Monday, January 14, 2013

Wacker Drive -- Getting Started

Wacker Drive, on the right of the photo, running along the south side of the Chicago River, was formally
begun on January after a meeting at City Hall (JWB Photo)

“Full speed ahead on the widening and double decking of South Water street at a cost of $20,000,000, a project which it is contended will ultimately mean as much to Chicago as the $16,000,00 boulevard link improvement has meant,” was what The Chicago Tribune offered as its lead story on this date in 1922.  The day before Mayor “Big Bill” Thompson ordered that the plan, initially presented to the public in 1917 by the Chicago Plan commission at an official luncheon at the Hotel Sherman, be started.

Just a few days ago I mentioned that in the first week of 1910 the Chicago Plan was officially introduced at a gala event at the Congress Hotel.  Find that discussion here.  The massive transformation of South Water Street from bedlam to the smooth and sleek double decks of today’s Wacker Drive, the beginning of which was outlined in The Tribune article on this day in 1922, was a direct result of that Chicago Plan.

Wacker Drive and its slowly expanding river
walk are today attractions that delight visitors to the
city as well as Chicagoans themselves.  (JWB Photo)
Excitement abounded and the city was raring to get started when the new plans were approved in 1917.  Charles H. Wacker, chairman of the Chicago Plan commission, reckoned that when the plan was finished the new street would be “second only to Michigan boulevard as a show place in Chicago and at the same time will reduce the traffic complications of the city in the rush hours by at least 16 per cent.”

The report of the Plan commission gave three recommendations that would “change the street into a fine highway of tremendous economic value in Chicago.”

First, “To convert into street space all of the property between the river and South Water street from State street to Market street (today's South Wacker Drive).”

Second, “To double deck the street at the height of the bridges, using the upper level for light and the lower for heavy traffic; connecting the Illinois Central freight and the lake front warehouse and manufacturing districts with the west side railway and industrial zone.”

Finally, “To utilize the lower level for water and rail freight transfer and team track facilities, made possible by river lighterage or as a public parking space for automobiles.”

The plans for the project were prepared by Edward H. Bennett, a principal contributor to the original Plan of 1909 and the designer of the Michigan Avenue bridge, finished in 1920.  The transportation and traffic plans were assembled by Henry A. Goetz.  Both men worked under the direction of Mr. Wacker and the project’s managing director, Walter D. Moody.  The plans were reviewed and endorsed by John F. Wallace, chairman of the railway terminal commission and the city’s engineers, John Ericson and C. D. Hill.

So everyone was on board.  A Tribune editorial on November 25, 1917 praised the ambitious plan, saying that it would “not only be a long step forward in the great work which the commission has mapped out for both the beautification and material betterment of the city, but also as a concrete real estate proposition it would be a boon to the entire north end of the downtown district.”

Depiction of what the plan for the new drive might look like, as
depicted in the November 25, 1917 Chicago Tribune
That editorial, though, contained a good portion of pessimism about the chances of the project being completed in a timely fashion.  The worth of the project, the paper wrote, “is tempered by the well grounded belief that many years are likely to elapse before the produce business takes its departure from that street, and that many more are likely to pass before there is any possibility of a realization of such a fine public work . . .”

In a separate editorial on that same date the paper provided another cause for pessimism – inaction on the part of those who governed the city.  “We do not ask of a city government even that it ‘set and think.’  We know it will merely ‘set.’  We would not recognize as a local administrative body anything which had a mental process or a movement of physical activity.  We recognize municipal authority is a spongelike substance which gets into the city hall, swells out, and fills it.”

It turned out that The Tribune had the situation pretty well analyzed.  Finally, as 1922 began a delegation called on Mayor Thompson.  It was composed of Charles H. Wacker, the chairman of the Plan commission; D. F. Kelly, general manager of Mandel Brothers; James Simpson, vice-president of Marshall Field & Co.; Frank L. Bennett, former commissioner of public parks; and former City Controller Walter Wilson.

At the conclusion of the meeting Michael J. Faherty, president of the board of local improvements, the body that had overseen the construction of the link bridge across the river at Michigan Avenue two years earlier, announced that the assessment request for the improvement would be filed in the County court within 30 days.  Over 16 million dollars was needed for the project in addition to th $3,800,000 that had been approved by voters in November of 1919.

