File:The San Diego garden fair; personal impressions of the architecture, sculpture, horticulture, color scheme and other aesthetic aspects of the Panama California International Exposition (1916) (14770453461).jpg

Identifier: sandiegogardenfa00neuh (find matches)
Title: The San Diego garden fair; personal impressions of the architecture, sculpture, horticulture, color scheme & other aesthetic aspects of the Panama California International Exposition
Year: 1916 (1910s)
Authors: Neuhaus, Karl Eugen, 1879-
Subjects: Panama-California International Exposition (1916 : San Diego, Calif.)
Publisher: San Francisco, P. Elder and Company
Contributing Library: The Library of Congress
Digitizing Sponsor: The Library of Congress

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on. Thereasons for this change are purely aesthetic, sincenobody cares to be introduced into the circle ofa charming family by way of the kitchen andutility end of the house. On the east are all theutility features — Fire House, Hospital, Res-taurant — while on the west an ideal and unob-structed approach invites a generous andcomprehensive view of the great Spanish walledcity on the hills. It shows how aesthetic reasonswill sometimes conquer practical ones, even ina country universally defamed as a land of soberrealists. The sumptuous proportions, the proud dignityof the bridge, encourage great expectations, andone is not disappointed. While admiration isaroused for the engineering skill which made thisbridge possible, the thought persists that thereal architect of this colossal concrete viaductwas a much higher power than the official engi-neer. The one who raised the mountains, whodictates the course of streams, and who governsthe cosmic all — he it was who separated the (26)
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NIGHTSHADE GROWING ON THE ARCADE THE BUILDINGS two ridges which are connected by this typicapiece of American concrete engineering. Itsmost impressive feature, after all, is its size,since neither engineer nor architect nor evendecorative designer ever endowed this bridgewith anything but its mere constructive charm.This ought to be entirely enough, and anyaesthetic appeal made by mere constructive formis far more lasting and impressive than thesuperimposed beauty of architectural ornamen-tation. However, in the case of the PuenteCabrillo it does not seem quite enough, particu-larly after retracing ones steps from theornateness of the Exposition proper to whichthe bridge leads. I feel the engineer shouldhave yielded his work to the architecturaldesigner, who might have enlivened the some-what cold and untemperamental viaduct in morethan one way without disturbing its big feeling.From below the top seems unfinished — noevidence of a raihng or perforation of the edgeby means of a balu

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