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Garber, Frederick W. (William)
Principal of Garber & Woodward, in which he was associated with Clifford B. Woodward from 1904 until the firm was dissolved in 1933, after which Garber practiced on his own until shortly before his death.
Garber and Woodward were fellow-students, partners, and brothers-in-law. Both were educated at the Cincinnati Technical School; worked as draftsmen for Elzner & Anderson in Cincinnati; attended a two-years’ course in architecture at M.I.T., studying with the famous Beaux-Arts-trained Professor C.D. Despradelle. Garber won a Rotch Scholarship and studied abroad. He is said to have traveled with Bertram Goodhue while in Europe, as well as with a partner in the firm of Cass Gilbert. After the firm of Garber & Woodward was dissolved, Garber practiced with John Postler and Lawrence Lefken, 1933-1938; and as Frederick W. Garber, 1939-1952. His son, Woodie (Woodward) Garber, had his own firm with a more contemporary approach, 1949-1971, reacting against Garber & Woodward’s Traditionalism with his own brand of Modernism.
F.W. Garber was active in the Cincinnati Art Club and chairman of the jury of the Society of Crafters. He exhibited renderings of the Chateau Epreville, Martainville, and Mont-St.-Michel, Normandy, at the 4th CAIA/CAM (1908); as well as other works with Garber & Woodward and David Davis. He was a fellow of the AIA and a member of its Board of Directors, a member of the Corporation of M.I.T., and a member of the visiting committee of the art and archaeological department of Princeton University. Like his partner, Garber lived and was active in the community affairs of Glendale, Oh.
This firm was of national significance in several respects. Garber & Woodward’s work was basically Traditional, building on their admirable Beaux-Arts training, but of high quality and in some respects innovative for its day. Their outstanding works in Cincinnati, recognized in several important wider publications, are the public schools they designed. The firm carefully chose appropriate historic models and adapted them to what were “modern” needs, the most obvious example being Walnut Hills High School, based on Thomas Jefferson’s University of Virginia Rotunda. Walnut Hills, like Withrow High School, demonstrates their admirable handling of challenging sites: the charming bridge at Withrow spans an awkward ravine at the front of the site, and leads to a tower or campanile that forms a neighborhood landmark at the angled junction of two main streets.
The beautifully detailed Adamesque arcade in the Dixie Terminal Building on Fourth Street in downtown Cincinnati solves a complex circulation problem as a transportation exchange, a retail mall, and the lobby of an office tower; the subtle lighting of the arcade was considered innovative and the exterior entrance was framed in an Art Deco frieze of Rookwood Pottery.
Garber & Woodward also collaborated with two of America’s leading early 20th-century firms—those of Cass Gilbert and John Russell Pope, both of New York—in the design of the Union Central Life Insurance Co. Building (PNC) and Cincinnati Gas & Electric Co. (Cinergy/Duke Energy) headquarters; they also worked with other local firms on several important projects.
Their work included significant contributions to the University of Cincinnati and other campuses, hospitals, and public housing, as well as fine residences that sometimes combined forward-looking with Traditional elements. Although they are known to have designed only a few religious buildings, the former Bethlehem (now Calvary United) Methodist Church in Evanston represents their somewhat austere but handsome and site-specific work in the Collegiate Gothic Revival style. Altogether, Garber & Woodward’s impact on the Cincinnati area’s built environment during the first half of the twentieth century was surely greater than any other firm’s.
There has been a difference of opinion over the extent of Gilbert’s involvement in the Union Central design, but Barbara S. Christen’s recent study of the Gilbert firm’s papers research reveals that he was involved early and extensively in the design process. Garber & Woodward, who claimed some of the credit the original tower design, was the local architect on the tower, and designed the 1920s Annex. Garber & Woodward also worked with John Russell Pope on the bolder Doric Beaux-Arts Cincinnati Gas & Electric Co. headquarters, SWC Fourth and Main streets; and collaborated with local firms such as the Hannafords and Tietig & Lee on major hospitals, university buildings, and other projects here and elsewhere. The Jacobean Revival Vernon Manor Hotel, Oak and Burnet streets, Avondale, was designed with S. Hannaford & Sons. Garber & Woodward contributed a design to the famous 1922 Chicago Tribune Building competition, as well as a competition project for the slightly earlier Hamilton Co. Court House, which also drew national competitors.
Garber & Woodward designed the Dixie Terminal Building, on Fourth St., providing a shopping center with its superb Adamesque barrel vault and (originally) indirect lighting, as well as ingenious and effective circulation in the former terminal for buses crossing the Ohio River on the Roebling Suspension Bridge.