The plan commission estimated that in one area alone, the waste of food caused by long hauls through crowded streets, along with the cost of handling and rehandling the produce, as well as the delays caused by the South Water market’s chaos, $6,000,000 was lost every year.

South Water Street nears an end on August 27, 1925 (Google Image)
The recent improvements to Michigan Avenue had blatantly pointed out what a mess the archaic market of South Water Street was.  We can’t imagine it today as we glide along the river on a tour boat or zip through the rebuilt lower Wacker Drive from the lake to the Eisenhower.  But 90 years ago the area we know today as Illinois Center and Lakeshore East was a vast freight yard for the Illinois Central, and South Water Street was a smelly, noisy collection of produce, horse carts, trucks, and shouting vendors from Michigan Avenue all the way to the Rush Street bridge that connected to the Chicago and Northwestern terminal north of the river.

As Charles Wacker stated, “South Water street is a burdensome charge on the people of Chicago.  It an economic waste, a drawback to progress, and obstruction to the city’s development, insanitary, a cause of congestion, and a constant conflagration danger to the loop.”

Four years after Wacker made that assessment, the double-deck, riverside highway named after him was completed from Michigan Avenue to Lake Street, finished in less time than the initial delay between its original approval in 1917 and the start of the project in 1922.  Can you imagine what the city on the river would look like without it?

Wabash Plaza, designed by Carol Ross Barney & Jankowski, with Harry Weese's Seventeenth Church of Christ
Scientist in the background -- one of the many places of interest along the Wacker Drive river walk (JWB Photo)

Saturday, January 12, 2013

Mies van der Rohe's Minerals and Metals Building


The Minerals and Metals Building at the Illinois Institute of
Technology, dedicated January 10, 1943 (Google Image)

If you are a Mies van der Rohe fan, then today is a big day for you.  After its dedication on January 10, the quarter-million dollar Minerals and Metals Research Building at the Illinois Institute of Technology was open for the first day on this date in 1943.  According to I.I.T. this building at Thirty-fourth and Federal was not just the first of the great architect’s designs to be built on as the master plan for the school began to unfold.  It was also his earliest completed work in the United States.

According to The Chicago Tribune the dedication ceremony featured a technological display that was befitting the new building.  "Instead of the customary dedicatory oratory at the ceremony voices of the speakers came forth from the magic new steel recording wire developed at the institute, while the speakers smoked as they listened to themselves talk.  Instead of a pretty girl pushing an electric switch to start things going, a new sound device did the job."

Dr. Henry T. Heald, president of the institute, sat quietly, puffing on a cigar while his voice, previously recorded, came out of a speaker.  This new-fangled "wire recording development" was developed at the school, invented by Marvin Camras, a physicist.  It allowed sounds to be recorded on "wire as fine as a human hair."  Next up was Harold Vagtborg, director of the Armour Research Foundation, who also smoked a cigar as his voice was projected to the crowd.

Minerals and Metals, snowstorm (jmtp's photostream on Flikr)
Then a "weird sound of increasing volume" came through the speaker.  When a predetermined pitch, measured by a sound level indicator, was reached, it was fed into a sound analyzer that "started things moving in the building."  Eighteen minutes after that sound blast steel was being poured from a furnace in the three-story foundry.

The latest techniques in forging magnesium were demonstrated as was a press having a pressure of 2,400,000 pounds that could "stop at the point of contact with a feather without crushing the feather."

The I.I.T. Campus Guide describes the building in this way, “Mies constructed the entire frame of the Minerals and Metals Building, vertical and horizontal members alike, of wide-flange beams and mullions.  Freestanding walls of the building were designed in glass and brick and were inserted within the frame.  Indicative of the primacy of structure in the abstract, the wide-flange steel section would later become Mies’s signature element.”

Of course, 1943 was the height of World War Ii and the country was dedicated to the effort, and rationing of any material deemed vital to the cause was strictly enforced.  It was in 1942, for example, that Phillip K. Wrigley donated the steel intended for lights at Wrigley Field to the war effort.  The first of Mies's great residential buildings, The Promontory of 1949, is constructed of reinforced concrete because steel was still scarce six years after the Minerals and Metals Building was completed.

