Ernest Flagg Quotes

A Greek architect of the great epoch would no more have thought of omitting the mark of the harmonic scale of proportion, on which the design was based, than would the composer of music think of omitting the harmonic scale of his composition.

We here have... an architectural discovery which may prove of inestimable value to future art. ...Like fire, it is a good servant but a bad master. The danger is that it may lead to a cramped and mechanical design. One may easily become a slave to the module, and do things because of it which his taste or reason would not otherwise commend. ...How can the danger be avoided and the benefits secured?

As in poetry and music, even the unskilled ear may be offended by a mistake in measure, without discerning the cause, may not also a mistake in the harmony of dimensions unconsciously offend us in design?

When, in architecture, one uses a fixed unit and combinations of it, to produce harmony, the effect should be most striking and apparent... as it is in music by the measured beat and in poetry by the cadence and rhythm.

Certain combinations of dimensions produce harmonious results, but since the time of the ancient Greeks no system of design, consistently base on that knowledge, has been formulated.

For more than two thousand years architectural design by the use of a modulus, except in the case of the classic orders, had been a lost art.

It was only within comparatively recent times that several refinements in Greek architecture... such as the slight entasis of the columns, the greater size of the corner columns, and the convex curve of the stylobate were discovered.

To the Greek harmony was of supreme importance, and if the triglyphs represented the harmonic scale... their meaning and use is abundantly explained. ...The universal admiration which Greek proportions have always excited proves that the method of obtaining them was correct.

The Greeks designed by a modulus of fixed measure, and that modulus, for the Doric order, was the distance between centers of the triglyphs. ...The triglyphs stand in the frieze, at the corners of the building and at regular intervals at all sides of it; between then are panels, called metopæ, which are always square. The distance between the triglyphs, therefore, determines the height of the frieze. The height of the frieze determines that of the architrave, which is the same. The distance between the triglyphs also determines the spacing of the columns, for except at the corners of the building the center of each column coincides with that of every second triglyph. Upon the spacing of the triglyphs, therefore, depend absolutely the proportions of plan and order. That spacing constitutes a fixed modulus for the entire design which never varies in its application and is, in fact, the harmonic scale of the monument.

Greek art was extremely simple and direct; both in design and construction the Greek mind abhorred complicaton.

The system of building, described in this work, is intended for repetition. It would hardly pay to adopt it in its entirety for a single house if the matter were to end there. Where the processes and apparatus is used, over and over again, great economy should result; but for a single building, the trouble and expense of introducing so many new or unusual features and methods, might well offset the benefits which should accrue under more favorable conditions. Standardization both of parts and workmanship plays a great part in the economies obtained and standardization implies quantity.

Why can there not be a new art founded on the only principle which can produce great art—the principle that art is the interpretation or extraction of the essence of beauty in nature, and all else is secondary?

When the true principles of design are forgotten; when, in art, the bizarre and novel is the aim rather than the beautiful; when complication and mystery take the place of what should be as simple and clear as the atmosphere, design runs amuck, and becomes so helplessly involved in difficulties that such manifestations as cubism, impressionism, futurism, and art nouveau shoe their ugly heads and pose as art.

The best art, and the only art which will ever lead to great results, must have for its basis the interpretation of beauty in nature.

5th. Savings by the use of more economical devices, materials, and methods: (a) in the matter of roof-covering... (b) in heating and plumbing drainage... (c) in hardware... (d) in use of tiling... (e) in the use of cement... (f) in the matter of damp-proofing... (g) in the method of flashing... (h) in the preparation of floors for tiling... (i)in the construction of bearing partitions... (j) in the arrangement of screens and shades... (k) in the avoidance of excavation and grading by adapting the building to the conformation of the land... (l) in the more economical use of land by the European method of placing the buildings at the side of the road... (m) in furring... and (n) in the standardization of methods by which the work of construction becomes simply a matter of routine in which each mechanic can perform his part without special direction.