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First, the value of true architecture lies in the direct effect of the structure itself. It depends on many reasons. One of them is a drawing. Drawings are works of architecture. An architect uses drawings to achieve his objective. In fact, drawings can represent buildings only on paper. It is called "paper architecture". We mean the result of architect's thinking of drawings. But, there is a danger of "paper architecture". The architect mustn't forget that many elements which look well on a drawing may be either completely ineffective or definitely harmful in the actual building. For example, it is electric architecture. Electric buildings are full of decorative elements which look well on the drawing. Perhaps even seem necessary on the drawing. But in the actual buildings they are completely meaningless. An architect is able to see variations of a plan, of color and a shade. Each of these variations is due to the effects of light on the building materials employed. The architect must always study each detail from the viewpoints of both use and appearance as well as from that of construction. He must not see it as an isolated detail but as an individual note in a great composition. A work of an architect exists only when it stands a complete, concrete object for all to see or to use.

The architect must project an integration of the whole in order to create a work of architecture. He must remember about the

architect's alphabet. Knowledge of this alphabet is as essential to him as knowledge of words to the writer or of notes to the musician. The letters of the architect's alphabet are such elements as walls and openings, supports and ceilings, enclosed areas or rooms. We enter the building and our attention meets the same complexity of elements. They are doors to allow ingress and egress; windows to admit light and air; walls for shelter or support; roofs to keep out the rain, snow, cold, and sometimes sun. A partition separates space from space. There may be stairs, escalators, or elevators to allow progress from level to level and halls or corridors to permit easy circulators from part to part. Finally there may be all sorts of interior spaces for definite human activities — rooms both public and private — to take care of the varying functions of human living. No building can exist without some of them.

Any true architectural design is no mere fantasy, no unreal dream. It contemplates an actual building. There must be adequate structure for a building to exist. Then we observe the physical structure of a building outside. Next, "strength" becomes the second necessity for the construction. A true construction must stand up solidly.

Finally, mankind has always realized that buildings to be complete must have not only "convenience" and "strength", but also "beauty". Some people think that architecture is not a fine art at all. For such people the world of fine arts is something entirely set apart from ordinary living and that its single purpose should be satisfying of physical necessities. At the same time architecture is a matter of pictures or sculpture, poems or music. The architect has the task of being an artist as well as an inventive engineer. The expression of the purpose of buildings would seem to call for additional thought on this point. The emotions are evoked by beauty. It may be theaters, churches, dwellings and buildings, which always differ from one another. Yet a separate consideration of an individual building is a very real artificial sense.