6158 N. Richmond, 1959

Ok, getting back to my profoundly unpopular mid-century multi-family project for just a bit... 

I've written some posts about the Georgian Revival single family homes in the neighborhood which you can read here and here.    Below are some some throwback graphics from 2013, when I thought colored pencils were the greatest thing in the world.  Not sure what I was going for with the blue halo...

Georgian Revival Single Family Homes in West Ridge

As the West Ridge neighborhood developed the cost of land began to increase.  To make the investment worthwhile new construction became more dense, with more units per building. Parcels that had been less desirable, particularly on busy corners, could now be combined and developed profitably.

This 3-unit building below was constructed  on a double lot which might have accommodated two single family homes.  The developer also built a detached two-car garage, something typically eliminated from single family homes in order to keep costs down.  This is designed in the same  simplified Georgian style seen above, right down to the colonial-style windows and the gently pitched hipped roof.



6158 N. Richmond, 1959

The base of the building has the random coursed stone veneer common during the period. This is also used as the surround for a slightly projecting main entrance.  A large glass block window provides light to the interior stair.

The irregular the facade along Granville is really odd, with different windows sizes, configurations and placements.  And how about that uncomfortable-looking blank area?  It's almost as if the stylistic choice is working against the internal needs of the building. This might also explain why larger buildings began to rely on more modern facade designs, where there was more flexibility in the exterior expression. 

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...

6956 N. Clark, ornamental detail

I've always admired this building, with its projecting bay and round-top windows.  Standard
rectangular windows have been inserted into those great arched openings, but that's not unusual.  The brick work is amazing.  The mason must have honed the brick by hand to get the correct wedge shapes for the window arches.  Silvered roofing material has been used to waterproof the area between the parapet and the cornice.  Not ideal,  but at least the cornice hasn't been ripped off and parged with concrete like so many others.  I'm also impressed that the bay hasn't been reclad with vinyl or aluminum.  There are plenty of examples of that on Clark Street.

6969 N. Clark, ornamental detail

Here's another illustrated detail of two adjacent rooflines on Clark Street.  This type of stepped gable is a bit unusual in Chicago.  And it's in really poor shape.  I rendered the joints as black not because that's the appropriate color, but because all of the mortar has been washed out.  The black is just a shadow line.    I don't expect them to be repaired until they start to crumble onto pedestrians below...But I have to admit, there's a certain satisfaction in restoring the parapet, even if it's just with pixels.

The building next to it has these great rough-textured bricks, but has been so poorly re-pointed as to lose the elegance of the joint patterns.  If you ever see someone re-pointing masonry without carefully grinding out the old mortar you're witnessing a ridiculous waste of time and money.

6800 N. Sheridan, ornamental detail

6800 N. Sheridan, Stanleigh Hotel, Ralph C. Harris (1917)

One of my first Ultra Local Geography projects was documenting the decorative stone door surrounds in Rogers Park.  Another project was tracking down some of the neighborhood buildings that had been published in various journals.  So when I decided to get some more experience with digital colorization I thought it would be interesting to combine two old projects.

To the right is a detail from the door surround at the former Stanleigh Hotel, which I wrote about back in 2011 (Click here to read that entry.)

Anyway, I've been playing around with digital color for a couple of years as a way to emphasize my own drawings.  But once the lines are left behind even more information can be conveyed with color.  This image depended on skills I hadn't really acquired, so it was a nightmare to develop.  If I ever do a similar treatment it should go a heck of a lot faster.

Broadway and E. 20th Street, Lorain, OH

This strip of buildings is on Broadway in my hometown, Lorain, Ohio. These were constructed in the 1880s and 1890s, and although they've been altered they still retain distinctive features.   The  parapets of the red brick buidings are ornamented with elaborate corbelled brick, and the sills and lintels are a golden sandstone quarried from nearby Amherst, OH.

What especially caught my eye is the great mid-century slip-cover applied to a portion of the corner building.  These façade treatments were meant to update and revive old commercial buildings but they've become historic artifacts in their own right.

