RES O U RC E G UI DE 2012-2013
ALBERT KAHN ARCHITECTURE IMMERSION Saturday, April 20, 2013 8 am — 5 pm Various Southeast Michigan Locations
UMS ED UC ATIO N & COMMUNITY ENGAGEM EN T
TA BL E OF CO NT ENT S
04 FOREWORD
06 THE IMMERSION 07 Overview 08 Presenters 09 Outline 10 Tour Stop Descriptions
16 ALBERT KAHN 17 Bio 28 Timeline 30 Impressionism
32 KAHN BUILDINGS 33 Southeast Michigan 34 University of Michigan 36 Spotlight: Russia
38 HILL AUDITORIUM 39 The Birth of Hill 40 Construction Timeline 41 In-Depth: Hill’s Acoustics 46 Context: U-M and UMS History 47 Key Figures
48 RESOURCES 49 Architecture Glossary 50 Readings, Internet, Organizations
52 UMS: BE PRESENT 53 About UMS 54 Thank You! 55 Sponsors and Credits
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FOREWO R D
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Foreward
F RA MI NG YOUR DAY In 2013, Albert Kahn is not a household name. THIS IS DESPITE THE FACT THAT HE... • designed many of the buildings in Detroit’s finance district and many personal homes of the most important 20th–century public figures in Detroit and in the national industrial revolution.
• was the principle designer of the University of Michigan central campus, including Hill Auditorium, Angell Hall, the Clements Historical Library, Burton Tower, and the original Hospital building.
• was a great enabler of the Soviet industrialization; during the Great Depression he found work in Russia building over 520 factories and training over 1000 Soviet engineers in two years.
• pioneered American modernist architecture by inventing reinforced concrete and designing the first assembly line factories in Detroit; word of his hyper efficient designs spread quickly and he found success worldwide by the end of his life.
However, this 2012-2013 UMS season’s celebration of 100 years in Hill Auditorium has opened up an opportunity for what I’ve found to be an exciting investigation of Kahn and an opportunity to have people other than history nerds like me understand the richness of Kahn. I couldn’t be happier to be part of this Kahn Immersion and join with the other presenters in sharing what we think are the great things about Kahn and his work. Our goal today is to alter the way people think about Hill Auditorium. We hope by the end of the day participants begin to recognize Albert Kahn’s influence throughout the community and the true gift of Hill Auditorium. Maybe slightly better said about this Immersion... Our kahncept is to kahncoct a community kahnquest that is a kahnfection of kahntent celebrating Kahn, that involves kahntemplation as kahnstituents (you all) are kahnducted in a kahntemporary kahnestoga wagon (i.e. a bus) through kahncrete paths lined with kahnifers and Kahn’s kahnserved kahnstructions. The day’s kahnclusion is a kahncert and hopefully kahnsensus — no kahnfusion — about the positive kahnsequences in kahntemporary life of Kahn’s kahnservative style.
Charlie Reischl UMS Research Associate & Education and Community Engagement Department Intern
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We hope you enjoy!
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T HE IMM ERS I O N
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The “100 Years of UMS in Hill Auditorium� educational programs are funded in part by a grant from Michigan Humanities Council, an affiliate of the National Endowment for the Humanities. Any views, findings, conclusions or recommendations expressed in this project do not necessarily represent those of the National Endowment for the Humanities or Michigan Humanities Council.
OVERVIEW For 100 years, UMS has presented concerts in Hill Auditorium. This year we celebrate the milestone with a series of events that encourage active and engaged reflection on the past, present, and future of the performance venue. This day-long Immersion allows participants an in-depth exploration of the aesthetics and techniques of Hill Auditorium architect Albert Kahn. A tour takes participants throughout Hill Auditorium and other Kahn buildings across southeast Michigan through a guided bus tour. Interactions with experts in architecture and acoustics facilitate hands-on learning about Kahn, the buildings he designed, and their cultural and artistic significance to UMS and our community. The day ends with an optional evening concert at Hill Auditorium by Alison Balsom, trumpet, and the Scottish Ensemble. Immersions are day-long, intensive workshops that focus on a specific culture, community, or art form. They are designed in partnership with subject matter experts both locally and nationally and are connected to UMS season programming. W W W. U M S .O R G 7
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PRES ENT ER S
CHARLIE REISCHL Charlie Reischl is currently a rising U–M senior working on a double degree undergraduate program in Double Bass performance in the School of Music, Theater & Dance and in Organizational Studies in the School of Language Arts and Sciences. Outside of his school work, he is the Weekend Events Manager at The Neutral Zone, Ann Arbor’s Teen Center, and teaches Double Bass and Electric Bass lessons for the Ann Arbor School for the Performing Arts. Charlie began playing the bass in the Ann Arbor public schools 10 years ago and studied with Diana Gannett at the University of Michigan throughout high school. He has been a frequent attendee at UMS concerts and now has added UMS Research Associate and Intern to his list of professional titles.
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Alan Cobb Cliff Lewis Ernestine Ruben
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Grace Shackman Yvonne Willis Meg Wiseman
CLAIRE ZIMMERMAN Claire Zimmerman teaches history of architecture at the University of Michigan. Before coming to Ann Arbor, she taught in the architecture school at Yale University, and worked on the Museum of Modern Art exhibition Mies in Berlin, which closed in New York on September 11, 2001. A monograph entitled Ludwig Mies van der Rohe: the Structure of Space, published by Taschen, followed in 2006. Recent publications include essays in Candide 5, Art History 35, and Postmodernism: Style and Subversion, 19701990 (Victoria and Albert Museum, 2011); a co-edited essay collection on postwar British architecture that appeared in the Yale Studies in British Art series from Yale University Press in Fall 2010; and a book chapter on Siegfried Kracauer in Culture in the Anteroom (2012). Like Kracauer, Zimmerman trained first as an architect (at the University of Pennsylvania and then at Harvard’s Graduate School of Design) and then as a historian (at the City University Graduate Center in New York). She has just completed a manuscript on modern architecture, photographic imaging, and advertising (in press), and is beginning new research on Global Architecture and the Detroit architect Albert Kahn.
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OUT L I NE 1. Architecture 101 at Hill Auditorium - “Kahn-struction” PRESENTER(S): CLAIRE ZIMMERMAN (U-M PROFESSOR OF ARCHITECTURE)
2. Kahn Bio: Overview on Bus - “Kahn-tent” PRESENTER(S): CLAIRE ZIMMERMAN and CHARLIE REISCHL (UMS RESEARCH ASSOCIATE)
3. Regional Bus Tour of Kahn Buildings - “Kahn-ections” a. Driving tour of Finance District in Detroit PRESENTER(S): CLAIRE ZIMMERMAN and CHARLIE REISCHL b. Kahn House PRESENTER(S): ERNESTINE RUBEN and YVONNE WILLIS (ADMIN VP, DETROIT URBAN LEAGUE)
c. Kahn Associates PRESENTER(S): ALAN COBB (DIRECTOR OF ARCHITECTURAL PRACTICE, KAHN ASSOCIATES)
d. Walking Tour of the New Center PRESENTER(S): ALAN COBB e. Tour Willow Run Factory PRESENTER(S): CLIFF LEWIS (RACER TRUST)
f. Lunch on the bus! 4. Framing Hill Auditorium at the Bentley Library - “Kahn-text” PRESENTER(S): GRACE SHACKMAN (ANN ARBOR HISTORIAN)
5. U-M Central Campus Tour of Kahn Buildings - “Kahn-ections” PRESENTER(S): CLAIRE ZIMMERMAN and CHARLIE REISCHL
6. Kahn and Hill (Tour of Hill Auditorium) PRESENTER(S): CLAIRE ZIMMERMAN and CHARLIE REISCHL
7. Framing Hill Auditorium at EMU Pease Auditorium - “Kahn-text” PRESENTER(S): MEG WISEMAN (EMU GRADUATE ASSISTANT)
8. Workshop Reflection - “Kahn-templation” a. Dinner on Your Own 9. Alison Balsom/The Scottish Ensemble - “Kahn-cert” W W W. U M S .O R G 9
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The development of this Immersion’s rich content was supported by the following people and organizations that deserve special thanks from UMS: Charlie Reischl, Claire Zimmerman, Indira Bhattacharjee, Sophie Cruz, Adam McMichael, Grant Trigger, Cliff Lewis, Liz Boyd, the Racer Trust, Ernestine Ruben, Charles Anderson, Yvonne Willis, the Detroit Urban League, Alan Cobb, Don Bauman, Albert Kahn Associates, Grace Shackman, Nancy Bartlett, Karen Jania, the U-M Bentley Historical Library, Jeff Beyersdorf, Mike Michelon, Marcia Szabo, Meg Wiseman, and the Eastern Michigan University Pease Auditorium.
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TOUR S TO P D ESC RI P T I O N S
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DETROIT NEWS BUILDING
DOUBLETREE SUITES
DETROIT FREE PRESS BUILDING
DETROIT TRUST BUILDING
THE VINTON BUILDING
FIRST NATIONAL BUILDING INC.
