Part 12

The Eiffel Tower having proved one of the most striking features of the great Paris Exhibition, and of itself a novelty sufficient to attract visitors to the spot, and having, long before the Exhibition closed, completely defrayed the expense of its construction, with a handsome profit besides, its success has naturally provoked similar enterprises,—as, for instance, at Blackpool, a seaside resort in Lancashire, there has been erected an openwork metal tower, resembling the Paris structure, but of far less altitude.

_Tall Buildings in American Cities._

In several of the great cities of the United States, the last few years have witnessed a novel and characteristic development of the use of iron in architecture. In many structures on the older continent, this material has been frankly and effectively employed, forming the obvious framework of the erection, even when the leading motive was quite other than a display of engineering skill. The Crystal Palace at Sydenham and other erections have been referred to, in which iron has taken its place as the main component of structures designed more or less to fulfil æsthetic requirements: the guiding principle in “tall office buildings” in the cities of the Western continent is, on the contrary, avowedly utilitarian. Iron has, of course, long been used in the form of pillars, beams, etc., in ordinary buildings, and it is only the extraordinary extension of this employment of it, after the lift or elevator had been perfected, and the ground-space in great commercial centres was daily becoming more valuable, that has led to the erection of structures of the “sky-scraper” class in American cities. For a given plot at a stated rent, a building of many stories, let throughout as offices, will obviously bring to its owner a greater return than one of few stories. The elevators now make a tenth story practically as accessible as a third storey, and the tall building readily fills with tenants. No claim for artistic beauty has been advanced for these structures, which aim simply at being places of business, and if provision be made for sufficient floor-space and daylight, and for artificial lighting, heating, and ventilation, together with the ordinary conveniences of modern life, and ready elevator service, nothing more is required by the utilitarian spirit, that seeks only facilities for money-getting. These tall buildings are usually erected on plots disproportionately small, and the architectural effect is apt to be bizarre and incongruous, especially when the structure shoots up skyward in some comparatively narrow street amid more modest surroundings. They are really engineering structures, but invested with features belonging to edifices of quite another order of construction. If they are necessities of the place and period, and are “come to stay,” it cannot be doubted but that decoration of an appropriate and harmonious character will, in course of time, be evolved along with them, when the conventionality that clings to architecture shall be broken through, and a new style appear, as consistent, and therefore as beautiful, in relation to the “tall office building,” as were those of the Greek temple and the Gothic minster in their free and natural adaptation.

Here, apparently, is the opportunity for the advent of a new and characteristic style. There is great ingenuity displayed in the arrangement and internal finish of these buildings. But besides the somewhat novel application of iron, the most notable circumstances regarding them are the tendency to make them of greater and greater height, and the wonderfully short time in which, upon occasion, they can be run up. Chicago has recently been noted for its tall edifices, among which may be named _The Reliance Building_, erected upon a site only 55 feet in breadth, but rising in fourteen stories to the height of 200 feet, and presenting the appearance of a tower. There are no cast iron pillars, but the whole metal framework is of rolled steel, the columns consisting of eight angle-sections, bolted together in two-story lengths, adjoining columns breaking joint at each floor, and braced together with plate girders, 24 inches deep, bolted to the face of the columns, with which they form a rigid connection. Externally, the edifice shows nothing but white enamelled terra-cotta and plate glass. This building was originally a strongly-built structure of five stories, the lower one being occupied as a bank. The foundations and the first story were taken out, and prepared for the lofty edifice, the superstructure being the while supported on screws. Then the three upper stories were taken down, and the building was continued from the second story, which was filled with tenants while the building was in course of erection above.

