“Robert Seyfarth”的意思、由来-开放百科全书

Robert Seyfarth ({{IPAc-en|ˈ|s|aɪ|f|ər|θ}} {{respell|SY|fərth}}) was an American architect based in Chicago, Illinois. He spent the formative years of his professional career working for the noted Prairie School architect George Washington Maher. A member of the influential Chicago Architectural Club, Seyfarth was a product of the Chicago School of Architecture.

Influences of style

The case for the use of historic references in modern architecture was made by no less than William Adams Delano (1874-1960), who was considered to be one among the "new generation of architects [who] shaped and developed American taste, producing a style leavened with erudite abstraction and sparing composition".^[1] Delano argued that if a project was "handled with freedom and ... answered the needs of our present day clients, it will be really expressive of our own time".^[2] Seyfarth opted to take his career down this divergent path, and in doing so created a legacy of architecture that "speaks of good breeding with an independent spirit."^[3]

Although his early independent projects directly reflected Maher's stylistic influences, as his own style developed Seyfarth's work became distinguished more as a distillation of prevailing revivalist architecture, characterized not by the frequent devotion to detail that typified the movement but by strong geometry, a highly refined sense of proportion, and the selective, discriminating use of historical references. Although any use of these references was condemned by many of the proponents of what was seen as "modern" architecture in the ensuing years, "the neoclassical impulse ... was an effort to purge American architecture of the wilder excesses of historical revivalism [of the nineteenth century] by returning to fundamental architectural principles. The ideals this architecture sought to express were the very ones the most inventive Chicago architects were trying to embody in their own work - order, harmony, and repose ...".^[6] As a result, the conception of modern architecture was anything but a static event. "Architects and critics engaged in lively debates concerning the definition of modern architecture and the future direction of building design. This discourse reflected the development of diverse architectural ideologies and forms that ranged from Beaux-Arts classicism to streamlining."^[7] Joseph Hudnut, the first dean of Harvard University's School of Design and a noted proponent of modern architecture, recognized the emotional limitations of houses that expressed their design using the typical modern vocabulary of glass, concrete and steel: "They have often interesting aesthetic qualities, they arrest us by their novelty and their drama, but too often they have very little to say to us".^[8]

Background

Robert Seyfarth grew up as a member of a prominent local family. His grandfather William Seyfarth had come to the United States in 1848 from Schloss Tonndorf in what is now the state of Thuringia, Germany, with the intention of opening a tavern (what would now be considered an inn) in Chicago. Advised to locate outside of the city, he settled with his wife Louise in Blue Island, which a couple of years earlier had begun to experience an influx of immigration from what was then known as the German Confederation.

William purchased a building that was standing at the south-west corner of Grove Street and Western Avenue and opened his business. The location was a good one - it was on what was then called the Wabash Road a day's journey from Chicago, which guaranteed the tavern a steady supply of prosepective customers for many years. At about the same time he purchased a stone quarry about a mile south-west of the settlement (where Robbins, Illinois now stands) and operated it concurrently with the inn, although apparently without as much success. He was a member of the school board when Blue Island built its first brick schoolhouse in 1856,^[11] and served as clerk and later as assessor for the township of Worth from 1854 until he died in 1860.^[12] William and Louise had five sons, including Edward, who was the father of the architect.
Edward Seyfarth was active in community affairs on many levels. Not only did he own and operate the local hardware store, but in 1874 he was a charter member of the Blue Island Ancient Free and Accepted Masons and in 1890 was one of the founders of the Calumet State Bank. He served as village treasurer from 1880–1886 and as village trustee from 1886–1889 and again from 1893-1895. Over the years other members of the family were also active in the community - they were involved in banking, the board of education, and the Current Topics Club (later the Blue Island Woman's Club), who was largely responsible for the founding of the Blue Island Public Library. Charles A. Seyfarth was one of the founding members of the Blue Island Elks in 1916. (The architect was himself apparently a person of catholic interests - he was an active member of the Poultry Fancier's Association during the time that Blue Island was the headquarters for the Northeastern Illinois Fancier's Association in the early years of the 20th Century^[13]).

