After realizing late in the day on September 26 that it was architect Tim Pflueger’s birthday, I decided to walk within a short radius of my office downtown and photograph a few Pflueger buildings. The big reward while walking around on a lovely balmy evening was to see the newly renovated Telephone Building, now officially renamed 140 New Montgomery, all aglow with gorgeous flood lights shining on the tower, just as it did back in the day after the building opened in 1925.
The current owners, developers Wilson Meany, recently finished a huge renovation and seismic retrofitting job. Yelp Inc. moved into several floors of the tower earlier this month, being the first company to occupy the building since AT&T moved out in 2006. As you can see, from this 1929 photo, the building used to have many floodlights highlighting the tower, and at Easter, Pacific Telephone had lights in the windows lit to form the shape of a cross.
New Montgomery Street is lively with lots of activity going on, due to the heavy concentration of tech companies in the area. I talked with a French entrepreneur who just moved to San Francisco to try to get his curation start-up company going, and he graciously contributed an excellent photo (see below) of New Montgomery Street. Other tech companies in addition to Yelp are moving into 140 too, including one named Terracotta (140 is finished with a white and grey speckled terracotta made by Gladding McBean). The 26-story building is now over 85% leased.
Wilson Meany, the developers who bought the building from AT&T Inc. in 2007, are trying to be both energy efficient and good neighbors and currently are lighting up the tower from about dusk until 10 pm.
It’s great to see the tower aglow. In February, 1926 the magazine “Architecture” wrote, “In the new Telephone building, San Francisco has her Woolworth tower.” I was reminded of that comment when I saw how stately the Telephone Building looks at night now, where past, present and the future all collide.
Note: this post was not posted on Pflueger’s birthday because just as I was trying to proofread and post, Comcast started to do maintenance in my neighborhood and I lost my connection for the evening!
There has been a lot of speculation about potential tenants for the Telephone Building since construction began in March on a major renovation project, which I wrote about in the Wall Street Journal. The $50 million-plus restoration and seismic retrofit of Timothy Pflueger’s iconic Jazz Age skyscraper, which has been vacant for about six years, is underway. Owners Wilson Meany Sullivan have also redubbed the building “140” – a nod to the nickname given the building by Pacific Telephone & Telegraph Co. An icon since it was completed in 1925, the skyscraper at 140 New Montgomery Street now even has its own very cool website, a promotion video and photo collage of architectural details.
The base is now covered in scaffolding so it’s hard to peek inside and a construction crane lords over the building (see photo below.) The Timothy Pflueger Blog apologizes for not keeping readers au courant with all the news. In addition, the San Francisco City Guides Downtown Deco tour will talk about the building from across the street, until the work is done.
Since construction began, some major tenants have signed up. The biggest is Yelp Inc., which announced plans in May to move into the 26-story building, and lease eight floors, or 100,000 square feet, when the work is finished next year. Tthe San Francisco Chronicle reported in November that the popular Web-based review site’s lease is through 2021. Approximately 800 Yelpers will move in.
Restaurants to move in
Now, the two public spaces off the lobby have also been leased. In late October, the Chronicle reported that Mourad Lahlou, the owner and chef of Aziza, a well-regarded Moroccan restaurant in the Richmond District, has leased the larger space on the Minna side of the building. This restaurant will also feature the Michelin-rated chef’s take on Moroccan cuisine. Bar Agricole’s Thad Vogler has leased the smaller space.
While both leases are exciting for local foodies, it is not clear what the news means in terms of architecture. A look at photos of the other locations operated by Lahlou and Vogler respectively has the Timothy Pflueger Blog worrying that both of these venues will go down the path of the trendy, industrial warehouse-chic look.
