Midcentury Commercial DesignEvaluation and Preservation:An Opportunity for Commissions By Carol J. Dyson, AIA

Commercial building design of the mid-20th century expressed a period ofAmerican optimism and economic prosperity. Sleek new materials and structuralsystems represented post-war America’s unwavering belief in new technologyand materials; glassy open storefronts showcased the 20th century’s moreopen relationship between consumers and products; modern designs promisedcustomers up-to-date goods and service within.

CarolJ.Dyson,AIA is the Chief Architect and a Deputy State Historic Preservation Officer forthe Illinois SHPO. Since 1999 she has also co-taught a course on the Recent Past for the

School of the Art Institute of Chicago’s Historic Preservation program. Carol has given frequentpresentations on this topic and has written several articles on midcentury modernism.

Figure 1: In the mid-20th century, the commercial facade was no longer two-dimensional, rather it combined an open glazed front withdynamic three-dimensional features to create a ‘deconstructed’ front facade. Steel lintels now easily spanned across an entire facade,transparent “open fronts” replaced earlier opaquely-backed display windows, and the well-lit store, theater lobby or restaurant seatingitself became the display. Left, a Libbey Owens Ford Glass Co. brochure: Visual Fronts, 1942. Right, a Libbey Owens Ford advertisementin the Saturday Evening Post, October 15, 1949.

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Yet these once-elegant buildings may now beshowing their age. Although the aluminum, steeland glass components may still be sound, minordamage from signage alterations or impact dam-age to bulkheads may discourage building own-ers. Designs may be hard to appreciate becausethey were once heavily integrated with dramaticscript, neon or individual cast letter signs longgone due to business changes. Finally, the aesthet-ic may still be too new for some owners, preserva-tionists or commissioners to fully appreciate. Yet toconsider a postwar bank as an intrusion into thehistoric fabric of an older downtown is no differ-ent than how an Italianate building was nega-tively viewed in the 1920s, or how RomanesqueRevival Buildings were reviled in the 1940s, or anArt Deco post office was ignored in the 1960s.The full appreciation of more recent resources hasalways taken time and the time to recognize ourmidcentury has arrived.

Today, historic preservation commissions, statehistoric preservation review staff, and the NationalPark Service are all learning to evaluate resourcesfrom the mid-20th century. This is appropriate, formost of the commercial buildings of the 1950sand 1960s are now over fifty years old, and arereally no longer our “recent” past. These commer-cial resources may include downtown buildingsbuilt in the midcentury, such as savings and loansor automobile dealerships, as well as earlier com-mercial buildings with postwar modernizations.The commercial building with a midcentury shop-

front on the first floor or the entire facade “slipcov-ered” can provide preservation challenges relatedto periods of significance and physical integrity.

These buildings tell an important story about ar-chitecture, commerce and 20th century mercantilehistory and as preservationists we should strive tomake sure these resources do not disappear fromour downtowns. Yet, too often owners may wish toscrape away an authentic midcentury moderniza-tion from their building to return to a “historicized”recreation of an older type of storefront.

When commissions evaluate these resources itis important to remember that downtowns werenever static. Downtowns were dependent on style,and diversity prevailed, particularly at the groundlevel. If we strive to have downtowns uniformly fita picturesque nineteenth century aesthetic, we cancreate a static appearance that never existed. Atthe end of World War II, as a post-war economyburst into action, modern commercial designs uti-lizing new materials vigorously filled architecturaljournals, design books, and storefront manufactur-ers’ advertising. Dramatic commercial buildingand storefront designs by well-known designerssuch as Raymond Loewy, Morris Lapidus, Vic-tor Gruen, and Morris Ketchum Jr., were widelypublished and promoted to architects and buildingowners. These advances in materials and design,combined with intense material marketing all hada decisive impact on downtowns. Downtownschanged; new buildings were built; business

Figure 2: Other postwar designcomponents that occurred parallelwith, or as part of open-front designswere asymmetrical and angled fronts.On the left in Freeport, Illinois, angledrustic-stone pylons combine with adeep overhang to shield the openstorefront windows from glare. On theright, in Moline, Illinois, is an exampleof a common postwar open storefrontplan, shown here with structural glasssurrounding large plate glass displaywindows that asymmetrically angle intothe entrance. Ph

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owners updated their buildings; retailers wantedthe latest styles; downtown service businessesbecame more customer-focused. Midcenturychanged Main Street and those changes deserveevaluation.