They designed several buildings (some with Tietig & Lee) for the University of Cincinnati, including the Nippert Stadium (recently remodeled); additions to J.W. McLaughlin’s Cincinnati Art Museum, including the Emery, French, and Hanna wings; and the Elks Temple (later Crosley Square, but now home to a charter school), NEC Ninth and Elm streets.
Among their best and most influential works are many public schools throughout the city, of which the finest are probably the early Guilford School on E. Fourth St. opposite Lytle Park (1911), Walnut Hills High School overlooking Victory Parkway in Evanston (1929-1931), Withrow High School on Madison Rd. opposite Erie Ave., the Western Hills High School, and the Westwood Public School; others include the Frederick Douglass and Rothenberg Schools, and the High School in Lexington, Ky. Several of these school buildings received attention in national architectural books and periodicals. Public libraries included the Price Hill and Avondale Branches of the Cincinnati Public Library and a library in Aurora, Ind. They designed several public buildings in Wyoming (near Glendale), Oh., the Milford, Oh. National Bank, and, farther away, the Charleston, W.Va., Chamber of Commerce Building. The Cincinnati Club was apparently designed with the Hannaford firm. Another noted work, although on a smaller scale, was the Christ Church Episcopal Chapel, Fourth St.
An early client (perhaps inherited from Elzner & Anderson, like the Tafts) was William Cooper Procter, a noted philanthropist, for whom they designed not only a residence in Glendale, Oh. (1904), but also a $30,000 concrete summer house in Devon, L.I. (1909). For the Taft family, Garber & Woodward designed the Phelps Apartment House at 506 E. Fourth St., and they remodeled the Baum-Longworth-Sinton-Taft House as the Taft Museum after the deaths of Charles Phelps and Anna Sinton Taft (ca. 1930); they restored much of the Victorianized interior according to a fairly authentic but Deco-flavored Federal style. The Anna Louise Inn for Girls (originally the Union Bethel), on Pike St. near the Taft Museum, was also probably a Taft project, perhaps in association with Elzner & Anderson.
During the Depression, F.W. Garber was head of the Associated Architects responsible for the design of the early WPA Projects, Laurel Homes and Lincoln Court (formerly on Ezzard Charles Drive) west of Music Hall (replaced by City West ca. 2002-2003), and later for the English Woods and Winton Terrace housing projects.
Obituary, Cincinnati Times-Star, 8/7/1950;
Obituary, Cincinnati Enquirer, 8/8/1950;
Goss, III (1912), 951-52;
Menefee (1926), 73;
Langsam (1997), 19, 71, 128, 154;
Painter, Sullebarger, AIC (2006), 21, 152, 153, 189, 193, 206, 207, 214, 215, 230;
Selections from Work Designed and Executed by Garber and Woodward Architects (Cincinnati, Ohio, July 1924);
Architectural Catalog Co., Main Office, 15 W. 38th Street, New York, Architectural, Engineering, and Building Publications), copy from Woodie Garber archives at Miami University, Oxford, Ohio);
Conversations with Dr. Stanley T. Garber and Woodie Garber, sons of F.W. Garber;
Christen (April 2008);
Nuxhall, SGC, 113, Lot 205.
Garber & Woodward
Withrow High School, 1915-1919
2488 Madison Road, Hyde Park
Withrow’s thirty-acre campus included an agricultural section with conservatories and a poultry house, a manual-training shop, and a fine gymnasium. Garber & Woodward made the difficult challenge of a ravine across the front of the site into a dramatic asset by means of a Palladian bridge leading to the tall bell tower, which resembles the campanile in St. Mark’s Piazza in Venice. The main building is graceful, balanced composition with horizontal lines. Two matching wings are attached at a slight angle so that they spread across the wide entrance court to embrace the visitor.
Garriott, Hubert M. (Marion)
At Harvard School of Architecture as a special student 1920-1922; practiced as Allen & Garriott, Indianapolis, Ind., 1922-1926; in Cincinnati, as (John Scudder) Adkins & Garriott 1926-1931 (on own 1928-1930); associated with John Henri Deeken 1931; partner of John W. Becker 1931-1963 as Garriott & Becker; also with Henry A. Bettman (also a Harvard School of Architecture Alumnus) 1942-1955; and others later. In 1970 he and the Pistler-Brown firm became associated as Architekton, Inc.; he retired about 1976. Many Garriott & Becker drawings are preserved at the Cincinnati Historical Society Library.