Lahlou has hired Olle Lundberg, a San Francisco architect to design the new space, where, the Chronicle gushed, “exposed brick and concrete abound.” That’s not exactly how it was designed by architect Timothy Pflueger and his draftsmen, as one can see by the dark marble walls, detailed metal work, and the multi-colored plaster ceiling with Chinese motif in the stunning lobby. Many of the building’s interior office spaces are being gutted down to the brick walls to suit the needs of tech trendoids. To be fair, the last time I was in the ground floor space Lahlou is leasing, it was a museum for Pacific Telephone and did not seem to have any remarkable interior details, except for the 12-foot high windows. The architects had likely focused their attention on the public lobby space.
Lundberg has a great opportunity to go beyond the tired industrial look and create a fabulous and exotic restaurant space evocative of the spirit of the 1920s. Fans of Pflueger and the building hope that he might seek to reference or incorporate Pflueger’s unique take on the Art Deco style, or even study some of his other works, such as the Moorish-inspired Alhambra Theatre on Polk Street, the high Art Deco Paramount in Oakland or his fabulous cocktail lounges from the 1930s, for inspiration. But Lahlou told the Chronicle’s blog, Inside Scoop: “I don’t want the space to be a shrine,” Lahlou said. “I want a good vibe, good music.” And if Lundberg’s previous (and I should add well-regarded) work is an example, his is an ultra clean-lined, almost antiseptic approach to modernism, but he is also known for liking to work with his hands.
Perhaps there is more hope for the Whiteside Company, the proposed name for Vogler’s new location, which will be an all-day cafe, restaurant and bar. Vogler told “Inside Scoop” that he plans to serve up cocktails from the 19th and early 20th century, considered the Golden Age of the American cocktail, using recipes of one the city’s famous bartenders Bill Boothby. His bar book containing 400 recipes was reprinted by San Francisco’s Anchor Distilling Co. in 2009, with an excellent, well-researched foreward written by Fritz Maytag and David Burkhart of Anchor. Boothby was a bartender at the Palace Hotel, just down the block.
There are even some examples, most in photographs only, of Pflueger’s stunning cocktail lounges that could serve as inspiration for Vogler’s new venue, should he or his architect decide to incorporate any references to Pflueger. My favorite is the former Patent Leather Lounge at the St. Francis Hotel. If you visit the registration area today you can see the stunning photos by Ansel Adams of the lounge which opened in 1939 with its unusual combination of black patent leather covered walls, carved Lucite ceiling fixtures and long serpentine-shaped bar. The interior of Pflueger’s Top of the Mark has been altered, but the Fairmont Hotel’s Cirque Room is the best extant example of a Pflueger cocktail lounge. While it is now slightly smaller in size, it retains its original circus-themed murals by local artist Esther Bruton, its original long curving bar, built-in banquettes and stunning mirrored columns. You can see Bruton’s circus murals below in a photo from a fabulous Art Deco Society of California party in 2008 for Art Deco San Francisco.
It’s unlikely either of these two proposed venues at 140 will adopt any kind of Art Deco motif. It would be a lovely surprise if they did, and a nice homage to the building’s architecture. While they are at it, a signature drink named for Pflueger, a cocktail with his favorite spirit, rye, would also be nice.
San Francisco’s iconic Golden Gate Bridge will celebrate its 75th year in service next month. Big festivities are planned all over the city, including a “spectacular event” organized by the bridge authority for May 27 at Crissy Field. A special website has all the details for the upcoming Golden Gate Festival. This year, there will be no bridge walk and the landmark will remain open to auto traffic, as officials seek to avoid a replay of the last big anniversary party.
Locals will undoubtedly remember when the bridge turned 50 in 1987, 800,000 people turned out, when only 50,000 had been expected. The bridge became so overloaded with an estimated 300,000 celebrants that it flattened out in the center. Officials told reporters at the time that ”the bridge had the greatest load factor in its 50-year life” and a paper later written on the event said the suspension cables were “stretched as tight as harp strings.”
