ARCHITECTS’ ALPHABET, PART 10:
J IS FOR JEFFERSONIAN CLASSICISM

The Architects’ Alphabet is a 26-part series describing design elements featured in Gregory J. Scott’s new book, “Urban Legend, The Life & Legacy of C. Emlen Urban,” Lancaster’s most renowned architect. Photos for the book, which is available for pre-sale at egganddartbooks.com until Monday, Nov. 13, are by Matthew Tennison.

C. Emlen Urban and Thomas Jefferson had a lot in common as architects; love for experimentation reflected in Lancaster buildings

C.Emlen Urban and Thomas Jefferson shared four things: Both were accomplished architects, both were self-taught, both had a passion for ancient Greek and Roman architecture and both were not afraid to experiment.

Thomas Jefferson was highly influenced by the work of Italian architect Andrea Palladio (1508-1580). Palladio’s “The Four Books of Architecture” taught Jefferson the principles of classical design. Like Urban, Jefferson respected the time-tested design theories of proportion, materials and execution.

Examples of Jeffersonian Classicism in C. Emlen Urban's Lancaster buildings [photos]

Lancaster architect C. Emlen Urban had several things in common with President Thomas Jefferson, including a respect for classical design and a willingness to mix design styles and experiment. Here are some examples of Jeffersonian Classicism in Urban's designs in Lancaster.

Interestingly both Urban and Jefferson were comfortable with exploring alternatives. For Jefferson, it was Monticello in Charlottesville, Virginia. There he broke from Palladio’s books of architecture and presented successful adaptations — most notably the use of the octagon. Jefferson incorporated the eight-sided form into his floor plans and roof structures.

Likewise, C. Emlen Urban would freely break from tradition by melding disparate design styles into a cohesive and convincing assembly of shapes, forms, materials and textures. The 1890 private residence designed for his friend and client, music merchant Kirk Johnson, demonstrates his comfort with experimentation. Johnson’s residence, located at 909 E. King St., is the amalgamation of Queen Anne Shingle Style, married to Colonial Revival. The two styles are worlds apart in their appearance.

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The Bausman Building on West Orange Street, Lancaster, has classical revival features including paired cornice brackets, modillions, egg-and-dart design and scrolled keystones.

Jeffersonian Classicism is the American term for what we refer to as Classical Revival or Neoclassical. Popular between 1895 and 1950, this revival style employed massive columns either flat (pilasters) or round, topped with the traditional orders of Corinthian, Doric or Ionic.

Entries are topped with a classical pediment, either closed or broken. Flat-roof buildings employ a substantial balustrade as seen on the Griest Building and Watt & Shand. Strict symmetry is part of the visual vocabulary as it relates to the placement of doors and windows.

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A decorative cast-stone balustrade graces the roof of the Griest Building on Penn Square.

Fluted columns or pilasters often flank entrances on both the exterior and interior of a building. In addition to the Griest and Watt & Shand buildings, Urban’s use of the Classical Revival style in Lancaster city can be seen on the Bausman Building, the interiors of the Fulton Theatre and Lancaster City Hall, Fulton Elementary School, the Hager Building and the Lancaster Trust banking room.

The accompanying photographs by Matthew Tennison are extracted from my soon-to-be-released “Urban Legend” book, celebrating the rich portfolio of Urban’s 50-year career and his impact on our community.

What building types was the Classical Revival Style applied to?

Residences, banks, schools, churches and civic buildings.

Was Urban ever criticized for mixing and matching disparate styles?

The evidence collected to date indicates that his clients and the public enjoyed his creativity and his ability to produce attractive structures.

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The former Stevens Girls School building, now an apartment building on West Chestnut Street, has classic revival features including a cornice with modillions and egg-and-dart and dentil running trim.

Did C. Emlen Urban ever visit Monticello?

To our knowledge, he did not. His travel was limited to business travel and five overseas excursions.

This column is contributed by Gregory J. Scott, FAIA, a local architect with 50 years of national experience in innovation and design. He is a member of the American Institute of Architects’ College of Fellows. Email GScott@rlps.com.

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