Architect and engineer . ng the mostattractive design, that sways him many times unconsciously to designwhat he thinks is more beautiful instead of what is most practical. It is like an av\tomobile builder saying he could design a more at-tractive car if he could put the radiator in the rear or the steering wheelin the steerage, but when he really has the subject under control he findsthat obstreperous points blend into one another, or of necessity must bea certain way and he works out a system adapted to fit them. There are many examples of this blending of technical requirementsinto a perfec
Architect and engineer . ng the mostattractive design, that sways him many times unconsciously to designwhat he thinks is more beautiful instead of what is most practical. It is like an av\tomobile builder saying he could design a more at-tractive car if he could put the radiator in the rear or the steering wheelin the steerage, but when he really has the subject under control he findsthat obstreperous points blend into one another, or of necessity must bea certain way and he works out a system adapted to fit them. There are many examples of this blending of technical requirementsinto a perfect harmony in late theatres, notably Keiths Theatre in Syra-cuse, New York; The Strand in New York City, and in an entirely differ-ent style, in Graumans, Los Angeles, or even in a less degree in theRialto and Capital Theatres in New York City. wmdi- , W^^^ u4SSs , BHHtM^ \ - \ ?? ??? ,:-,»s«^^*** ;«• Balcony, State Lake Theatre, Chicago C. W. & Geo. L. Rapp and G. Albert Lansburgh, Associate Architects. Childrens Playroom and NurseryState Lake Theatre, Chicago 78 THE ARCHITECT AND ENGINEER The architect must be complete master of the entire subject to satis-factorily swing the whole interior into a peaceful, flowing, harmoniouscomposition without sacrificing a single detail considered necessary tothe most practical operation of the theatre itself. While this degree of perfection has been attained in certain theatresthroughout the country, over more or less areas in the buildings, it isvery seldom that this is true of the entire plant. The Strand Theatre in New York City is a most perfect example ofharmonious blending of curves, uniting or rather making, the ornamenta-tion fit the requirements of space available. But this applies wholly tothe front of the house—the auditorium, promenade, lobby, etc.—andnot the space back of the proscenium, and to the whole to meet all therequirements of a motion picture theatre exclusively. This house islocated on what is probably the m
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