WHAT DO YOUR DESIGN GUIDELINES SAY?Most local preservation ordinances, particularlyin Certified Local Government communities, arebased on the Secretary of the Interior’s Standardsfor Rehabilitation. Standard 4 is the most relevantstandard cited in evaluating later changes to his-toric buildings: “Changes to a property that haveacquired historic significance in their own right willbe retained and preserved.” Basically, a featuredoes not have to be original to be significant, andin fact those changes may tell an important story

about the building’s history and the timeline ofyour community. Standard 5 tells also tells us that“Distinctive materials, features, finishes, and con-struction techniques or examples of craftsmanshipthat characterize a property will be preserved.”Thus, we need to look at mid-20th century design,materials, and alterations that have acquiredsignificance.

But every community and its resources aredifferent. A not atypical situation is when abuilding owner comes to a commission with arequest to demolish a midcentury storefront andcreate an earlier-appearing historically-inspiredstorefront. Has the midcentury storefront acquiredsignificance? The next section discusses factorsthat commissioners may find useful to consider

Figure 3: Signage was often a critical component of midcentury commercial design. The Ramble’s Hardware Store design by Ketchum,Gina and Sharp combines dramatic signage with linear display boxes that run from the exterior through the open front and on intothe store he Hub Clothiers, formerly in Springfield, Illinois, displayed e ually dramatic porcelain enamel graphics and signage on agranite textured porcelain enamel bac drop above a stone veneer and plate glass lower oor

Figure 4: Cantilevered display cases in outdoor lobbies helped deconstruct the front plane of retail buildings. On the left is a 1948design in Long Beach, California. In the center are similar displays in Bloomington, Illinois. On the right, the former Bakers Shoes inChicago had a free-standing display “table,” well-lit cantilevered display cases, and a curved open-front display window on thesecond oor

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earlier building, was most of the earlier storefrontor front facade removed or damaged duringinstallation? If so, consider whether it followsStandards 4 and 5 to demolish an authentic1950s design only to put back a reconstruction ofan earlier period style storefront in new materials?Did the midcentury design carry through to theinterior? If so, does any of that continuity of designremain? That can be an important factor for taxcredit projects where designation and reviewincludes interiors, but may be a less important onefor local commissions whose consideration maybe limited to the exterior.

WHAT IS THE CONDITION OF MATERIALS?Are the materials in good, or easily repairable,condition? In most cases, the structural glass,tile, spandrel, stone-panel systems, and plate-glass storefronts, are relatively durable. However,materials used at bulkheads and near door frameswere often susceptible to impact damage. Thoseareas in the signage zone are also subject todamage from alterations. When these materialsare impacted, business owners are often at a losswith how to deal with these materials. There is agrowing amount of information out there regardingthe repair of modern-era materials. Commissions

when evaluating the significance of midcenturyresources.

WHAT IS THIS BUILDING’S HISTORY?When was the building built? Was it constructedduring the post-war period or was it an earlierbuilding with post-war updates? Does the date ofthe midcentury resource or alteration fall within theperiod of significance of the historic district? If not,is it over 50 years old or of exceptional signifi-cance? Is it time to evaluate, and perhaps expandthe period of significance for the historic district?Or might the building be individually eligible tobecome a local landmark as a good example ofmidcentury design?

Was this commercial structure built in the post-war period? If so, then it is real and authentic.Evaluate its significance and integrity, andpromote retention of what makes it historic. It’strue to its time, tells the story of the downtown’scontinuum of change and makes your MainStreet much livelier. Commissions may wish topromote that these buildings be kept true to theirmidcentury nature.

If a building is a midcentury modernization of an

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Figure 5: Structural innovations and dramatic space-age-inspired design also appeared on Main Street in a style namedExaggerated Modern by Chester Leibs in his seminal book Main Street to Miracle Mile. On the left the Taylorville, Illinois cinemawas completely refaced in the mid-century with polychrome porcelain enamel panels, swooping stainless steel and aluminum canopyand cornice, and dramatic pylon. In the middle, the elegant Oklahoma City Central Motor Bank drive-up, built in 1959, combines athin-shell concrete roof with bright blue mosaic tile encased piers. On the right, precast concrete columns surround a darkly glazedcurtain wall on this Moline, Illinois bank, designed by John Van Scheltema, of the Illinois Bank Building Corporation in the 1970s.

