American Art Deco: Architecture and Regionalism

by Carla Breeze
Photographs: Carla Breeze
WW Norton, 2003 / hardcover
ISBN 0-393-01970-5 / 10" x 12" / 320 pages / Architecture

A lavishly illustrated survey of American art deco architecture, the book features outstanding examples in all regions of the US. Art deco flourished in cities and small towns throughout America during the 1920s and 1930s. Extremely popular as a statement of modernity and technological progress, art deco movie palaces, dime stores, department stores, courthouses, and schools were ubiquitous in the American landscape; numerous examples of the style continue to be viable spaces. Consequently, art deco is one of the few styles of architecture, which the majority of Americans can identify.

American art deco was unique. Unlike their European counterparts, architects in the United States had "exotic" indigenous cultures for inspiration. Arts such as Navajo chiefs' blankets, Hopi pottery, and Sioux beadwork, characterized by geometric ornament, were easily assimilated into the art deco style. Regionalism—a good example of which is the Prairie style, advocated by Frank Lloyd Wright and other progressive architects—also influenced American art deco. America's pioneering and westward migration provided powerful themes and motifs, producing an art deco with authentic national and regional characteristics.

The buildings featured in American Art Deco represent those which have maximum architectural integrity: exterior features such as windows, doors, light fixtures, ornament, and interior ceilings, elevator doors, stairways, and ornament have not been drastically altered or removed. Buildings in the art deco style, which have not been modified, are rare. A majority of these spaces were commercial, and have been prey to considerations of profit and convenience. Interior spaces are especially vulnerable to modification due to upgraded building codes, maintenance issues, and even aesthetics.

The survey which Ms. Breeze conducted over the past 10 years, indicates that buildings which are owned by one person or a small group of private owners tend to be scrupulously maintained, compared to those owned by larger real estate entities, although many corporations do recognize the historic value of their properties. Private owners are essentially collectors of a large and expensive medium, who understand the significance of maintaining their interiors and the building’s integrity. Maintenance and preservation are costly, but without such collectors, the unique characteristics of numerous buildings would be eroded. The Stock Exchange Lunch Club (now the City Club) in San Francisco, owned by The Empire Group, Naniboujou Lodge in Minnesota, the Paramount Theatre in Oakland, and the Edgar Miller complexes in Chicago, are particularly significant because even original furniture remains intact in these notable buildings.

Corporate entities are certainly capable of maintaining historic interiors (in general, primarily lobbies) as exemplified by AIG’s Cities Service Building in New York City and Union Trust Building in Detroit. Theaters have fared better since many have been managed by nonprofit agencies or civic organization. The Paramount Theatre in Oakland was acquired by the Oakland Symphony in 1972, and contains original furniture and fixtures, which have been meticulously maintained. Due to the devoted efforts of local preservationists, the Egyptian Theater in Atlanta was saved with virtually every piece of furniture intact when it was scheduled to be demolished. Art deco societies and other preservation organizations in the major cities and various regions of the United States have contributed to public education and preservation of buildings from this period.

Art deco’s emphasis on industrial production and schematized, exotic motifs was easily adapted to regionalism in America, and exoticism was supplied by indigenous cultures. Art deco has been modified in each region of America to reflect the unique history and environment of these regions, which shaped the vision of early twentieth century architects and designers.

Carla Breeze is an architectural photographer living in New York City. She attended the University of New Mexico, where she studied with the renowned photographic historian and photographer Beaumont Newhall. She is the author and photographer of various books on art deco architecture, including Pueblo Deco and New York Deco and one book which surveys young contemporary architects, New Modern. Breeze works as a photographer for architects in the United States and Europe. Her work is in various museum collections, including the National Gallery in Washington, D.C. She recently lectured at the Victoria & Albert Museum on the photographs of Harlem photographer, James Van Der Zee.

Carla Breeze: wdecker4cb@aol