Fabulous exhibit at California Historial Society
Before the festivities in late May, there are plenty of ways to start celebrating now, including seeing some local exhibits around town on building the great bridge. One exhibit that will be of interest to architecture fans is a fabulous show on the history and the evolution of the bridge at the California Historical Society. The exhibition, the first under new executive director, Anthea Hartig, is called “A Wild Flight of the Imagination.” The title was borrowed from a promotional pamphlet written in 1922 by chief engineer of the bridge, Joseph Strauss, and city top engineer, Michael O’Shaughnessy. In that brochure, the two, who would later spar when O’Shaughnessy opposed the bridge, wrote that the bridge, once “considered a wild flight of the imagination, has…become a practical proposition.”
The CHS exhibition, which runs until October 14 , is a must-see for anyone interested in the bridge’s fascinating history. Especially intriguing are the fantastic renderings of concepts that were never realized, such as a dramatic Beaux Arts/City Beautiful promenade that would have lead to the bridge, and its not-so-well-known influences.
Influence of the theatre architect John Eberson
One of the most interesting elements of the exhibit is the obvious influence that theatre architect John Eberson had on the bridge from his brief work as a consultant to Strauss. Eberson is not exactly a household name but he is well-known to theatre historians as the father of the so-called “atmospheric theatre” and the designer of over 500 theatres around the U.S.
One of his more famous theatres in the U.S. is the Loew’s Paradise in the Bronx, New York, which opened in 1929 on the then-thriving Grand Concourse, which was recently restored in 2006. The Paradise was one of his three atmospherics in New York City, in which the architect sought to bring the outside indoors, typically with mechanics and lighting. These theatres often gave audiences the impression of seeing movies under an evening sky, with the moon and clouds moving overhead. Eberson, a native of Austria, worked in St. Louis, Chicago and other cities before moving his office to New York in 1926, according to his obituary in March, 1954 in the New York Times.
Strauss hired Eberson to work on the towers and some of the approaches on the San Francisco side of the bridge. As Kevin Starr described in his 2010 book, Golden Gate:The Life and Times of America’s Greatest Bridge, “the very fact that Strauss initially chose Eberson to stylize the towers and other aspects of the bridge underscores Strauss’s sense of the Golden Gate Bridge as, in part, a theatrical production orchestrating site, structure and atmospheric into a unified aesthetic statement.”
If all of Eberson’s drawings, or those of his successor, had been realized, there might be a far more dramatic entrance to the bridge, with a grand colonnade or walled portals, which as John King opined in the Chronicle last month, would have been unnecessary “theatrical trappings,” distractions from the site’s natural beauty. Even so, the dramatic influence of the father of the atmospheric theatre remains today in the bridge’s suspension towers, where the Moderne setbacks in Eberson’s 1930 rendering made it to the completed bridge. According to Starr, Eberson asked for more money to complete the project, but Strauss decided, based partly on a recommendation of local artist Maynard Dixon, and the need to comply with planning changes, to work with Bay Area architect Irving Morrow.
It appears that by August, Morrow & Morrow were fully ensconced in the project, which was still trying to win public approval. An August 1930 article in the San Francisco Chronicle on plans for the bridge getting approved by the bridge district was accompanied by a large photograph of a painting by Dixon that was used to show what the 4,200 foot span would look like in its surroundings. Maynard’s painting was aimed at disproving the increasing opposition that the bridge would mar the natural beauty of the Golden Gate. Irving Morrow noted the controversy at the time. One of his notes, on display in the CHS exhibit, reads: “Sentimentalists tell you it would be a desecration of natural beauty to bridge the Golden Gate,” Morrow wrote. “The point is not whether bridging the Golden Gate will destroy its beauty but whether the particular bridge proposed will destroy it.”
By October, 1930, a series of drawings in the Chronicle’s Sunday photogravure section on October 5 included proposed renderings of the “world’s greatest span,” by Morrow & Morrow Architects. Some echo drawings by Eberson, with a dramatic, neo-classical approach to the bridge on both the San Francisco and the Marin County side. In the drawing of the Marin approach, below, architect Irving Morrow was influenced by both Eberson’s ideas, and Bernini’s colonnade at St. Peter’s Basilica in Rome, according to architect Donald MacDonald in his 2008 book, “The Golden Gate Bridge: History and Design of an Icon.” Morrow’s design for the San Francisco portal also called for high walls around a large plaza, acting as a wind barrier, and a grand plan for an exhibition hall.