So, how did I.I.T. get the permission to use the steel for the new building?  The Mies van der Rohe Society in its description of the building notes that during the war I.I.T. had become “the Midwestern center of wartime technological training, offering tuition-free programs for ‘women’s defense training’ and ‘white–collar men whose jobs were ruined by war-time restrictions.’ With programs in engineering drawing, industrial chemistry, and ordinance inspection, IIT was determined to ‘train experts who will see that the metals in Uncle Sam’s guns, ships and tanks are flawless.’”

Because of its importance to the war effort, the school received permission for the steel.  In fact, present at the dedication ceremony was Brigadier General Thomas S. Hammond, head of the Chicago Ordinance district, who helped pour molten iron into molds.  It's a good thing the steel was approved.  Mies’s use of the it is emblematic of what the I.I.T. Campus Guide calls a “transitional place in Mies’s body of work.”

South end of Minerals and Metals Building (Google Image)
Most interesting, perhaps, is the way Mies treats the south end of the new building.  Unlike buildings that would follow, columns and spandrels were connected by bolts rather than by welding.  Also this end of the building showcases the steel in an irregular pattern.  The Mies van der Rohe society points out that this was not, as some critics have suggested, a tribute to Piet Mondrian or Theo van Doesburg.  The Society suggests, “Although Mies was aware of both artists’ work, his avant-garde use of steel was actually a map to the inside of the building, inaugurating a technique he would use over and over again at I.I.T."  The steel at this end of the structure is a road map that shows clearly the internal layout, composed of a three-story foundry hall flanked by three floors of offices and laboratories, with a second-floor balcony overlooking the main floor of the hall.

In the rest of the structure the columns are not visible at all from the outside; instead the viewer sees a glass wall atop a brick base.  In later buildings Mies, of course, chose to expose the rolled I-beam columns on the face of the wall.

Walter Gropius's Fagus Factoy of 1911 (Google Image)
Glancing quickly at a photo of the Bauhaus in Dessau where Mies served as architect-director until the school moved to Berlin in 1932 where it closed a year later, one can discern a passing resemblance between the 1943 building at I.I.T. and the building in Dessau.  Even more striking, perhaps, is the similarity between the Mineral and Metals Building and the Walter Gropius design for the 1911 Fagus Factory in Alfeld, Germany.

Yet, as the Mies van der Rohe Society points out, the “structural premises are very different.  It is in the Minerals and Metals Building that we first see Mies use the rolled-steel I-beam as part of his structural grammar . . . Minerals and Metals reflects Mies’s transition from forms that had been ‘dear to his heart’ during his days working in Europe to new forms that were ‘possible, necessary, and significant.’”

Wednesday, January 9, 2013

Edward Probst, 1870-1942


One hundred thirteen years ago yesterday the Chicago Plan was feted at the Congress Hotel as yesterday’s blog indicated.  That great plan, as was mentioned, was the product of the great firm of Daniel Burnham, who offered all of his firm’s resources, including the talent of Edward H. Bennett, giving the plan to the city without charging for its creation.

Chicago Tribune, 1/10/1942
Today in 1942 Edward Probst, the last remaining member of those glory days died at his home in River Forest.

In gearing up for the intensive, all-consuming effort that Mr. Burnham put into the World’s Columbian Exposition of 1893, the architect appointed Ernest R. Graham, as his chief assistant.  At the close of the fair Burnham was forced to downsize and consolidate his operations.  As part of this process he selected Mr. Graham as his sole partner, Charles B. Atwood as his chief designer, and E. M. Shankland as his chief engineer.

This worked for over a decade, but by 1908 with Atwood dead and the work clearly taking a toll on Burnham, under the direction of Graham the office was divided into three departments:  design, working plans, and superintendence.  Edward Probst was put in charge of the second of the three departments, having served as chief of the Drafting Department for four years.  Probst had been with the firm for close to ten years at this point.  He was born in Chicago in 1870 and began his architectural career in 1893, working in the drafting room of Robert G. Pentecost.

Sally A. Kitt Chappell wrote in her amazing Architecture and Planning of Graham, Anderson, Probst and White . . .  “Good at details, Probst had the reputation of being an exacting ‘task master.’ He oversaw three department heads:  George Hubbard, in charge of plumbing and heating; Joachim Giaver and later Magnus Gundersen, in charge of structural engineering; and William Stevens, in charge of architectural drafting.”