From the time his grandparents arrived in 1848 to the time Robert Seyfarth left Blue Island in about 1910 for Highland Park, the village had grown from being a pioneering hamlet of about 200 persons to a prosperous industrial suburb with a population of nearly 11,000, which the noted publisher and historian Alfred T. Andreas^[14] had called "...a quiet, though one among the prettiest little suburban towns in the West".^[15] It was in this atmosphere that Seyfarth grew up, attended primary school, married his first wife Nell Martin (1878–1928),^[16] and built their first home.

Education and career

Chicago Manual Training School

Seyfarth began his architectural education at the Chicago Manual Training School, which was founded by the Commercial Club (after 1907 The Commercial Club of Chicago) ^[22] out of a concern for the quality of the education of skilled labor in the Chicago region. The school had opened its doors on January 4, 1884 with four teachers and seventy-four pupils and the support of the sixty members of the club who had "pledged themselves to found a manual training school, and guaranteed for its construction, equipment and support [with] the sum of one hundred thousand dollars".^[23] The club, which was founded in 1877, was a group of the city's most influential leaders that included Marshall Field, George Pullman, Edson Keith, Cyrus McCormick and George Armour. The club's successor, The Commercial Club of Chicago would later sponsor Daniel Burnham and Edward H. Bennett's Plan of Chicago (1909), which is widely regarded as one of the most important public planning documents ever created.

Chicago Manual Training School was a private secondary school and was designed to graduate its students three years from the time they entered. The student body, which was all male, was required to spend an hour each day in the drafting room and two hours a day in the shop, in addition to the time spent in classrooms studying the conventional high school curriculum. In 1891 the tuition averaged $100.00 per year "to those able to pay it".^[24]^[25] In 1903 the institution became part of the University of Chicago Laboratory Schools,^[26] operating out of CMTS (later Belfield) Hall.^[27]

Although it was to take him in a totally different direction, Chicago Manual Training School, with its focus on the industrial arts, was a logical choice for the secondary education of the oldest son of a hardware dealer, especially in an age when primogeniture was considered important. Besides his classes in drawing Seyfarth studied mathematics, English, French, Latin, history, physics, chemistry, foundry and forgework, machine shopwork, woodwork, political economy and civil government.^[28] He attended classes and graduated in 1895 with the son of Dankmar Adler, the son and the nephew of Henry Demarest Lloyd^[29] and with Henry Horner (1878-1940) who was the governor of Illinois from 1933 until the time of his death.^[30]

Despite the fact that it was 17 miles away, Seyfarth enjoyed the advantage of the school's convenient location. The railway depot that marked the beginning of his trip was a two-block walk from his home at Grove Street and Western Avenue,^[31] with the end of the ride being at the Illinois Central's Twelfth Street Station, which was located directly across the street from the school. The ride would have taken him directly over the Midway Plaisance of the World's Columbian Exposition, where he would have a clear view to the west of the great Ferris Wheel and to the east of the Beaux Arts majesty of the main body of the Fair. It is difficult to imagine that to a boy from small-town America in the early 1890s this would not have created an impression and provided him with enormous inspiration, as it did the architectural world at large for the next forty years. In her book A Poet's Life - Seventy Years in a Changing World, the writer, founder of the magazine Poetry^[32] and social critic Harriet Monroe succinctly noted forty-five years after the closing of the Fair that "... like all great achievements of beauty, it has become an incalculably inspiring force which lasted into the next 'age'."^[33]

The Chicago Architectural Club

Because of his association with the Chicago Architectural Club, Seyfarth would have ample opportunity to become acquainted with the major players of Chicago's progressive architectural community, a large number of whom were active members. These were relationships that Maher would doubtless have encouraged. Notables among the list included Charles B. Atwood, Daniel Burnham, Dankmar Adler, Louis Sullivan, Howard Van Doren Shaw, William Le Baron Jenney and Frank Lloyd Wright.^[45]

The club's headquarters for many years was located in the former mansion of the piano manufacturer William W. Kimball at 1801 Prairie Ave. in Chicago. It ceased to operate as an active organization in 1940 and was dissolved in 1967, but exists again today after it was re-formed in 1979.