According to his obituary, Garriott “participated in the architectural development of many Cincinnati projects, including the Central [later Walter C. Langsam] Library and Patricia Corbett Pavilion [of the College-Conservatory of Music] at the University of Cincinnati, Marquette Manor high-rise for the elderly, and numerous schools and other public buildings.”
Garriott & Becker are considered to have been among the first firms to introduce “Modern” architecture to Cincinnati, although their relative roles in this movement are not yet known.
Obituary, Cincinnati Enquirer, (10/13/1984);
First Report of the Alumni in Architecture of Harvard University 1932 (1932), 38;
See also Paul Bennett on the UC campus buildings.
Painter, AIC (2006), 112;
Langsam (1997), 5, 13;
Painter, “Architecture and Urban Living,” (2008).
(Zanesville, Oh., 1858/1859-1934)
Educated at M.I.T. after apprenticing to Abraham Radcliff in St. Paul, Minn.; traveled in England, France and Italy 1880; worked for McKim, Mead & White in New York; after 1881/1882 Gilbert practiced in Minneapolis and St. Paul, Minn., as well as New York; with James Knox Taylor 1884-1892, although they are both responsible for the design of the Minnesota State Capitol in St. Paul (1895-1903). The Cass Gilbert firm was listed in New York until 1940; Cass Gilbert, Jr., only in 1924-1925.
Gilbert is best known for the Gothic-styled Woolworth Building (1911-1913) in New York, for some time the tallest building in the world. His lavish Beaux-Arts Baroque manner was deployed on a number of state capitols (including Minnesota and West Virginia), the former New York Custom House, the Detroit Public Library, and many other structures. Gilbert’s career has been somewhat under a cloud (Winston Weisman summarized it as “classically correct and competent but cold and unoriginal”), until recent restorations and reassessment of the considerable merits of his work, in their appropriate adaptation of historic styles to modern types and scales of buildings, as well as occasional spectacularly effective compositions and spaces.
Gilbert’s firm was associated with local firm of Garber & Woodward in the design of the Union Central Life Insurance (now Central Trust) Building, SWC Fourth and Vine streets, on the site of Richardson’s Chamber of Commerce Building (Garber & Woodward were said to have met Gilbert on an Alpine walking tour; descendants of the Cincinnati architects recall that they designed the building, then sought Gilbert’s cooperation as a big-name competitor). Gilbert’s firm competed unsuccessfully for the design of the Hamilton Co. Court House (ca. 1918; won by Rankin, Kellogg & Crane). Gilbert is also credited with buildings for Oberlin College, Oh., including the exquisite Finney Memorial Chapel (before 1907), the Administration Building (1919), and the Allen Memorial Art Building (to which Venturi, Rauch & Brown made a significant addition).
Obituary, Cincinnati Times-Star (5/18/1934);
Wodehouse (1976), I, 69-72;
Macmillan Encyclopedia, II (1982), 202-204 (by Winston Weisman);
NYCOPAR (1840-1900), 34;
NYCOPAR (1900-1940), 28;
Van Vynckt, ed. (1993), I, 309-312, (by Leland M. Roth);
Irish and Gilbert (1999);
Christen and Flanders (2001);
Painter, Sullebarger, AIC (2006), 138, 152, 153, 189, 262;
see also Hitchcock & Seale on State Capitols;
see also Robert A.M. Stern, especially New York 1930.
Cass Gilbert with Garber & Woodward
Union Central Life Insurance Co. Builing (PNC Tower), 1911-1914
1 West Fourth Street
Annex by Garber & Woodward, 1927
In 1914 and for a few years after, the thirty-four-story tower was the tallest building in the United States outside New York City. Company advertisements hailed it as the “Office Beautiful.”
Scion of a prominent family of early Cincinnati bankers, James Gilmore early discovered his vocation for architecture and is said to have been sent abroad at the age of ten to prepare himself for his profession. “He graduated from the technical schools of Florence, Italy, the University of Pisa and the School of Application of Engineers in Rome.” He returned to Cincinnati 1902, entering the office of Desjardins & Hayward, and from 1903 until mid-1906 he practiced with the aging James W. McLaughlin, a leading Cincinnati architect for over half a century; their best-known joint work is the Walnut Hills (Carnegie) Branch Library, SWC Kemper Lane and Taft Rd. (1904-1908); Gilmore practiced here on his own 1906-1932.