The Merchandise Mart of 1930, arguably the greatest work produced by Graham, Anderson, Probst & White (JWB Photo)
When Daniel Burnham died in 1912 his sons joined with Ernest Graham to form Graham, Burnham & Co.  Five years later Daniel and Hubert Burnham formed Burnham Brothers.  Far more successful was the other half of the original Burnham partnership—that composed of Ernest R. Graham, Peirce Anderson, Howard Judson White, and Edward Mathias Probst.  For nearly 50 years this was the largest architectural firm in the world.

Upon the death of the last surviving partner in 1942, Edward Probst’s son took over what was left of the firm.  Versions of the firm survived until 2006 when the once grand alliance, at this point under the direction of Robert Surman, finally closed its doors.

Tuesday, January 8, 2013

Plan of Chicago Unveiled - January 8, 1910


The great city of the prairie, hugging Lake Michigan, received a plan that would set its course for the twentieth
century on January 8, 1910 (JWB, 2012)

On this date – January 8 of 1910 – the members of the Chicago plan commission met for the first time with the member of the Commercial Club.   Held at the Congress Hotel, the meeting officially launched the brand new Chicago Plan, which presented according to The Chicago Tribune, “visions of Chicago as the most beautiful city in the world – the most healthful and practical.”  During the evening the new plan for the city was assessed from a number of different angles.

Daniel Burnham (Photo courtesy of
Chicago History Museum)
First, there was praise for the internationally acclaimed architect, who had contributed the services of his firm, asking no fee in return, Daniel Burnham. Master of Ceremonies for the evening, Theodore W. Robinson, the President of the Commercial Club,  paid tribute to the great architect.  Mr. Robinson said of Burnham, “The genius which brought thousands to the worlds’ fair of 1893, a fair which many claimed would be big but not beautiful, has contributed his talent to the plan without renumeration.  This is a significant occasion.  From now on both these great organizations must pull together to make this one of the greatest of cities.”

The second organization to which Mr. Robinson referred was the Chicago Plan Commission, which worked with the Commercial Club for four years to produce the plan.  Charles H. Wacker, the President of the Plan Commission also spoke that evening.  Mr. Wacker observed that the member of the Commercial Club had gone to great lengths to support the work.  “No time was spared, no money was stinted, and the best talent was secured,” Mr. Wacker stated.

The Michigan Avenue Bridge, now the DuSable Bridge, completed in 1920 was a
direct result of the Chicago Plan.  In fact, its designer, Edward Bennett, was arguably the
man most responsible for the writing of the plan (JWB Photo)
Alderman B. W. Snow cast the plan in moral terms, saying, “Dirt, grime, and sordid conditions are not a part of industrial and commercial success.  They are evidences of failure to grasp the fundamental truth that men who are happy, whose lives are cast in pleasant places, who are clean of body and mind, are the men who do things.”

The United States Secretary of the Treasury, Franklin MacVeagh, sent a message to the assemblage in which he tied this new kind of urban planning, specifically as it related to Chicago, to the interests of the entire nation. “Cities in the near future will be built on plans, as houses or parks are,” he wrote.  “Chicago especially must be.  She has a great mission and responsibility.  She must be the metropolis of the Mississippi valley, and respond to the material and spiritual demands of a great people.  She must be great in all particulars, and beautiful.  The present great plan must be greater still and dominate every district and neighborhood as it is added.”

The two-tiered Wacker Drive, to the right and following the river's curve, also came directly from
the Chicago Plan's suggestions (JWB Photo)
Mr. Wacker also clearly outlined the financial stake that the city had in following through on the principles of the plan.  He observed that in just 61 days during the previous summer Americans who visited France spent $2,000,000.  The sum was so enticing that as the year came to an end the Paris Chamber of Deputies authorized a loan for $180,000,000 to fund “an elaborate scheme of improvements.”

Turning next to the opportunity that would be missed if the plan were not acted upon, Mr. Wacker observed, “Hundreds of thousands of people pass through Chicago every year for the purpose of spending their money in New York because they feel New York has more to offer them.  New York has capitalized its attractiveness and has discovered that it paid in dollars and cents.  A traveler seeks the places that give him comfort and beauty.  He may visit London, but he spends week in Paris.”

Concluding his remarks, Mr. Wacker issued a plea, “Our golden opportunity is at hand.  Today all the important features of the plan may be carried out at small cost.  But the longer we wait the more difficult will it become.  Large amounts are appropriated and expended annually in a haphazard and disorderly way.  If we expend during a similar period the sum of $222,464,770, which was spent for extraordinary improvements in Chicago from 1882 to 1906, we shall save many millions of dollars and accomplish much more.”