The design of these slipcovers had more in common with the graphic design popular in the 1950s and 60s, often with a nod to the high-style modernist towers going up. And because they weren't doing much structural work they could look like anything. A covered building could instantly transform from a pedestrian scale to an auto-oriented scale, and this was one way historic downtowns competed with the postwar suburban expansion.  It didn't really work, so now these architectural treatments are often reversed to reveal the original character of a building.

Clear aluminum mullions and turquoise spandrels were applied to the façade, along with new windows and storefronts. There was enough flexibility in the system to adapt it to the size and configuration of the original facade, although it wasn't unusual to have to chip off projecting masonry that interfered with the new system.   Finally, a wide band of stainless steel framed the entire composition.  I believe those three stubs above the storefront supported a large vertical sign which has since been removed.

This is a great example for its pure geometric design, but also because it serves as a clear visual lesson in how buildings change over time.
 

A few blocks north at Broadway and 16th Street.

Bars along 28th Street in South Lorain

2901-2909 W. Granville, 1958

This building contains five duplexes ranging in size from 1,080 to 1,250 square feet (2 and 3 bedrooms).  Construction is concrete block with brick and stone veneer.   At the back are small private outdoor areas.  There is no garage, but five deeded parking spaces are to the side.


In early Chicago attached housing often took the form of 2 or 3-story rowhouses with shared party walls.  There were really two main design solutions for these:  (1) Design the building to look like one large building with consistent materials, windows, cornices, etc. or (2) Differentiate the individual units by varying the cladding materials and massing to provide a unique architectural identity.

2901-2909 W. Granville, 1958

This design takes a consistent approach, unifying five homes of slightly varying sizes with a regular facade. This is the path taken by many mid-century buildings in the neighborhood.  I think of this configuration as "battleship" mid-century modern.

Note how the windows for different units on the first floor are connected visually with limestone frames and rectangular stone panels laid in an ashlar pattern.  On the second floor the decorative stone panels and continuous limestone sill create a solid band linking the units even more strongly.  A heavy canopy caps the building, with reduced-scale versions emphasizing the main entrances.

Only a few elements break the boxlike appearance, including two angled wing walls and a projecting rectangular stair enclosure.  As the stair enclosure moves forward the adjacent corner shifts back, creating a more generous landing and entrance for the largest unit. So there actually is a slight bit of variety to the treatment of individual units.

The stair enclosure provides an opportunity for some ornamentation in the former of projecting horizontal rows of bricks.  I have this urge to climb them like a ladder...

Again, Lorain, OH

Broadway and E. 31st Street

Taking a bit of a break from my murder mystery to showcase a few random drawings of my hometown, Lorain, Ohio.

Broadway and E. 32nd Street

Broadway and W. 29th Street

Well, they're not exactly random. They represent an isolated historic commercial district that soldiers on, despite unrelenting adversity.  








These images were developed from reference photos taken during our Fourth of July visit.
(As a side note, happy 50th anniversary Mom and Dad!)







I like the strong shadows on this one, but it loses a bit of texture and intelligibility.

As always, Lorain is a textbook example of how historic buildings change over time, adapting to different needs and accommodating new styles.

Garage Pass-Throughs in 1920s Apartment Buildings

I've previously written about the courtyard apartment buildings built in Rogers Park throughout the 1920s. During that same decade, smaller buildings were also constructed, similar in style but closer to single-family homes in size and amenities. Many of these buildings accommodated a family on each floor, including a live-in housekeeper.   But an increasingly important perk for middle-class urban dwellers was parking for the family car. 

A. 1518 W. Greenleaf (1930),  B.7058-60 N. Greenview (1927),  C. 1535 W. Estes (1927)

Rear garages with alley access have always been important in Chicago, but when an alley wasn't available, a driveway pass-through would allow residents to park their cars behind the building. These tunnels were especially common in dense areas where side yards had been eliminated to maximize value.  With tunnels running through the building, all floors could continue to benefit from windows facing the street, bringing light into the units. In the three examples here, all were constructed on a block that lacked an alley.