Influences and early career

Robert Seyfarth graduated from the Chicago Manual Training School in 1895, and literature published by the school shows his position upon graduation to be that of a "Draughtsman" for the Chicago architect August Fiedler. Fiedler was born in Germany and came to the United States in 1869,^[51] establishing himself first in New York City and then in Chicago as a much sought-after designer of high-end residential interiors, later becoming an architect. He designed some of the woodwork and other decoration for the Samuel Nickerson House (1879–1883) on Erie Street in Chicago ^[52] (now the Driehaus Museum), and the interiors of the Hegeler Carus Mansion (William W. Boyington,1874–1876) in LaSalle, Illinois.^[53] In an 1881 letter to a colleague, one of Fiedler's contemporaries commented on the quality of Fiedler's design work for Nickerson by saying that "...it would be hard to comprehend its beauty without seeing it".^[54] From 1893 to 1896 he was the chief architect for the Board of Education for the city of Chicago (being the first to assume the position upon the creation of the building department on January 18, 1893^[55]), for whom he designed and/or supervised the construction of fifty-eight school buildings,^[56] and he was responsible for the design of thirty-eight buildings (thirty-six in the German Village alone

.^[58] Seyfarth began his career as an architect at the age of 17 working for Fiedler during the time the latter was architect to the board of education, and records show his position at the time he was hired to be "messenger" (although, as noted above, his graduation notice suggested something more than that), for which he was compensated with a salary of $6.00 per week (about $168.07 in 2015).^[59] Fiedler operated out of offices in Adler and Sullivan's Schiller (later Garrick Theater) Building^[60] (1891, demolished 1961), and Seyfarth was almost certainly introduced to him through his uncle Henry Biroth, who was one of the earliest pharmacists in Chicago and served at various times as the secretary and president of the Illinois Pharmaceutical Association,^[61] which occupied offices down the hall from Fiedler.^[62] The Seyfarth family had been acquainted with Fiedler for several years before Seyfarth began to attend Chicago Manual Training School. Henry Biroth was an active member of Chicago's large ethnic German community, and in 1887, Fiedler (with his partner John Addison) had designed a house for him in Blue Island.^[63] How long the young Seyfarth worked for Fiedler and the board of education is not known (Fiedler separated from the board of education late in 1896, and was replaced by Normand Patton^[64]), but by 1900 he was working for George Washington Maher on the renovation of the interior of the Nickerson mansion for Lucius Fisher. Here, according to the Historic American Buildings Survey, he designed and carved the woodwork for the rare book room.^[65]

Maher was an influential architect associated with the Prairie School movement. According to H. Allen Brooks, professor emeritus of fine arts at the University of Toronto "His influence on the Midwest was profound and prolonged and, in its time, was certainly as great as was [Frank Lloyd] Wright's. Compared with the conventional architecture of the day, his work showed considerable freedom and originality, and his interiors were notable for their open and flowing ... space".^[66] Henry M. Hyde, in a 1913 article in the Chicago Tribune, recognized the work of Maher and of the other members of "the new American School of Architecture" by noting "They pay no attention to the conventions and rules of the classic types of architecture. They would express a new and democratic spirit." He went on to say "...there is no doubt that just now the Chicago insurgents and their work is attracting more attention and causing more comment than any other architectural development in America".^[67]

The beginning of Maher's life, however, wasn't quite so auspicious. He was born in Mill Creek, West Virginia, and at about the age of five, due to the adverse economic conditions in Mill Creek at the time, his family moved to New Albany, Indiana. There Maher attended primary school, but by the time he was in his early teens the family was on the move again, this time to Chicago. They went there to take advantage of the prosperity that had come to the city after the Great Fire of 1871, and in 1878 George was sent to apprentice with the Chicago architect Augustus Bauer (after 1881^[71] in partnership with Henry Hill^[72] who, with Arthur Woltersdorf would build St. Benedict Church in Blue Island in 1895^[73]) by his parents who, as was not unusual at the time, needed to augment the family income with the earnings that this type of employment would provide.^[74]

As history would show, this turn of events proved to be fortunate for Maher. Bauer was considered to be one among "the city's prominent social and cultural arbiters."^[75] He had come to the United States in 1853 having been a part of the wave of German immigration that had brought Robert Seyfarth's grandfather to the United States, and he and his various partners, who were also of German extraction, played an important role in providing architectural services for the large German community in Chicago during the second half of the 19th century. In 1869 Bauer designed the first German school in Chicago at 1352 S. Union Street for Zion Lutheran Church, and in 1872-73 Bauer and Löebnitz designed Concert Hall, Chicago Turngemeinde (demolished) at Clark Street and Chicago Avenue.^[76] The output of the Bauer partnerships included many distinguished projects, including Old St. Patrick's Church at 700 W. Adams Street (1856, renovated and restored 1992-1999,^[77] which Chicago magazine ranked among the 40 most important buildings in Chicago ^[78]), the Rosenberg Fountain in Grant Park (dedicated October 16, 1893,^[79] restored 2004), and Tree Studios at 601-623 N. State Street (1894–1913, with Parfitt Brothers, renovated 2004). Bauer is credited with the invention of the isolated footing foundation system, which allows for a longer span between vertical supports. This innovation among other things permits the broad expanses of glass that have become a standard feature of modern architecture.^[80] Maher was not Bauer's only notable protégé - at the beginning of the Civil War and again at the end of it, Bauer employed Dankmar Adler ^[81]

