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The Beaux-Arts Atelier in America

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The Beaux-Arts Atelier in America 841H ACSA ANNUAL MEETING PRACTICE 1996 31 9 The Beaux-Arts Atelier in America MADLEN SIMON Kansas State University Beginning with Richard Morris Hunt in the mid 1800's, day under varying names: the Beaux-Arts Institute of De- aspiring American architects went to study at the Ecole des sign, the National Institute for Architectural Education, and Beaux-Arts, returning home with tremendous enthusiasm the current Van Alen Institute. and nostalgia for the educational life they had left behind in The new Society began to issue student programs on a Paris. These members of an elite group were conscious of quarterly system. American architects responded to these their good fortune and eager to provide opportunities for less new educational opportunities by creating ateliers in whch privileged aspiring American architects to partake of the students of architecture could apply themselves to the type of excellent education they had enjoyed. They were Society's programs and competitions. inspired by the desire to improve hture generations of American architects, thereby improving the quality of Ameri- DEFINING THE AMERICAN ATELIER can architecture, a pressing need in the mid nineteenth century for a growing nation in the process of building its American ateliers derived rather loosely from the Parisian institutions. model. The Beaux-Arts atelier in Paris consisted of a studio The first American atelier was opened by Richard Morris run by a practicing architect known as the Patron, in premises Hunt, the first American to study at the Ecole des Beaux- separate from his archtectural office, in which Ecole students Arts, in New York in 1857.' Two of his early students, of all levels worked together, the youngest and least experi- William Robert Ware and Henry Van Brunt, established an enced learning from and assisting their elders, the most atelier in their own Boston office seven years later. Henry advanced of whom learned from the Patron him~elf.~The Hobson Richardson, who returned from the Ecole in 1865, atelier was characterized by lively camaraderie and competi- formed a partnership with Charles D. Gambrill, another tive team spirit. Transplanted to America, the atelier devel- former pupil of Hunt, in 1867. Their office also functioned oped in a variety of forms. According to the rules of the as an atelier for their a~sistantJpupils.~These and other early Society, an atelier could be constituted by a minimum of five American ateliers differed from their French models in that students working under the guidance of a practicing architecth they were typically integrated into an architectural practice Many ateliers were this small, simple, and ephemeral, chang- and the atelier pupils were to varying degrees also the ing students andpatrons from year to year. Some, for example architect's assistants. The French ateliers, while typically the Atelier Skidmore-Owings, may have existed within firms. run by practicing architects, occupied separate premises The Atelier Hirons was a long standing independent atelier. from the Patron's office and educated pupils who were not Other, more highly institutionalized ateliers, existed as hc- employed in the Patron's practice.' tions of the architectural clubs which sprang up around the Americans continued, in increasing numbers, to attend country in the late nineteenth and early twentieth centuries. the Ecole des Beaux Arts. In the spirit of camaraderie Yet another variation, closest of all to the original Parisian fostered by the Parisian ateliers in which they had studied, model, was the atelier which worked in conjunction with a the Beaux-Arts alumni formed the Beaux-Arts Society of school of architecture. The Columbia University Extension Architects in America. The American organization grew out Ateliers, for example, provided design education in several of a student meeting in Paris in 1 889.4The group, incorpo- studios dispersed throughout downtown New York City for rated in New York in 1894 as the Society of Beaux-Arts Columbia students.' Some ateliers were hybrids. The "T" Architects, promoted the development of a centralized Square Club atelier, for example, was associated at different American school of architecture, modelled upon the Ecole. times with the Schools of Industrial Art, the Academy of the As its first step towards this end, the Society began an Fine Arts, the University of Pennsylvania, and the Philadel- educational program which was to continue to the present phia Chapter of the American Institute of architect^.