The Intersection Of Home Fire Insurance And Home Security Systems – The third of the large buildings to be given a building permit in the first week of March 1884 was the Home Insurance Building. The project was started by the developer Edward C. Waller, who had been a close friend of Daniel Burnham since they both traveled. to Nevada in search of money in 1869. Although Burnham chose the path of architecture as an adult, Waller was interested in real estate development and gained a reputation as a major player in real estate in the city. Waller had collected the lots on the northeast corner of Adams and La Salle, opposite the “temporary” or “Rookery” city hall during 1883 for the British-owned insurance company to construct a new office building . The company apparently started a design competition in February 1884 for a building adjacent to the Calumet Building and diagonally opposite the Insurance Exchange.
Managing the competition was the company’s Chicago agent, Arthur C. Ducat. Ducat was a 21-year-old Irish immigrant who settled in Chicago during 1851, finding work in engineering and as an insurance agent, developing a keen interest in finding better methods of fire protection for buildings. He had fought in the Civil War, rising to the rank of Lieutenant-Colonel before his service ended at the end of October 1862. He had then gone on to serve as Inspector General of the West, when he became larger. which probably made it the acquaintance of Maj William Le Baron Jenney. After the end of the War, Ducat returned to Chicago becoming an agent for the Home Insurance Company, and also Major General in charge of the Illinois National Guard.
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By the time of this competition, Jenney had fallen into the role of elder statesman among Chicago architects. His practice had fallen from its peak during the reconstruction after the fire, to the point where he had not designed a large building (the miniscule five). -story First Leiter Building though) in the ten-year period since the Portland Block and Lakeside Building in 1873, which, coincidentally, was located diagonally east across Adams Street from the site. Instead, Jenney had become a man of letters: teaching architecture briefly at the University of Michigan in 1876 during the depths of the Depression, handling correspondence for the A.I.A., and lecturing on architectural history at the Art Institute. Although these activities are respectable, they are hardly in the same league as the contemporary innovative activities of the great building designers Boyington, Beman, and Burnham & Root. thus in the decision of Peter C. Brooks, who owned Jenney’s Portland Block, to hire Burnham & Root, and not Jenney, to design the Montauk Block, Chicago’s first skyscraper.
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If Jenney had not been a good friend to Ducat, it is reasonable to assume that Jenney’s career would have faded into obscurity. Instead, Jenney recalled later in his life that Ducat gave him the opportunity to design his first high-rise office building: “In 1883 [sic-it was 1884], when the Home Insurance Company proposed to build a building in Chicago, Ducat (which is the main agent in the West) very kindly recommended me to be their architect.” The first report of the competition was late. February 1884, which corresponds to the first reference to the Home Insurance Building in Jenney’s personal notes, dated February 19. The building on this date was only six stories plus a basement:
“The basement story to be one step up from the sidewalk, similar to the Boreel Building… This would make the building 84′-5″ high [six stories plus the basement], if another, [ it] would be 96′, which is high enough and I would object to it being higher… The basement to be of suitable stone to be decided. The rest of the building is to be of brick with terra cotta or molded bricks.
When the building committee from New York arrived in Chicago in the first week of March to review the competition drawings for the new building, which were reported to be submissions from three different architects, it had apparently already increased in height. the building because the permit obtained on March 1, is for a basement structure of eight stories and more. Suspiciously, it was said that although a winner had not yet been chosen (Jenney would be officially chosen two weeks later), the license was taken out on the Jenney plans, and that he, at the behest of the company (and no doubt at the encouragement of Jenney’s friend, Ducat), had already begun to place the contracts for the cut stone and other materials.
Reported that Jenney’s design was indeed chosen as the winner from plans submitted by half a dozen of Chicago’s best architects. The design continued to be refined during the spring of 1884; the final height was set on April 28, 1884, at 150′ with nine floors plus the basement. In the plan, Jenney placed single load corridors for the first time along the frontage of the two streets. The remaining two lot lines were protected by masonry retaining walls which require a code. The lot was wide enough for Jenney to “slide” two offices in the back of the Adams slab, turning it into a double-loaded corridor. This meant that the elevator core needed to be pushed deep enough into the lot to make a well which also allowed one office to be located on the other side of the well.
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William Le Baron Jenney, First Leiter Building, Chicago, 1879. The top two floors were added in 1888. (Zukowsky, Mr.
As was the case in the design of the Portland Block and the First Leiter Building, Jenney’s primary concern in designing the building elevations was to maximize interior daylight. He chose the pier-and-spandrel language of the Leiter Building for seven. of the ten floors, keeping the use of the arch to emphasize the termination of the foundation layer in the second floor and the termination of the building in the tenth floor. As it did in the Portland Block and the First Leiter Building, it is also layering the elevation with its characteristic contrasting light stone band at each floor level. The building’s horizontal accent allowed the design to gracefully accommodate the expected addition of additional floors at a later date.
The obvious lack of clarity in his design of his elevations is simply explained by the fact that this was his first attempt at designing the elevation of a tall building. He started where most Chicago architects had started (Cobb & Frost being the exception) with a stone base. Rightfully so, he improved on the adjacent Root’s Insurance Exchange by making the stone foundation two stories tall that gracefully received the triumphal arch entry. He also took Root’s balcony located over the entrance on the fourth floor but he did one better: he did a second. a balcony overlooking the triumphal arch, and just for good measure, a third balcony was placed, albeit inferior in between, creating a trio of balconies.
Where Jenney got into trouble was in the eight story brick body where instead of treating all floors the same as he did with the First Leiter, Jenney followed the current fashion of grouping floors together into larger tiers with huge pilasters.Jenney following Root’s Insurance Exchange and Boyington’s Royal Insurance Building by placing pilasters at the corners and at the location of the entrance at the front of the two streets. He used the pilasters to create a sequence of base:2:3:2:1 that was very similar to the Mills Post Building in New York.
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Jenney’s double window details also echoed the Mill Building as well as the Royal Insurance Building. The upper floor again revealed the influence of the Quincy Royal Insurance facade in the semi-circular arched windows which Jenney had originally rendered to be sculptured panels as Boyington had noted. .
Jenney’s larger horizontal tiers grouped together were reinforced with continuous stone cornices. This, in itself, would have been fine, except for those incessant horizontal bands of light stone on each floor. for the continuous vertical piers not only collide with, but are visually overshadowed by the strikingly contrasting horizontal bands of stone. Jenney naively allowed the subordinate stone banding to continue strictly through the dominant brick pilasters on floors 6 and 7, creating a pair of unbroken horizontal lines around the building that resulted in a cacophony of architectural forces. This is a reprint of “From the Local History Room column” which first appeared in June 2015, prior to the launch of this weblog.
In the first years of the 20th century, Ben C. Allensworth, former editor of the Pekin Daily Times, undertook to update Charles C. Chapman’s 1879 Tazewell County history. Allensworth was assisted in that task by his friend and colleague Alfred Wilson Rodecker.
Rodecker, generally known as Judge Rodecker, was the owner and editor of the Pekin Daily Times. Relying on his own knowledge and experience, he wrote a historical account of the Tazewell County Bar for the 1905 “History of Tazewell County”. Rodecker also wrote a biography of Allensworth for the same volume, and as a
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