(1844–1900), who would later work with Louis Sullivan on buildings that would come to be regarded as important contributions to the Chicago School of architecture, notably the Chicago Stock Exchange Building (1893, demolished 1972) and the Auditorium Building (1889) (now the home of Roosevelt University).

How long Maher worked for Bauer and his partners is not known, but by the 1880s he was working in the office of Joseph Lyman Silsbee, who before he became an architect had been professor of architecture at the new College of Fine Arts at Syracuse University. Silsbee was a talented architect who designed in the latest architectural fashion. He was noted for his Shingle style buildings and "... was a master of the Queen Anne style, and in gaining the romantic effect admired by his clients he depended less upon [its inherent] chaos than his contemporaries".^[82] He came to Chicago in 1882 to act as an interior architect and as such was responsible for the opulent interiors of Potter and Bertha Palmer's fantastic castle^[83] at 1350 N. Lake Shore Drive (built 1881-1885, demolished 1950,^[84] Henry Ives Cobb (1859–1931) and Charles Sumner Frost (1856–1931) architects), and stayed to design several important projects for the city, including the Lincoln Park Conservatory (1890–1895) and the West Virginia Building and the Moving Sidewalk for the World's Columbian Exposition (1893). While he worked for Silsbee, Maher worked alongside George Grant Elmslie (1869–1952), Frank Lloyd Wright (1867–1959) and Irving Gill (1870–1936), who would each later become prominent architects, although with decidedly different architectural styles. In 1888 Maher established his own office with Charles Corwin, a relationship that lasted until about 1893. He briefly enjoyed a professional relationship with Northwestern University in Evanstion, Illinois, where in 1909 (during Seyfarth's tenure in his office) he designed Swift Hall and the first Patten Gymnasium (demolished 1940). These buildings were bold expressions of his unique design philosophy and were to have been integral parts of his master plan for the campus, which the board of trustees had commissioned through a competition in 1911 but failed to execute. This prompted one commentator in later years to lament "It's probably the most regrettable loss in Northwestern architectural history: the unique Prairie School campus that never was".^[85] Frank Lloyd Wright would have predicted the outcome. What follows is point 13 in his list of advice given "To the young man in architecture": "Enter no Architectural competition under any circumstances except as a novice. No competition ever gave to the world anything worth having in Architecture. The jury itself is a picked average. The first thing done by the jury is to go through all the designs and throw out the best and the worst ones so as an average, it can average upon an average. The net result of any competition is an average by the average of averages.".^[86]

Toward the end of his life, when he was chairman of the Municipal Arts and Town Planning Committee of the Illinois Chapter of the American Institute of Architects, Maher became the driving force behind the restoration of the former Palace of Fine Arts, then a crumbling ruin which was by then the only major building that remained from the World's Columbian Exposition. In an article that appeared in The American Architect in 1921, Maher made the following observation, which indicates a predilection for classical architecture despite the conclusion one might otherwise come to upon examining his existing body of work: "For slightly over a million and a half dollars, Chicago could have, in perpetuity, one of the most beautiful speciemens of architecture in the world ... It is universally agreed among architects, artists and critics, that the building is unequalled as a pure example of classical architecture. It is the last remaining memorial of one of Chicago's greatest achievements, the Columbian exposition."^[87] Maher didn't live to see what he had begun come to fruition, but during the Century of Progress in 1933 the Museum of Science and Industry opened in the newly restored building, a project which was funded largely with a $5 million gift from the philanthropist Julius Rosenwald (1862–1932), who was president of Sears, Roebuck and Company.^[88]

It is likely that Robert Seyfarth was introduced to Maher through family connections. Because Edward Seyfarth was an important local businessman, he would almost certainly have been familiar with the established architect's work that was being built in Blue Island.^[89]