Still more lofty edifices have been going skyward in other places. Already in New York there are a great number of lofty piles due to the introduction of the lifts or elevators, by which an office on the tenth floor is made as convenient as one on the second. These buildings usually receive the name of the owners of the structure, who occupy, perhaps, only one floor. To mention only a few. There is the American Tract Society building, with its twenty-three stories, 285 feet high, which is one of the latest and handsomest of these tall piles in the city. See Plate IV. Still loftier is the St. Paul building, fronting the New York Post-Office at the junction of Park Row and Broadway. This structure is splayed at the angle between Ann Street and Broadway, where its width is 39½ feet, while its _loftiest_ part has frontages of about 30 feet along each of these thoroughfares. The height is no less than 313 feet above the pavement, and the number of stories is twenty-five. This building is faced with light yellow limestone, and although it was commenced only in the summer of 1895, it was expected to be ready for occupation by the autumn of 1896. Even this great height is overtopped by the Manhattan Life Insurance Company’s building, rising 330 feet, and remarkable as perhaps beyond previous record of quickness in building a gigantic structure. Obviously, the foundations of such a building must be most seriously considered, prepared and tested, before the great bulk of the building is begun, and in the _New York Engineering Magazine_ one of the architects has given a full account, with complete illustrations, of all the works, from the rock foundation to the completed edifice. A description of the foundation work, though most interesting for the professional engineer, would probably have little attraction for the general reader; but its importance may be inferred from the fact of its having taken nearly six months for its completion, while the huge superstructure required only eight months. The eighteenth tier of beams was reached in “three months from the time the foundations were ready on which to set the first piece of steel, composing the bolsters that support the cantilever system.... The substructure, which starts in bed-rock and continues to the cellar-floor, consists of fifteen piers, varying in size from 9 feet in diameter, to 21 feet 6 inches by 25 feet square.... The number of bricks used in the piers amounted to 1,500,000. From this it may be seen that a good-sized building was sunk out of sight before any part of the superstructure could be begun.” An open court within the main structure, special framing for the arrangements of the company’s offices on the sixth floor, the great height and weight of the tower, and the requisite provision for wind-bracing, delayed in some degree a regular advance of the stories; but within three months no less than 5,800 tons were placed in position. There were girders weighing 40 tons, many columns of 10 and 12 tons, and cantilevers of 80 tons weight and 67 feet long. Strange to say, that in a building of this magnitude, where such masses had to be raised 300 feet into the air, there was not a single accident involving loss of life. When four stories of the steel framework had been put up, the bricklayers were set to work, and they followed the frame-setters throughout. After the masons came the pipe-layers, with their ten miles of pipes, followed by electricians, fixing their thirty-five miles of communicating wires. Thirty thousand cubic feet of stone was cut and set on the Broadway front in eighty days. Then craftsmen of the different trades followed each other, or worked in harmony together, story after story upwards: the engineers for boilers, heating, and elevators, the plumbers, the decorators, the carpenters and cabinet-makers, the plasterers, the marble and tile workers, the gasmen, etc. In fine, every story was completely finished and ready for occupation in eight months after the start from the foundations.

The shortness of the time in which these lofty buildings were run up is not less remarkable than the completeness of their fittings, which comprise everything requisite for communication within the premises and in connection with the outer world. The elevators or lifts are the perfection of mechanism in their way, and act with wonderful smoothness and regularity; of these are usually two at least, as well as an ample staircase. Notwithstanding all these appliances, some disastrous and fatal conflagrations have occurred at buildings erected on the “tall” principle; and as “business premises” of even 380 feet high are projected, the authorities have been considering the desirability of restricting the heights. It has been proposed that offices should not exceed in height 200 feet; hotels, 150 feet; and private houses, 75 feet.

