The ArchitectsMeanwhile, President Moore asked for a meeting of the San Francisco Chapter of the American Institute of Architects, with more than 250members.He explained that his purpose was to have them, select twelve representatives from whom he should himself appoint five to act as an architectural board.When the board was formed with Willis Polk at its head, it included John Galen Howard, Albert Pissis, William Curlett, and Clarence R.Ward.This board was dissolved and an executive council composed of Polk, Ward and W.B.Faville was put in charge.Later it gave way to a commission consisting of W.B.Faville, Arthur Brown, George W.Kelham, Louis Christian Mullgardt, and Clarence R.Ward, of San Francisco; Robert Farquhar, of Los Angeles; Carrere & Hastings, McKim, Mead & White, and Henry Bacon, of New York, When it had completed the preliminary plans the board discontinued its meetings and G.W.
Kelham was appointed Chief of Architecture.
The Block PlanAt the first meeting President Moore explained that, at the St.Louis Exposition, according to wide-expressed opinions, the buildings had been too far apart.He favored maximum of space with minimum of distance.The architects first considered the conditions they had to meet, climate and physical surroundings.They were mainly influenced by wind, cold and rain.
The result was that for the Protection of visitors, they agreed to follow what was later to be generally known, as the block plan, the buildings arranged in, four blocks, joined by covered corridors and surrounded by a wall, with three central courts and two half-courts in the south wall.It had been developed in many talks among the architects.Valuable suggestions came from Willis Polk and from E.H.
Bennett, of Chicago, active in the earlier consultations.The plan finally accepted was the joint work of the entire commission.
Twelve buildings were put under contract, each designed to illustrate an epoch of architecture, ranging from the severity of the early classic to the ornate French renaissance of to-day.
The ArchitectureFrom the start it was realized that, vast as the Exposition was to be, representing styles of architecture almost sensationally different, it must nevertheless suggest that it was all of a piece.The relation of San Francisco to the Orient provided the clue.It was fitting that on the shores of San Francisco Bay, where ships to and from the Orient were continually plying, there should rise an Oriental city.The idea had a special appeal in providing a reason for extensive color effects.The bay, in spite of the California sunshine, somewhat bleak, needed to be helped out with color.The use of color by the Orientals had abundantly justified itself as an integral part of architecture.The Greeks and the Romans had accepted it and applied it even in their statuary.It was, moreover, associated with those Spanish and Mexican buildings characteristic of the early days of California history.
The General ArrangementThe general arrangement of the Exposition presented no great difficulties.The lay of the land helped.Interest, of course, had to center in the palaces and the Festival Hall, with their opportunities for architectural display.They naturally took the middle ground.And, of course, they had to be near the State buildings and the foreign pavilions.The amusement concessions, it was felt, ought to be in a district by themselves, at one end.Equally sequestered should be the livestock exhibit and the aviation field and the race track, which were properly placed at the opposite end.There would undoubtedly be many visitors concerned chiefly, if not wholly, with the central buildings.
If they chose, they could visit this section without going near the other sections, carrying away in their minds memories of a city ideal in outline and in coloring.
ConstructionAs soon as the plans were decided on, the architects divided the work and separated.Those who had come from a distance went home and in a few months submitted their designs in detail.A few months later they returned to San Francisco and the meetings of the architectural board were resumed.Soon the modifications were made and the practical construction was ready to begin.Incidentally there were compromises and heartburnings.But limitations of funds had to be considered.Finally came the question of the tower, giving what the architects called "the big accent." There were those who favored the north side for the location.Others favored the south side.After considerable discussion the south side was chosen.At one of the meetings, Thomas Hastings did quick work with his pencil, outlining his idea of what the tower should be.Later, he submitted an elaborate plan.It was rejected.A second plan was rejected, too.The third was accepted.It cost five hundred thousand dollars.
Designs for two magnificent gateways, to be erected at the approaches to the Court of the Ages and the Court of the Four Seasons were considered.
They had to be given up to save expense.
Clearing The LandThe task of clearing the land was finished in a few months.In addition to the government reserve, the Exposition had seventy-six city blocks.
They represented two hundred parcels of land, with 175 owners, and contained four hundred dwellings, barns and improvements.Most of the buildings were torn down.A few were used elsewhere.Precautions were taken to re-enforce with piles the foundations of the buildings and of the heavy exhibits.