Independent practice

Seyfarth continued to work for Maher until about 1909, at which time he opened his own practice. In the early years the office was located in the Corn Exchange Bank Building (1908, Shepley, Rutan, and Coolidge, demolished 1985) at 134 S. LaSalle Street, which was a short walk from the Chicago Stock Exchange Building. Seyfarth was likely drawn to establish his office there thru the influence of his Blue Island neighbor Benjamin C. Sammons (1866-1916), who was the president of the Bankers Club of Chicago and a long-time vice-president of the Corn Exchange National Bank.^[92] Seyfarth later moved into the newly completed Tribune Tower (1925, John Mead Howells and Raymond Hood), where he had an office on the twenty-first floor until 1934 when the Depression forced the move of his business to his home in the North Shore community of Highland Park. His was a small office - he did the design, drafting and supervision work himself, and for many years was assisted by Miss Eldridge, who typed specifications and generally kept the office running. After the office was moved to his home, he took as his assistant Edward Humrich (1901–1991), who himself became a noted architect after he left Seyfarth's employ shortly before the advent of World War II. Humrich enjoyed a distinguished career designing and building houses in the Usonian style of Frank Lloyd Wright. He earned his architectural license in 1968. In a series of interviews with the Art Institute of Chicago in 1986, he summed up Seyfarth's appeal: "He had an excellent sense of proportion and scale. His houses were all true to the North Shore ..., and they're outstanding. He had a knack, kind of a freshness to it, and it was good."^[93]

A year or two after he went into independent practice, Robert Seyfarth built a gambrel roofed Shingle Style house on Sheridan Road in Highland Park, across the street from Frank Lloyd Wright's Ward Willets house (1901), and it marked a change in the direction of his design work - for the rest of his career his would design in an eclectic style combining Colonial Revival, Tudor and Continental Provincial elements with strong geometric forms.^[94] During his career Seyfarth would design 73 houses in Highland Park alone, where his output began before the time of his arrival as a resident and lasted until shortly before his death. Here he elected to ignore the notion that in later years was famously offered to young architects by the Sage of Taliesin "... go as far away as possible from home to build your first buildings. The physician can bury his mistakes—but the Architect can only advise his client to plant vines.".^[95] Almost exclusively a residential architect with the majority of his work in the Chicago area, he also designed projects in Michigan, Wisconsin, Ohio, Virginia, Kentucky and Alabama. By the end of his career, he had designed over two hundred houses.^[96]

One of his more important works is the Samuel Holmes House designed in 1926 and listed on the National Register of Historic Places. A shingle style house overlooking Lake Michigan, its landscaping was designed by Jens Jensen.^[96]

Robert Seyfarth continued to live and work in Highland Park until his death on March 1, 1950.

The Chicago History Museum Research Center has an archive consisting of drawings for 70 of Seyfarth's projects dating after 1932.

Client base

Seyfarth is sometimes considered to be a "society architect",^[97] and an examination of the body of his known work will bear this out, but only to a certain extent. One client of this class, Willoughby G. Walling^[98] (1878–1938), of Winnetka, IL, is known to have mingled with European royalty^[99]^[100] and with at least one President of the United States in his capacity as the acting director general of the Department of Civilian Relief and as Vice-Chairman of the Central Committee of the American Red Cross. His brother William English Walling was recognized by W.E.B. Du Bois as the founder of the NAACP,^[101] and Willoughby himself "...became a major spokesman for the Chicago movement". Here he worked alongside the noted social reformer Jane Addams and some of Chicago's wealthiest and most influential citizens, including Mrs. Cyrus McCormick, Mrs. Emmons Blaine [whose father-in-law James G. Blaine was variously a Senator, the Speaker of the House and the Secretary of State for James Garfield and Chester A. Arthur] and Julius Rosenwald.^[102]

