The architecture of the central group of palaces and courts is a notable
departure from that of most of the expositions of the past. There are
none of the over decorated facades, none of the bizarre experiments in
radical styles, and little of the riot of extraneous ornament, that have
been characteristic of typical "exposition architecture." The whole
spirit here is one of seriousness, of dignity, of permanency. The
effects are obtained by the use of long unbroken lines, blank wall
spaces, perfect proportioning, and a restrained hand in decoration.
Color alone is relied upon to add the spirit of gayety without which the
architecture might be too somber for its joyous purpose.
The ground plan is remarkable for its perfect symmetry. On the main east
and west axis are grouped eight palaces, about three interior courts. At
the east end the axis is terminated by the Palace of Machinery, which
cuts off the main group from the Zone. On the west the axis is
terminated by the Fine Arts Palace, which separates the central group
from the state and foreign buildings. The main cross axis is terminated
at the south by the Tower of Jewels and the Fountain of Energy, and at
the north by the Column of Progress on the Marina. The two minor cross
axes end at the south in the Horticulture Palace and Festival Hall-the
two great domed structures that naturally would separate themselves from
the main plan and at the north these axes open on the Marina and the
beautiful bay view.
This plan is admirably compact. It has the effect of a walled city,
giving a sense of oneness from without, and a sense of shelter from
within. The plan eliminated the usual great distances between exhibit
halls, at the same time providing protection against the winds that
occasionally sweep over the Exposition area. More important still, the
throwing of the finer architectural effects into the inner courts
allowed freedom in individual expression. In the court system the
architects obtained unity with great variety of style, and harmony
without monotony.
The plan was worked out by a commission of architects. But the greatest
credit must be given to Edward H. Bennett, who first conceived the
walled-city idea, and who brought his long experience in city-planning
to serve in determining the best method of utilizing the magnificent
site.
The style of architecture cannot be summed up in any one name.
Practically every historic style has been drawn upon, but there are very
few direct copies from older buildings. The old forms have been used
with new freedom, and occasionally with very marked originality. As one
looks down on the whole group of buildings, the Oriental feeling
dominates, due to the many Byzantine domes. In the courts and facades
the Renaissance influence is strongest, usually Italian, occasionally
Spanish. Even where the classic Greek and Roman elements are used, there
is generally a feeling of Renaissance freedom in the decoration. One
court is in a wonderful new sort of Spanish Gothic, perfectly befitting
California. In the styles of architecture, as in the symbolism of
painting and sculpture and in the exhibits, one feels that the East and
West have met, with a new fusion of national ideals and forms.
The material used in the buildings is a composition, partaking of the
nature of both plaster and concrete, made in imitation of Travertine, a
much-prized building marble of Italy. This composition has the warm
ochre tone and porous texture of the original stone, thus avoiding the
unpleasant smoothness and glare which characterize stucco, the usual
Exposition material.