Site Map

These buildings use a Georgian Revival vocabulary, including quoins, cornices, ornamented pediments, balustrades, urns, and a strongly emphasized main entrance. A primary characteristic of the Georgian Revival is symmetry. But it's hard to maintain symmetry when you have one big opening for cars and a much smaller opening for people. The building on Greenview solves this problem by doubling the design and having two tunnels.  This wasn't possible for the smaller buildings. Instead, they use sidelights, windows, and door surrounds to try and balance out the size difference. It doesn't work entirely, but I can appreciate the effort.

I also like these buildings because they physically memorialize the size of cars in the 1920s, which were somewhat narrower than today's cars. I don't envy the drivers who have to squeeze through these garage pass-throughs today... on their way to vintage 1920s garages.

7022-7036 N. Clark

Here's a diverse group of buildings on the west side of Clark Street south of Greenleaf.  As random as these look they document the variety of forms that contribute to a traditional neighborhood commercial strip.

L. Shure, 2015

Clark and Greenleaf intersection

The wood-frame building in the center represents a type of commercial construction which has nearly disappeared in Chicago. Let's just say fire and wood is not a great match.  The first floor has been oddly clad with a red brick veneer.  Originally this would have had cast iron columns framing large glass and wood storefronts.  I'm really not sure how this got on the block.  Fire codes would have prevented this type of construction and I doubt this building pre-dates the 1893 annexation of Rogers Park.  As you can see from the 1958 photo below it originally had a projecting bay on the second floor and a false front. 

1958 Photo from the Images of Change collection at UIC

The red brick building on the right was built around 1913 with white terra cotta cornice and window surrounds.  It still retains a good amount of character, although the huge red awning (fiberglass?) makes it look dated.  This is a traditional mixed-use building with storefronts below and apartments above. The south storefront has been infilled and covered with a red and white pebble finish. This was a bar when I first moved to the neighborhood.

The yellow and blue 1-story building dates from at least 1958...  The storefront angles back slightly from the sidewalk  to create a shallow entrance.  I'm guessing there are roughly a thousand coats of paint on this one. The sign dominates the building, which became common as new buildings focused only on retail or commercial use.

The gray building to the left is constructed of split-face concrete block (CMU).  This may be the most unattractive masonry material ever produced.  I can date this building to around 1986, but I'm a little surprised by the huge sign above the roofline.  Current sign codes prohibit new signs taller than the building.  This could be older building that kept its signage.  Or maybe they just never bothered to get a sign permit...

Despite their varying vintages and forms all of these buildings come right up to the sidewalk and observe a similar scale and relationship to the street.  And even with their mix of materials they somehow seem to harmonize with each other.

2324 W. Devon, 1926

L. Shure, 2015

Every time I pass this building on Devon I'm amazed by its ornamental quality and originality.  Where else can you find a 1-story building draped with owls, lions, shields, and weird geometric insignias?  And why would so much detail be lavished on such a small building?

According to the Chicago Historic Resources Survey (CHRS) this was designed by architect Edward Perry Steinberg.  Steinberg designed several of these medieval-inspired commercial buildings, complete with half-timber details and herringbone brick infill.  Or at least those were some of his buildings picked up by the survey. (See below.)

Edward Steinberg was one of many unsung Chicago architects who had a long and productive career but never really came into the public eye.   Even so, his work continues to contribute to neighborhood character throughout the city.   According to his 1975 Tribune obituary he designed movie theaters for the Lubliner & Trinz chain (including the former Belpark Theater), as well as the W.F. Hall Printing Corporation at 4600 W. Diversey (now demolished).  He was also a founding member and architect for the former B'Nai Zion Synagogue at 1445 W. Pratt.

