INTERVIEW WITH T. CLIFFORD NOONAN 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 © 1995 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 24 Curriculum Vitae 25 Index of Names and Buildings 26 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 The Office of Graham, Anderson, Probst and White 1 Principals of Graham, Anderson, Probst and White 2 Changes in the Firm of Graham, Anderson, Probst and White in 1936 10 Projects 12 From Design to Administration 12 About the Century of Progress International Exposition, 1933-1934 15, 20 Attitude About Entering Competitions 16 Graham, Anderson, Probst and White After 1942 18 Influence of Technology and Other Factors 20 Civic Opera Building, Chicago 22 vii T. Clifford Noonan Blum: Today is September 21, 1983, and I'm with Mr. T. Clifford Noonan in Chicago. You were saying how Alfred Shaw came into Graham, Anderson, Probst and White. Noonan: Alfred Shaw was a friend of Tom Johnson's, who was a close personal friend of Ernest Graham's. Johnson enjoyed an excellent reputation in the marble industry, represented many marble firms in Boston and he recommended Alfred Shaw to Mr. Graham at that time. He was looking for another designer because I think he was beginning to have problems with Mr. Beersman from the standpoint of cooperation. Blum: Was this in 1922? Noonan: About 1922 or 1923, I think. I can't say for sure but it was before I came, so it was in the early 1920s. I joined the firm in 1924. Blum: You went to the University of Illinois in 1920 and 1921? Noonan: That is correct. Blum: And then you got a degree from Notre Dame in 1924? Noonan: Yes, I went to Notre Dame in 1922. Blum: And then you went straight from Notre Dame to Graham, Anderson, Probst and White. Noonan: I was hired by Mr. Graham. 1 Blum: How did you decide to go to them? Why did you select that firm? Noonan: I knew the firm's reputation. It was broad, extensive and good in the architectural profession. And my uncle who was the chief engineer of the Chicago Railway Terminal Commission had urged me to think about going with that firm. He wrote a letter of introduction to Mr.