THE JESSIE AND WILLIAM ADAMS HOUSE 9326 South Pleasant Avenue Chicago, Illinois Preliminary Staff Summary of Information Submitted to the Commission on Chicago Landmarks August, 1992 THE JESSIE AND WILLIAM ADAMS HOUSE 9326 South Pleasant A venue Chicago, Illinois Built: 1900-01 Architect: Frank Lloyd Wright .. ~ ... <.·. The Jessie and William Adams House is one of a small number of residences in the city of Chicago by Frank Lloyd Wright. Designed in 1900 and built early the following year, this house represents an important period of experimentation in the architect's career, extending from roughly 1893 through 1910, during which Wright laid the theoretical basis for the forma­ ~- . tion of the Prairie School. In addition to its interest relative to its design and its architect, this structure is unique in that its original owner was a contractor who had previously built a number of residences from designs by Wright. As such, the Jessie and William Adams House represents a singular statement of the relationship between the architect and one of his builders. William Adams, Contractor and Builder The original owner of the house at 9326 South Pleasant Avenue, and the person who commissioned Frank Lloyd Wright to design it. was William Adams. Born in Dairy, County Ayrshire , Scotland, on February 3. 1861, Adams received his elementary education in his native town before emigrating to the United States in the late 1870s, settling with his family in Florida. Trained in the building trades , by 1884 he was living in Chicago and working as an independent contractor. Adams was listed as a carpenter in city directories from 1884 to 1894, and for most of those years he shared a residence on Ashland Avenue with his brother James , a bricklayer. Early in 1895 Adams started a new firm in partnership with his brother under the name of the William Adams Company. contractors and builders, and that October he was married to Jessie Mae Browning of Tampa. Florida. Although William lent his name to the firm, his brother James served as president from 1895 through 1902, with William holding the title of company secretary. When James Adams left the partnership and Chicago in 1902, William took over as company president and directed the fortunes of the firm through at least 1928. By 1933 Adams had retired and, although he spent much of his time at his retirement home in Sarasota, Florida, he continued to use the house at 9326 South Pleasant Avenue in Chicago as his primary residence until his death on July 20. 1939. Adams' wife Jessie continued to occupy their residence until her death in March of 1941. During the first fifteen years he was in business under his own name, William Adams built a wide range of structures for some of the most prominent architects in Chicago. Among these are a number of residences that have since been designated Chicago Landmarks, including the E.G. Chase House at 4851 South Kenwood Avenue, designed by George C. Nimmons in 1898, the James Douglass House at 4830 South Woodlawn Avenue, and the Henry Veeder House at 4900 South Greenwood A venue. which were designed by Howard Van Doren Shaw and were built in 1907, all included in the Kenwood District. designated in 1979; and the Louis Wolff, Jr. House at 4234 North Hazel Avenue, designed by Hugh Garden and William Drummond for the office of Richard E. Schmidt in 1903. and which is located in the Hutchin­ son Street District. designated in 1977. In addition to residential buildings. the William Adams Company constructed commercial buildings for a variety of uses and in diverse styles and sizes. including steel frame structures intended for use as retail stores and factories. The largest of these structures is exemplified by the Lakeside Press Building at 727 through 737 South Plymouth Court. Designed by Howard Van Doren Shaw for the R. R. Donnelly & Sons publishing company, this seven-story printing plant was built in 1901 and recommended for designation as a Chicago Landmark in 1991 as part of the proposed Printing House Row District. Another commercial structure constructed by the Adams Company was the Chapin & Gore Building, 63 East Adams Street. an eight­ story retail, office and warehouse facility commissioned by a liquor distributor. The Chapin & Gore Building was designed and erected in 1904 from plans drawn by Richard E. Schmidt and Hugh Garden. and represents a significant statement of the Chicago School. The Chapin & Gore Building was designated a Chicago Landmark in 1982. This abbreviated list of buildings constructed by the William Adams Company is nonetheless an impressive one. Although it only includes those buildings that survive and are designated landmarks or recommended for designation at the time of this writing, it is excep­ tionally diverse in terms of the variety of designs. uses. styles. and in the number of architects I with whom Adams collaborated. From the stylistically conservative work of Howard Van I Doren Shaw to the contemporary m'~.mr-gcmJc represented by the designs of Richard E. ! Schmidt and Hugh Garden. Adams had become one of the contractors who was entrusted with I ! realizing a number of the most :,ignific:ant commercial and residential designs built in Chicago I at the turn of the century. I I l . - -· ~ ,. ::.; ? - ·- .;: c -- ~ '-' ~ ,-. :::: ·.. ' : ' -~ -E ' ' - r: ..::: ~ ·- :::- .. ...: ;:; - ·:-:.