GRINNELL BROS. MUSIC HOUSE
TEMPLE BETH EL/ BONSTELLE THEATRE
KAHN RESIDENCE/ DET. URBAN LEAGUE
CADILLAC PLACE
WILLOW RUN FACTORY
PEASE AUDITORIUM
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TOUR S TO P D ESC RI P T I O N S DET ROIT N EWS B UILD ING Completed in 1915 Address: 615 West Lafayette Boulevard, Detroit, Michigan This monumental building was heavily influenced by pre-WWI German construction. The influence of Messel, Olbrich and Behrens designs is apparent in the heavy stone arches, piers, and mullions. Kahn spoke about Messel especially highly: “In the work of Messel, we see perhaps the first serious abandonment of prevalent tradition and establishment of a new type of work expressive of the modern trend.” Kahn’s personal style is apparent in the use of visible structural steel in the windows of the front of the building, and the prominent pillar features. His use of ornaments on the top tier of the building include a row of five petal flowers similar to the ornaments used in Hill Auditorium and the Natural Science Museum on the U-M campus.
DO UBL E T REE SUITES BY H ILTON HOT E L DET ROIT D OWNTOWN FORT S HEL BY Completed in 1916 by Schmidt, Garden and Martin; Expanded in 1927 by Albert Kahn Address: 525 West Lafayette Boulevard, Detroit, Michigan The Shelby went up in two phases. The first was in 1916, when a 10-story building went up at Lafayette Boulevard and First Street, near the city’s old Masonic Temple. The building was the only structure in Detroit done by Chicago architects Schmidt, Garden and Martin. As the city kept growing, the hotel grew with it, adding a 21-story tower designed by renowned architect Albert Kahn.
Completed in 1925 Address: 321 West Lafayette Boulevard, Detroit, Michigan For this 14-story building (288,517 square feet), limestone was the primary construction material. New York sculptor Ulysses Ricci was commissioned to do the ornamental work on the exterior, including two imposing statues of the goddesses of Commerce and Communication who guard the front doors. He also carved an arch with pelicans, snakes and, oddly, owls and seahorses above them. The Free Press Building also was adorned with reliefs of Benjamin Franklin for his work with the printing press; Governor and Senator Lewis Cass; Governor Austin Blair; Monroe, Mich. native General George Custer; former University of Michigan President James Angell; and journalists Horace Greeley, Charles Dana and George Goodale. The design emphasis on decorative elements on the building connects it to its public role of being a center for production of culture. W W W. U M S .O R G
The hotel found mixed business success through the 20th century. The hotel closed in 1974 and sat empty, ravaged by looters and raked by the elements for 30 years, despite joining the National Register of Historic Places in 1983. On June 26, 2007, Doubletree Guest Suites announced that the building would be renovated and reopened as a hotel. The $90-million renovation was one of the largest such projects in the city’s history. While most of the hotel was gutted because of decades of neglect and decay, much of the hotel’s original marble and the plasterwork in the Crystal Ballroom were saved.
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TOUR S TO P D ESC RI P T I O N S D ETROIT TR UST BU I LD I NG Completed in 1915 Address: 201 West Fort Street, Detroit, Michigan It is very interesting to compare two major bank buildings that Albert Kahn designed for downtown Detroit within an interval of just seven years—this one and the First National Bank Building on Cadillac Square. When drawing the design for this bank, Kahn was more heavily influenced by Classical architecture and the work of architects McKim, Mead and White who designed the nearby State Savings Bank. Kahn used eight massive Corinthian columns and four similarly Corinthian pilasters, emphasizing the Greek roots of this style. Banks want impressive and memorable buildings that clearly convey the bank’s tremendous strength, stability, size and permanence. Kahn achieved those goals with his design for this massive building. Of note is the way Kahn uses large tinted windows in this building fronted by large columns. This conveys a sense of impenetrability, but still admits natural light into the bank’s lobby.
TH E VINTON B U I LD I NG Completed in 1916 Address: 600 Woodward Avenue, Detroit, Michigan The Vinton Building originally was a bank on ground floors and rentable office space on upper floors. This neoclassical building is characterized by its strong vertical elements leading the pedestrian’s eye to a prominent peaked parapet on the twelfth floor inspired by Roman temples. This structure was listed on the National Register of Historic Sites in 1983. A 2006 renovation converted the upper levels into residential lofts while leaving the first two floors as commercial space.
FIRST NATIONA L BU I LD I NG I NC . Completed in 1930 Address: 660 Woodward Avenue, Detroit, Michigan Completed the same year as the former GM Headquarters on West Grand Boulevard, the buildings share a design approach that included maximum window walls as a priority. The curving C-like shape of the First National Bank provided excellent ventilation in the summer months and allowed natural light to fill the office year round. It was one of the largest buildings in Michigan when it was built: 750,000 square feet.
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PHOTOGRAPH OF THE VINTON BUILDING
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TOUR S TO P D ESC RI P T I O N S T HE GRIN NELL B ROTH ER S MUS IC HOUSE
ORI G I NA LLY: TE MPLE BE TH E L; TODAY: BONSTE LLE TH E ATRE
Completed in 1908 Address: 1515 Woodward Avenue, Detroit, Michigan
Completed in 1902 Address: 3424 Woodward Avenue, Detroit, Michigan
It was covered in a white-glazed terra cotta. This sheathing was becoming popular for commercial buildings at the time because it provided smooth surfaces and ornamental detail at a much cheaper cost than stone. Kahn used the same effect on the Woodward Building, built in 1915 on the southwest corner of Woodward and Clifford, and the Kales Building, built as the S.S. Kresge Co. Building on Grand Circus Park in 1914. Grinnell Brothers was a giant music store that carried everything from guitar picks to organs topping $15,000.
Detroit’s Jewish residents founded the Beth El Society on September 22, 1850, making it the oldest Jewish congregation in Michigan. This was the first building Kahn built without his partnership with George Mason. The use of steel trusses for support in the large dome is one of Kahn’s earliest experiments with unorthodox ceiling support. He turned to Roman and Greek temples for inspiration, giving the building a Beaux Arts look. The year 1902 also was the year that Kahn built the Conservatory and Aquarium in Belle Isle Park.
The business was originally founded in Ann Arbor in 1879 by Ira L. Grinnell as a sewing machine distributor. They eventually incorporated musical instruments and found them to be more profitable. The 1908 move to the Kahn building marked an expansion of musical instrument distribution for the company, not long after Grinnell opened a large piano manufacturing plant in Holly, Mich. It was billed as the world’s largest piano factory and Grinnell became the world’s largest piano distributor by the mid-1950s. Detroit manufactured pianos were known across the country, and by 1963, Grinnell’s had 35 stores in Michigan and Ohio and five subsidiaries in Kentucky and New York state. The company eventually collapsed in 1981, declaring bankruptcy due to over expansion and loss of sales to department store instrument distributors. Today Grinnell Bros Piano Co. operates as a piano manufacturing company in Dearborn Heights, while this Albert Kahn building functions as residential lofts.
The cornerstone for the temple was laid at 3pm, April 23, 1902. It took only seven months to finish the building, and the first services were held January 24, 1903. The expanding synagogue size prompted a new building to be built (also designed by Kahn) farther North on Woodward in 1921. By September 1922, The Detroit Jewish Chronicle newspaper wrote that the “services for the Eve of Atonement will be held in ‘Woodward-Eliot Auditorium,’ formerly Temple Beth El.” That November, the new Temple Beth El hosted its dedication ceremony, and the former synagogue would get a new life as a home to the performing arts.
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ORIGINALLY: ALBERT KAHN RESIDENCE; TODAY: DE T ROIT URB AN LEAGUE
C A D I LLAC PLAC E ; FORME R G M H E A D Q UA RTE RS
Completed in 1907 Address: 208 Mack Avenue, Detroit, Michigan
Completed in 1907 Address: 3044 West Grand Boulevard, Detroit, Michigan
The ivy covered exterior blends into its surroundings; the warm wood paneled interior also creates naturally comfortable spaces. Kahn designed most of the original furniture himself as well. In 1928 a large Tudor style art gallery area was added to his home. Here he displayed his personal collection of Impressionist artwork, which included original works by Degas, Renoir, Monet, Sisley, and Pissarro.
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Kahn said about his house: “The garden is more important to me than the house to me, I like to play at landscape gardening, I believe as much should be spent for land as for the house in cities.” Kahn’s love for landscape and the beauty of designed nature is also very evident at his summer cottage. The craftsmanship of the interior woodwork is very impressive and representative of his appreciation of the arts and crafts movement. His home is distinctly different in design from his industrial works, as is true for most of the homes he designed. His focus was on creating comfortable spaces with warm tones and natural materials.
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This building was placed far from the city’s center so space was not an issue and Kahn did not have to design a tall building. As a result, the GM Building has four 12-story wings allowing each office access to exterior light. In 1923, it opened as the second largest office building in the world, with a total of 1,200,000 square feet. The strong vertical pillars, and street level arches give the building a dominant presence. The New Center district was essentially created by GM’s move there. The Fisher brothers followed GM to the area later in the 1920s and the neighborhood grew around these two commercial hubs. It was designated as a National Historic landmark in 1985 and eleven years later GM purchased the Renaissance Center on the Detroit River and moved their offices there. Today Cadillac Place (renamed for Detroit’s founder) houses businesses and the former executive suites are used for state officials.
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W I LLOW RU N FAC TORY
Completed in 1928 Address: 3011 West Grand Boulevard, Detroit, Michigan
Completed in 1914 Address: 801 Willow Run Airport, Ypsilanti, Michigan
Once known as the “Cathedral to Commerce,” the 441-foot tower is decked to the nines in fancy marbles, mosaics, soaring, painted ceilings, and a lot of brass and bronze. This world of shops, theater, art, and architectural beauty is renowned architect Albert Kahn’s masterpiece, “a superbly designed complex which displays some of the finest craftsmanship in any Art Deco style building constructed in the US in the 1920s,” the National Park Service says.
