East Park Apartments, 1521 W. Sherwin, detail

In case you're wondering, those are holiday ornaments in the windows!

Art Deco terra cotta ornament is unusual in Rogers Park. Actually, Art Deco is unusual throughout Chicago, although there are still some great examples to be found.

According to the Chicago Historic Resources Survey this building was permitted in 1931 and designed by architect Benjamin A. Comm.  Most private building ceased after the crash of 1929, so I expect this project was funded well in advance.

What became the Art Deco style made its official appearance at the 1925 Paris Exposition.  It reflected contemporary movements in fine art, such as Cubism and Futurism, emphasizing pure geometric form and rejecting historic ornamentation.  So it's a bit ironic that same ornament has now become historic in its own right...

In 1927 the officers of the Northwestern Terra Cotta Company brought over six French sculptors to supply new designs for the company.  These became popular with architects and builders and soon the new style of ornament could be found at other terra cotta companies as well.  The use of color helped to emphasize the forms and lines of the design, which typically had a lower relief than  traditional ornament.

Some buildings designed by Benjamin A. Comm showing various styles.

Benjamin A. Comm designed a number of buildings recognized in the Chicago Historic Resources Survey.  His most interesting design (as far as I know) was the Union Park Hotel at 1519 W. Warren Boulevard.  This was designated as a Chicago Landmark in 2010, and the designation report has an nice discussion about Art Deco in Chicago, which I've cribbed from shamelessly.  But you should read it yourself!  Seriously, read it.

B.A. Comm didn't really make the cut as a "significant" architect in the report, but his work is notable from a neighborhood character standpoint.  Here are some examples using photos I swiped from the Cook County Assessor's website.  At least the Assessor is still good for something...

Combining Styles, 2449 W. Devon and 1028 W. Chicago

Sometimes buildings change according to established patterns, like a sun-porch added to a farmhouse or a side wing on a mansion.  But less work has been done on analyzing how historic commercial buildings change over time.  In general the preservation community is focused on finding the best unaltered examples of building types.  But there are many patterns which are just as valid in understanding the history of a property, even when they're not particularly picturesque.  Take these 1-story additions to older 2-story commercial buildings.

The older portions of these buildings observe two of the eclectic styles popular in the 1920s, Classical Revial and Italian Renaissance Revival.  When the owners saw an opportunity for expansion they switched from the earlier style to new styles popular at the time.  To the right they've chosen Art Deco, using glazed terra cotta blocks with fluted bands and geometric ornament.  Below they've gone with stacked brick and permastone.  There's absolutely no concern with matching the ornamentation of the older portion, or even aligning the new storefronts with the existing geometry.  Why is that? A few thoughts:

1. The whole idea was to update the building, make it seem competitive and modern. Maintaining the original ornamentation wouldn't signal the desired excitement.

2. In the 20 years between initial construction and enlargement the entire building industry reoriented around new styles and new materials.  The more traditional architectural treatments would have required a custom approach and therefore would have been much more expensive.

3. Advertising has changed, and the creation of large sign bands takes precedent over any "nostalgic" treatment.  By extending the new storefront into and over the old portion the amount of advertising could be doubled to accomodate larger, more aggressive signage.

4. Many businesses in traditional commercial areas (Main Street) found that the space on the upper floors wasn't being utilized as intended.  Living units above commercial spaces are generally less desirable than those on quiet streets.  And despite the space added, it's still more expensive to build a two-story building.  Expanding only the commercial space on the first floor is a reasonable solution.

Interestingly, the newer portions of the buildings were both from 1940s (as far as I can tell).  Perhaps this was the last gasp of Art Deco and the first breath of 1950s Modern.

I'm on the lookout for more of these buildings which have expanded in interesting ways.  I imagine putting together a booklet titled, "Messed Up Storefronts," although that might sound a bit prejudicial.  So please email me if you know of any in your neighborhood.

Metalwork at Riverside Plaza

This is part of an air return grille at the southeast entrance of Riverside Plaza, also known as the Daily News Building (Holabird & Root, 1929).  This is another world-class building which has somehow escaped Chicago landmark designation.

I've drawn this grille 3 times- first in 1997, then in 2006, and now a couple of weeks ago.  I'm not exactly sure why I've been so drawn to this design.  It's a typical art deco theme, organic shapes in a rigid geometric framework.  Sunflowers maybe?  Hard to tell for sure.I'm also fascinated by the metal itself, nickle silver, which was  popular for art deco designs.  Made from 75% copper, 20% nickel and 5% zinc, it could be rolled, pressed, or cast.  Silver white was the most common color,  but it could take on tints with the addition of various other metals.

 The building and its interiors are practically an encyclopedia of art deco themes and decorative techniques.  A shame that the ceiling mural above the concourse was removed for restoration years ago, and has yet to be returned.

33 N. LaSalle- Grille Detail

Elevator surround detail at 33 N. LaSalle

When I first started to work downtown I was fascinated with the decorative metal elements found on so many of the buildings.  I did a series of close-up images of some of these, without much concern about the surrounding context or the decorative influences at work.  The drawings were 1" x 1".  I think I was more interested in testing my crosshatching ability more than anything else. 

But recently I've started to rediscover these grilles, screens, and elevator doors. And I find that I'm interested in going a bit more in depth, particularly in regard to the skyscrapers of the 1920s.  And where better to start than my own office building?  Well, I guess it's not really mine...

I had to get special permission from the building management to take some reference photographs of these air return grilles in the lobby.  I think taking photos is harmless, but apparently I don't think like a terrorist.

Air return grille

Anyway, this is one and a half modules of the pattern used for the air return.  It's amazing how a few simple elements can give the impression of remarkable complexity.  The best of this ornament creates a tension between the use of geometric and naturalistic themes.

Unlike many earlier eclectic-style buildings, these are unashamed of their height and seem to acknowledge that their design lends itself to mass production.  This can been seen in everything from the decorative spandrels, thin limestone veneer, and machine-fabricated interiors.  At the same time their decorative elements benefited from the work of artists and sculptors who adapted their work to accomodate mass reproduction.

These buildings may seem quaint now, but they represent the apex of technology and economy for their day.   Their stepped back form and height aren't the result of a whim.  They incorporate what can be built (permitted by zoning and technology) and what should be built (profitable with a minimum of risk).  While the major tenant usually had rights to the name of the building, no one organization could fill every floor.  The developers had to provide adaptable office space for a range of users.

Most of these offices have been cut up, and the natural light  has been drastically reduced by new mechanicals and drop ceilings.  But they still retain enormous functionality.  And in my opinion, quite a bit of charm.  Many have been given new life through careful restorations, often utilizing tax credits through government programs.  In Chicago LaSalle Street has the best colletion of these buildings, including the Field Building, the Chicago Board of Trade, and One North LaSalle.

 Interestingly, the same floral elements used to create the air grilles were modified to become light fixtures throughout the lobby.  It's a good way to retain some continuity in a space which has been greatly altered since its time as the Foreman Bank Building.  And looking at the old photos displayed in the lobby, I really miss the grand staircase that once led up to the banking floor.

That said, I'm not positive that the brass air return grilles (and light fixtures as well) are original to the building.  The more I compare these with the elevator ornament the more it seems like the work of a careful modern designer.  But even if they're not original, I enjoy how they key into the general decorative vocabulary of the building.