- ~; - ~ .~ :c :-:::::. c -- ~ ~ :;; .- - ~ = .... -: ,-. - :;: ::: ~ :::= -- - -= 2 >. < "-::- ·'' -- = :---, - - ::. i - = I ::: - :: I I ~ J f f t L Frank Lloyd Wright and Residential Design, 1887-1910 Frank Lloyd Wright was born in Richland Center. Wisconsin, in 1867 and received limited formal schooling. being largely educated at home. In spite of never receiving a high school diploma he was admitted to the University of Wisconsin in 1886, where he spent one year studying what was then called the scientific curriculum. Skilled and avid in drawing, Wright left the university and arrived in Chicago in 1887, where he took a position as a draftsman in the office of architect J. L. Silsbee. Wright had likely met the architect through his uncle, a minister who had commissioned Silsbee to design two new Unitarian churches, one for Wright's family in Helena, Wisconsin, and the other for his uncle's congregation on the South Side of Chicago. Silsbee was noted for his picturesque residences in the Queen Anne style, and designed a number of houses for prominent clients in the city and suburbs. Although he had respect for Silsbee's talent, Wright felt that it was wasted; he became disillusioned with what he saw as a design system that was overly ornate and intellectually vacuous, which moved him to leave Silsbee the next year to join the firm of Dankmar Adler and Louis Sullivan. During his five years with this office Wright came under the influence of the philosophy of Louis Sullivan, the most forceful proponent of an architectural theory that would clearly express the qualities of a building as related to its site, structure, and function. Sullivan, who became confident of Wright's abilities, gave him responsibility for direcfing many of the firm's residential projects, most notably the James Charnley House. Located at 1365 North Astor Street and built in 1891, the cubic massing and relative simplicity of its plan and detail made the Charnley House a singularly outstanding architectural statement at the time it was built. In recognition of its seminal importance to the future of residential design, the Charnley House was designated a Chicago Landmark in 1972. His experiences with Silsbee and Sullivan formed the basis for Wright's career as a resi­ dential designer, wherein he questioned and reinterpreted the single family residence in its plan, spatial relationships, and stylistic expression. Following the example of Silsbee, early in his career Wright concentrated most of his energy on solving the problems posed by residential designs. Following Sullivan's line of thinking, however. Wright turned his back on traditional solutions, seeking to reinvent the domestic environment by breaking out of the constraints of compartmentalized. box-like plans. preferring to strive for a more organic, integrated relation­ ship between space and mass. When Sullivan caught Wright designing houses independently and in violation of his contract in 1893, \Vright was forced to leave Adler & Sullivan and started an office of his own. Although separated from the person he continued to call his ".Master," Wright used the knowledge he had gained from Sullivan and built upon it. in.::orporating ideas and forms from other sources. in particular from Japanese design. As his career progressed during the 1890s, I Wright put ever greater emphasis on the interdependent relationship between the building and its site, on the open interior plan and its interconnected relationship with the natural I surroundings of the building, on the intrinsic qualities of building materials in their natural state, and on the expressive qualities of unadorned craftsmanship. With a firm conviction that I the course of residential design had to be changed to meet the needs of the particular time, place, and circumstance for which it was created, Wright's experiments became essential i elements in the contemporary debate over architectural theory and practice and led to the innovative work of Midwestern architects during the first decade of the twentieth century that l became known as the Prairie School. Ii Collaborations between I William Adams and Frank Lloyd Wright ; i It has not been possible to verify when Frank Lloyd Wright and William Adams first I became acquainted, although it is likely that they met sometime before they set up their I respective independent practices or immediately thereafter. One other contractor who would ( be responsible for the realization of many of Wright's designs, Paul F.P. Mueller, also became ~ known to the architect during this period.