rate of £3. 6. 8. per square foot. But had the area been 1000 square feet exactly the same plumbing units etc. would have had to be provided for both schemes and hence the unit rate must be less for the larger house.</p>
<p TEIform="p">Then again, there is to-day the dual problem of the proportionately higher cost for the provision of additional accommodation in the way of alterations plus the difficulty of getting builders to take on such work in times when there is a great demand for new houses. Also, paradoxically enough, that moment when additions to the family demand increased accommodation always seems to come when finances are at their most stringent.</p>
<p TEIform="p">I would say, then, that if the choice has to be between some accommodation for a fixed maximum cost or none at all, then you may have to consider this scheme, building only the nucleus of your house at a higher unit cost and extending it later at a higher unit cost than if you had built it all in the first stage.</p>
<p TEIform="p">What, then, can be done? The first thing after getting the best building section you can seems to be to get a good architect to work out your building programme, so that your design will be efficient, economical and pleasant. Getting the house built will then be up to you in one or other of the ways suggested.</p>
<closer rend="right" TEIform="closer"><signed TEIform="signed"><hi rend="lsc" TEIform="hi"><name key="name-102930" type="person" reg="Maurice B. Patience" TEIform="name">M. B. Patience</name></hi></signed></closer>
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<head TEIform="head"><hi rend="c" TEIform="hi">Craftsman from Sweden</hi></head>
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<p TEIform="p"><hi rend="sc" TEIform="hi">Some time last year</hi> I heard that a Swedish craftsman was working in wood in Havelock North. It seemed an unlikely idea and an unlikely place to find such a man, but when I happened to be in Hastings in August I set out to look for him.</p>
<p TEIform="p">Right in the centre of Havelock North we found an enchanting shop. We felt suddenly that we were in San Francisco again except that the goods in the window were unmistakably Swedish. A balsa bird turned slowly on a long string above all kinds of table-ware in glass and pottery. Hand-woven fabrics and screen-printed cottons made a decorative background for wooden bowls and platters. Not everything in the window was for purists, but to eyes dulled by years of drab-window dressing the whole expression was intoxicating. Everywhere colour and simplicity.</p>
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<p TEIform="p">Window-shopping was not enough. The door opened with a tinkling sound from a child's zither, and I found myself inside the smallest shop I have ever seen. But if I walked the length and breadth of all the china-shops in Wellington I could not gather together anything like the quality and variety of design and craftsmanship in the de Flon studio.</p>
<p TEIform="p">The shop, then, was a delightful surprise. But I had set out to find the wood-carver himself. As we struggled to adjust our desires to our budget he rode up on his bicycle.</p>
<p TEIform="p">‘Why Havelock North?’ asked him.</p>
<p TEIform="p">‘Well you see, I met a furniture manufacturer from Hawkes Bay in Auckland when I first arrived and he asked me to be his designer. But it didn't work out. No one here bothers to carry out designs carefully, so I opened my shop instead.’</p>
<p TEIform="p">That was a familiar story. I suggested that a shop like his would do a roaring trade in a bigger town, perhaps Auckland or Wellington, even Palmerston North.</p>
<p TEIform="p">‘But I haven't enough things to sell in a bigger place.’</p>
<p TEIform="p">Mr de Flon told me that the new import regulations had dried up his supply of Swedish glass and pottery and decorative novelties altogether. I thought of the rows and rows of atrocious and expensive yases and figurines and china dogs that have survived the import regulations and found this restriction on these simple and very inexpensive things quite baffling.</p>
<p TEIform="p">‘But can't something be done about it? The demand for things like these is growing all the time?’</p>
<p TEIform="p">‘Well, I have tried. One official told me I should not bother with my shop or my work but go to the freezing works for a job instead. It is very disappointing.’</p>
<p TEIform="p">I thought ‘disgraceful’ filled the situation better, and asked him why he had come to New Zealand. He told me that after some months in the States, instead of going home he had gone to Tahiti for six months and then, thinking that New Zealand would be very like Sweden, he had come on here.</p>
<p TEIform="p">But we all know how very different the two countries are. I thought of what Samuel Butler said in 1863. ‘A mountain here is only good for sheep…. If it is good for sheep it is beautiful, magnificent and
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all the rest; if not, it is not worth looking at.’ With art galleries, arts and crafts exhibitions, specialist teachers in the schools and a magazine dedicated to spread the gospel of good design we are often very smug and think we have come a long way since 1863. But when a craftsman chooses to live among us we make things as difficult as possible for him.</p>