Much of Gilmore’s work seems to have been high-quality but under-stated residences in traditional modes, but with simplified forms and stripped of detail; these include several well-known estates in Hyde Park, E. Walnut Hills, and Indian Hill, including the William S. Rowe House and Barn, “Goodwood,” 7325 Indian Hill Rd (1923-1924). In E. Walnut Hills there is a concentration of Gilmore houses, including the documented L.P. Ficks House, 1842 Madison Rd (1906); and probably its similar neighbor (also on the former W.W. Scarborough Estate) the W.M. Greene House, 1840 Madison Rd. (1904). Among others in the area are Gilmore’s own home, 5 Annwood Lane (1920); residences for B.F. and Rudolph Balke, 1859 Madison (1910); W.R. Collins, 1900 Dexter (1909-1910); John W. Herron, Jr., Dexter Ave. opposite the Cincinnati Tennis Club (1910); Mrs. Camilli Cross, Fairfield Ave. (1907); Felix Cross Bungalow, 2709 Johnstone Place (1910); Miss Mary Klinkhamer, Johnstone Place at Madison Rd (1908); and a double-house for Mrs. Joseph Niehaus, 2727-2729 Cleinview Ave. (1909). Nearby in Hyde Park, Gilmore designed a residence for Joseph S. Graydon, 2187 Grandin Rd. (1907).
Gilmore designed the handsome Corryville/23rd District School (1909); and three buildings for the Cincinnati Riding Club on Reading Rd. (before 1920). He apparently laid out the Pinehurst Sub-Division on Grandin Lane, and the William Rowe Sub-Division at Madison Rd. and Easthill Ave., both in Hyde Park.
Gilmore also occasionally exhibited a modernist streak, particularly in the Coppin (Department Store) Building (now the Covington, Ky., City Hall), NEC Seventh and Madison streets. Northern Kentucky’s earliest high-rise reinforced concrete structure (and built, like Elzner & Anderson’s pioneering Ingalls Building on NEC Fourth and Vine streets in downtown Cincinnati, by the Ferro Concrete Construction Co.); it has a restrained Chicago School flavor (actually more so than Chicago architect Daniel H. Burnham’s slightly earlier banks in Cincinnati). (The narrow high-rise office building east of Dixie Terminal on Fourth St. resembled the Coppin Building). The Cleinview Apartments, 2628 Cleinview Ave., E. Walnut Hills (1928) also has an Art Deco character, with its tile insets, as probably does an unidentified apartment building at 2531 Kemper Lane, Walnut Hills (also 1928).
Gilmore exhibited various representative buildings, including the photographs of the Ficks House; a project for a Memorial Hall (probably a competition entry for the building on Elm Street in Over-the Rhine designed by S. Hannaford & Sons), as well as a sketch of a tomb in Verona, Italy, at the 4th CAIA/CAM (1908).
Obituary, Cincinnati Enquirer, (12/31/1962);
Painter, AIC (2006), 141, 145;
Memoirs of the Miami Valley, III (1920), 411-12;
Nuxhall, SGC, 35, Lot 164.
Glaser, Emile Fred
(born in Basle, Switzerland)
Began designing for the important L. Schreiber & Co. Ironworks ca. 1890; on own from 1908 until at least late 1920s; firm, later Glaser & Myers, continues as Glaser Associates, Inc. E.F. Glaser himself specialized in the architecture and engineering of industrial plants, ice plants and cold storage, meat-packing houses, grain-elevators, and above all breweries, including facilities for Christian Hudepohl, the Gambrinus Stock Co., A. Sander, Foss-Schneider, Lackmann, and Jackson brewing companies in Cincinnati, as well as part of the castellated Bavarian Brewery visible from I-71/53 at 12th St. in Covington, Ky.
Emile Glaser’s grandson, Richard E. Glaser (born ca. 1924), was a partner in Glaser & Myers (later Glaser & Associates, now Glaserworks Inc.).
Menefee (1926), 68-69, 75;
On Richard E. Glaser, Cincinnati Enquirer (1/7/1978).
Godley, S.S. (Samuel S.)
Educated at the Farmers’ College in College Hill; “received his practical education in the offices of local architects,” having entered the office of Edwin Anderson, “preparatory to becoming an architect” in 1875, remaining for three years; worked for Henry Bevis approximately 1878-1881. “He then studied and trained himself for architectural work under H. [Henry] Wolters, of Louisville, was with Mr. [James W.] McLaughlin of Cincinnati for several years, and spent a year each in Chicago and St. Louis, so as to remedy any possible provincialism that one might acquire by confinement altogether to one city and its standards of taste and style.” This wise and modest architect returned and opened an office in Cincinnati on his own in 1888 (after also working for the Syenite Granite Co.); expanded it in 1893; practiced on his own, and with his son G.H. Godley in the 1920s, probably until his death.