Willow Run Airport was named for a small stream that meandered through pastureland and woods until the late1930s. Automobile pioneer Henry Ford bought the property that became the airport, and used it as farmland for a “social engineering” experiment that brought inner-city boys to Willow Run Farm to learn about nature, farming tasks, and the rural way of life. The residents at Willow Run Farm planted, tended, and harvested crops as well as running a maple syrup operation, and sold their products at the farm market on the property.
The Detroit News wrote in 2001 that the Fisher brothers told the architect to build them “the most beautiful building in the world” and that quality would not be sacrificed in order to save money. It was an architect’s dream project. “Detroit was startled some years ago when General Motors decided to erect its mammoth office building on Grand Boulevard,” Fred Fisher told the Detroit Free Press in 1928. “This structure, which has attracted the attention of the entire world, is now past history, but it has seen this section develop into an important one commercially.” With more than 325,000 square feet of exterior marble, the Fisher is the largest marble-clad commercial building in the world. No expense was sparred on decoration inside the building either. Murals, marble flooring, bronze elevator doors, bronze windows, bronze ventilation framing, and fantastic sculptures adorn every room in the building. It was the Fisher brother’s gift to Detroit, very much a glittering product of the roaring 1920’s. In 1928, the Architectural League of New York awarded Kahn a Silver Medal for the most beautiful commercial building erected that year.
Following World War II, the plant was used by the newly formed, independent automaker Kaiser-Frazer, then later, in 1953, auto giant General Motors bought Willow Run and used the facility to make transmissions. Starting in 2003, GM spent a reported $600 million to renovate the plant in order to produce a new 6-speed rear-wheel drive automatic transmission, but the 2008 growing global economic crisis occurred and GM was forced to ask the federal government for a multi-billion-dollar bailout loan in order to remain operational. As part of its bankruptcy reorganization plans, the auto giant said it would shutter the (by then) 5-million-square-foot, 335-acre Willow Run plant. Today the factory is being sold in parts by the Racer Trust, though all the original structures still stand...a testament to Kahn’s solid construction.
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—FREDRICK FISHER CO-FOUNDER, FISHER BODY
Willow Run eventually employed over 42,000 people and by 1944, the plant was producing one plane every hour. By the end of the war in 1945, more than 8,600 B-24s had been built at Willow Run and the plant’s mass-production techniques were hailed as a symbol of American ingenuity.
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THIS STRUCTURE, WHICH HAS ATTRACTED THE ATTENTION OF THE ENTIRE WORLD, IS NOW PAST HISTORY, BUT IT HAS SEEN THIS SECTION DEVELOP INTO AN IMPORTANT ONE COMMERCIALLY.
Henry Ford was employed by the US government to mass produce B-24 Bomber planes because of his enormous success in the car industry. Naturally, again he turned to his close colleague Albert Khan to design the factory which would have 3.5 million square feet of factory space and an assembly line over a mile long.
ALBERT KA HN
Biography Source: http://quod.lib.umich.edu/b/bhlead/umich-bhl-0420?rgn=main;view=text
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A lbert K ahn
BIOG R APHY As America’s most influential industrial architect, Albert Kahn revolutionized the health and safety conditions of early twentieth-century factories and worked closely with Henry Ford to implement his vision of the assembly line at the Highland Park and River Rouge automobile plants. Kahn pioneered the use of reinforced concrete, non-intrusive steel structures, natural ventilation and glass building skins to respond to the changing functional needs of the American factory. His pragmatism, ability to listen to the needs of the client and experimentation with innovative building technologies resulted in a new industrial architecture, which inspired the development of European Modernism by Walter Gropius, Mies van der Rohe and Le Corbusier. Hugely versatile in his design capabilities and strongly interested in historic architecture, Kahn also produced many commercial and institutional icons in Detroit and at the University of Michigan, including the Fisher Building, Detroit Athletic Club, General Motors Building, Hill Auditorium, Angell Hall, William L. Clements Library and Burton Memorial Carillon Tower. This most prolific of American architects built over 2000 projects in his lifetime, including 521 factories in Russia between 1929 and 1932, and in 1938 was constructing 19% of all architect-designed industrial facilities in the United States. When he died in 1942, he had signed defense contracts totaling $200 million for the construction of the Willow Run Bomber Plant and naval bases in Honolulu, Midway Island, Puerto Rico and Kodiak, Alaska, among other war-time facilities. After this employment failure, Melchers referred Kahn to the Detroit architectural firm of Mason and Rice in 1885. Here the 26-year-old George Mason recognized his brilliance and promoted him from the position of office boy to draftsman, despite Kahn’s handicap of colorblindness. Years later, Kahn expressed his gratitude to Mason for his tutelage, recalling that he and the other apprentices admired George’s “indomitable energy, his enthusiasm, his nice criticisms, his general helpfulness, his keen interest in us, his innate ability and his own superior draftsmanship.”[2] In 1887, Mason assigned Kahn the job of laying out the famous 660-foot-long porch of the Grand Hotel on Mackinac Island Over the ten years that he remained with Mason and Rice, Kahn worked on numerous commissions, including designs for Hiram Walker in Windsor, Ontario. While working for Mason and Rice in 1891 at the age of 22, Kahn won a $500 travel scholarship, awarded by American Architect and Building News, to study in Europe for a year. He met Henry Bacon, Jr. in Florence and traveled for four months through Italy, France, Belgium and Germany with this young architect, who would later design the Lincoln Memorial in Washington, D.C. Years later, Kahn
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Born on March 21, 1869 in Rhaunen, Germany, Kahn spent much of his childhood in Echternach,, Luxembourg. His father Joseph, an itinerant teacher and rabbi, came to the United States in 1879. Joseph’s wife Rosalie and six of their children joined him in 1880 and lived in Baltimore, Maryland for a short time before settling in Detroit. Albert was the oldest of eight children in the Kahn family and showed brilliance as a pianist at an early age. Due to the family’s economic hardship, Rosalie advised him to take up a more practical line of work, although she arranged for him to take drawing lessons from the German sculptor Julius Melchers. Kahn completed his formal education after the seventh grade, when he left school to supplement the family’s income with odd jobs, including the position of office boy at the architectural firm of John Scott. At the dedication of George Mason’s Masonic Temple years later in 1923, Kahn showed his sense of humor when he told the story of being fired from this first job in architecture. To increase his meager income, he worked in a stable before leaving for the office every morning and would arrive at the firm smelling like the horses. He surmised that “most of the men had a very keen sense of smell and I literally got on their olfactory nerves.” [1]
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said of Bacon, “to me he proved not only a splendid teacher but a real friend whose kindness and stimulating influence I have treasured ever since.” [3] It was during this period of educational travel that Kahn developed his love of Palladio and a wide range of historic architectural styles which inspired many of his own later residential, commercial and institutional designs. When he returned from Europe, Kahn was promoted by Mason to chief designer, and in 1892, he turned down a job offer from Adler and Sullivan to fill the position of Frank Lloyd Wright, who had just been fired from the Chicago firm. In 1896, Kahn married Ernestine Krolik, the daughter of a successful dry goods merchant who was a client of the young architect. A graduate of the University of Michigan, Ernestine was a talented gardener and interior designer, who often advised Albert on matters of color and fabric selection. When speaking of her parents, their daughter Rosalie Kahn Butzel said years later that “they complemented each other wonderfully.” [4] Albert and Ernestine had two other daughters, Lydia and Ruth, and one son, Edgar. “Eddie” became the first scorer and captain of the University of Michigan hockey team and, from 1949 to 1971, served as the innovative chairman of neurosurgery at the University of Michigan Hospital (designed by his father in 1919).
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Kahn left Mason and Rice in 1895 to found Nettleton, Kahn and Trowbridge with two of his colleagues from Mason’s office. The new firm was known for its design of Children’s Hospital on St. Antoine Street, financed by Hiram Walker in 1896. When Alexander B. Trowbridge left Detroit to become dean of the College of Architecture at Cornell University in 1877, the firm was renamed Nettleton and Kahn, until George W. Nettleton died in 1900. Kahn then joined with George Mason briefly, producing the Palms Apartments (1901-1902) on Jefferson Avenue and the initial design for the Pantheon-inspired Temple Beth El (1902) on Woodward Avenue. The Palms project represented Kahn’s earliest experimentation with reinforced concrete structures, which would soon revolutionize his design of American factories.
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A lbert K ahn
By 1903, Kahn had joined with a talented designer to form the firm of Albert Kahn, Architect, Ernest Wilby, Associate. Wilby practiced with Kahn until 1918 and made a major contribution to the innovative designs of the Ford Motor Company Highland Park Plant in Dearborn (1908-09) and Hill Auditorium (1913) and the Natural Science Building (1917) at the University of Michigan. 1903 was also the year that Kahn’s brother Julius became chief engineer of the firm and began his ground-breaking collaboration with Albert on the use of reinforced concrete in industrial design, which would have global impact. Albert had helped educate Julius, who received his B.S. and C.E. degrees at the University of Michigan. Having served as an engineer for the U.S. Navy and the U. S. Engineering Corps from 1896 to 1903, Julius brought technical expertise in structural design to the firm. Thus began Albert’s revolutionary practice of joining the multiple disciplines of architecture and engineering under one professional roof, just as he would incorporate multi-functional operations into his subsequent designs of assembly-line factories.
