The Devil in the White City Read Online Free PDF Page A

“the earth can support it.”
    The partners quickly grew frustrated with Brooks. He was picky and frugal and seemed not to care how the building looked as long as it was functional. He issued instructions that anticipated by many years Louis Sullivan’s famous admonition that form must follow function. “The building throughout is to be for use and not for ornament,” Brooks wrote. “Its beauty will be in its all-adaptation to its use.” Nothing was to project from its face, no gargoyles, no pedimenta, for projections collected dirt. He wanted all pipes left in the open. “This covering up of pipes is all a mistake, they should be exposed everywhere, if necessary painted well and handsomely.” His frugal glare extended to the building’s bathrooms. Root’s design called for cabinets under sinks. Brooks objected: A cabinet made “a good receptacle for dirt, mice too.”
    The trickiest part of the Montauk was its foundation. Initially Root planned to employ a technique that Chicago architects had used since 1873 to support buildings of ordinary stature. Workers would erect pyramids of stone on the basement slab. The broad bottom of each pyramid spread the load and reduced settlement; the narrow top supported load-bearing columns. To hold up ten stories of stone and brick, however, the pyramids would have to be immense, the basement transformed into a Giza of stone. Brooks objected. He wanted the basement free for the boilers and dynamo.
    The solution, when Root first struck it, must have seemed too simple to be real. He envisioned digging down to the first reasonably firm layer of clay, known as hard-pan, and there spreading a pad of concrete nearly two feet thick. On top of this workers would set down a layer of steel rails stretching from one end of the pad to the other, and over this a second layer at right angles. Succeeding layers would be arranged the same way. Once complete, this
grillage
of steel would be filled and covered with Portland cement to produce a broad, rigid raft that Root called a floating foundation. What he was proposing, in effect, was a stratum of artificial bedrock that would also serve as the floor of the basement. Brooks liked it.
    Once built, the Montauk was so novel, so tall, it defied description by conventional means. No one knows who coined the term, but it fit, and the Montauk became the first building to be called a skyscraper. “What Chartres was to the Gothic cathedral,” wrote Thomas Talmadge, a Chicago architect and critic, “the Montauk Block was to the high commercial building.”
    This was the heyday of architectural invention. Elevators got faster and safer. Glassmakers became adept at turning out ever larger sheets of plate glass. William Jenney, of the firm Loring & Jenney, where Burnham started his architectural career, designed the first building to have a load-bearing metal frame, in which the burden of supporting the structure was shifted from the exterior walls to a skeleton of iron and steel. Burnham and Root realized that Jenney’s innovation freed builders from the last physical constraints on altitude. They employed it to build taller and taller buildings, cities in the sky inhabited by a new race of businessmen, whom some called “cliff-dwellers.” These were men, wrote Lincoln Steffens, “who will not have an office unless it is up where the air is cool and fresh, the outlook broad and beautiful, and where there is silence in the heart of business.”
    Burnham and Root became rich men. Not Pullman rich, not rich enough to be counted among the first rank of society alongside Potter Palmer and Philip Armour, or to have their wives’ gowns described in the city’s newspapers, but rich beyond anything either man had expected, enough so that each year Burnham bought a barrel of fine Madeira and aged it by shipping it twice around the world on slow freighters.
    As their firm prospered, the character of each partner began to emerge and clarify. Burnham was a