Other wealthy clients exported Seyfarth's talents when they built houses outside the Chicago area. Norman W. Harris (of Chicago's Harris Bank), whose intown residence was also in Winnetka, raised Arabian horses at Kemah Farm in Williams Bay, Wisconsin where his family lived in a "white cottage ..., one of the charming, low, rambling houses for which Robert Seyfarth, its architect, is famous.".^[103] Another such client was Jessie Sykes Beardsley, who returned to her husband's farm in Freedom Township near Ravenna, Ohio in 1918 the year after his death and built a large house (locally known as the Manor House) which was designed by Seyfarth^[104] that she had commissioned, presumably while she was still in Chicago. Here she operated the Beardsley Dairy for a number of years. Her husband Orasmus Drake Beardsley had been the secretary and treasurer of her father's Chicago-based company, The Sykes Steel Roofing Company, which made a variety of products including roofing materials and pool tables.^[105] While there, according to the 1908 edition of The Chicago Blue Book of Selected Names, the Beardsleys lived at 4325 Grand Boulevard (now King Drive) on a street that today contains one of the most intact collections of residences built in the late 19th Century for Chicago's elite. The same book also shows that Orasmus Beardsley was a member of various prestigious clubs, including The Chicago Athletic Association (where William Wrigley Jr. and L. Frank Baum were members) and the South Shore Country Club (now the South Shore Cultural Center), where he associated with the likes of Clarence Buckingham, John G. Shedd, John J. Glessner, Martin Ryerson, Clarence Darrow, Joy Morton and Willoughby Walling.^[106] The Beardsley's Freedom Township house was later owned by Ohio State Senator James P. Jones. Another among Seyfarth's clients of this type was the mail-order innovator Aaron Montgomery Ward (1843–1913), who was briefly a neighbor after Seyfarth moved to Highland Park c. 1910. All of this notwithstanding, however, a careful analysis will show that Seyfarth served a broad-based clientele, and although he has a number of small houses to his credit the largest percentage of his work was done for what would be considered upper middle-class clients.

Marketing

The last known example of Seyfarth's work to be published during his lifetime appeared in the September, 1948 edition of Good Housekeeping magazine. The "Little Classic"^[117] was an expandable ranch that the magazine had commissioned which it noted featured "...a cornice [that] is pure sculpture - no jackscrews of mingled mouldings [to] confuse its clean profile." The illustrated article also pointed out that "...the porch at the head of the garden is reached through paired French doors from both the living and dining rooms."^[118] - even in this late example of Seyfarth's work the abstracted design and covered exterior living space continued to be important elements of the composition.

With a long history of having his work published, Seyfarth was following the example of George Washington Maher, who was widely published during his career. Articles by Maher and about him appeared regularly in publications that included Western Architect, Inland Architect, Architectural Record and Arts and Decoration.

Selected projects

Notes on the pictures

The house could be a study for the Ernest J. Magerstadt house which Maher built at 4930 S. Greenwood Avenue in the Kenwood neighborhood of Chicago in c.1908.^[120] It appeared in the background of establishing shots in the 2011 New Line Cinema film The Rite, which starred Anthony Hopkins and Colin O'Donoghue.

Pictures of the house appeared in Architecture magazine in 1917^[126] and in The Architectural Record in October 1914. Here it was described as follows:

Aspley must have been a satisfied client. Seyfarth had designed a house for him at 230 Fairview Road in Glencoe in 1919^[140] that appeared in The Western Architect the following year^[141] (see image, left), and an addition to the Dartnell Corporation building at R

This house is one of Seyfarth's largest, and sits on a bluff overlooking Lake Michigan. The layout is such that most of the rooms face the lake. The house features the inverted dormer windows that are a hallmark of Seyfarth's work, and lannon-stone walls that are likely the work of Caesar Fiocchi, who was one of a small group of craftsmen that Seyfarth relied upon to interpret his work as he intended. Fiocchi would also have been responsible for the carving over the front door.^[142]

Demolition and controversy

There is one notable exception. The Hubbard/Brach house, which stood at 595 Sheridan Road in Winnetka, IL, was demolished in 2001 by a developer over the strong objections of local historians and the Landmarks Preservation Council of Illinois.^[147]

The property had a hat trick in the arsenal for its defense that should have prevented it from being razed, but Winnetka had a weak landmark ordinance that required the owner's consent before a proposed landmark could be designated.^[148]