_BIG WHEELS._

The Paris example of an engineering feat upon an unprecedented scale having proved sufficiently captivating for the general public to ensure for itself a great commercial success, even amid the attractions of an International Exhibition, was not lost upon the enterprising people of the States when the “World’s Fair” at Chicago was in preparation in 1893. It was then that Mr. G. W. G. Ferris, the head of a firm of bridge constructors at Pittsburg, conceived the idea of applying his engineering skill to the erection of a huge wheel, revolving in a vertical plane, with cars for persons to sit in, constituting, in fact, an enormous “merry-go-round,” as the machine once so common at country fairs was called. The novelty of the Chicago erection was, therefore, not the general idea, but the magnitude of the scale, which, for that reason, involved the application of the highest engineering skill, and the solution of hitherto unattempted practical problems. Several thousand pounds were, in fact, expended on merely preliminary plans and designs. The great wheel at Chicago was 250 feet in diameter, and to its periphery were hung thirty-six carriages, each seating forty persons. At each revolution, therefore, 1,440 people would be raised in the air to the height of 250 feet, and from that elevation afforded a splendid prospect, besides an experience of the peculiar sensation like that of being in a balloon, when the spectator has no perception of his own motion, but the objects beneath appear to have the contrary movement, that is to say, they seem to be sinking when he is rising, and _vice versâ_. The axle of the Chicago wheel was a solid cylinder, 32 inches in diameter and 45 feet long; on this were two hubs, 16 feet in diameter, to which were attached spoke rods, 2½ inches in diameter, passing in pairs to an inner crown, which was concentric with the outer rim, but 40 feet within it. The inner and outer crowns were connected together, and the former joined to the crown of the twin wheel by an elaborate system of trusses and ties, which, however, left an open space between the rims of 20 feet from the outside. These last were formed of curved riveted hollow beams, in section 25½ inches by 19 inches, and between them, slung upon iron axles through the roofs, were suspended, at equal intervals, the thirty-six carriages, each 27 feet long, and weighing 13 tons without its passengers, who added 3 tons more to the weight. The wheel with its passengers was calculated to weigh about 1,200 tons, and it rested on two pyramidal skeleton towers of ironwork 140 feet high, having bases 50 feet by 60 feet. The wheel was moved by power applied at the lowest point, the peripheries of both the rims having great cogs 6 inches deep and 18 inches apart, which engaged a pair of large cog-wheels, carried on a shaft 12 inches in diameter.

This curious structure was not begun until March, 1893, yet it was set in motion three months afterwards, having cost about £62,500. The Company had to hand over to the Exhibition one half of the receipts after the big wheel had paid for its construction, but even then they realised a handsome profit, and at the close of the World’s Fair, they sold the machine for four-thirds of its cost, in order that it might be re-erected at Coney Island.

No sooner had the great Ferris wheel at Chicago proved a financial success than an American gentleman, Lieutenant Graydon, secured a patent for a like machine in the United Kingdom; and as it has now become almost a matter of course that some iron or steel structure, surpassing everything before attempted, should form a part of each great exhibition, a Company was at once formed in London, under the title of “The Gigantic Wheel and Recreation Towers Co., Limited,” to construct and work at the Earl’s Court Oriental Exhibition of 1895, a great wheel, similar in general form to that of Chicago. But the design of the London wheel had some new features, as will be seen from the sketches, Fig. 26_c_ (from _The Engineer_ of 20th April, 1894), and, moreover, having been planned of larger dimensions than its American prototype, presented additional engineering problems of no small complexity. After due deliberation the scheme of the work was entrusted to Mr. Walter B. Basset, a talented young engineer, connected with the firm of Messrs. Maudslay, Sons, & Field, and already experienced in designing iron structures. Under this gentleman, with the assistance of Mr. J. J. Webster in carrying out some of the details, the work has been so successfully accomplished that the “Great Wheel” of 1895 may be cited as one of the crowning mechanical triumphs of the nineteenth century. The original design has not been followed so far as regards the lower platforms for refreshment rooms, &c. Plate V., for which we are indebted to Mr. Basset, is a photographic representation of the actual structure.