The exhibit at CHS has several drawings by Eberson, including another approach reminiscent of the Brandenburg Gate in Berlin. But a realignment of the roadway forced a redesign of the San Francisco plaza and money was also an issue. Still it is Eberson’s designs for the 746 feet high suspension towers, that set the tone for the bridge. “Eberson’s design of the towers was very influential I believe,” said Jessica Hough, lead curator of the exhibit. “His tower design was changed very little after Morrow took over as consulting architect.”
The father of the atmospheric theatre may have not worked on any theatres in the Bay Area, but his influence here is profound. MacDonald, who was the first architect to work on the Golden Gate Bridge after Eberson and Morrow, also notes in his excellent book that Eberson initiated the Art Deco style in the bridge. The style in the corners of the suspension tower’s bracing also echoes a theatre proscenium, MacDonald notes, as can be seen in this 1930s construction photo from the San Francisco History Center.
The gradual narrowing of the suspension towers as they rise was an improvement to Eberson’s towers by Morrow, according to MacDonald. Eberson’s stepped pattern in the towers also mirrored the gradual stepping of many skyscrapers built in the 1920s, which echo the pyramid shapes of the temples of the Maya and also allowed more light onto city sidewalks. Timothy Pflueger’s Telephone Building at 140 New Montgomery was the first skyscraper in San Francisco to deploy that technique. Chicago architect Louis Sullivan had suggested setbacks as early as 1891, MacDonald points out. But it was Eliel Saarinen’s second place design of a skyscraper with setbacks for the 1922 Chicago Tribune Tower contest that really brought attention to the concept. While Saarinen’s design was not executed, it was the winner in the architecture community, including unflinching praise from the ever-critical Sullivan, and was far more influential than the actual winner.
With the influence of both movie palace design and skyscrapers of the Jazz Age, no wonder the Golden Gate Bridge wins all the beauty contests, in contrast to her sister bridge, the Bay Bridge, whose 75th anniversary has not received nearly as much hoopla or attention.
Many other local exhibitions on the Golden Gate Bridge
In addition to the CHS exhibit, the San Francisco History Center on the sixth floor of the main library has a new exhibit called “Bridging Minds: San Francisco Reads, 1933-1937,” featuring books, photographs and ephemera of the period and the works of California authors. San Francisco librarian and author Jim Van Buskirk will be giving talks about movies that have featured the Golden Gate Bridge, which has starred in more movies than any other American architectural icon. Not to be outdone, the Marin History Museum in San Rafael has an exhibition on how the bridge changed life in Marin County featuring construction photos from the renowned Moulin Studios, and photos from local photographer Jeffrey Floyd.
Let’s face it. You can’t really lug a serious book about architecture to the beach, or even on the bus. Typically they are either hefty, hardback tomes, made even heavier by glossy, full-color pages of photography of the work being discussed, or they can venture into dry, academic treatises that often aren’t really fun to read.
This spring, though, fans of architecture can find some good books on our city, including one that you can easily carry on local walking expeditions. San Francisco Chronicle architecture critic John King has just come out with a very readable and portable book, “Cityscapes” (Heydey, 111 pages, $14.95).
Chronicle readers will recognize the buildings here as having appeared in brief homage in King’s Sunday column, “Cityscape.” The book presents 50 San Francisco buildings in all-too-brief description, and excellent photos, all taken by King for his column, with input from his editors and photographers at the newspaper. King, a two-time finalist for the Pulitzer Prize in criticism, can write. Readers who missed these columns will be engaged by his elegant prose; some may be flummoxed by a few of his unusual selections.
King knows that his choices may cause preservationists some pause. “This book makes no claim to be a definitive roster of San Francisco’s finest or most beloved works of architecture,” King writes in the introduction. “Instead, look on it as fifty facets of our urban scene: the charismatic stars and the background players; buildings defined by bold visual moves and buildings that offer tactile delight; the sort of structure you notice every time you pass by, and the sort that escapes notice until you catch it at a certain angle, in a certain light.”
