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ORAL HISTORY of BRUCE JOHN GRAHAM Interviewed by Betty J. Blum Compiled Under the Auspices of the Chicago Architects Oral Histor ORAL HISTORY OF BRUCE JOHN GRAHAM Interviewed by Betty J. Blum Compiled under the auspices of the Chicago Architects Oral History Project The Ernest R. Graham Study Center for Architectural Drawings Department of Architecture The Art Institute of Chicago Copyright © 1998 The Art Institute of Chicago This manuscript is hereby made available for research purposes only. All literary rights in the manuscript, including the right to publication, are reserved to the Ryerson and Burnham Libraries of The Art Institute of Chicago. No part of the manuscript may be quoted for publication without the written permission of The Art Institute of Chicago. TABLE OF CONTENTS Preface iv Outline of Topics vi Oral History 1 Appendix I: Postscript 313 Appendix II: Curriculum Vitae 315 Selected References 317 Index of Names and Buildings 323 iii PREFACE "We judge not a building but, rather, let an architectural vocabulary illuminate an age. We are, at this particular time, in an age of discovery of a new civilization. We have the technical tools as well as the crude consciousness of a new age. I feel very much that this time is a beginning; and this being the case, our buildings must be clear, free of fashion, and simple statements of the truth." In his own words Bruce Graham describes the cultural framework and personal driving force by which his design production has been guided, "clear, free of fashion, and simple statements of the truth." Graham, of Skidmore, Owings and Merrill, has been one of the leading exponents of high-rise structures embodying this approach during the postwar period. In Chicago, Graham-designed buildings are numerous and prominent. Several have become icons of the city, familiar to Chicagoans as well as others worldwide. Can you picture North Michigan Avenue without the distinctive Hancock Center and One Magnificent Mile, or the city skyline without the commanding Sears Tower? Graham's contribution has profoundly shaped and irrevocably changed the character of the city. Set squarely in the Chicago tradition of structural innovation, Bruce sees his work as a straight-line development that pushes the existing boundaries and clarifies and refines the structural components of architecture. His extended vision has often included an improved urban plan. Graham joined Skidmore, Owings and Merrill in 1951 and critics immediately hailed his fresh and innovative design for the Inland Steel building as the first skyscraper of the "Second Chicago School." Recognition for excellence continued with the well-known Hancock Center, and the Sears Tower, at the time the tallest building in the world. Public acclaim has followed Graham throughout his career not only in Chicago but also in other American and international locations. Graham's oral history documents a forty- year career in architecture and is an important addition to The Art Institute of Chicago's collection of oral histories. iv Bruce and I met in his office in Hobe Sound, Florida, on four consecutive days from May 25 through 28, 1997, to record his recollections of the experiences, events, and personalities that helped shape his career. Our sessions were recorded on eleven 90- minute cassettes that have been transcribed, minimally edited and reviewed to maintain the flow, tone and spirit of the narrative. A brief postscript written by Graham is appended, in which he mentions several buildings that were not covered in the main body of the oral history. Graham's work and personal accomplishments have been widely published. Bruce Graham of SOM (1989) highlights many of his best-known projects and includes his comments about each one. References I found helpful in preparation of this document are attached. This oral history is available for study in the Ryerson and Burnham Libraries at The Art Institute of Chicago as well as on the Art Institute's website, www.artic.edu/aic/ Although Graham has officially retired from SOM and now lives in Florida, he continues to work on projects that interest him. I am grateful to him, as scholars will be in years to come, for his cooperation in sharing his first-hand memories with me. My appreciation goes to Bruce's wife, Jane, for her warm hospitality and welcome while I was in Florida. Thanks to the staff at SOM in the records and marketing departments for verifying information from their files and a special thank you to the SOM partnership for funding Graham's oral history. Without Annemarie van Roessel's skillful conversion of tape to type and her conscientious care in shaping this document, it would not have been brought to completion as it is, and for