S.S. Godley seems seldom to have promoted himself (in contrast to the Hannaford firm, for instance), but was one of the most sophisticated designers of residences for both the Jewish and Gentile elites of the city for several decades. His residential clients included members of the Doepke, Duttenhofer, Feiss, Fleischmann, Freiberg, Heinsheimer, Herschede, Jacob, Kuhn, Mack, Mitchell, Prichard, Resor, Steinau, Strader, Wise, Wolf, and Workum families, all of whom had leading roles in the economic, social, and cultural life of the city.
Perhaps best known of his work is the handsome Beaux-Arts Frank Herschede mansion, 3668 Reading Rd., Avondale (1908); the vestibule doors, designed by Godley and made by the L. Schreiber & Sons Co. in Cincinnati, were exhibited at the 4th CAIA/CAM (1908). There are also several delightfully mannered Queen Anne/Colonial Revival residences on Greendale Avenue in Clifton. Godley also designed additions and alterations to the home of novelist and scientist John Uri Lloyd, Harris Ave., Norwood (1908); a pair of houses in Ripley, Oh. (1907); a parsonage for a church in Glendale, Oh. (1891); a large hotel in Connersville, Ind.; a $25,000 residence for Mrs. J.E. Rumbaugh in Asheville, N.C. (1891), where he also designed a hotel (ca. 1889); the Henrietta (for Charles Fleischmann) in Avondale; and a couple of $200,000 apartment buildings in Avondale. He also “made the plans for the costly farm house of W.R. Allen, Pittsfield, Mass.” (City of Cincinnati and Its Resources, 1891).
Godley also designed distilleries and other commercial and industrial structures for (at least) several of his residential clients.
Other early works (listed in 1891) included “the Jewish Home and Hospital,… the plans for The Grove Park Inn, at Asheville, N.C., a structure which Cincinnatians are proud of, as the work of one of their own architects.”
In his later years, with G.H. Godley, he designed the Transport, Duttenhofer, Reakirt, and Walsh buildings.
Obituary, Cincinnati Times-Star (11/3/1941), 4:4;
Langsam (1997), 43, 86;
The City of Cincinnati and Its Resources (1891), 141;
Designed the Roman Catholic Church of the Annunciation, 3547 Clifton Ave. (1929), a fine Roman temple that was to have had a tall, slender campanile, presumably not built because of the Depression. Church brochures indicate that the priest, Father Kelly, met Graham on the steps of the Erechtheum on the Acropolis in Athens, where they jointly decided to use at least one of that fascinating ancient building’s orders for the church, which features an unusually handsome, yet restrained and correct portico.
Not to be confused with Ernest Robert Graham (1868-1936) of Chicago (who was, however, concerned in the design of the First National Bank Building (1904) and presumably the other D.H. Burnham & Co. high-rise office buildings erected in Cincinnati, as well as large projects in Cleveland, Oh., after 1900; this firm became Graham, Anderson, Probst & White, with various earlier and later transmogrifications.
Macmillan Encyclopedia, II (1982), 235-36 (by Sally Chappell).
(Haxey, Lincolnshire, England, 1826-1903)
Graveson, who perhaps considered himself an architect, and his business supplied cut and sawed stone for many of the major buildings in Cincinnati and vicinity from ca. 1850 on, including the old Hughes High School (J. Earnshaw, 1851), the Pike Opera House on Fourth St. (1854-1858), the Covington Odd Fellows’ Hall (NEC Madison and Fifth streets; 1856), the Mitchell & Rammelsberg Block on Fourth St. (now part of McAlpin’s; Walter & Wilson, 1856); the Henry Probasco House, Clifton (W. Tinsley, 1869); probably the Marcus Fechheimer House on Garfield Place (now the Butterfield Senior Center; Anderson & Hannaford, ca. 1863); the Handy-Shillito House, Mt. Auburn (J.W. McLaughlin, 1864); the rebuilt Pike Opera House (I. Rogers, 1867); the A.H. Hinkle House (later Planned Parenthood) formerly on Mt. Auburn (A.C. Nash, 1868); and the Esplanade and base for the Tyler Davidson Fountain, Fountain Square (originally W. Tinsley, 1870); as well as supplying stone and/or building structures in Dayton, Oh., Cairo, Ill., St. Paul, Minn., St. Louis, Indianapolis, Louisville, Memphis, and Canada.