<p TEIform="p">The importing side of Mr de Flon's enterprise is secondary to his own work, but it is important, particularly in getting started. It is not easy for a craftsman to live on what he can do with his hands.</p>
<p TEIform="p">The conversation turned then to his own work. It was the happy marriage between his skill and their useful purpose that most attracted me to his bowls and platters. The salad bowls were generous and large enough for entertaining, the platters for bread or fruit or hors d'oeuvres interesting in shape and right in size. I went into the workshop where his twelve-inch lathe is set in a tiny room, the floor deep in warm red shavings. There is a good market already for his own work but even here there is frustration.</p>
<p TEIform="p">‘I have advertised all over New Zealand for seasoned mahogany, totara, southland beech, any wood suitable for my lathe and I just cannot find anything large enough any more.’</p>
<p TEIform="p">This difficulty seems more heart-breaking to me than the importing problems. After an exhibition in Napier recently he has been overwhelmed with orders. After two and a half years of hard uphill work that would be very encouraging if the difficulties of supply were not so worrying. But I cannot imagine that they will be insurmountable because he is a very ingenious man. I have visited the workshop three times. In August he still had a number of very large bowls. By October he had begun to make more shallow platters and spoons and lids for good pieces of English pottery that he had been able to buy. When I saw him in November he had just been experimenting with deep bowls again, joined through the waist as it were. Round the workshop this last visit I saw what he had been able to find, half-burned fence posts, the mahogany legs from an old wardrobe, slabs of unpromising looking totara. I know that if I could go to Havelock North in December all of these would have been turned and carved and fined down into things of beauty.</p>
<p TEIform="p">Karl Axel de Flon is a very modest man. ‘There are hundreds of men in Sweden who can do what I do.’</p>
<p TEIform="p">On the other hand there are probably no New Zealanders with his experience and his wide skills. After teaching in a Swedish trade school for some years he became a Government Adviser on crafts, in Bohuslan, a farming district. There he travelled round spending six weeks here and six weeks there teaching the people to develop their skills in weaving and carving and turning. To find a market for these things he opened a shop in Gothenburg. There every week a different craftsman worked in the corner window in full view of the public, sometimes a potter at his wheel, sometimes a weaver or a basket-worker.</p>
<p TEIform="p">New Zealand is very lucky to have attracted such a man, and we should make every effort to keep him.</p>
<closer TEIform="closer"><signed rend="right" TEIform="signed"><hi rend="lsc" TEIform="hi"><name key="name-400059" type="person" TEIform="name">Beatrice Ashton</name></hi></signed></closer>
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<p TEIform="p"><hi rend="i" TEIform="hi">Photographs by John Ashton</hi></p>
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<head TEIform="head"><hi rend="c" TEIform="hi">Work by the Wellington Technical College School of Architecture</hi></head>
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<p TEIform="p"><hi rend="sc" TEIform="hi">During</hi> 1952, Studio work in Architecture has been given a trial in Wellington. For no prizes in the shape of examination passes, and in spite of the burden of their examination subjects–written subjects to be sat in November and Testimonies of Study throughout the year–a large number of students attended the Studio course at the Wellington Technical College.</p>
<p TEIform="p">A great deal of work was done in the limited time and this was recently seen in a public exhibition held at the College.</p>
<p TEIform="p">The New Zealand Institute of Architects has recently approved the submission of work from this Studio in lieu of the first three years of Testimonies of Study for an initial period of two years, and a course has been decided upon for 1953. In his first year the student will discover for himself how visual design has a common background in all the arts. He will learn the principles of design without immediately relating
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them to a particular architectural problem. The first year projects are all of an abstract nature. There are no complicated problems of deciding how people would react in a given set of circumstances, of how builders could construct or how materials behave. These problems occur in every architectural project and for a student straight from secondary school they can be bewildering and often confusing. There is such a complexity of considerations in architectural design to-day that it was decided to dispense with all but the fundamentals in the very early stages.</p>
<p TEIform="p">So the student learns how balance can be achieved by the arrangement of shapes in coloured card, how various different effects can be found when certain shapes oppose each other or combine. How a composition can hang together by a very careful adjustment of position. In effect, composition, unrelated to ‘things’.</p>