that we are grateful. Betty J. Blum June 1998 v OUTLINE OF TOPICS Family and Early Background 1 Military Service 7, 11 Impressions of Chicago, 1943 8 Back To School To Study Architecture 13 At the University of Pennsylvania 14 Back to Chicago and Work at Holabird, Root and Burgee 27 From Holabird, Root and Burgee to SOM 32 First Jobs at SOM 41 SOM in the South Pacific 44 Prefabrication 48 Kimberly-Clark, Neenah, Wisconsin 54 The Technical Man 56 About Sears Tower 59 Warren Petroleum Building, Tulsa, Oklahoma 81 Mies and Students at IIT 85 Brunswick Building, Chicago 89 Miró and Picasso Sculptures 94 Architecture and Sculpture 97 Project for Herb Greenwald 98 Inland Steel Building, Chicago 100 Upjohn, Kalamazoo, Michigan 109 Equitable Building, Chicago 116-20, 122-25 At and About SOM 121, 126 Fazlur Khan 140 One Shell Plaza, Houston, Texas 148 John Hancock Center, Chicago 152 Commissions in England 160 AIA: Awards and Memberships 170 Insurance 182 Dearborn Park, Chicago 187 Structural Aspects in Various Projects 190 vi Art and Architecture 194 Projects Worldwide: New York, Hong Kong, Mexico, Spain, Egypt 207 Plans for Chicago 217 Memberships 226 This and That 228 Banco de Occidente, Guatemala City, and Other Projects 231 About Architectural Education 240 The Press and Photographers 245 SOM From the Inside 246 Holy Angels Church, Chicago 254 SOM Foundation 258 Commissions in England 264 Urban Planning 292 Women at SOM 295 Project for the Olympics in Barcelona, 1992 300 Reflections 307 vii Bruce John Graham Blum: Today is May 25, 1997, and I'm with Bruce Graham in his office in Hobe Sound, Florida. Bruce is now retired from Skidmore, Owings and Merrill, where he had worked for almost forty years in the Chicago office. Although he no longer lives or works there, he's left an indelible imprint on the city. Bruce's presence is recalled in the many Graham-designed buildings, some of which have become icons of the city. They dominate and they have shaped our city's skyline. Bruce's reputation is not limited to Chicago, his work is well known worldwide. He has been called the most powerful architect in the world and is said to have defined and dominated a whole architectural era, no little accomplishment. Bruce, your career, your work, your ideas and opinions have been the subject for many writers who have written an endless amount of material about you and your career. You have said, "I contend that building is the intellectual experience of architecture. Talking about it is not." In spite of that statement, I hope you will share your story with us. May we begin at the beginning in 1925 in Columbia? Were you born in Bogota? Graham: No, I was born in La Cumbre. It's a small town outside of Cali. Blum: You have said that your family is Peruvian. How did you come to be born in Columbia? Graham: Well, my mother was Peruvian. She came from Arequipa, Peru, where my father met her father and eventually they got married. My father was a banker and traveled a lot. I was born in Columbia, but we didn't stay there much longer than about three months. 1 Blum: Then it would be hard for you to remember what Columbia was like during those first three months. When did your family move back to Peru? Graham: My family then moved back to Peru, where another brother was born. We were seven brothers and two sisters. After that we moved to Puerto Rico, where my father actually came from. His father was a colonel in the United States Army. Then he started in the bank and worked very hard during the depression and eventually was made general manager of the federal land bank in Puerto Rico—it was a program to help the farmers. Blum: When did you move to Puerto Rico? Graham: I was about five. Blum: So your childhood really was spent in Puerto Rico? Graham: That's correct. Blum: No wonder you can roll your "R's" and speak Spanish so easily. Is that your first language? Graham: Actually, yes. I didn't speak any English until I was about seven or eight. I used to make believe I was speaking English by imitating my father's accent, but I was speaking Spanish. Blum: Your father spoke English? Graham: And very bad Spanish. Blum: What was his first language? 2 Graham: My father wasn't born in Puerto Rico. He was born in Canada. So he spoke fluent English. My mother's English was weak, but she could get along very well. Blum: Did your mother work? Graham: With nine kids? Blum: She was a stay-at-home mom. During your childhood, did you show any tendencies toward building, drawing, even playing with blocks? Graham: My father was a master at spotting talent. Some of us took music lessons. Blum: Your brothers and sisters? Graham: Yes. Some of them were interested in music, and he really promoted that for them.
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