Ford approached Kahn in 1908 to build an automobile plant for the manufacture of his Model T automobiles on a new 180-acre site in Highland Park, when it appeared that his first two factories were becoming obsolete. Thus began a long-term partnership between two geniuses: Ford, who foresaw the futuristic advantages of assemblyline production, and Kahn, who “found aesthetic values in the forms engendered by new techniques and functional considerations.” [6] In implementing Ford’s vision over the next 34 years of their collaboration, Kahn completed over 1,000 projects for the Ford Motor Company, with the “Crystal Palace” [7] at Highland Park being perhaps his most famous. The Highland Park main assembly building (1910), with the first mechanized assembly line, was a four-story, concrete structure, 840 feet long. Through the use of imported steel-frame, floor-to-ceiling sash, Kahn further improved the health and safety conditions of the American factory. Over the next five years, Kahn added a 5-smokestack power house, an administration building with a frieze of glazed tiles, other assembly buildings and steel-framed atriums between the structures. Gravity conveyances and overhead, traveling cranes in the atriums moved raw materials down the four levels of the plant to the final assembly-line area on the first floor, where 700,000 Tin Lizzies would be produced by the year 1917. In its stunning simplicity, its innovative use of steel, brick and glass and its new aesthetic principle of form following function, the Crystal Palace is thought to have inspired the work of Walter Gropius in his 1914 Faguswerk [8] and influenced the development of European Modernism.
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Kahn’s first factory built of reinforced concrete in Detroit was Building Number 10 for the Packard Motor Company (1905). In 1903, Henry Joy had commissioned Kahn to design an automobile plant on 40 acres on East Grand Boulevard. The first nine buildings which Kahn produced on the site were of conventional, nineteenth-century, timber construction, which caused mills to be prone to fire and impeded production because of the need for numerous structural posts. After experimenting with and perfecting his “Kahn system” [5] of reinforced concrete
in the University of Michigan Engineering Building (1903), Julius collaborated with Albert on the structural design of the two-story Packard Building No. 10 using this innovative technology. The Kahn system soon revolutionized the design of factories nation-wide because reinforced concrete buildings were more fire-proof, vibration from large machinery was minimized, assembly floors could be more open and flexible through the use of fewer columns and larger double-hung window openings permitted more natural light and ventilation for workers. Packard Building Number 10 was so technologically advanced that it attracted the attention of tourists, who flocked to the site, and, most importantly, Henry Ford.
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LEGACY: ALBERT K AHN ASS O CI AT ES
Today, the innovative legacy of Albert Kahn is carried out at Albert Kahn Associates in diverse markets and on a global scale, and over 200 people comprise and are continuing to grow the multi-disciplined areas of expertise within the Albert Kahn Family of Companies. Headquartered in Detroit, Michigan, regional offices also exist in Birmingham, Alabama and São Paulo, Brasil. At Kahn, they believe in the power of our environments. The organization’s principles of business and design are consistent and not attached to trends or fads; rather, each project is worked on diligently and enthusiastically without sacrificing economic, social and environmentally-focused best
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practices, and always reflecting on the legacy of founder Albert Kahn.
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BIOG R APHY CONT. When the Highland Park automobile operation outgrew its site, Henry Ford purchased 2000 acres on the River Rouge in 1917 and commissioned Kahn to design and construct what would become the largest manufacturing complex in the world. The design of the River Rouge plant cemented his reputation as the father of American industrial architecture. In the first assembly Building B, where Ford produced the Eagle Submarine Chaser for the U. S. Navy, the continuous moveable assembly line was further perfected in a one-half-mile-long, one-story, steel structure, which was economically and quickly built for the World War I military operation. Here the first steel, saw-tooth roof and glass and steel sash cladding were to become the hallmarks of Kahn’s innovative industrial work.
IN ITS STUNNING SIMPLICITY, ITS INNOVATIVE USE OF STEEL, BRICK AND GLASS AND ITS NEW AESTHETIC PRINCIPLE OF FORM FOLLOWING FUNCTION...
PORTRAIT OF ALBERT KAHN PHOTO CREDIT, BERNARD HOFFMAN
abroad and inspired the work of other architects, engineers and artists.
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Although Kahn expanded the Ford Motor Company Rouge River plant with more buildings to house the cement, motor assembly, open hearth and pressed steel operations in the early 1920s, his 1922 Glass Plant on the site was “the building of greatest significance, both in terms of Kahn’s career and in the larger history of industrial architecture.” [9] The steel cage construction, saw-tooth roof and glass curtain walls, while breathtakingly minimalist on the exterior, provided the flexibility and open space to perfectly accommodate the manufacturing processes on the interior. This architectural icon within the most renown industrial site in the world changed the form and function of American industrial architecture at home and
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Kahn certainly recognized the aesthetic values in his “beautiful factories,” [10] as he called them, although he would not have had the historical perspective at the time to understand the impact of his designs on the emerging Modern movement. In his characteristically solutionoriented way of thinking, he expressed his views on industrial architecture in a 1940 speech to the New York Society of Architects:
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The simpler the exterior the better it is, as a rule, for are we not quite agreed that a straight forward and direct expression of the function of the structure is an important element in all architecture, even the purely monumental; that proper proportions, effective grouping and good outline may be produced at no increase in cost; that these are infinitely more desirable than elaborate ornamentation, no matter how well executed. [11]
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As a result of his breakthrough industrial work for Ford, Kahn received commissions to construct 150 major buildings for General Motors Corporation and many for Chrysler. He also produced manufacturing facilities for companies which were turning out clothing, textiles, food, cement and other products. His reputation for building efficient plants on-time and under-budget caused his office to grow to 400 staff members by 1920 and to bring in more than $1,000,000 of work a week. By 1939, Kahn’s office, with a staff of 600, was constructing 19% of all architect-designed industrial facilities in the United States, his Chrysler Dodge Half-Ton Truck Plant (1938) in Warren, Michigan, being among the best known. Mies van der Rohe was inspired by Kahn’s Glenn L. Martin Company aircraft assembly building (1937), with its 135,000-square-foot, column-free work area, spanned by the longest, flat-roof trusses ever used in a building. By 1929, the famed collaboration of Henry Ford and Albert Kahn on the River Rouge Plant had come to the attention of the Russians, who admired their efficient accommodation of industrial design to the principles of mass production. Representatives of the Amtorg Trading Corporation came to Detroit to propose that Kahn become the consulting architect to the Soviet Union in the initiation of Stalin’s First Five-Year Plan to industrialize his nation. Between 1929 and 1932, with Kahn’s brother Moritz at the helm of the his Moscow architectural/engineering office, the firm produced 521 tractor, steel, auto, airplane and chemical plants for $2 billion, the largest architectural design project in the firm’s history. [12] Twenty-five professionals from the Detroit firm set up the Moscow office and trained over 4,000 Soviet engineers, architects and other personnel. The tractor factories at Stalingrad and Cheliabinsk were two of the largest plants built under Kahn’s supervision. The Stalingrad plant, designed with a 1300-foot-long assembly area to produce 40,000 tractors a year, was constructed in a record six months. The factory was later the site of the pivotal battle of Stalingrad, where the Russians were victorious over the Germans and turned the tide of World War II.
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One of the reasons for Kahn’s world-wide reputation in industrial architecture was his ground-breaking establishment of a non-traditional, multi-disciplinary firm of designers, mechanical and structural engineers, cost accountants and job managers, who could provide the full range of design/build functions in-house. Through this collaboration of professionals within one firm, Kahn could make construction more efficient and less costly for clients. He had raised factory design to a legitimate level of architectural practice and years later would recall: WHEN I BEGAN, THE REAL ARCHITECTS WOULD DESIGN ONLY MUSEUMS, CATHEDRALS, CAPITOLS, MONUMENTS. THE OFFICE BOY WAS CONSIDERED GOOD ENOUGH TO DO FACTORY BUILDINGS. I’M STILL THAT OFFICE BOY DESIGNING FACTORIES. I HAVE NO DIGNITY TO BE IMPAIRED. [13] The final chapter in Kahn’s industrial architecture career focuses on his contributions to America’s “Arsenal of Democracy” [14] during World War II. Between 1914 and 1917, Kahn had constructed the first hangar building ever built at Langley Field, the Ford Eagle Shipbuilding Factory at River Rouge and the majority of the country’s World War I naval bases and army airfields. In the last three years of his life, his firm took on the bulk of the U. S. Defense Department’s contracts for World War II, totaling $200 million. These included naval bases in Alaska, Hawaii, Midway Island, Puerto Rico and Jacksonville, Florida. Kahn also constructed the Chrysler Tank Arsenal (1941) and numerous airplane factories, the largest of which was the 70-acre Ford Motor Company Willow Run Bomber factory (1943) at Ypsilanti, Michigan. Willow Run was Kahn’s last industrial project for Ford. The B-24 Liberator bomber was produced here in a 4,000,000-square-foot, artificially lighted assembly plant to guard against the threat of night attack. This was the world’s largest industrial facility, producing one bomber every 24 hours. In 1942, just before Kahn’s death, the American Institute of Architects presented him with a special award, the citation for which read: MASTER OF CONCRETE AND STEEL, MASTER OF SPACE AND TIME, HE STANDS TODAY AT THE FOREFRONT OF OUR PROFESSION IN MEETING THE COLOSSAL DEMANDS OF A GOVERNMENT IN NEED. [15] W W W. U M S .O R G 23
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Kahn’s greatest significance in architectural history is his design of technologically innovative industrial buildings of “utmost simplicity, rational construction, functional efficiency and a striking expressive aspect.[16] However, he is also renowned for changing the skyline of Detroit with his institutional, commercial and residential buildings of exceptional merit. Fifty of his buildings in the city and environs have been placed on the National Register of Historic Places, honoring the exceptional breadth of Kahn’s design repertoire. It was in his non-industrial work that he showed himself to be a keen student of historical architecture, having sketched many works of antiquity and later centuries during his European travels. Many of his residences, synagogues, bank buildings and office structures pull from classical, Italian Renaissance or English Tudor and Georgian sources. He showed versatility and innovation in his pairing of industrial-style reinforced concrete and steel structures with an historic aesthetic in many of his buildings.