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Is this an older building with a midcenturyshopfront at the ground level? This is a relativelycommon feature in downtowns. It reflects thedynamic nature of downtown design history.Buildings, especially storefronts, were periodi-cally refreshed. Or is this an older building withan entirely new facade. Some commercial build-ing refacings completely removed or irretrievablyaltered the entire original front facade of thebuilding (such as the Taylorville, Illinois cinema inFigure 5). The midcentury tile, glass, metal, ormasonry facades may be the only significantfeatures of the facade with nothing other thanstructure beneath. If the facade is a good exampleof the later period with most elements intact orrepairable, then it has significance. Retention ofthis authentic historic midcentury facade would bemore in keeping with Standards 4 and 5 thandemolition and replacement with a completelynew neo-historic facade. The midcentury facadeis real, authentic and a part of the history of thebuilding. It will always have more historic integrity

can assist property owners with materials andmethods for repair.

WHAT IS THE DESIGN?What is the integrity of midcentury design? Canyou still understand the design intent? Does thebuilding still tell the story with most components,display windows, and materials still remaining?For many of these buildings loss of design impactmay be due to the loss of the historic signage.Business or aesthetic changes may have causedremoval of the original postwar signage andreplaced it with either neutral or incompatiblydesigned signage. Many of these buildingdesigns were co-dependent on their midcenturymodern signage. It is likely that the period signagedoes not remain and should not be given undueweight in evaluation. If it is missing, new signs canusually be designed that work with the midcenturystorefront and help revive the design aesthetic (SeeFigures 8 and 9).

Figure 6: On the left is “The Art of Refacing the New Art in Architecture” Julius Blum & Co.’s JB Curtainscreen, 1965.On the right, Burnside and Co., in Danville, Illinois, is an excellent example of an unusually intact design with gold anodizedaluminum slipcover, cantilevered display case, decoratively tiled storefront, and period signage and deserves preservation.

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than a recreation of something that is long-gone.

Is the building merely “slipcovered?” Rather thancompletely refaced was the building covered witha lightweight aluminum, plastic or steel facade,often with a screen or panelized motif? Does thisbuilding represent a good example of a midcentu-ry design (such as the Danville, Illinois example inFigure 6)? Many slipcovers or facade alterationswere well thought out designs to showcase anup-to-date style. In contrast, some buildings wereinexpensively covered in the last part of the 20thcentury with panels or corrugated siding devoidof design or signage simply to avoid repainting orrepointing, and may retain little significance. If itappears that this situation exists, first try todetermine what the original slipcover (completewith signage) looked like before making anevaluation. Historic photos, or ghosting of earliersignage on the facade can be very useful.

What is the condition of the slipcover itself? Ifdamaged can it be repaired? Does the associatedmidcentury storefront remain as well? It is also im-portant to once again study what is hidden beneaththe slipcover. Is there any original historic fabricleft? Even with slipcovers often much of the facadewas severely damaged or removed to flatten theoriginal facade during installation of the laterdesign. The owner may not have the economic

resources necessary to repair demolished cornices,windows, and belt-courses, and any slipcover maybe better than what is left behind after some remov-als. An additional factor should be the intended useof the building. If a building is being rehabilitatedfor upper floor housing then the removal or at leastalteration of a midcentury slipcover that covers thewindows may become necessary.

WHAT IS THE CONTEXT?Is this building a stand-alone design, or is it a post-war modernization of only one bay of a multi-baybuilding? If so, are the proposed changes part ofan integrated effort to restore the entire buildingacross multiple bays to its original design? Howmuch of that original building fabric exists beneaththe newer midcentury design?

WHAT ARE SOME DESIGN SOLUTIONS?These buildings often reflect high quality materi-als, design and cohesive display and lighting. Ifan owner or his architect works with signage andlighting that accentuates the modern aesthetic,the overall design can work better. Often with areturn to historic colors, compatible signage, ororiginal materials, these commercial buildings canbe refreshed to their midcentury design intent witha minimum of cost. There is the added bonus thatbusiness owners can also be content they have“updated” their buildings.

Figure 7: This black mid-twentieth century structural glass storefront was the third modernizing storefront for this mid-nineteenthcentury building in Rockford Illinois. The storefront was originally slated for demolition and replacement with an earlier neo-historic-style storefront However, as part of the historic tax credit pro ect the structural glass midcentury storefront was deemed a significantalteration and was retained, the sign damage was repaired and where necessary replaced by salvaged glass. The recessed terrazzoentrance lobby ooring was also retained New signage was installed onto the storefront clear glass and did not damage the newlyrepaired structural glass transoms.