2324 W. Devon

This illustration restores some of the integrity of the building.  It hasn't been maintained very carefully and is starting to deteriorate.  Some of the slate tiles have been replaced by asphalt, and signage attachments have taken a toll on the ornamental features.  When I see buildings like this, they're often on their way out.  Any extensive restoration would far exceed the market value of the property, so the common solution is to keep things going as long as possible with as little cost as possible. But you can only depend on the underlying quality of the materials and workmanship for so long.  When the maintenance issues catch up I expect to see a wholesale removal of the ornament.

Photo on the left by the author, and the two on the right from the CHRS.

1523-1529 W. Morse, c. 1910

These brick two-flats were constructed between1905 and 1914. Previous development along this section of Morse had been largely single family homes, but the extension of the elevated train to Howard Street in 1908 touched off a steady increase in density that would continue through the 1920s. In the 1910s and 1920s many of the single family homes were demolished in favor of larger apartment buildings and commercial spaces.  These two-flats survived in the slot between these two trends.

1523-1529 W. Morse

When an area shifted from residential to commercial owners sometimes realized that they could add
commercial space while avoiding the cost of a complete rebuild.  Both of these 1-story commercial portions were constructed after 1951 in the postwar boom.

The drawback of this type of alteration is that it makes the original building less appealing as a residence. Views to the street are obstructed, and good luck getting light into the house. Although the second floor can enjoy an enormous roof deck....

1716-1718 W. Morse and 6947 N. Clark, c.1905

On Morse just east of Clark there are two greystone 2-flats built around 1905.  Greystone refers to the Bedford limestone quarried in Indiana and installed as decorative veneers on the front of these buildings.  Greystone facades became common in many Chicago neighborhoods, but are actually a bit rare in Rogers Park. 

Although they present a solid appearance, the stone is only thick enough to allow the level of ornamentation required.  A greystone building may embody a variety of styles, but the most common treatment is a pared down Classical Revival, which is what you see here.

At the corner is a two-story bank building which has seen some extreme changes. Only when you look at the building from the east can you see some of the original details and brickwork.  The mansard roof and red brick cladding were put on in the 1960s, according to one of the comments below.  I'm fascinated by the mansard treatment.  Why was this popular?  Was it just a cheap way to drastically update a building, or did the mansard roof have some forgotten significance?  Some historians have proposed that it had its roots in the environmental movement of the 1970s (simple geometric shapes, natural wood shingles), but I just can't see it.

1905 and 1911 W. Morse, c.1890

These large Queen Anne-style homes represent some of the early suburban development of Rogers Park. By the 1890s Rogers Park had a thriving commercial district near the train stop, its own police and fire station, and even a water treatment plant.  The area east of Clark was being developed gradually (it was pretty swampy), but large picturesque homes were being constructed on land between Clark and Ridge.  This stretch is the highest point of the neighborhood, and a good option to avoid a flooded basement.

The Queen Anne style typically has large wrap-around porches.  These would have been important for surviving the sweltering Chicago summers.  The cross-gable design opened up the floor plan to light and air from all directions.

1762-1766 W. Morse, c. 1905

1762 and 1766 W. Morse

I'm beginning a project to document the current character of Morse Avenue in Rogers Park. For now I'm picking out some areas and buildings that appeal to me and seeing which direction I feel like heading.  The more I focus on specific buildings the more it seems like this is a project that could be done on any street in any neighborhood to reveal some of the same patterns.

After annexation of Rogers Park to Chicago in 1893 there was almost immediately an economic depression connected to the Panic of 1893.  The country didn't begin recover until 1897, at which time a 10 year period of growth occurred. These frame houses were built around 1905, in the middle of this boom period.   This was cut short by the Panic of 1907.  The next building boom wasn't until after WWI, and it lead to greater urbanization and denser development in the neighborhood.

Parking lots now bracket these buildings on the east and west, but originally the block consisted of modest single family homes with an easy downtown commute.  The Dutch Colonial-style building on the west retains many of its features, while the home on the east has enclosed the front porch and looks to be divided into several units.