The wheel at Earl’s Court exceeds the Ferris wheel in diameter by 50 feet, being 300 feet across. It is supported on two towers, 175 feet high, each formed by four columns 4 feet square, built of steel plates with internal diaphragms, and surmounted by balconies that may be ascended in elevators raised by a weight of water, which, after having been discharged into a reservoir under the ground level, is again pumped up to the top of the towers. Between the balconies on each tower there is also a communication _through the axle_ of the wheel, which, instead of being solid as at Chicago, is a tube of 7 feet diameter, and 35 feet long, made in sections, riveted together, of steel 1 inch thick, and weighing no less than 58 tons. The raising and fixing in its high place of such a mass of metal required specially ingenious devices, which have been greatly appreciated by professional engineers. But for these devices, the erection of scaffolding in the ordinary way of proceeding would have entailed an outlay simply enormous. The axle is stiffened by projecting rings, and, between pairs of these, the spoke rods are attached by pins 3 inches in diameter. The axle was the production of Messrs. Maudslay, Field & Co.; all the rest of the metal work was made at the Arrol Works at Glasgow, and the carriages were constructed by Brown, Marshall & Co., of Birmingham. The Earl’s Court wheel is turned by a mechanism different from that of the Chicago wheel, for whereas the latter was provided with cogs, the former has two chains, each 1,000 feet long and 8 tons weight, surrounding the periphery of the wheel on either side. The chains go over drums in the engine-shed, from which they pass underground to guide-pulleys, and as they unwind from the Great Wheel, they again go over guide-pulleys to lead them back to the drums. These chains are firmly held throughout in the jaws of V-shaped grooves, and there are arrangements for taking up the slack. The drums are actuated by wheel gearing, connected with two horizontal Robey steam engines, each of 50 horse-power, one on either side, capable of being worked singly or together. It is, however, found sufficient to use the engine of one side only, and even then to work it at but 16 horse-power, and the operation can be controlled by one man, who has also the command of a brake. Both starting and stopping are accomplished with the greatest smoothness and absence of strain or jar. There are forty carriages, each 25 feet long, 9 feet wide, and 10 feet high. Each will accommodate forty passengers, and these enter at the ends from eight platforms at different heights from the ground, so arranged as to be on the level of the eight lowest carriages while the wheel is stationary. The passengers who have had their ride leave at the other end of the carriages by eight similar platforms on the other side of the wheel. After the change of passengers in one set of eight carriages, the wheel is turned through exactly one-fifth of a revolution, which has the effect of bringing the next eight carriages to the level of the platforms, and it is again brought to a standstill whilst the change of passengers is taking place; and so on, until the whole freight of say 1,600 persons has been changed during the five stoppages in one revolution, for which about thirty-five minutes are required, and the process of emptying and filling eight carriages at once is repeated. There are first and second class carriages, the charge for the former being two shillings, and for the latter one shilling; so that, reckoning 800 passengers of each class, one turn would bring to the treasury the handsome sum of £120.

The sensations experienced in a journey on the Great Wheel are, as already mentioned, comparable to those enjoyed by the aërial voyagers in a balloon, where all perception of proper motion is lost, and it is the world beneath that seems to recede and float away, presenting the while a strangely changing panorama. Many people who have never made a balloon ascent yet know the calm delight of floating in a boat without effort down some placid stream, unconscious of any motion beyond that vaguely inferred from the silent apparent gliding by of the banks. Very similar are, in part, the feelings of the passenger who is almost imperceptibly carried up into the air in a carriage of the Great Wheel, but the vertical direction of the movement, and the gradual expansion of the horizon as the vertex is approached, lend an unwonted novelty to the situation. From the Earl’s Court Wheel the view is both interesting and extensive, for on a clear day the prospect stretches as far as the Royal Castle of Windsor.

The “Gigantic Wheel” at Earl’s Court was inaugurated on the 11th July, 1895, in the presence of an assemblage of 5,000 people, including many distinguished personages, who were all treated to a ride. Plate I. shows a portion of the wheel and carriages as in motion.

TOOLS.

Of the immense variety of tools and mechanical contrivances employed in modern times, by far the greatest number are designed to impart to certain materials some definite shape. The brickmaker’s mould, the joiner’s plane, the stonemason’s chisel, the potter’s wheel, are examples of simple tools. More elaborate are the coining press, the machine for planing iron, the drilling machine, the turning lathe, the rolling mill, the Jacquard loom. But all such tools and machines have one principle in common—a principle which casual observers may easily overlook, but one which is of the highest importance, as its application constitutes the very essence of the modern process of _manufacture_ as distinguished from the slow and laborious mode of making things by hand. The principle will be easily understood by a single example. Let it be required to draw straight lines across a sheet of paper. Few persons can take a pen or pencil, and do this with even an approach to accuracy, and at best they can do it but slowly and imperfectly. But with the aid of a ruler any number of straight lines may be drawn rapidly and surely. The former case is an instance of _making_ by hand, the latter represents _manufacturing_, the ruler being the tool or machine. Let it be observed that the ruler has in itself the kind of form required—that is to say, straightness—and that in using it we copy or transfer this straightness to the mark made on the paper. This is a simple example of the _copying principle_, which is so widely applied in machines for manufacturing; for, in all of these, materials are shaped or moulded by various contrivances, so as to reproduce certain definite forms, which are in some way contained within the machine itself. This will be distinctly seen in the tools which are about to be described.