That is probably my favorite aspect of this little book, which is also very affordable at $15. It captures buildings in a new light, and shares lovely aspects of some seemingly bland or unloved structures: the “pearly stucco” facade of the garage at 450 South Street, the “brooding grandeur of the rough concrete” of the brutalist Glen Park BART Station, the “clattering, metallic beast” that is the San Francisco Federal Building. Just last week I walked by the Flatiron Building in the morning sun and looked up at the cornice and its “splashy parade of Gothic embroidery” which I hadn’t noticed in such detail before. One of my favorite city garages, George Applegarth’s circular Downtown Center Garage on Mason Street, is called an “unapologetic ode to automotive convenience” in a town where cars are scorned.
Architect Timothy Pflueger’s work appears twice, with both the Telephone Building and Roosevelt Middle School gracing its pages. So does the work of his contemporary George Kelham, and many other local architects, both revered and not so well known. (My quibble is that Kelham’s Shell Building gets treatment as an icon over Pflueger’s earlier Telephone Building). Author Jacquie Proctor will be pleased to see that the subject of her most recent book, architect Harold Stoner, appears twice, including a nice shot of his Lakeside mini-tower, which King calls a “streamlined explanation point.”
Cityscapes gives local architecture fans new looks at both stalwarts and underappreciated structures. King has been on the lecture circuit around the city, and has an upcoming talk and book signing at the Mechanics’ Institute Library, that gem of an institution at 57 Post Street, designed by Albert Pissis. King will be at the Mechanics’ Institute on Thursday, May 19, at 6 pm. On Tuesday, May 31, he will be at SPUR, 654 Mission Street, at 6 pm.
Preservationists will love Port City.
The anticipated history of San Francisco’s port is finally available. Published this year by San Francisco Architectural Heritage, Port City, written by Michael R. Corbett, is a comprehensive history of the city’s waterfront and its buildings. (San Francisco Architectural Heritage, 248 pages, $65 non-members, $52 members).
It’s a timely book, coming as it does ahead of the America’s Cup in 2013, and it includes a catalog of the port’s historic resources. As Heritage Executive Director Mike Buhler notes in the preservation group’s spring newsletter, “the race organizers are receiving development rights to a large swath of Port property in exchange for investing up to $80 million to ready some of its historic piers for the regatta.” Debates over the plans are sure to ensue, but at least Port City now provides a frame of historical reference. Buhler cautions though that, “significant questions remain including how to pass rigorous state environmental review, and the scrutiny of diverse stakeholders, within such a compressed timeframe.”
The book by architectural historian Corbett evolved from the 500-page nomination and subsequent listing of the Port of San Francisco to the National Register of Historic Places. A 3-mile section of the most in tact, early 20th century finger-pier waterfront in the U.S. was named a historic district in 2006. Architectural historians Marjorie Dobkin and William Kostura worked with Corbett on the nomination. The book received funding from firms like Plant Construction, the city’s preservation fund committee, San Francisco Waterfront Partners and individuals.
Telling the long history of the evolution of the Port of San Francisco is no easy feat, spanning from 1848 to 2010 as the book does in 248 pages. The sometimes dry text is offset by vivid vintage and contemporary photography and large, full-color maps. From the early creation of the seawall, the arrival of the transcontinental railroad, the infamous labor disputes of the 1930s, to its irreversible decline after World War II and the triumphant reinvention of the Ferry Building, the port’s history is integral to the city’s.
This gorgeous coffee-table sized book also makes me want a new, updated edition of my dog-eared paperback of Splendid Survivors, the prior publishing venture in 1979 by Heritage, also written by Corbett. Just as Splendid Survivors is a must-read for every student of the city’s architectural history, the even better-produced Port City will likely end up as another must-have.
The Roaring 1920s in America were happy-go-lucky days of wild times, illegal speakeasies and dances like the Jitterbug and the Charleston. But fueling all that crazy joy was a stock market bubble that ended, as we know now, in the Great Depression. But before the market crash of 1929, most U.S. cities were seeing a huge explosion in growth and building.