A principal component of the plan was to use the lakefront as a force for the public good, rather than allowing it
to become an 18-mile stretch of commercial and industrial concerns.  This foresight, if it had not been followed, would
have created a far different city than
Mr. Charles D. Norton, representing the United States Secretary of the Treasury, broadened the significance of the plan, relating it to the rapidly expanding nation.  Mr. Norton proclaimed, “For what Chicago plans and executes will determine to what extent the comfort, the pleasure, and the pride of our mighty inland empire shall be satisfied.  A hundred million of people will soon look to this city as their capital, their center in which to trade, to hear music, to see pictures, to enjoy themselves.  This places a high responsibility upon the men who control public and private business in Chicago.”

Concluding remarks came from Alderman Snow who pulled all of these remarks together in assessing the importance of implementing the plan.  He finished his speech by observing, “That which will improve the economic efficiency of the laboring men and women of our city to the same extent will add to the industrial and commercial possibilities of Chicago.  If you will hammer home the truth that a city built along rational and modern lines means more of comfort, more of health, more of opportunity for physical, mental, and moral development for its people, you will find little difficulty in carrying out your ideas, but no longer limit yourselves by calling your plan the city of beauty.”

At the banquet that evening, now a century and three years distant, Chicago began the process of turning itself into a sleek, streamlined beauty, with continuous, well-planned improvements in infrastructure, parks, transportation systems, both automobile and railroad, and its lakeshore that would last for the next three decades.  There were some slip-ups along the way, and much didn’t get done that could have while some projects were carried out that never should have been.

Still, if you listen to folks who are visiting Chicago for the first time, almost to a person they will say, “I never realized that Chicago was as beautiful as it is.”  And they are right.

It’s quite a story.

Saturday, December 8, 2012

Prudential Building Chicago--December 8, 1955



Welcome to the Modern Era -- The first tall building in Chicago in 21 years (JWB, 2008)
On March 1, 1951 an announcement was made that would change the face of downtown Chicago as news was delivered of the Prudential Life Insurance Company of America’s intent to build a 40-million dollar, 42-story skyscraper on the northeast corner of Randolph and Michigan, a project that would move the city east across Michigan Avenue and begin the process of building in the great railroad yard and terminal that filled what is today Illinois Center.

Four years later on this date, December 8, 1955, the new Midwest headquarters for Prudential opened for business.

The new building would be the fourth and largest regional office, a decentralization effort intended to bring the firm closer to the people it served.  Following the first such regional office in Los Angeles, completed in 1949, along with offices in Toronto and Houston, the Prudential building in Chicago was projected to house 7,000 employees.

Prudential paid just under five million dollars for the site, signing an agreement with the Illinois Central and the Michigan Central Railroads, a subsidiary of the New York Central Railroad, for the 16 acres overlooking Grant Park.

Speaking at a luncheon in the Palmer House that day, Carol M. Shanks, president of Prudential, gave his reasons for choosing Chicago as the site for its largest regional headquarters.  “Mid-America is the arsenal and the breadbasket of the nation,” Shanks said.  “Without it the United States would be helplessly, hopelessly crippled.”

Helplessly, hopelessly crippled . . . kind of nice for a Chicagoan to hear.

The great railroad yards and terminals that filled the area east of Michigan Avenue from Monroe north to the river
(Chicago Aerial Photo Services--U.I.C archives)
At this same luncheon the secrecy involved in negotiations for the site was also disclosed.  From October of 1949 until January of 1951 L. J. Sheridan & Co. had been negotiating for the property with Illinois Central officials, keeping the identity of Prudential a secret.  Finally, with the deal nearly in place the president of the Illinois Central, Wayne A. Johnston, said that he would have to know the name of the prospective buyer in order “to sell the idea to the directors.”  It was only then that the buyer was disclosed.

C. F. Murphy, in his oral history, related the back-room dealing that led up to the final agreement. “They [Prudential] were thinking about the possibility of a location on the Near North Side exactly on the site of the Water Tower Place.  And then another place out in Skokie.  But when Leo (Leo Sheridan, a Chicago realtor who was the exclusive agent for Prudential) proposed air rights, they were most interested in that, but they said, ‘It’s a knotty problem.  We don’t want to be connected with something that falls through.’  And so the thing was done in secret for a year and a half.”