The house sat on a three acre lot overlooking Lake Michigan. It was built c.1854, and in 1871 had become the home of Gilbert Hubbard, a founding father of the town and the developer of a large section of it that today is called Hubbard Woods.^[149] The house was sold in 1924 to Edwin Brach (an heir to the Brach's candy fortune), who with his family owned the house until 1999, when it was sold to George Garrick, who had become wealthy as an internet venture capitalist. At the time the Brach family bought it, the house underwent a significant renovation that was designed by Seyfarth, at which time it was extensively remodeled and increased in size to 11 rooms. All of this notwithstanding, Garrick felt the house had no architectural or historic value and his only apparent interest in the property was in the land on which it was located. Shortly after coming into possession of it he requested a demolition permit for the house so that the property could be sub-divided for two new houses. Without a strong preservation ordinance, the village was powerless to stop the demolition, and after fruitless attempts were made to come to some other accommodation the permit was granted and the house was demolished. In the end, Garrick never developed the parcel. The basement of the old house was filled in and the lot was allowed to return to its natural state. He later sold the property for a $500,000 loss and returned to California.^[150]

Salient features

Seyfarth's adaptation of "old world standards" to suit modern taste was done in several ways. First of all, Seyfarth flooded his interiors with natural light. What made this possible in the principal rooms of the first floor were the floor-length windows, which here and elsewhere were frequently wider than what might be acceptable to Palladio, but that were always in proportion to the building of which they were an element. On the upper floors where inverted dormers were used, sunlight is allowed to come directly into the room since the tunnel to the outdoors that is created by the ceiling of a convention dormer and half the area of the cheek walls is virtually eliminated (see image above - the angle of the sunlight as shown here is represented as it would be at the vernal and autumnal equinoxes in Chicago^[153]). Elsewhere, bays and banks of windows were frequently included to offer the same benefit.

Another device that was sometimes used quite dramatically by Maher (see image, upper left) that is a signature feature of Seyfarth's work is the embellishment of the front door as the main decorative feature of the house, usually to the exclusion of everything else on the building. This allowed for the buildings' geometry and finish materials to speak for its architectural style, and act as a counterpoint to what was seen, especially then, as the fussiness of the architecture of the previous three quarters of a century. Here he was practicing what Root and Louis Sullivan had preached:

Having worked in the frequently austere style of Maher for a "period of years", Seyfarth was ready to work with traditionally inspired ornament, judiciously applied.

And as stylistically different as Seyfarth's work is from the work of Frank Lloyd Wright, Seyfarth embraced Wright's feeling that

One feature of the current age, the ubiquitous attached garage (the successful inclusion of which apparently continues to confound architects today), was frequently incorporated into the design of the main house with such skill one observer noted that "...Norman peasants must have been driving automobiles since the Conquest." ^[157]

Significant works

References

1. ^{{cite book |last=Pennoyer |first=Peter and Ann Walker |title=The Architecture of Delano and Aldrich |year=2003 |publisher=W.W. Norton and Company |location=New York |isbn=0-393-73087-5 |pages=10}}
2. ^{{cite journal |last=Boyd |first=John Taylor |title=The Classic Spirit of our Country Houses |journal=Art and Decoration |volume=31 |date=October 1929 |page=62}}
3. ^{{cite web |url=http://www.winnetkahistory.org/index.php?id=109/ |title=175 Chestnut St. - House of the Season: Becoming A Seyfarth Sleuth |publisher=The Winnetka Historical Society |accessdate=2013-04-02}}
4. ^{{cite journal |last= |first=|title= The Architectural Beauty of Well-Designed Lattice Work|journal=The Craftsman|volume=XXX | issue = 3|date=June 1916|pages=257, 261}}
5. ^{{cite journal |last=Kirkham |first=Guy|title= How to look at a Building|journal=The Craftsman|volume=II | issue = 3|date=June 1902|pages=143}}
6. ^{{cite book |last=Miller |first=Donald L. |title=City of the Century - The Epic of Chicago and the Making of America |year=1996 |publisher=Simon and Schuster |location=New York |isbn=0-684-80194-9 |pages=376–377}}
7. ^{{cite book |last=Schrenk |first=Lisa D. |title=Building a Century of Progress - The Architecture of Chicago's 1933-1934 World's Fair |year=2007 |publisher=University of Minnesota Press |location=Minneapolis London |isbn=978-0-8166-4836-8 |pages=3}}
8. ^{{cite book |last=Hudnut |first=Joseph |title=Architecture and the Spirit of Man |year=1949 |publisher=Harvard University Press |location=Cambridge |isbn= |pages=115}}
9. ^{{Citation |last=Jellema |first=Kenneth A. |last2=The Blue Island Historic Preservation Commission |title=The Life and Architecture of Robert Seyfarth |year=1992 }}
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