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Even before designing Packard Number 10 (1905) for Henry Joy, Kahn was experimenting with reinforced concrete in the design of the Palms Apartment House (1902) on Jefferson Avenue with George Mason. He used industrial steel trusses to support the dome of another early work, the Temple Beth El (1903) on Woodward Avenue. This oldest synagogue building in Detroit was inspired by the Roman Pantheon, a photo of which was framed over Kahn’s desk. Its severely altered French Classical facade is now the Bonstelle Theater of Wayne State University. Kahn’s design versatility is also seen in his National Theatre (1910) on Monroe Street. Here he collaborated with his chief designer Ernest Wilby to bring
together Baroque, Moorish and Beaux-Arts elements in an imaginative, terra-cotta building, which was breathtaking when the lattice-work twin-towers were illuminated at night. Kahn’s residential work also demonstrated his design versatility and ability to combine structural innovation with historical architectural elements. In his own house on Mack Avenue (1907) and in other residential commissions for captains of industry, Kahn showed a penchant for English Domestic Revival and Tudor styles, as seen in George Booth’s Cranbrook House (1907), with its use of Arts and Crafts detailing and Pewabic tiles. The later English Cotswold-style mansion of Edsel and Eleanor Ford in Grosse Pointe Shores (1929) is considered one of his finest residential designs. Here Kahn used industrial-style concrete for the floors and steel roof trusses, but faced the building with traditional sandstone. The roof stones were split by expert English craftsmen who were imported to Detroit for this project, along with the materials. Kahn’s facility with a broad palette of historical styles influenced his design of many of Detroit’s commercial and institutional icons, which contribute to the character of the city even today. His famous Detroit Athletic Club (1915) was inspired by the New York work of McKim, Mead and White and by Rome’s Farnese Palace, which Kahn toured and sketched in 1912. The Italian Renaissance style was selected to give this important meeting place for leaders of the automobile industry the appropriate elegance and dignity. Between 1911 and 1926, Kahn completed numerous corporate buildings which combine industrial structure with traditional stylistic elements: Detroit Trust Company (1915), Detroit News Building (1916), First National Bank (1922) and the world famous General Motors (Durant) Building (1922) are among a few of these. The GM Building was the largest office building in the world at that time, with four crosswings of 15 stories each, which ensured that each of the 1,800 offices had access to natural light and ventilation. With a Sullivanesque, skyscraper-style concept of base, shaft and capital, this monumental 1,320,000 square-foot structure is known for its Italian Renaissance, triple-arched entry with Ionic pilasters and its two-story-high, capital crown of Corinthian columns. Thought by many to be “Albert Kahn’s personal masterpiece in commercial architecture,”[17] the building was renovated in 2002 by Albert Kahn Associates, Inc. for the State of Michigan at a cost of $126 million.
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As the Art Deco style took hold in the mid-1920s, Kahn showed himself to be a master of this vocabulary as well, using the New York formula of step-back massing in his Detroit Free Press Building (1925) and Maccabees Building (1927). However, it was his 28-story Fisher Building (1927) which attracted national attention when the Architecture League of New York recognized it as the year’s most beautiful commercial building in 1928. The Detroit chapter of the American Institute of Architects named this historic icon the “Building of the Century”[18] in 2000. Because the seven Fisher brothers of Fisher Body Company envisioned the finest office building in the world, which was to anchor a second Detroit commercial district, they gave Kahn no budget for this Art Deco masterpiece. Kahn installed a 3,000-seat theater within the building, applied an exterior trim of solid bronze and designed the interior with 40 shades of marble and a vaulted arcade. A final Art Deco Kahn building of note is the Livingstone Light (19291930) on Belle Isle, a 58-foot-high, marble and bronze monument to William Livingstone, who had founded the Lake Carriers Association in 1901.
During the post-war building boom of the early 1920s, Kahn served as consulting architect on the university’s “Committee of Five,”[19] composed of President Burton, Professor John Shepard, Regent William Clements and Regent Benjamin Hanchett. The committee was appointed to make all decisions related to the construction of new buildings. During this time he designed the William L. Clements Library to house the regent’s collection of rare Americana. Using Italian Renaissance design elements which he had seen and sketched on his trips to Europe, Kahn created a majestic, triple-arched portico for this architectural gem, which is said to have been his favorite building. For the commanding Literary Building (Angell Hall, 1922), he used a monumental Doric portico to remove attention from the long, horizontal structure behind it, which was reminiscent of his non-production, industrial buildings. Other important campus works were the University of Michigan Hospital (1920), the Simpson Memorial Institute for Medical Research (1924), the Museums Building (1927) and the Burton Memorial Carillon Tower (1936).
Just as Kahn used many of the structural principals of his industrial buildings in his commercial designs, so too in his buildings at the University of Michigan, he showed a commitment to providing natural lighting and ventilation to the students and faculty who labored within. Between 1903 and 1938, he worked with Presidents James B. Angell, Harry B. Hutchins and Marion L. Burton to design 23 buildings and additions, significantly changing the skyline of the university at a time of tremendous growth. From the Engineering Building (1903), with its pioneering reinforced concrete structure, to Hill Auditorium (1913), the Natural Science Building (1917) and General Library (1919), with their brick, stone and tile strapwork trim, Kahn divorced himself from the Gothic Academicism of traditional university architecture with new elements which both delighted and angered alumni/ae. His prolific work on the campus in the first two decades also included the Helen Newberry and Betsy Barbour Residence Halls (1915 and 1918) and Sigma Phi and Delta Upsilon fraternity houses (1898 and 1903), among others.
Albert Kahn was honored for his achievements in modern industrial architecture many times during his illustrious career. He received honorary degrees from the University of Michigan in 1933 and Syracuse University in 1942. In 1937, he was awarded the “Chevalier Legion D’Honneur” by the Republic of France and a gold medal at the Paris International Exposition of Arts and Sciences. In addition to the special award given to him by the American Institute of Architects for his wartime service in 1942, he also received the Frank P. Brown medal posthumously from The Franklin Institute of the State of Pennsylvania in 1943. Kahn’s success in pioneering a global industrial architecture was predicated on his pragmatic, solution-oriented mind, his interest in technological innovation, his ability to listen to his clients’ needs, his indefatigable energy and his legendary work ethic. Kahn’s famous quote below succinctly sums up his views on industrial architecture:
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IN SPITE OF THE FACT THAT ARCHITECTURE TODAY IS IN MY OPINION ONLY ABOUT 10% ART AND 90% BUSINESS, THE ARCHITECT MUST HAVE CONSTANTLY BEFORE HIM THE FINAL RESULT - THE ARTISTIC, THE PRACTICAL AND THE ECONOMIC.[20]
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NOTES
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NOTES
[1] Speech by Albert Kahn honoring George Mason at Masonic Temple Dedication, given to Michigan Society of Architects, 1923, Box 1, Albert Kahn Collection, Bentley Historical Library, University of Michigan. [2] Ibid. [3] Speech by Albert Kahn given to Boston Society of Architects, “Industrial Architecture - Its Problems and Obligations,” 11/12/40, Box 1, Albert Kahn Collection, Bentley Historical Library, University of Michigan. [4] Richard Bak, “Blueprint for Detroit,” HOUR Detroit(May, 2000, reprinted by Albert Kahn Associates, Inc.), p. 2. [5] W. Hawkins Ferry, The Legacy of Albert Kahn(Detroit: Wayne State University Press, 1987), p. 11. [6] Ibid. [7] Richard Bak, “Blueprint for Detroit,” HOUR Detroit, p. 2. [8] Grant Hildebrand, “Beautiful Factories,” Albert Kahn: Inspiration for the Modern, edited by Brian Carter (Ann Arbor: The University of Michigan Museum of Art, 2001), p. 20. [9] Albert Kahn Associates, Inc., “The AIA 2003 Gold Medal Submission: Albert Kahn, FAIA, 1869-1942” (2003), p. 10. [10] Grant Hildebrand, “Beautiful Factories,” Albert Kahn: Inspiration for the Modern, p.17. [11] Speech by Albert Kahn to the New York Society of Archiects, “Industrial Architecture - An Opportunity and Challenge,” 9/27/1940, Box 1, Albert Kahn Collection, Bentley Historical Library, University of Michigan. [12] Anatole Senkevich, Jr., “Albert Kahn’s Great Soviet Venture as Architect of the First Five-Year Plan, 1929-1932,” Dimensions, Vol Ten (1996), p. 45. [13] Janet Kreger, “Albert Kahn and the Design of Angell Hall,” LSA Magazine(Spring, 1998), p. 5. [14] W. Hawkins Ferry, The Legacy of Albert Kahn, p. 25. [15] Eric J. Hill and John Gallagher, AIA Detroit: The American Institute of Architects Guide to Detroit Architecture(Detroit: Wayne State University Press, 2003), p. 118. [16] Anatole Senkevitch, Jr. “Albert Kahn’s Great Soviet Venture as Architect of the First Five-Year Plan, 1929-1932,” p. 35.