Prudential and its presence at the head of Millennium Park (JWB, 2008)
What finally developed over those 18 months was a deed that was 85 pages long and contained the legal description of over 500 small pieces of railroad property on which caissons and pilings, along with associated connections, would be sunk.  The architectural renderings for each of these legal pieces were part of a paper roll stretching 50 feet, half the length of the caissons that would support the new building.  C. F. Murphy stated, “I think they really overdid the thing . . . Take a column—caisson lot—and then there’d be a brace at the top of the column, that became a lot.  There were hundreds of the damn things . . . They had a great time.  And they kept that office door locked with no name on the door of the glass outside, and it was high secret all right.”

Carl Landefeld, who had worked for the great New York architectural firm McKim, Mead and White, was given responsibility for the design for the building, and the reaction to the first tall building tin Chicago since 1934 was not completely favorable, as hard as that might be to believe today.  In an October editorial The Chicago Tribune cautioned, “Instead of 35 stories, it is now planned that the building shall have 42, with a roughly corresponding increase in cubic content and occupancy.  The wisdom of this is questionable . . . The congestion resulting from so large an increase in office population at the edge of the already congested Loop might be an unhealthy thing for the city.”

(Look for contemporary criticism about the proposed three-tower project at Wolf Point, and you can see almost the same sentiments.)

JWB, 2009
Construction was not started until well into 1952 since application had to be made to the federal government for approval of the steel necessary for the building’s foundation, a step resulting from the controls, still in place at the time, on materials critical to the nation’s war effort and subsequent recovery.  That approval came on June 4, 1952.

Prudential Rising (Google Image)
With that hurdle overcome, construction was set to begin on a completely modern building.  This was to be the first skyscraper in Chicago that would not need to have its windows cleaned from the outside, “with its hazards to workmen and annoyances to office occupants.”  [Tribune, April 19, 1952]  All windows would swing open vertically, allowing them to be washed from the inside.  The windows would be double glazed with plate glass was to be so large "that offices will have what corresponds to picture windows in the modern home.”

The three million dollar cost of the 30 automatic elevators in the building would be the largest sum ever paid for elevator service, surpassing the cost of the elevators in the Empire State building by $200,000.

Another “first” for the building was the result of the decision to install escalators that would serve the building’s top two floors.  Installing the highest escalator system in the world at the time would allow the elimination of the “penthouse” normally used for housing elevator machinery at the top of the building.  Such a structure would have been out of place atop the sleek lines of the modern new building.

On August 12, 1952 Mayor Kennelly and Valentine Howell, executive vice-president of Prudential, hefted the first shovels of dirt atop what would become one of the 260 caissons that would be dug 105 to bedrock.

Prudential One and Prudential Two (JWB, 2008)
At the close of 1952 The Tribune told of the new technology that would make up the building’s air conditioning system.  The new tower would be the first time a building so far from the river would use river water for air conditioning.  Although Tribune Tower, the Wrigley Building, the Merchandise Mart and Union Station employed this method, these properties all sat within a block of the river.  Prudential was located three long blocks away.

A 30-inch pipe was constructed 18 feet below ground, running underneath what is now the Hyatt Hotel and through it 8,500 gallons of river water would be pumped to Prudential every minute.  Disposal of the 5,100,000 gallons of river water that would be used each day would be by way of a huge storm sewer running beneath Stetson Avenue.

On July 29, 1953 the Fuller Construction Company was awarded the contract for the general construction of the new tower.  It was an appropriate choice.  The company had begun in Chicago before moving its headquarters to the Flatiron Building in New York City, a building designed by Daniel Burnham’s firm.

On November 11, 1953 the first steel column, 60 feet long and weighing 31 tons, was erected.  The American Bridge Division of United States Steel was the fabricator and the erector of the steel in the new building.  By the end of April, 1954 the last caissons were completed.  On November 16, 1954 the topping-off ceremony was held.

Just into the new year of 1955 the first section of a 311-foot television tower belonging to WGN was hoisted to the top of the building.  The $300,000 antenna and transmitter gave the Chicago a chance to broadcast with a 50,000 watt transmitter over the highest antenna in the city, 914 feet above the ground.  In a way WGN began its rise to “super station” status with this move to Prudential from Tribune Tower in early 1955.

