Sticks and Stones · Chapter
VI: The Imperial Façade explained
This chapter examines the rise of an imperial architectural style in America between 1890 and 1900, driven by economic consolidation, the influence of the École des Beaux Arts, and steel-cage construction.
What happens
This chapter examines the rise of an imperial architectural style in America between 1890 and 1900, driven by economic consolidation, the influence of the École des Beaux Arts, and steel-cage construction. The World's Columbian Exposition of 1893 epitomized this new classicism, which prioritized opulence and uniformity over regional adaptation and functional sincerity. The author critiques the resulting monuments—railroad stations, libraries, and memorials—as hollow masks that served the interests of monopoly capitalism and imperial power, contrasting them with earlier, more organic architectural traditions.
Themes in this chapter
Architecture as a Reflection of Civilization
The imperial style is presented as a direct mirror of America's new monopoly capitalism and imperial ambitions, recalling Rome of the first and second centuries.
Economic and Social Foundations of Art
The shift from industry to finance, the rise of millionaires, and the consolidation of trusts provided the economic base for the imperial architectural mode.
Craftsmanship vs. Mechanization
Steel-cage construction turned masonry into veneer, and the classical orders became a mere mask or 'fancy dress' over the engineer's structure.
Nature, Place, and Exploitation
Imperial architecture ignored regional resources and adaptation, imposing uniform styles across diverse sites, much like imperialism drained rural regions for the metropolis.
Characters to notice
- Daniel Burnham
Co-creator of the World's Columbian Exposition and designer of Union Station in Washington; a leading figure in the imperial style.
- Charles McKim
Architect of the Pennsylvania Station and New York Public Library; criticized for prioritizing classical form over functional needs.
- Stanford White
Collaborator with McKim on the Boston Library and participant in the World's Columbian Exposition.
- William Morris Hunt
Pioneer of Beaux Arts training in America; his lone trail was followed by later imperial architects.
- H. H. Richardson
His disciples reacted against his personal style, seeking a more neutral, classical mode.
- Henry Bacon
Pupil of McKim and designer of the Lincoln Memorial, a key imperial monument.
- John Wellborn Root
Initially conceived a variegated oriental setting for the World's Fair, later overruled by the classical consensus.
- Geoffrey Scott
His defense of Baroque architecture in 'The Architecture of Humanism' is cited as applicable to the World's Fair.
Key passages
“The decade between 1890 and 1900 saw the rise of a new period in American architecture.”
A new architectural era emerged in the 1890s.
Opening statement setting the temporal scope of the chapter.
“The occasion for its appearance was the World’s Columbian Exposition, opened in 1893.”
The 1893 World's Fair in Chicago was the catalyst for this imperial style.
Identifies the key event that launched the imperial façade.
“Under the imperial order the architect was forced to design structures that were identical in style, treatment, and material, though they were placed thousands of miles apart and differed in every important function.”
Imperial architecture imposed uniformity regardless of location or purpose.
Critique of the lack of regional adaptation in the imperial style.
“It was no accident that the great triumphs of American architecture during the imperial period were the railroad stations.”
Railroad stations were the crowning achievements of this era.
Highlights the symbolic importance of transportation hubs in the imperial age.
“With capital insight, these men established the American Academy at Rome: they recognized their home.”
McKim and Burnham founded the American Academy in Rome, acknowledging their stylistic roots.
Connects the architects' personal allegiance to Roman models.