[18] Albert Kahn Associates, Inc., “The AIA 2003 Gold Medal Submission: Albert Kahn, FAIA, 1969-1942,” p. 3. [19] Janet L. Kreger, “Albert Kahn and the Design of Angell Hall,” LSA Magazine, p. 8.
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[20]Speech by Albert Kahn to the Adcraft Club, “Thirty Minutes of American Architecture and Architects,” 11/22/1937, Box 1, Albert Kahn Collection, Bentley Historical Library, University of Michigan.
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[17] Eric J. Hill and John Gallagher, AIA Detroit: The Americal Institute of Architects Guide to Detroit Architecture, p. 176.
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CONT EXT T I M E LI N E
1817-1848 1817: University of Michigan founded 1837: Michigan becomes a State and the charter for the University of Michigan moves it from Detroit to Ann Arbor 1847: Michigan State Capital moves from Detroit to Lansing 1848: California gold rush begins - population of US moves west (1848-1855)
1905-1906 1905: Albert Einstein announces his special theory of relativity and other key theories in physics 1905: New York City’s Institute of Musical Art later The Juilliard School - is founded 1906: Braque and Picasso develop Cubism 1906: The University of Michigan football Stadium is replaced to expand seating to 18,000—Albert Kahn is the head architect. Total cost $30,000
1855-1890 1855: Agricultural College of the State of Michigan (later, Michigan State University) is founded 1869: Albert Kahn Born (March 21) 1871: University Hall (U-M campus) built with an auditorium seating 3,000 students, and a chapel seating 550 1890s: Ford, General Motors, and Chrysler car companies are founded in Detroit
1908-1910 1908: Ford introduced the Model T 1909: World’s first concrete road laid on Woodward Avenue in Detroit 1909: Arthur Hill dies and leaves $200,000 for the building of Hill Auditorium 1910 Ford Factory at Highland Park open
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1894-1900 1894: 1st UMS May Festival organized with great success 1893: Frieze Memorial Organ purchased, installed in University Hall (1913 Organ is moved to Hill) 1898: “The Victors� is written by Louis Elbel, a senior student 1900-1930: Detroit population expansion from 285,000 to 1,580,000 people
1902-1905 1902: Albert Kahn joined by Ernest Wilby and forms Albert Kahn, Architect, Ernest Wilby, Associate 1903: Kahn designed Engineering Building at the University of Michigan with his brother, Julius Kahn 1903: First sustained airplane flight 1904: Hudson Motor Company established, Detroit.
1900: Kahn Designed his first factory for Joseph Boyer in Detroit
1912-1913 1912: Titanic sinks on maiden voyage 1913: Henry Ford develops first moving assembly line for his Model T design 1913: Amendments made to the US Constitution: 16th (income taxes), 17th (direct election of senators) 1913: Hill Auditorium is completed
1914-1923 1914: World War I begins in Europe; Detroit becomes war-time manufacturing hot spot 1914: Babe Ruth hits first home run 1920: 19th Amendment passed, giving American women the right to vote 1921: Einstein awarded Nobel Prize for physics 1923: Eliel Saarinen begins teaching at the University of Michigan
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IM PRESS I O NI S M
Title: The Water-Lily Pond Artist: Claude Monet
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I MPR ESS I O NI S M In addition to architecture, Kahn loved and was an advocate for Impressionist art. He appreciated the master’s innovations, collected their work (expanding his home with the addition of an art gallery), and spoke eloquently about the importance of their artist. As an additional insight into the life and work of Albert Kahn, below is an excerpt of a talk he gave on May 14, 1935 to the Detroit Torch Club about Impressionist art.
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The Impressionists to begin with borrowed from Manet the scheme of bright color applied in flat planes without transitional shades or conventional shadows. They started the method of painting out of doors—face to face with nature—and what is most characteristic—to paint in the vivid radiance of light—catching its varying and fugitive effects. They refused to follow the academic system of painting in the same uniform manner—morning, noon and evening whether in cloud or sunshine. They refuse to paint in the studio. Instead they painted in the ever changing colors they actually saw. Foliage had been painted only in certain shades of green, water blue and clouds in a particular grey. How they used colors approaching those produced by nature under varying conditions and at different times of the day, employing pure brilliant tones and painting, what had not been done before, shadows in various colors according to the effects of light, blue, violet and lilac, in place of the uniform black formerly used. It is not claimed by the Impressionists that they were the first to do this for Constable, Turner, Corot and Courbet had done it before, but only occasionally and incidentally, whereas the Impressionists consistently adhered to the principles established by them. They differed furthermore from the former in that they painted their landscapes pretty much as they found them without formally composing them in accordance with established tradition.
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KA HN BUILD I NG S
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S OUT HEAS T MICH I G AN
Albert Kahn’s architecture can be seen throughout southeast Michigan. Notable buildings include the following:
PACKARD AUTOMOTIVE PLANT Mt. Elliott Street + East Grand Boulevard Detroit, MI
ALBERT KAHN BUILDING 7430 Second Avenue Detroit, MI 48202-2798
ANNA SCRIPPS WHITCOMB CONSERVATORY (BELLE ISLE) 8109 E Jefferson Detroit, MI 48214
FORD’S RIVER ROUGE PLANT 20900 Oakwood Blvd. Dearborn, MI 48124
NATIONAL THEATRE 118 Monroe Street, Detroit, MI 48226
CURRENT U-M CREDIT UNION/ FORMER ANN ARBOR NEW BUILDING 340 East Huron Ann Arbor, MI 48104
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For a more comprehensive list of Kahn architecture in southeast Michigan visit http://tinyurl.com/KahnBldgs.
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K AH N B U ILDIN GS
UN IV ERS I T Y OF M I CHI G AN ARCHITECT: ALBERT KAHN
EXISTING
NON-EXISTING
1904
1924
WEST ENGINEERING BUILDING/WEST HALL (MASON AND KAHN)
ANGELL HALL EAST PHYSICS BUILDING
1906
1925
PSYCHOPATHIC HOSPITAL (MASON AND KAHN)
1910 WEST ENGINEERING BUILDINGS ADDITIONS (KAHN AND WILBY)
COUZENS DORM EAST MEDICAL BUILDING UNIVERSITY HOSPITAL
1927 SIMPSON MEMORIAL INSTITUTE
1912 PSYCHOPATHIC HOSPITAL ADDITIONS (KAHN AND WILBY)
1913 HILL AUDITORIUM (KAHN AND WILBY)
1915 HELEN NEWBERRY RESIDENCE (KAHN AND WILBY)
1920 W W W. U M S .O R G
BETSY BARBOUR DORM HATCHER GRADUATE LIBRARY
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1923 CLEMENTS LIBRARY
1928 MUSEUM OF NATURAL HISTORY
1931 UNIVERSITY HOSPITAL ADDITION
1933 PRESIDENT’S RESIDENTIAL ADDITIONS
1935 HOSPITAL STORAGE
1936 BURTON MEMORIAL TOWER HOSPITAL PENTHOUSE ELEVATOR
1938 NEUROPSYCHIATRIC INSTITUTE
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UN IV ERS I T Y OF M I CHI G AN ARCHITECT: ALBERT KAHN ASSOCIATES
1954
1984
CENTRAL SERVICE AND STACK BUILDING
MEDICAL CENTER DRIVE PARKING STRUCTURE
1957
1986
SHAPIRO UNDERGRADUATE LIBRARY
UNIVERSITY HOSPITAL
1963
1995
DENNISON PHYSICS AND ASTRONOMY BUILDING
SHAPIRO LIBRARY MAJOR REMODELING AND ADDITIONS
1970 SOUTHERN STACKS OF GRADUATE LIBRARY
1996
1971
TISCH HALL MEDIA UNION PRIMARY CARE FACILITY, EAST CAMPUS
SCHOOL OF PUBLIC HEALTH BUILDING II
1972
2003 WEST HALL RENOVATION
MODERN LANGUAGE BUILDING
2006 RACHEL UPJOHN BUILDING, EAST CAMPUS AMBULATORY SURGERY AND MEDICAL PROCEDURES CENTER, EAST CAMPUS
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To see this buildings on a map, visit www.tinyurl.com/KahnBldgs.
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S POTL I G HT: RUSS I A
BETWEEN 1930 AND 1932 KAHN BUILT 521 FACTORIES IN RUSSIA, WHILE CONSTRUCTING ONLY 79 IN
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THE UNITED STATES.