All these and many others, representing virtually every significant architect working in Cincinnati in the Civil War period, plus “the New Chamber of Commerce in Chicago” (1872), are listed on a year-by-year basis in his 1876 biography. Presumably he built his own magnificent Italianate mansion at Auburn Avenue in Mt. Auburn as a showplace for his skills. Many of Graveson’s business papers survive at the Cincinnati Historical Society.
Langsam (1997), 6, 34, 48-49, 51, 122;
Nuxhall, SGC, 36, Lot 6.
Greene & Greene
Charles Sumner Greene (Cincinnati, 1868-1957) and Henry Mather Greene (Cincinnati, 1870-1954).
These now-famous early 20th-century California Arts & Crafts architects were born in the Brighton area of Cincinnati, northwest of the Basin. They were trained at the Manual Training High School of Washington University, St. Louis, Mo., and M.I.T. (1888). Henry Greene worked for H.H. Richardson’s successor firm, Shepley, Rutan & Coolidge in Boston, and later with Chamberlin & Austin; Charles Greene, for Winslow & Wetherell, also in Boston. Also early in their careers the brothers were associated with (Stickney &) Austin of Boston, who had several Cincinnati-related commissions.
Possibly the finest and most representative of their best work for wealthy “Easterners” in the California bungalow mode after 1907 was the David B. Gamble House in Pasadena (1908), noted for its “tasteful elegance and restraint” (Macmillan Encyclopedia). Gamble, a member of the Procter & Gamble Co. family, had commissioned a residence in Avondale from Samuel Hannaford & Sons about 1890.
Wodehouse (1976), I, 77-80;
Macmillan Encyclopedia, II (1982), 239-44 (by Randell L. Makinson);
Makinson (1968), 1-31;
Van Vynckt, ed. (1993), I, 332-35, (by Robert M. Craig).
Grunkemeyer, J.C. (John Clifford)
(Cincinnati, ca. 1895-1954)
Architect, engineer, and builder. Firm listed, with C.W. Sullivan and others, 1917-1953. Menefee: “In his business he has three assistants and furnished the accepted plans for the largest church in the city, St. Martin’s church at Cheviot, Oh., the St. Stevens in the East End and for more than two hundred other buildings. Some of the famous residences of the city of Cincinnati are of his design. While he specializes in (Roman Catholic) church work, he has a number of important schools and business houses to his credit.”
The handsome Maketewah Country Club is attributed to Grunkemeyer & Sullivan, as may be the equally elegant and stylish Busse & Borgman Funeral Home on Central Parkway and Clifton Hills Ave. See also a Beaux-Arts funeral home on Woodburn Avenue north of Madison Road associated with a governor’s family.
Menefee (1926), 71-72;
Obituary, Cincinnati Enquirer (3/24/1954).
(Charlotte, N.C., 1938)
A member of the “New York Five,” Charles Gwathmey, with his partner Robert Siegel, attempted to stem the tide of classical Post-Modernism in the late 1960s by continuing work based on classical Modernists such as LeCorbusier, Walter Gropius, Ludwig Mies van der Rohe, and Marcel Breuer, with whom Gwathmey worked.
Gwathmey, Siegel & Associates, based in New York City, acquitted an international reputation for excellence. A large part of their work consists of projects in campus settings and urban centers as well as additions to historic buildings.
The firm designed the Lloyd Taft (now Olson) House, Drake Rd., Indian Hill (1978-1982; minor alterations by Carl Strauss Assocs. ca. 1990; and by Stewart Shillito Maxwell, Jr., later in 1990s), one of Cincinnati’s finest and best-known late 20th-century residences, still largely intact.
Gwathmey-Siegel participated in the design of the Main Street complex, being responsible for the reconstruction and enlargement of the Tangeman Student Center at the University of Cincinnati (2001).
Langsam (1997), 2, 5, 125, 128, 130, 148-49, 153;
Van Vynckt, ed. (1993), I, 350-52, (by Charles Rosenblum);
Sullebarger, AIC (2006), 326.
Tangeman University Center
The Tangeman University Center, by Gwathmey, Siegel & Associates in partnership with the local firm GBBN Architects, represents a unique mix of old and new. Partner Charles Gwathmey supervised the design of the UC project