<p TEIform="p">This experimenting under guidance continues from the basic two-dimensional objects, through colour and light and into three dimensions. When a student can, quite naturally and without self-conscious effort, make a three-dimensional coloured model which has the spatial and sculptural qualities seen in good furniture, good sculpture and good architecture, a start is made with equipping him with the practical knowledge necessary before the design of buildings is attempted.</p>
<p TEIform="p">Building materials are examined and it is explained how their individual characteristics can be used to further the aim of the design. The structural qualities of materials and the methods required to use them in buildings are indicated so that a basic knowledge is gained. The use of building materials in historical work is touched upon so that the debt to past builders may not be forgotten.</p>
<p TEIform="p">This is all very theoretical, and without a definite link with buildings, would lead to not much more than a general feeling towards aesthetics–the formation of taste. The next stage then is to use the experience gained in designing simple buildings, such as bus shelters where the requirements of the human being using the structure are not complicated. The putting together of pieces of building material to form pleasant and useful shapes becomes easier when the student can see and understand the problem without bein gintimidated by those unknown quantities which only greater experience or research can solve.</p>
<p TEIform="p">The first illustrations are of the initial composition of masses and experiments with shapes. There has been great care and deliberation in the exact placing of each piece. This is carried a step further in the next illustration where a model has been built embodying the above and bringing in the third dimension and light and colour. It is not meant to represent anything–it is simply something to look at and walk round.</p>
<p TEIform="p">On this page is the result of the second stage–that of introducing a ‘use’ or a ‘reason’ into the problem. In this Children's Play Shelter it can be seen that the abstract quality remains but that <hi rend="i" TEIform="hi">the use of the building</hi> was the starting point. There can be seen a distinct relationship between the pattern of the walls with the first exercises and of the whole building with the abstract model.</p>
<p TEIform="p">The method used has taught the students not only how to find an approach to design but also has given them some sort of appreciation of architecture. At least there is a common language in aesthetic consideration; there is also the beginning of understanding of what goes towards making a design. The ‘mystery’ of the Artist is not necessarily dispelled–rather does the student know that ‘inspiration’ is the result of hard and exacting labour and not something vaguely labelled ‘intuition’.</p>
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<head TEIform="head"><hi rend="i" TEIform="hi">Art Review</hi></head>
<p TEIform="p"><hi rend="sc" TEIform="hi">The Association of</hi> New Zealand Art Societies recently organised a show of fifty pictures, five from each of ten artists, in a room of the upper floor at the D.I.C. in Wellington. Worthy as the purpose of such an exhibition may be it did not seem to attract much notice as on two occasions of a visit I had the place to myself for a considerable period. Was there not enough publicity given to it? The room is small and the pictures were well spaced out and on eye level so that it was possible to make a close acquaintance with them. At the same time perhaps the temporary nature of the set up gave the whole show somewhat of the air of a house during a period of removal.</p>
<p TEIform="p">The catalogue informed us that ‘visitors to our exhibitions are too often confronted with the bewildering spectacle of hundreds of pictures crowded, frame to frame, on the limited wall space of our galleries’. With this we are in hearty agreement and it was a pleasure to pay a couple of visits of an hour or so to a collection of pictures with which one had the chance to get acquainted.</p>
<p TEIform="p">There is no doubt difficulty in organising a show of this kind. It would be fair to say that none of the ten artists represented were showing their best work. But is their best work handy when the invitation arrives, or is it a case for making do with what is available at the moment?</p>
<p TEIform="p">Outstanding among the artists is the work of <name type="person" key="name-208462" TEIform="name">Eric Lee-Johnson</name>. His picture entitled ‘The Kindling’ shows the world he depicts so well. It is a world of movement and of decay. The old woman, the cottage, the tree stumps, take on a new and different form of existence. The tree trunk is no longer a growing tree cut down, but has assumed a new, different and sinister character, which, though physically dead, has a new and significant mystery of life.</p>
<p TEIform="p"><name type="person" key="name-208199" TEIform="name">Louise Henderson</name> has come to life again with a new style of painting. She has abandoned her rather decorative mode for one strongly influenced by Cubism. Although the paintings she showed, of which the best was ‘Arum Lilies’, were stronger than her former works, she remains mainly interested in design of a soft and sweetly feminine style.</p>