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PHOTOGRAPH OF PACKARD PLANT COURTESY OF NATIONAL AUTOMOTIVE HISTORY COLLECTION
Albert Kahn had achieved great fame worldwide by 1910 after the world had seen the value in the production techniques used at the Packard Plant Number 10 (1905). It was the first industrial building to be constructed with fireproof reinforced concrete. American manufacturers jumped on Kahn’s designs and by 1938, Kahn’s firm was responsible for 20 percent of all architect-designed factories in the US. Kahn’s domestic business flourished until the onset of the Great Depression in 1929, just as new opportunities presented themselves overseas. Joseph Stalin over the course of the 1920s rose to power in the Soviet Union, acting effectively as dictator by 1928. This is when he introduced his 1st Five Year Plan for industrialization and economic independence of the Soviet Union. Stalin had explored Kahn’s work in Detroit and was especially impressed with the River Rouge Plant of 1917, with a half mile long assembly line that housed the entire production process and systems in place to completely manufacture raw materials.
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As the Great Depression raged in the US, Kahn turned to Russia for business opportunities on a much larger scale than his company had ever handled before. Between 1930 and 1932 Kahn built 521 factories in Russia, while constructing only 79 in the United States. Kahn’s firm was also hired to train over 2,000 Soviet engineers during this time. The 1st Five Year Plan’s immense budget, huge labor force (sometimes questionably created), and expansive design plan lead to massive change in the Soviet way of life. They produced trackers for industrial level farming, transportation vehicles, and power to heat homes and provide electricity. Most importantly, he designed foundries that produced metal materials- steel, bronze, and aluminum to build tanks, ships, and more factories! By 1939, as Europe began to erupt into war, the Soviet Union was a world super power producing the third highest industrial output, only behind Germany and the US.
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HILL AUD I TO RI U M
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H ill Auditorium
T HE B I RT H O F HILL AUD I TOR I U M : UM S PER S P EC T I V E
Michigan’s manufacturing revolution arrived just after the state had been began setting its roots in the ground. The money generated by this industry combined with the interest of the state to create a strong university of the West led to the expansion of the University of Michigan through both private and public funds and efforts. By the 1870s, Ann Arbor had a thriving university environment and support gradually grew at the presidential and regental levels for increased music programs for U-M students. University Hall was built to meet these needs and also served as a central location where the whole student body could join together. The Ann Arbor Choral Union (1879) and University Musical Society’s (1880) formations organized the community around this new performance space. The first May Festival in 1893 displayed further University interest in creating traditions of art presentation in Ann Arbor. The University’s student body expanded with the growth of industry and living population in Michigan and in the Midwest generally. By the mid 1890’s the entire student body could no longer fit in University Hall and a new larger hall was needed. Fundraising efforts by Francis Kelsey were unsuccessful between 1890 and 1909 until the death of Arthur Hill, at which time he bequeathed $20,000 to fund the construction of a new hall, Hill Auditorium.
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Hill Auditorium was built by noted architectural firm Kahn and Wilby. Completed in 1913, the renowned concert hall was inaugurated at the 20th Ann Arbor May Festival, and has continued to be the site of thousands of concerts, featuring everyone from Leonard Bernstein and Cecilia Bartoli to Bob Marley and Jimmy Buffett.
In May, 2002, Hill Auditorium underwent an 18-month, $38.6-million dollar renovation, updating the infrastructure and restoring much of the interior to its original splendor. Exterior renovations included the reworking of brick paving and stone retaining wall areas, restoration of the south entrance plaza, the reworking of the west barrier-free ramp and loading dock, and improvements to landscaping. Interior renovations included the creation of additional restrooms, the improvement of barrier-free circulation by providing elevators and an addition with ramps, the replacement of seating to increase patron comfort, introduction of barrierfree seating and stage access, the replacement of theatrical performance and audiovisual systems, and the complete replacement of mechanical and electrical infrastructure systems for heating, ventilation, and air conditioning. Reopened in January, 2004, Hill Auditorium now seats 3,538.
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CONS T RU CT ION T IM EL I NE
1894-1900
1901-1909
Jan. 1894: Kelsey and Stanley appear before the U-M Board of Regents to gain approval to purchase the Columbian Organ from the Columbian Exposition in Chicago, 1893. This organ was originally housed in University Hall, and then moved to Hill Auditorium after its construction.
1901: Arthur Hill, a prominent business man and graduate of U-M (1865) becomes a Regent of the University.
May 1837: UMS President Francis W. Kelsey and Professor Albert Stanley initiate the first UMS May Festival. The event was considered a great success, but University Hall, where the festival was held, was deemed inadequate for such an event. This was mainly because the hall was too small, and lacked the beauty and acoustics of contemporary music performance spaces. It was reported that on the Sunday after the first May Festival, Stanley, Kelsey and the UMS treasurer went for a walk together in Ann Arbor and began discussing the possibilities for a new auditorium.
1904: The regents of the University approve a plan for trying to secure outside assistance to acquire funding for the auditorium Stanley and Kelsey had been trying to get underway for the past decade. June 1904: When further efforts to obtain funds were temporarily set aside by the regents of the university, Arthur Hill amends his will to bequeath $200,000 to the university for the construction of an auditorium. 1909: Arthur Hill dies and the university becomes aware of his generosity.
1911
1913
March 1911: Regent William L. Clements recommends Albert Kahn to be the architect for Hill Auditorium to President HB Hutchins.
May 14, 1913: Hill Auditorium is completed and the first major event to be staged in this grand new hall was the 20th UMS May Festival.
1911: The 3 requirements of Hill Auditorium were identified: Large enough to hold the entire student body Acoustics such that a single speaker could be heard unamplified by the entire audience It had to house the Columbian Organ
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CONT EXT: U - M A N D UM S HI S TO RY
1879-1881
1888-1892
1879: Ann Arbor Choral Union formed to sing Handel’s Messiah, organ accompaniment and direction by Henry Frieze.
1888: Calvin Cady resigns from the Ann Arbor Music School and Albert Stanley appointed its director (1888-1929).
1880: University Music Society (UMS) formed under same officers as Choral Union (Henry Frieze is the 1st President). 1881: • Ann Arbor School of Music privately formed (separate board of directors from UMS but shared members). • Founded by Calvin Cady University Professor with interest in teaching outside of U-M professor duties. • Privately operated School affiliated with UMS through Cady, who directed some Choral Union productions and was a U-M Professor of Music (1880-1888).
1892: • University School of Music formed; operated by UMS directly, more secure funding by subscription. Cost was $65/ year. • 13 faculty members- lessons in piano, violin, mandolin, voice, organ, flute, guitar. • UMS at first had to rent space from the University, then with the formation of the School of Music Building Association in 1893, it raised $25,000 and bought a building at 325 Maynard Street (Francis Kelsey was a key fundraiser).
1905-1929
1947-2006
1905: Regents authorized U-M students to perform accredited studies at the UMSgoverned University School of Music.
1946: The U-M Department of Music becomes the U-M School of Music.
1929: The University of Michigan incorporates the University Music School, which then becomes the University of Michigan Music Department. A building on U-M’s North Campus is built (architect Eero Saarinen) to house the program.
1946: The U-M School of Music changes its name to the U-M School of Music, Theater, & Dance.
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KE Y F I G UR ES
HENRY SIMMONS FRIEZE [1817-1889]
A RTH U R H I LL [1847-1909]
• U-M Latin Department Head [1854-1888] • Interim President of University [1869-1871] (built University Hall during this time) And [June 1880- February, 1882] (During Angell’s presidency) • Introduced accredited high school University Admission system • Initiated admission for women to University (Board Approves 1870) almost 20% of students on Campus are women • Avid organ performer and teacher; organ inside Hill is dedicated to him • Led first Choral Union [1879] • One of the main founders of UMS [1880] – responsible for the Latin “Ars longa vita brevis [Art is long, life is short]” being present on the original UMS seal
• Born in Saginaw, Mich. where he went to public schools then he attended U-M where he got a degree in Civil Engineering in 1865; later he studied some law as well • Worked as a “land looker” for a lumber company after schooling for seven years; he would travel on foot to different properties in Michigan surveying lumber values • Successfully formed his own business with his brother, Hill Brothers Lumber [1872], also formed the Saginaw Steel Steam Ship Company [1890] on the west coast • Mayor of Saginaw, Mich. three times • Supported U-M during his lifetime and gave $200,000 in his will to the University for the construction of Hill Auditorium something he didn’t reveal until after his death.
