more "gardenesque" discovered in the chicago athletic club association building's cherry circle bar

despite numerous trips to photodocument the chicago athletic association building (1893), i never paid much attention to the sleek and streamlined cherry circle bar, located in the building annex (designed by schmidt, garden and martin in 1907).

the other week, i poked my head inside the room with the expectation that no changes had taken place since my last visit. instead, i was taken aback with what i discovered, or rather, what was revealed, now that the false ceiling was currently being taken down. i had no idea that this ceiling, added sometime in the early 1950's, concealed some of the most remarkable ornament designed by hugh garden.

records indicate that the newly discovered "gardenesque" ornament dates to 1907, when the building annex was completed. remarkably, the polychromatic painted finish has been left largely undisturbed. however, the addition of the false ceiling was in no way sensitive to preserving the integrity of the deep relief cast plaster ornamentation that adorned the walls and trusses within the former bar (a glimpse at the damage is clearly seen in the photo-gallery below).

earlier posts provided detailed images of largely intact corbels or brackets that were discovered near the cherry circle bar entrance, but at the time, i was rather unclear as to how these design elements were apart of a greater whole in terms of design scheme. the exposure of additional decorative elements, revealed during removal of the false ceiling in the bar room, has now provided me with a context i was seeking to make sense of these original components i thought seemed out of place upon first glimpse.

the elaborate and effortlessly flowing organic design motifs integrated with geometric form is a unique interpretation an/or hybrid of both louis h. sullivan and george grant elmslie's design elements used in their commissions. the subtle, yet in many ways brilliant color scheme, provides added depth and dimension to a system of ornament that is rather complex and very much alive.

as more of the ceiling is pulled down, i will be sure to spend a great deal of time documenting this rather surprising discovery to gain further insight into how much of the ornament remains intact and whether any additional design motifs or color schemes were used in and around this area of the building.

these discoveries and/or access to areas i previously had not been, certainly provides me with an ongoing incentive to revisit this building time and again, to experience and ultimately capture these spaces whether or not they are preserved or removed altogether.