INTERVIEW WITH WALTER T. STOCKTON 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 © 1995 Revised Edition Copyright © 2005 The Art Institute of Chicago This manuscript is hereby made available to the public 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 this manuscript may be quoted for publication without the written permission of The Art Institute of Chicago. ii TABLE OF CONTENTS Preface iv Preface to Revised Edition vi Outline of Topics vii Oral History 1 Selected References 36 Curriculum Vitae 37 Index of Names and Buildings 38 iii PREFACE Since its inception in 1981, the Department of Architecture at The Art Institute of Chicago has engaged in presenting to the public and the profession diverse aspects of the history and process of architecture, with a special concentration on Chicago. The department has produced bold, innovative exhibitions, generated important scholarly publications, and sponsored public programming of major importance, while concurrently increasing its collection of holdings of architectural drawings and documentation. From the beginning, its purpose has been to raise the level of awareness, understanding, and appreciation of the built environment to an ever-widening audience. In the same spirit of breaking new ground, an idea emerged from the department's advisory committee in 1983 to conduct an oral history project on Chicago architects. Until that time, oral testimony had not been used frequently as a method of documentation in the field of architecture. Innumerable questions were raised: was the method of gathering information about the architect from the architect himself a reliable one? Although a vast amount of unrecorded information was known to older architects, would they be willing to share it? Would their stories have lasting research value to future scholars, or would they be trivial? Was video-recording a viable option? How much would such a project cost? With a grant from the Graham Foundation for Advanced Studies in the Fine Arts, we began a feasibility study to answer these questions. Our study focused on older personalities who had first-hand knowledge of the people and events of the 1920s, 1930s, and 1940s—decades that have had little attention in the literature of Chicago's architectural history. For nine months in 1983, I contacted more than one hundred architects in Chicago and suburbs and visited most of them. I learned not only that they were ready, willing, and more than able to tell their stories, they were also impatient to do so. Many thought such a program was long overdue. For each visit, I was armed with a brief biographical sketch of the architect and a tape- recorder with which I recorded our brief exchange. At that time, we considered these visits to be only a prelude to a more comprehensive, in-depth interview. Regretfully, this vision did not materialize because some narrators later became incapacitated or died before full iv funding was secured. Slowly, however, we did begin an oral history project and now, more than twelve years later, our oral history collection has grown into a rich source of research data that is unique among oral history programs worldwide. With the completion of these interviews our collection of memoirists now numbers more than fifty and the collection continues to grow each year. This oral history text is available for study in the Ryerson and Burnham Libraries at The Art Institute of Chicago, as well as in a complete electronic version on the Chicago Architects Oral History Project's section of The Art Institute of Chicago website, www.artic.edu/aic This interview is one of several dozen short interviews that were recorded in 1983 during the feasibility study. Surely each one of these narrators could have spoken in greater depth and at greater length; each one deserves a full-scale oral history. Unfortunately, thirteen of these twenty architects have already died, which makes these short interviews especially valuable. These interviews were selected for transcription, despite their brevity, because each narrator brings to light significant and diverse aspects of the practice of architecture in Chicago. We were fortunate to receive an additional grant from the Graham Foundation for Advanced Studies in the Fine Arts to process this group of interviews. Thanks go to each interviewee and those families that provided releases for the recordings to be made public documents. Thanks also go to Joan Cameron of TapeWriter for her usual diligence and care in transcribing; to Robert V. Sharp of the Publications Department and Maureen A. Lasko of the Ryerson and Burnham Libraries at The Art Institute of Chicago for the helpful suggestions that shaped the final form of this document; and, once again, to the Graham Foundation for Advanced Studies in the Fine Arts for its continuing support, with special thanks to Carter Manny, its former director. Personally, I would like to thank John Zukowsky, Curator of Architecture at The Art Institute of Chicago, for his courage in taking a chance on me as an interviewer in 1983, when I was a complete novice in the craft of interviewing. Since then, I have learned the art and the craft and, more importantly, I have learned that each architect's story has its own very interesting and unique configuration, often filled with wonderful surprises. Each one reveals another essential strand in the dense and interlocking web of Chicago's architectural history. Betty J. Blum 1995 v PREFACE TO REVISED EDITION Since 1995, when the previous preface was written, advances in electronic transmission of data have moved at breakneck speed. With the ubiquity of the Internet, awareness and demand for copies of oral histories in the Chicago Architects Oral History Project collection have vastly increased. These factors, as well as the Ryerson and Burnham Libraries' commitment to scholarly research, have compelled us to make these documents readily accessible on the World Wide Web. A complete electronic version of each oral history is now available on the Chicago Architects Oral History Project's section of The Art Institute of Chicago website, http://www.artic.edu/aic, and, as before, a bound version is available for study at the Ryerson and Burnham Libraries at The Art Institute of Chicago. In preparing an electronic version of this document, we have reformatted it for publication, reviewed and updated with minor copy-editing, and, where applicable, we have expanded the biographical profile and added pertinent bibliographic references. Lastly, the text has been reindexed and the CAOHP Master Index updated accordingly. All of the electronic conversion and reformatting is the handiwork of my valued colleague, Annemarie van Roessel, whose technical skills, intelligence, and discerning judgment have shaped the breadth and depth of the CAOHP's presence on the Internet. This endeavor would be greatly diminished without her seamless leadership in these matters. Publication of this oral history in web-accessible form was made possible by the generous support of The Vernon and Marcia Wagner Access Fund at The Art Institute of Chicago; The James & Catherine Haveman Foundation; The Reva and David Logan Family Fund of the Community Foundation for the National Capital Region; and Daniel Logan and The Reva and David Logan Foundation. Finally, to the Ryerson and Burnham Libraries at The Art Institute of Chicago and its generous and supportive director, Jack P. Brown, we extend our deepest gratitude for facilitating this endeavor. Betty J. Blum February 2005 vi OUTLINE OF TOPICS School and On-the-Job Training 1 Clark and Walcott 4 Working with Robert S. DeGolyer 7 Building the Ambassador East Hotel, Chicago 14 Century of Progress International Exposition 22 Surviving the Depression 23 Opinion of Mies and His Work 24 Art Deco Powhatan Apartments 26 Office Records of DeGolyer and Company 27 In the Office of Philip Maher and Others 33 vii Walter Thaw Stockton Blum: Today is August 30, 1983, and I am with Walter Thaw Stockton at his home in Evanston. Mr. Stockton, why did you become an architect? Stockton: I really don't know. I just always thought I wanted to be one. Somehow I also wanted to go to Princeton, and they didn't have an architectural school at that time. I went there and took all the courses I could and after I graduated, in 1917, I took most of my engineering in Chicago. Blum: What did you study at Princeton? Stockton: I took all their art courses and a few engineering courses, but I really wasn't prepared to be a professional architect. Blum: Did you have it in your mind then that you were going to be an architect? Stockton: Yes. Then I got most of my training working at the various offices. Blum: You said when you graduated Princeton you were not prepared for a career in architecture. What did you do when you graduated? Stockton: I went right into the war. I weighed 120 and I was six feet tall, and they wouldn't take me so I became a captain in the Illinois Reserve Militia on the brigade staff, and I organized all the training corps companies in northern Illinois. And then after that, in 1919, I went with Chester Walcott. He had a little cubbyhole, and if we had a client I had to go out and walk in the hall. Blum: Was that 1919? Stockton: Yes. 1 Blum: How did you happen to work for him? Stockton: I'd known him all my life.