In San Francisco, major corporations started to build their first real high-rise skyscrapers, with Timothy Pflueger’s Pacific Telephone Building leading the way. Hollywood also got into the act, with exotic movies and palaces to match, in many big cities. Locally, theatres popped up everywhere, from the big Market Street houses like the Loews Warfield and the Golden Gate theatres, both designed by architect Albert Lansburgh and completed in 1922. There were even smaller neighborhood movie palaces, such as the Castro Theatre, one of Pflueger’s first big projects as a licensed architect.
It was also a time of further neighborhood development, such as the creation of Balboa Terrace from 1920-1927, adding to other neighborhoods in the western reaches of the city, like St. Francis Wood, begun in 1914. These developments offered families detached houses, often designed in the Spanish Colonial revival, Mediterranean, or English cottage styles. Fellow San Francisco City Guide and author Jacquie Proctor has written an excellent book about English architect Harold Stoner, who designed many homes in Balboa Terrace and other neighborhoods west of Twin Peaks, some in the storybook style, with lovely details, ironwork, woodwork, yards and more room than in the typically congested San Francisco neighborhood.
There were plenty of others, however, single people or couples without children, who wanted to live closer to their jobs, or to the city’s hubbub. So a few architects became the go-to designers of apartment buildings in the most glamorous styles, some with the set-back skyscraper form seen in the cities of New York, Chicago and San Francisco. Pflueger was not among this group, but one can see how some of his work and influenced this group of SF apartment builders. This post is the first in a series of mini-bios on some of the architects, whose work is familiar to many in the city, but not much is known about the architects themselves.
Herman C. Baumann
Herman Carl Baumann, also known as H.C. Baumann, or “Mike” is known as one of the most prolific architects in San Francisco. He designed over 400 apartment buildings in the Bay Area, some of the most elegant high-rise buildings in Pacific Heights, Russian Hill, the Marina and Oakland.
Baumann, like his contemporary Pflueger, was born of German immigrant parents, on April 13, 1890 in Oakland. His family moved to San Francisco one year later to the Potrero Hill district. His stepfather worked as a brick mason which may have inspired Baumann to pursue architecture. He also became a member of the San Francisco Architectural Club, where he studied in an atelier patterned after the methods used at the Ecole des Beaux-Arts in Paris, and made important connections for the future. Since Pflueger was also a young draftsman who reinforced his office training with classes at the S.F.A.C., and they were two years apart, it seems likely that Baumann and Pflueger knew each other at an early age. Bauman received his California architectural license in 1921, one year after Pflueger received his license.
Baumann began working as a draftsman in 1905 for Thomas Edwards at age 15, receiving much of his training in the office. He first appears in San Francisco City Directories after the earthquake, as a draftsman in 1907. From 1911 to 1912, he listed architect Norman W. Sexton as his employer. In 1915, Baumann describes himself as an architect, six years before he got his state license. He worked for contractor George Wagner Construction for at least a year in 1919. Wagner also had ties to the SF architectural club: he was one of its founding members in 1901. By 1920, Baumann was on his own, in the same building as Wagner, at 251 Kearny on the corner of Bush, a Renaissance Revival style building designed by Albert Pissis that also housed other architects, including Arthur Brown, Jr.
Baumann had an eclectic style, adding touches of everything from to Spanish Colonial Revival to the Churrigueresque to Zigzag Deco. One of his most famous apartment houses was the Bellaire, at 1101 Green Street, a building that he financed himself during the late 1920s, and would lead to his financial ruin in the 1930s. He invested almost everything he had into the Bellaire, a luxury apartment house, now condominiums, that recalls the Telephone Building with its setbacks and vertical emphasis.
