Cass Gilbert

Each step in the life of Cass Gilbert led him to the enviable position of American architectural pioneer. His ability to amass and utilize the wide swath of an ingenious social network, coupled with undeniable talent and vision resulted in some of the tallest skyscrapers and most recognizable symbols of democracy, art and education in the United States. Gilbert built his career around a distinct sense of timing and careful consideration of the needs of the American metropolitan landscape. Despite the myriad of high profile, historic architectural achievements set front-and-center as part of this country’s national endowment; Gilbert has been underrepresented as a significant contributor. Not until recently has he begun to receive the recognition he rightfully deserves.

Cass Gilbert, 1907 Image courtesy of the Minnesota Historical Society

As a child, Gilbert relocated with his family to St. Paul, Minnesota, the first of many instrumental developments in his career. He returned to St. Paul following his training at the Massachusetts Institute of Technology, carrying with him the knowledge that would breathe life into his ideas and the beginnings of an influential network of like-minded friendships – that of future business partner James Knox Taylor and collaborator Clarence H. Johnston. Even his marriage to Julia Tappan Finch, the well-connected daughter of a prominent Milwaukee attorney created the type of influential social prowess that afforded Gilbert the advantage in the competitive bidding climate surrounding architectural projects found in St. Paul. He would use his reputation and societal connections to stake claim to some of the most prestigious construction endeavors in Minnesota, New York and Washington, D.C.

Minnesota Capital Building Image from commons.wikipedia.org

Gilbert was an enthusiast of the Beaux-Arts movement, a likely result of his time spent traveling throughout Europe as a young man, embracing the powerful and regal architecture found primarily in France and Italy. His proclivity for maintaining meticulous sketchbooks and watercolor paintings was an elemental part of the Beaux-Arts training, one that was steeped in precision and symmetry, influenced by Greek and Roman grandeur, and an immense focus on high style and craftsmanship. Although he was unable to fulfill his dream of remaining in Europe and to build a successful business there, each project he was involved in here in the United States was bathed in the Beaux-Arts perspective.

Alexander Hamilton U.S. Custom House designed by Gilbert in the Beaux-Arts style

Although Gilbert vehemently denied obtaining inspiration from architecture of a religious nature, it is clear that a large number of his projects appeared to borrow form and style from the world’s most well-known cathedrals and basilica’s. The Minnesota State Capital building’s similarities to that of St. Peter’s Basilica in Rome, with its remarkably unsupported dome in Classical Revival style belie his irreverent assertions. In fact, one of the first buildings he designed was the Dayton Avenue Presbyterian Church, also in St. Paul.

He is also known for including entertainment spaces in the homes he designed, such as a large foyer or entry hall. This followed with his understanding of the importance of cultivating connections within the business world, and the inclusion of these types of spaces allowed for socializing as well as networking with influential guests. Gilbert crafted numerous homes and buildings throughout the St. Paul area which can still be seen today; this early work undeniably guided the launch his prodigious and prolific career.

One of Gilbert’s most famous and ambitious constructs is the Gothic inspired Woolworth Building in New York City. After it was completed in 1913, it remained the tallest skyscraper in the world until 1930, when the Chrysler Building topped 1,047 feet and briefly held the coveted title. The Woolworth Building is often referred to as the Cathedral of Commerce for its similarities in styling to some of the world’s grandest religious sanctuaries. Again, Gilbert excused the idea of divine inspiration and insisted the Woolworth Building was based on secular design alone.

The Woolworth Building Image from commonswikimedia.org

Another significant ideology Gilbert incorporated into his plans for the Woolworth Building was creating a building that would be a financially profitable addition to the property’s owner, F.W. Woolworth real estate portfolio. There was rarely a time in U.S. history when land holdings in Manhattan were not a ferociously sought after commodity. By designing a building that maintained maximum office space, while efficiently utilizing the positioning and size of the elevators, Gilbert overcame previous limitations encountered by architects of these soaring structures.