^ Al- 320 84TH ACSA ANNUAL MEETING PRACTICE 1996 though a few of the ateliers had some affiliation with the AIA, atelier experience was a prelude to university study. Success the atelier movement was generally unsupported by the AIA, in the B.A.I.D. program might lead to a scholarship enabling which came to view the university education as an important an impecunious student to pay tuition to attend a university. element of professionalization. Whereas the early member- Other atelier students were more privileged post-graduates ships ofthe AIA and the Society ofBeaux-Arts Architects had who wished to continue their design educations after gradu- overlapped to some extent, with Richard Morris Hunt an ation from a University, perhaps going on to win the Paris important figure in both organizations, the AIA did not Prize. The atelier offered these students a gradual transition promote atelier education? between school and practice. Otto Teegen, Director of the B.A.I.D. Department of Architecture, explained the con- THE STUDENTS stituency of the ateliers as follows in 1938: "...it (B.A.I.D.) was started to aid draughtsmen and designers at a time when The students, themselves, were another source of difference architectural schools were few and training was acquired between the EcoIe atelier and its American counterpart. chiefly in offices or private ateliers... With easier availability Whereas the students of the Parisian ateliers were enrolled in of a university education in recent years the number of the Ecole des Beaux-Arts, the American atelier students were draughtsmen trained exclusively in offices and ateliers has a different and mixed lot. The Society of Beaux-Arts appeared to decrease and so our work has been conducted Architects never succeeded in its original goal of establish- mostly for the benefit of the schools... there still exist a great ing a centralized school of architecture on the Parisian many young men who are unable to get a university educa- model. The curriculum of the Society of Beaux-Arts Archi- tion and a great many others who, having completed their tects, renamed in 19 16 the Beaux-Arts Institute of Design, schooling, are at a loss during their apprenticeship in an was followed in both schools and ateliers. Some aspiring offke to continue their architectural design under proper architects and draftsmen learned their profession by working direction."14 in offices by day and pursuing their design studies in the The results ofthe B.A.I.D. programs indicate a fairly fluid evenings and weekends in ateliers. The term draftsman is, movement of students in between ateliers, offices, and in itself, ambiguous, meaning on the one hand an architect- universities. To some extent, ateliers filled in the geographi- in-training and on the other, a paraprofessional with lesser cal gaps in the University system, with aspiring architects opportunities or aspirations whose career will be spent studying at ateliers in states without schools of architecture. working for an architect. There was, in the early twentieth Largely, however, ateliers seemed to have grown up near century, an unsuccessful movement to formalize drafting as Universities, for while the first generation of atelierpatrons a profession in its own right, related to architecture as nursing came from those educated at the ecole, future generations of is to medicine or the paralegal profession to law.lo More patrons came increasingly from the ranks of those with research is necessary to determine to what extent the ateliers formal educations from American schools of architect~re.'~ served to reinforce professional distinctions between drafts- Although the circular of information stated that "Students men and architects and economic andfor class distinctions of either sex desiring to follow the course should join one of between those privileged to spend the time and money to the ateliers...",I6 women do not appear to have participated obtain a university education and those required to enter the in the Beaux-Arts ateliers." This statement is based upon a work force and obtain their education in the office and in reading of the results of the B.A.I.D. programs from 1917 their spare time. The only information I have discovered to through 1954. The Bulletin of the B.A.I.D. seems to have date about economics of the ateliers is that in 1927, a student followed the custom of spelling out women's given names of the T-Square Club atelier was required to pay twenty-five and indicating the men's with initials only. The women dollars per year in tuition." This figure should be compared students appear associated with schools, rather than ateliers. to University tuition at that time. It seems likely that themen's club atmosphere and boyish fun Confirming the relationship between education and so- of the ateliers did not encourage women's participation. A cial standing, W.R. Ware observed in 1887 that "...the boys Women's Architectural Club existed in Chicago in the early who go for two or three years to a professional school are apt 1930's. Although there does not seem to have been an atelier to be a better lot, by birth and breeding, as well as in virtue connected with the club, the members met once a month to ofthe schooling itself, than the ordinarymofdraughtsmen."12 work on competitions.lR Further research is necessary to explore the significance of the atelier-educated men's contribution to American archi- THE WORK tecture.
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