Before the Bellaire, for a few years in the 1920s, Baumann was in a partnership with Edward Jose, a builder. The January, 1924 issue of The Architect and Engineer had a 16-page feature on the partners with photos of many of their earlier apartment houses and homes. “There is a refreshing absence of the stereotyped four walls and uninteresting entrances in the apartments here illustrated,” A&E wrote. The article also noted that in previous apartment buildings in the city, there was a tendency to crowd too many rooms. “The experience of Messrs. Baumann and Jose has been that fewer rooms on a floor, with plenty of ventilation, will command higher rental than narrow hallways and court apartments possessing limited ventilation and light.” Baumann embraced this philosophy throughout his career, as the floorplan for the Bellaire shows.
Another one of Baumann’s best-known Bay Area buildings, now a condominium tower, is the 15-story Bellevue-Staten on Lake Merritt in Oakland, listed on the National Register of Historic Places since 1991. The Bellevue-Staten, completed in 1929 was “the last word in ultra-modern home apartment construction,” according to ads placed when it opened. Four photos of the exuberant Bellevue-Staten, a Deco-Baroque take on the Spanish Colonial Revival style, appeared in December, 1930 issue of the Architect and Engineer. A one-bedroom unit went on sale last year, and the photos in this Chronicle story show many of the interior features: original parquet floors, fireplace with original detailing, a turquoise-tiled bathroom, and a Moorish-like original lobby.
His vast portfolio is too large to recount, but realtor David Parry of McGuire Real Estate offers an account here listing many more of his buildings. Like Pflueger, near the end of his career (Baumann lived a lot longer, however, dying in 1960, just shy of his 70th birthday), he moved towards modernism. His last building is the high-rise at 1800 Pacific Avenue at Broadway, with lots of big glass windows, small balconies and dark rock surfacing, although his interpretation of the International Style is not as successful as his earlier work.
The King Tut exhibit at the de Young Museum in Golden Gate Park is not the only place in San Francisco you will find a penchant for all things Egyptian.
The influence of that discovery in 1922 of the Egyptian boy pharaoh’s tomb lives on today in many Art Deco buildings that have survived since the 1920s. Some fine examples can be found in San Francisco, including the Financial District.
After Tutankhamun’s tomb was discovered in late 1922 by archeologist Howard Carter, the world became fascinated with ancient Egypt. What Deco-philes now refer to as “Tut-mania” was a sudden popularity of Egyptian imagery in the design of clothing, jewelry, furniture, and architecture.
According to Christopher Frayling, in the catalog for the stunning “Art Deco 1910-1939,” an exhibit that came to San Francisco’s Legion of Honor in 2004, the mania was widespread around the world.
“The craze touched every aspect of design, from the ‘Tutankamen Rag’ played by the jazz orchestra in the ballroom of the Winter Palace Hotel, Luxor, to the latest lines in Egyptian-inspired garments, furniture, interior designs, bookbindings and fashion accessories in London, Paris, Berlin and New York,” Frayling wrote.
The Tut-mania craze, which Evelyn Waugh later wrote “so vulgarized” the discovery of King Tut’s tomb, manifested itself in architecture through the use of symbols and imagery evocative of ancient Egypt, typically as the decorative ornament of buildings, particularly skyscrapers with any semblance to a ziggurat or stepped towers.
The Shell Building, designed by architect George Kelham and completed in 1930, is an excellent example of the obsession with Egypt. A lovely brass screen above the front entrance of the building has a lotus flower pattern, as do the elevator doors inside the lobby (see above photo for exterior view). The lotus flower, a symbol of rebirth in ancient Egypt, was used frequently as ornament and in the capitals of columns.
A brief stroll just in the Financial District alone can uncover several Egyto-mania references hidden or blatant in some of the city’s oldest and most elegant office buildings. Another symbol of rebirth or reincarnation is the scarab beetle. Who knew one could find a scarab on Montgomery Street, Wall Street West. But a close look at the ornament on each side of the tomb-like entrance of 130 Montgomery Street, completed in 1930 and designed by the O’Brien Brothers and Wilbur Peugh, reveals two scarabs in bas relief, accentuated by flat column-like speed lines.
