![]() |
Photo courtesy of the Chicago History Museum |
Resolved: the Wrigley Building is a beautiful, beloved jewel of Chicago, though not great architecture. Discuss.
"Beautiful" is a value judgment, one I endorse fully. Glazed terra cotta in six shades of white, shifting toward creamy yellow as it nears the top. Festooned with dragons, griffins, cherubs, rams. That four-faced clock, 20 feet tall.
"Beloved" is not open to debate — any survey of popular Chicago buildings includes the Wrigley Building.
"It was made to be liked," said Robert Sharoff, whose new coffee table book, "The Wrigley Building: The Making of an Icon," (Rizzoli Electa) with photographs by William Zbaren and commentaries by Tim Samuelson, shines a spotlight on a structure that's been well-illuminated for over a century.
"The more I shot it, the more joyous it became," said Zbaren. "It's so playful."
The Wrigley Building is just fun. Perched at the confluence of Michigan Avenue and the north bank of the Chicago River, the historic heart of Chicago — the outlines of Fort Dearborn are in brass across the street — the tower has always been a font of fascination, to me anyway,
Starting with it being in reality two buildings, built at different times, with different addresses, 400 and 410 N. Michigan, connected at the 14th floor by that metal skybridge, a rococo detail that seems pulled from those dreamlike early 1900s fantasies of the urban future, with plump zeppelins and streamlined elevated trains and mustachioed gentlemen in bowler hats pedaling through the air on penny-farthing bicycles with wings.
"The Wrigley Building" bristles with glorious facts that even I didn't know, starting with the clock initially being hand-wound by someone turning an enormous crank, winching up weights that once drove the mechanism.
The authors come down firmly in favor of "great architecture," not surprising in a book bankrolled by Wrigley Building owner Joe Mansueto. Though they insist the Morningstar billionaire gave them a free hand, which they use to massage the life of the architect, Charles Beersman, who does not have a deep portfolio — his other building of note is Cleveland's Terminal Tower. Both of his signature structures are riffs on the Giralda Tower in Spain, with notes of New York's Municipal Building stirred into Wrigley.
To me, he had one idea, and it was someone else's. But in this book, Beersman might as well be Michelangelo — we're given nine of his 11 childhood addresses in San Francisco, in a note.
What we get far less of are the critics who lined up over the years to give the Wrigley Building the backhand. Lewis Mumford referred to its "safe mediocrity." The Wrigley Building is "just what the name implies," sniffed Frank Lloyd Wright — admittedly not famous for kindness toward other architects — noting it “illustrates the principle that an ugly building by day, if illuminated, will be ugly by night as well.”
To continue reading, click here.