At 3:00 p.m. on June 4, 1955 six furniture vans and 30 movers began moving 2,600 pieces of office furniture and 400 Prudential employees from their old headquarters in the Butler building on Canal Street to the fourth and fifth floors of the new tower on Randolph.   Eighty crosstown trips competed the transfer over the weekend.

Alfonso Iannelli's great rock -- with the lettering of his choosing (JWB, 2008)
Just after this mysterious letters, in various combinations of black or white began appearing under the Rock of Gibraltar, the great bas-relief, the symbol of Prudential, sculpted by Alfonso Iannelli.  It seems that originally there was to be no lettering under the 42-foot rock.  But the suits felt that since the rock was the company’s copyrighted symbol, failure to identify it as such would open it up to appropriation by others.  Ianelli himself, preparing to climb scaffolding to chisel the outlines of the great rock so that it would stand out more, announced that he favored letters carved out of the  building’s limestone and decorated with gold leaf.  That’s what we see today on the west side of the building’s bustle.

The first tenant to move into the building, the western advertising offices of Readers’ Digest magazine, settled into its space in September of 1955, taking up temporary space on the third floor before moving up to the nineteenth floor in the spring of 1956.

In early October the last of the 2,617 windows was installed, beating the arrival of cold weather by a month.  Each window was double-glazed with each pane in the system a quarter-inch in thickness, hermetically sealed with a quarter-inch air space between.  

On December 8, 1955 the first new downtown skyscraper in 21 years was officially dedicated at a ceremony held in the auditorium and lobby of the new building.  Governor Stratton and Mayor Richard J. Daley, according to The Tribune, said that the Prudential project would be followed by “further large scale development of the remaining 77 acres of air rights over Illinois Central railroad adjoining the new skyscraper.”  Daley added that the building represented “41 stories of faith in the future of Chicago.”

A time capsule was set in one of the lobby columns.  Among its contents was a film showing the WGN facilities.  The capsule was sealed with a chip off the rock of Gibraltar, which the British consul general, Robert W. Mason, presented to Prudential at the ceremony.

Without the other Randolph Street buildings that Prudential heralded, this late 1950's postcard clearly
shows how sleekly modern the new building seemed (Booth Library Postcard Collection--Eastern Illinois U.)
This place has a special place in the heart of Chicagoans my age.  We remember taking the escalator up to the observation deck at the top of the building and, maybe, putting a coin into the telescopes that sat at the windows.  Maybe we at the Stouffer’s restaurant on the floor below.  My wife’s mother brought her and her little gaggle of Brownies to the building and they “flew up” the elevator and became Girl Scouts on the top floor.

Chicago has changed a lot over these past 57 years, but the Prudential remains as a reminder of the first building to start the process that would re-make the face of this great modern city.

Tuesday, December 4, 2012

Steve Goodman Post Office


A Place of Joy Executive Assistant heads for Lakeview
Post Office with rush orders (JWB, 2012)

Jill and I walked to the Lakeview Post Office a couple of weeks ago to mail a half-dozen packages for our daughter's stationery and design company, Kimberly FitzSimons.  The firm's executive assistant joined us on a lovely early autumn stroll up Southport. 

Of all the places in Chicago to mail a package, the post office at 1343 West Irving Park, might be the best.  The first thing you might notice is the cornerstone at the corner of Southport and Irving Park.  At its top is the name of Henry Mergenthau, named by Franklin D. Roosevelt in 1934 to head the Treasury Department.  Below his name is the name of James A. Farley, the Postmaster General.  The date on the cornerstone, barely readable after over seven decades of Chicago winters, appears to be 1933.

The real treasure comes on the inside, though, as you come face-to-face with Epic (Epoch) of a Great City, a mural created by artist Harry Sternberg in 1937 and restored in 2003 by Parma Conservation of Chicago.

The artist, Harry Sternberg, shown at work at some sort of electric
gizmo, at the bottom left of the mural (Photo Courtesy of the
Friends of the Lakeview Post Office Mural)
An excellent biography of Harry Sternberg is contained in Mary Lackritz Gray’s A Guide to Chicago’s Murals.  Sternberg was born in New York to a poor immigrant family in 1904.  Lackritz indicates that the artist worked his way through the Art Students’ League, joining its faculty after graduation. At the age of 29 he was appointed the youngest faculty member in the school’s history, and he worked there for another 33 years. During the 1930’s he worked as part of the Graphics Division of the Federal Art Project.  During this period he came to Chicago to complete the work at the Lakeview Post Office.

