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Updated: June 5, 2025
This impressive unit faces the rising sun with its colorful facade. The plan of this composite structure suggests the Star and Crescent of Mohammed. The architecture shows a free interpretation of early Roman forms. It is, in fact, a purely romantic conception by Architect Maybeck, entirely free from traditional worship or obedience to scholastic precedent.
In sympathy with the atmospheric influence of such a vista, Bernard R. Maybeck, the architect, continues the thought of the preceding page: "To make a Fine Arts composition that will fit this modified melancholy, we must use those forms in architecture and gardening that will affect the emotions in such a way as to produce on the individual the same modified sadness as the galleries do.
And how richly McLaren has planted the lagoon. He has given just the luxuriance that Maybeck wanted." The Western Wall We turned to get the effect of the western wall looking out on this magnificence. "Faville has done some of his finest work there. All over the Exposition he has expressed himself; but as his name is not connected with one of the great courts we don't hear it very much.
The Boecklin painting merely suggested the general scope of the work, and the chariot race gave the hint for that colonnade, which Maybeck had made so original and graceful by the use of the urns on top of groups of columns with the figure of a woman at each corner. He had used that somewhat eccentric scheme on account of its pictorial charm.
Consummate skill in planning the entire architectural ensemble gave it a commanding position, at the extreme west of the group of exhibit palaces. The architect, Bernard. R. Maybeck of San Francisco, found as an asset on beginning his work, a small natural lake and a fine group of Monterey cypress.
The architect reminded me of the clever planning that had placed this magnificent conception in so commanding a position, looking down into the courts, on what he called "the main axis." "It's the vision of a painter who is also a poet, worked out in terms of architecture. Maybeck planned it all, even to the details.
Maybeck has demonstrated once again that his talent is equal to any task in the field of architectural art. I wish we had more of his rare kind and more people to do justice to his genius. Not far from the Palace of Fine Arts, on the shores of the bay, the monumental tower of the California building fits well into the scheme of things.
People had wondered what McLaren had meant to indicate by the high hedges he had made over there with his dew plant. He had merely carried out the designs put into his hands. Maybeck had intended the hedge to be used as a background for willow trees that were to run up as high as the frieze, in this way gaining depth. Through those trees the rotunda was to be glimpsed.
That gave not only growing trees, in addition to the resources of the Exposition's forestry, but also a real sheet of water, for the landscape. Maybeck surprised me by saying that there is nothing specially remarkable about the Palace itself. "What is it the people like?" he asked, and himself replied, "it is the water and the trees."
It needs but a glance at its beguiling loveliness to know that here is another lesson in art and architecture by Bernard Maybeck. Here again is poetry in architecture, of a different order from the noble theme of Maybeck's Fine Arts Palace, but none the less poetry.
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