<p TEIform="p">Edward Murphy's ‘Ugly Duchess’ requires a footnote. It appears to be inspired by the Quentin Matsys portrait of Margaret of Tyrol, which in its turn was the starting point for Tenmiel's drawing of the ugly duchess. But Murphy's picture, enhanced by its hot colouring, is so far removed from humanity that it fails to give the horrific effect of the Matsys painting.</p>
<p TEIform="p">Evelyn Page's pictures show her busy bustling world in hurried movement. The pictures she showed, perhaps with the exception of an exquisite study named ‘Head’, did not by any means give adequate evidence of her capabilities as a painter.</p>
<p TEIform="p"><name key="name-207656" type="person" TEIform="name">Russell Clark</name> has a chameleon-like ability to change his style. Most of his pictures, painted in dark and sombre colouring-accented with a rather disagreeable yellow, were of Maori life. In three of them appears the figure, of a tall thin angular Maori. One cannot help feeling that his Maoris have lost their own native culture and assumed that of the cities. The Guitarist of Vinegar Hill is surely playing swing from Chicago rather than a native ditty.</p>
<p TEIform="p">The pictures on view by <name key="name-400178" type="person" TEIform="name">Stewart Maclennan</name> certainly did not do him justice as an artist. The picture of a sleeping woman, in a style of painting of fifty years ago, although interesting in itself, seemed incongruous in the company round it.</p>
<p TEIform="p">As a choice for a picture to hang in a room, my pick would be ‘Dead Fronds’ by William Sutton. It is a most interesting composition, lively in colour with plenty of intriguing texture.</p>
<closer rend="right" TEIform="closer"><signed TEIform="signed"><hi rend="lsc" TEIform="hi"><name key="name-121195" type="person" TEIform="name">Edward C. Simpson</name></hi></signed></closer>
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<head TEIform="head">Gramophone Notes</head>
<p TEIform="p"><hi rend="sc" TEIform="hi">Things to Come</hi>–These are exciting and exasperating times for record collectors. The flow of long-playing discs from all quarters has become a mighty flood, but of the deluge little more than a trickle finds its way into New Zealand shops. In listing here a few current and forthcoming releases, therefore, I am not implying that they may be readily obtained. (Whether or not he can lay his hands on new releases, the enthusiast is never averse to having news of them.)</p>
<p TEIform="p">The first list of long playing records issued by the EMI organisation in England is not perhaps very exciting, since about seventy five per cent of it has already been available on normal pressings. Of the previously inaccessible issues, Columbia has a <hi rend="i" TEIform="hi">Marriage of Figaro</hi> by a Viennese cast headed by Schwarzkopf, Seefried, and Erich Kunz, and conducted by von Karajan. This covers three records and should be very much in demand. H.M.V. offers the Moussorgsky-Ravel <hi rend="i" TEIform="hi">Pictures at an Exhibition</hi> in a performance by the Chicago Symphony Orchestra under Rafael Kubelik, and the first two Brahms symphonies in new releases by the NBC Symphony under Toscanini.</p>
<p TEIform="p">Parlophone have transferred to long playing some of their excellent recordings by the London Baroque Ensemble. Owing to current sterling exchange difficulties it would be unwise to speculate on how soon some of these treasures may be expected here.</p>
<p TEIform="p">As though to counteract the EMI offensive, Decca have brought up some heavy artillery in their latest English release. The appearance of Beethoven's first, second, and ninth symphonies now completes Decca's long playing representation of these perenmal works. The orchestra is the Vienna Philharmonic, under Carl Schurecht (for Nos. 1 and 2) and Erich Kleiber (for No. 9). This last is spread over four sides, a movement to each, expensive, but in the long run satisfactory, I should think. Mahler comes into his own with the fourth symphony, Concertgebouw Orchestra under Van Beinum (one disc) and a new issue of <hi rend="i" TEIform="hi">The Song of the Earth</hi> with <name type="person" key="name-002443" TEIform="name">Bruno Walter</name> and the Vienna Philharmonic with Julius Patzak and Kathleen Ferrier–three sides, with, on the fourth, some odd songs rendered by Miss Ferrier. Other releases in a most impressive list include the second piano concertos of both Beethoven and Brahms (soloist Backhaus), the Schubert ‘great’ C major symphony under Josef Krips, Beethoven's ‘Archduke’ Trio from the Trio di Trieste, and two important quartets–Brahms in C minor and Schubert in A minor–played by the Vegh Quartet. A complete recording of Debussy's <hi rend="i" TEIform="hi">Pelleas et Melisande</hi> on four discs is fully worthy of so important an undertaking.</p>
<closer rend="right" TEIform="closer"><signed TEIform="signed"><hi rend="lsc" TEIform="hi"><name key="name-400215" type="person" TEIform="name">John Gray</name></hi></signed></closer>
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