The creator's signature in the lower right of the mural (JWB, 2012)
 As bad as we might think the economy was during the past decade, by 1933 one-fifth of those eligible to work in the country could not find a job.  The government responded in a number of ways, and the Public Works of Art Project, begun in December of 1933, was a program specifically designed so that artists would be put to work creating artworks for public buildings.

This program should not be confused with the Treasury Relief Art Project, a program for artists that was created as part of the Works Project Administration.  Under this program 90% of the artists employed in a project were required to be hired off the relief rolls.

In the Public Works of Art Project the Treasury Section recruited professional artists who were NOT on the relief rolls.  Funding was also assured for this program since funds for the art projects came out of roughly one-half of one percent of the production costs of the buildings to be decorated.  [Cook, Hillary.  “Politics of New Deal Art,” School of the Art Institute of Chicago.]

During this period The Treasury Department’s Section of Painting and Sculpture gave out almost 1,400 commissions to decorate new federal buildings.  Of these commissions 1,100 post offices were built and decorated during this time.  From 1934 to 1941, “The Section” awarded 1,124 mural contracts for which it paid $1,472,199.  The amount of $563,429 was paid out for 289 sculptures during the same period.  These works featured the work of 1,205 individual artists with the average price for a mural commission coming in at $1,356.  Slightly more, $1,936, was paid on the average for a work of sculpture.

Epic (Epoch) of a City by Harry Sternberg (Photo Courtesy of Friends of the Lakeview Post Office Mural) 
Three views of Chicago can bee seen at the center of Sternberg's mural.  In the foreground Fort Dearborn is seen, rising on a bluff above Lake Michigan.  Behind it, beyond the water, Chicago the city is in flames.  Behind the burning city, though, the new city, the second city, has risen in the form of grand new structures.  The greatest buildings in the city are depicted, structures related to all facets of city life, commerce, religion, learning and art.  Clearly identifiable are the Civic Opera Building, the Palmer House, the Art Institute of Chicago, the Field Museum, Tribune Tower, and Rockefeller Chapel at the University of Chicago. 

Three cities tell the history of Chicago in the middle of the mural (JWB, 2012)
However, the three cities, as impressive as their story might be, clearly take a secondary place to the primary motif of the mural.  In Sternberg’s mural the workers are in the foreground at the right and left of the piece, shown larger than life. Elizabeth Chodos in Chicago Post Office Murals’ Connection to Socialist Realism has observed, “The message that these murals convey is that without the hard work of the average man Chicago’s infrastructure, and by extension, the city’s vitality and national importance, would not exist.”  [School of the Art Institute of Chicago]

At the left of the mural those who toil as laborers are depicted.  A laborer in a mill, ladling molten iron into an ingot, is shown.  To his left there is Sternberg, himself, wearing a leather apron. We also see science here as a means to improved production and a way to ease the burden of the worker.  On the right side of the mural largely agrarian themes are developed.  There is a man in overalls walking down a ramp toward a stockyard, and, displayed most prominently, the “Knocker,” armed with a sledge, ready to stun a steer in the first step in the meat packing process.  Also displayed is  a factory worker involved in the production of farm tractors.  A great website devoted to the mural can be found here

"The Knocker" prepares to start the meat-packing process (JWB, 2012)
Restoration of any of the hundreds murals in post offices across the country is not a priority of an agency that is struggling under a mountain of debt.  Fortunately, Sternberg’s mural at the Lakeview Post Office found a friend in the form of Dr. David Baldwin, Jr.  In March of 2001, after conducting research on the mural and corresponding with Sternberg, who was 98-years-old at the time, Dr. Baldwin formed the Friends of the Lakeview Post Office.  This organization raised $16,000, and Parma Conservation was contracted to renew the mural.  The renovation was done during business hours so that members of the community could see the great treasure that many had never noticed before.

Just a little over two years ago the post office was renamed as the Steve Goodman Post Office Building.  Representative Mike Quigley sponsored the bill that led to the ceremony at the post office, located just blocks away from Wrigley Field, where Steve Goodman’s ashes were scattered after his death in 1984.