F RAN C IS W ILLEY KELSEY
A LBE RT STA NLE Y
[1858-1927]
[1851-1932]
• Latin Department Head [1889- 1927] • President of UMS [1891-1927] • Founder of the May Festival with Albert Stanley [1893] • Advocate of art at University, but failed to solicit enough funds for an auditorium to replace University Hall from donors, such as the Carnegie Foundation • Held archeological expeditions to Rome, Egypt, and the surrounding Mediterranean, brought back over 100,000 individual artifacts, which are held at the U-M Kelsey Museum of Archeology. • Acquired the Stearns Collection of Musical Instruments in 1899 for University
• Invited by U-M President Angell in 1888 to Ann Arbor to be a music professor, and to be musical director of UMS • Led the reorganization of the University School of Music [1892] • Gave frequent organ recitals in Ann Arbor on Frieze Memorial Organ • Initiated the first May Festival with Kelsey in 1893 • Served in major roles in national and international arts organizations, including the presidency of the American Section of the International Music Society
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RES O URCES
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R ES OU RC ES
G LOSS ARY: ARC HI T ECT U R E ARCH: A structure spanning an opening that is supported from the sides. AREAWAY: An uncovered space next to the foundation walls of a building, for entrance of light and air to the basement. BALUSTER: Any of a number of closely spaced vertical supports for a railing. BEAM: A horizontal load-supporting member of a building which directly supports a floor; may be of wood, steel, or concrete; transmits load horizontally to vertical columns or bearing walls. BUTTRESS: A support on the outside of a wall that helps to stabilize the wall or building. CAPITAL: The topmost part, usually decorated, of a column or pilaster. COLUMN: A vertical post divided–bottom to top–into a base, a shaft, and a capital. CORNICE: A horizontal molding along the top of the wall or ceiling. DOME: A curved, semispherical roof structure that is circular in plan. ENTABLATURE: A major horizontal member carried by a column(s) or pilaster(s); it consists of an architrave, a frieze, and a cornice. The proportions and detailing are different for each order, and strictly prescribed. FACADE: The face or exterior architectural treatment of a building. FINISHED FLOOR: The top or wearing surface of a floor system, e.g. hardwood, vinyl, terrazzo, or ceramic tile. FLUTES: The duct or open space within a chimney through which combustion gasses and smoke are allowed to escape. GABLE: The triangular portion of a wall under the end of a pitched roof. IONIC: A type of classical architecture with scroll-like decorations, called volutes, on the column capital. KEYSTONE: A wedge-shaped unit at the top of an arch. MILLWORK: Doors, windows and door frames, mantels, panel work, stairways, and woodwork. ORDERS: Styles of classical architecture developed by the ancient Greeks and Romans; they include the Doric, Ionic, and Corinthian. PIER: A column; a foundation type shaped like a column underground, created by drilling a hole and filling it with concrete.
RUSTICATION: Roughly surfaced stonework on exterior walls; popular during the Renaissance. SHAFT: The section of a column between the base and the capital. UPLIFT: Raising of a structure in response to structural forces.
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PILASTER: An engaged pier or pillar, often with capital and base.
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RE AD I NG S
ALBERT KAHN ASSOCIATES — Continuing the Legacy. Milan, Italy: l’Arca Edizioni, 2000. ALBERT KAHN , INC. Industrial and Commercial Buildings. Detroit, Michigan: Albert Kahn, Inc., 1936. BUCCI, FREDRICO. Albert Kahn, Architect of Ford. New York, New York: Princeton Architectural Press, 1993. CARTER, BRIAN, ED. Albert Kahn: Inspiration for the Modern. Ann Arbor, Michigan: The University of Michigan Museum of Art, 2001. FERRY, W. HAWKINS. Legacy of Albert Kahn. Detroit, Michigan: Wayne State University Press, 1987. HILDEBRAND, GRANT. Designing for industry: The Architecture of Albert Kahn. Cambridge, Massachusetts: The MIT Press, 1974. KENNA, MICHAEL. The Rouge. Santa Monica, California: Michael Kenna and Ram Publications, 1995. KIDDER, WARREN. Willow Run: Colossus of American History. Lansing, Michigan: KFT Publishing, 1995. KING, SOL. Creative-Responsive-Pragmatic; 75 Years of Professional Practice, Albert Kahn Associates, architects-engineers. New York, New York: Newcomen Society in North America, 1970. NELSON, GEORGE. Industrial Architecture of Albert Kahn. New York, New York: Architectural Book Publishing Company, 1939. ROTH, LELAND M. American Architecture-A History. Boulder, CO: Westview Press, 2001. SHAW, WILFRED B. A Short History of the University of Michigan. Ann Arbor, Michigan: George Wahr, 1937. SMITH, TERRY. Making the Modern. Chicago, IL: The University of Chicago Press, 1993.
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The Buildings of Detroit. Detroit, Michigan: Detroit Wayne State University Press, 1968.
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ORG ANI ZAT I ON S AND I NT ERNE T ORGANIZATIONS Albert Kahn Associates
Henry Ford Museum & Greenfield Village
7430 2nd Avenue #150
20900 Oakwood Blvd.
Detroit, MI 48202
Dearborn, MI 48124-4088
(313) 202-7000
www.hfmgu.org
www.albertkahn.com
(313) 271-1620
Bentley Historical Library
National Automotive History Collection
The Albert Kahn Collection
Detroit Public Library
The University of Michigan
5201 Woodward
1150 Beal Ave.
Detroit, Michigan 48202
Ann Arbor, Michigan 48109-2113
www.detroit.lib.mi.us/nahe/
www.umich.edu/~bhl/index.htm
(313) 833-1000
(734) 764-3482 National Building Museum Cranbrook Institute of Science
401 F Street NW
1221 North Woodward Avenue
Washington D.C. 20001
Bloomfield Hills, Michigan 48303-0801
www.nbm.org/
www.cranbrook.edu/institute
(202) 272-2448
(248) 645-3200 Detroit Historical Society
ONLINE RESOURCES
5401 Woodward Detroit, Michigan 48202
Historic Detroit
www.detroithistorical.org
www.historicdetroit.org/architect/albert-kahn
(313) 833-7934 Detroit: The History and Future of the Motor City Detroit Institute of Arts
www.detroit1701.org
5200 Woodward Avenue Detroit, Michigan 48202
U-M Finding Aid for Albert Kahn Papers
www.dia.org
www.quod.lib.umich.edu/b/bhlead/umich-bhl-
(313) 833-7971
0420?rgn=main;view=textl
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BE PRESENT
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B e P resent
ABOU T UM S
One of the oldest performing arts presenters in the country, UMS is committed to connecting audiences with performing artists from around the world in uncommon and engaging experiences. With a program steeped in music, dance, and theater, UMS contributes to a vibrant cultural community by presenting approximately 60-75 performances and over 100 free educational activities each season. UMS also commissions new work, sponsors artist residencies, and organizes collaborative projects with local, national, and international partners. Learning is core to UMS’s mission, and it is our joy to provide creative learning experiences for our entire community. Every season, we offer a spectrum of Education and Community Engagement activities focusing on K-12 students, teachers, teens, university students, families, adults, and cultural and ethnic communities. We exist to create a spark in each person, young and old alike, exposing them to things they haven’t before seen, and leaving them with an ongoing and lifelong passion for creativity and the performing arts.
UMS EDUCATION AND COMMUNITY ENGAGEMENT DEPARTMENT Mailing Address
Staff
100 Burton Memorial Tower
Ken Fischer
881 North University Ave
UMS President
Ann Arbor, MI 48109-1011
Director
Indira Bhattacharjee
Mary Roeder
Charlie Reischl
Associate Manager of Community Engagement Omari Rush Education Manager
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Interns
Jim Leija
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B e P resent
T HANK YOU!
Thank you for your interest in learning about Albert Kahn and Hill Auditorium.
Immersions are made possible through the generous support of individuals, corporations, and foundations, including the following UMS Education and Community Engagement Supporters:
The Andrew W. Mellon Foundation
Bernard and Raquel Agranoff Barbara A. Anderson and John H. Romani Ann Arbor Public Schools Educational Foundation Anonymous Arts at Michigan Arts Midwest Touring Fund Association of Performing Arts Presenters John and Linda Axe Bank of Ann Arbor Rachel Bendit and Mark Bernstein Kathy Benton and Robert Brown Richard S. Berger Mary Ellen Brademas David and Valerie Canter Center for Plastic and Reconstructive Surgery Charles Reinhart Company, Realtors, Nancy Bishop, Associate Broker Clark Hill PLC Community Foundation for Southeast Michigan Confucius Institute at the University of Michigan Dallas and Sharon Dort Doris Duke Charitable Foundation Doris Duke Charitable Foundation Endowment Fund DTE Energy Foundation Kenneth and Frances Eisenberg David and Jo-Anna Featherman Maxine and Stuart Frankel Foundation Anne and Paul Glendon Fred and Barbara Goldberg Kathy and Tom Goldberg Drs. Patricia and Stephen Green Robert and Ann Greenstone Debbie and Norman Herbert David and Phyllis Herzig Endowment Fund Honigman Miller Schwartz and Cohn LLP Hooper Hathaway, P.C., Charles W. Borgsdorf & William Stapleton, attorneys
University of Michigan
JazzNet Endowment Mark and Janice Kielb Jean and Arnold Kluge John S. and James L. Knight Foundation Leo and Kathy Legatski Mardi Gras Fund Masco Corporation Foundation Ernest and Adele McCarus Merrill Lynch Michigan Council for Arts and Cultural Affairs Michigan Humanities Council Miller, Canfield, Paddock and Stone, P.L.C. THE MOSAIC FOUNDATION [of R. & P. Heydon] National Endowment for the Arts NEA Jazz Masters Live Quincy and Rob Northrup Lisa A. Payne PNC Foundation The Power Foundation Prudence and Amnon Rosenthal K-12 Education Endowment Fund Ren and Susan Snyder John W. and Gail Ferguson Stout Stout Systems Karen and David Stutz Robert S. and Julia Reyes Taubman Toyota UMS Advisory Committee University of Michigan (U-M) Center for Chinese Studies U-M Credit Union U-M Health System U-M Office of the Senior Vice Provost for Academic Affairs U-M Office of the Vice President for Research Wallace Endowment Fund Max Wicha and Sheila Crowley
THIS LEARNING GUIDE IS THE PRODUCT OF THE UMS EDUCATION AND COMMUNITY ENGAGEMENT PROGRAM. EDI TED BY
Charlie Reischl
Omari Rush
Special thanks to Indira Bhattacharjee and Sophie Cruz for their contributions and support in developing this guide.
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Additionally, special thanks to the Immersion presenters whose expertise and insights greatly enhance the Immersion.
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