Scarabs were beetles that were sacred to the Egyptians who were often buried with them. The scarabs, or dung beetles, meant transformation, resurrection and are connected with death and rebirth. In King Tut’s tomb, for example, one of the glorious golden necklaces found among the treasures had a piece of glass depicting a scarab, leading scientists to try to determine how did a piece of yellowish glass end up in a piece of jewelry in Ancient Egypt. But that’s another story.
Architect Kelham, who started out his career as a Beaux-Arts trained classicist, seemed fascinated with Egyptian motifs. Kelham, a rival of Timothy Pflueger in the design of the city’s earliest high-rise skyscrapers, mimicked the stepped form of Miller & Pflueger’s Telephone Building, and found his own exotic references for the Shell Building. As Pflueger embraced China as a theme for 140 New Montgomery, Kelham chose Egypt for the Shell.
The building, designed for the Royal Dutch Shell Oil Co., also has shell motifs, and other typical Moderne images of the period, such as zig-zag patterns, chevrons and fern fronds. But it was a significant departure from Kelham’s neoclassic buildings, many of which still stand, sturdy and strong on Montgomery Street.
One of those structures is at 300 Montgomery, a very proper Greek revival design by Kelham for a bank in 1922, later remodeled in 1941. The building, originally the home of the American National Bank, also has exotic detailing, including this Egyptian-looking warrior. The columns on each side of the warrior look like they are adorned with lotus flowers. A snake (perhaps an asp?), encircles the spear of the muscular figure.
These are not the only Egyptian designs in San Francisco but just a small taste for inquiring minds. One example that has sadly disappeared, is a building for the Egyptian Lacquer Manufacturing Co. (yes there is still such a firm. Lacquer was a popular material in the 1920s ), designed by Miller & Pflueger at 1050 Howard Street. It appears the building has been destroyed or totally altered.
Egyptian Lacquer played a role in the development of the Telephone Building, according to Pacific Coast Architect. Lacquer was used to finish the metal windows, door casings and base and on the hundreds of walnut and oak hardwood doors with ebony inlay.
The former West Coast offices of Egyptian Lacquer are pictured here. Moderne-styled ornament with Egyto references and a wall of entire glass panes contrast with a traditional cornice. It’s an exotic design with a trace of Bauhaus for this small industrial building.
The new rooftop sculpture garden at the San Francisco Museum of Modern Art has a treat in store for Timothy Pflueger fans. It offers a great view of the rear elevation of the Telephone Building, completed in 1925.
That year was important both in the design world and as a defining moment of the Jazz Age: it was the year F. Scott Fitzgerald’s The Great Gatsby was published, and the year the Exposition Internationale des Arts Decoratifs et IndustrielsModernes took place in Paris, an instrumental exhibition for the then-emerging Style Moderne now known as Art Deco, which had a wide-ranging influence around the world.
In San Francisco, it was a boom time, an era of growth and spending. The Pacific Telephone & Telegraph Co. needed a new headquarters to house its growing administrative staff, a modern skyscraper befitting an innovator.
The vertical emphasis and the gradual setbacks in the towers deployed by the architects had recently been seen in the second prize winner in the Chicago Tribune Tower contest, a design by Finnish architect Eliel Saarinen that was the real winner among most architectural critics.
From the SFMOMA rooftop, you can also see some of the exotic ornament on the building. Also look at the F-shaped pattern in the building plan, where the northern wing is the largest. Pflueger & Co. had originally designed 140 New Montgomery so that Pacific Telephone & Telegraph could expand its headquarters into an E-shaped plan in later years, but that never happened.
The back of the skyscraper also has some walls surfaced with just brick, and the terra cotta surface is clearly showing its age in some sections. The new owners, Wilson Meany Sullivan plan to restore the building as part of a big seismic retrofit and condo conversion project. You can read about their project plans here at Preservation‘s online edition.
The SFMOMA rooftop garden is worth a visit. It’s also a fitting link to Pflueger who was one of the museum’s first board members, when it was the San Francisco Museum of Art and located in the War Memorial Veterans Building.