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EDUCATION AND OUTREACHEducation is also key to building a recognitionof midcentury resources. Often the more peoplelearn about these midcentury facades, the easier itis for them to appreciate these resources. Commis-sions can be instrumental in encouraging the studyof midcentury designs using examples from periodadvertising, contemporary design books, or cur-rent secondary sources. The elegance and beautyof these designs becomes more recognizableonce one understands the aesthetic, historic andstylistic sources. Examples of rehabilitation designsthat work with the resources can also be sharedby the commission.

Furthermore, some commissions are looking forways to connect with the next generation of pres-ervationists. Many people in their teens, twentiesand thirties demonstrate an appreciation for mid-century design. Midcentury furniture, facades anddesigns are all old enough to feel historic to them.Local educational efforts, building tours and publicrecognition of midcentury resources may serve asa bridge to a new generation of preservationists.

CONCLUSIONIn the midcentury there was a desire to createfresh new building styles that reflected the postwar’s growing economy and manufacturing

Figure 8: hese before and after images show a design solution for a midcentury storefront in Springfield, Illinois IHPA Pro ectDesigner, Anna Margaret Barris’ design transformed this storefront with compatible signage and a new paint scheme. The originaldesign intent became clear and attractive once more, and the owners now agree that it is worthy of retention.

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Figure 9: This angled, white-metal midcentury storefront in Vandalia, Illinois was surrounded by simple (now painted) brick butembellished with a spectacular neon sign that advertised a mid-century jewelry store complete with a neon-illuminated diamond.Although the new tenant, Celebrations, initially wanted to remove the neon sign and storefront, they realized that the sign hadcommunity significance and that it could also reinforce the location identity for their new business he new Celebrations signage wasapplied to the glass based on a drawing by IHPA Project Designers Darius Bryjka and Anthony Rubano and kept at the pedestrianlevel, so it that didn’t have to compete with the historic neon “Jane Isbell” sign up in the transom area.

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prowess. The commercial buildings and storefrontmodifications of the midcentury exhibited anexuberance, drama, and elegance, as they show-cased up-to-date businesses within. These modifi-cations were just one more step in the continuumof change exhibited in our dynamic downtowns.They are an important part of our past, and areold enough to no longer be our “recent past.”As such they deserve our study, survey, carefulevaluation, and in many cases, preservation

FOR MORE INFORMATION:• Dyson, C.J. “How to Work With Storefrontsof the Mid-Twentieth Century: A Mid-TwentiethCentury Storefronts Components Guide,”published for National Main Street Meeting,Philadelphia, PA, April 2, 2008, and on the web:https://www.illinois.gov/ihpa/Preserve/mid-century/Documents/modern-storefront-glossary.pdf.• Dyson, C.J. “Mid-Century CommercialModernism: Materials and Design,” inProceedings of the Mid-Century ModernStructures: Materials and Preservation Symposium,Doyle, K., Ferrell, A., Sanchis III, F.E., Striegel,M.F., Eds., NCPTT, St. Louis, Missouri, April 13-16, 2015.• Dyson, C.J. “Selling to the Future: Preservationof the Post-War Downtown CommercialBuilding,” in Symposium: Identification, Advocacyand Protection of Post-World War II Heritage,Proceedings of ICOMOS Joint Scientific Commit-tee Meeting, Kelley, S.J. and Harboe, T.G., Eds.IIT, Chicago, IL, 21-23 June 2007, 65-113.• Espardy, G. Modernizing Main Street:Architecture and Consumer Culture in the NewDeal, University of Chicago Press, Chicago IL,2008.• Gruen, V., Ketchum, M., Lapidus, M., Welch,K., Schwartzman, D. “The Vanishing Store Front,”Architectural Forum, 1950, v7, 64-66.

• Heller, S. “Essay,” Shop America: MidcenturyStorefront Design 1938-1950, Heimann, J. Ed.,Taschen Press, Koln, 2007.• Illinois Historic Preservation Agency. Recent Paston Main Street: Mid-Century Modern CommercialResources: https://www2.illinois.gov/ihpa/Pre-serve/mid-century/Pages/midcentury.aspx.• Isenberg, A. Downtown America: A History ofthe Place and the People Who Made it: HistoricalStudies of Urban America. University of ChicagoPress, Chicago, 2004.• Jackson, M. “Main Street Meets Mid-CenturyDesign,” Main Street Now, Chicago, IL, Summer2014, 6-53.• Jackson, M. “Storefronts of Tomorrow:American Storefront Design from 1940 to 1970,”in Preserving the Recent Past 2, Slaton, D. andFoulks, W. G., Eds. Historic PreservationEducation Foundation, National Park Service,and Association for Preservation TechnologyInternational, Washington, DC, 2000, 2-57-78.• Kawneer Co. Machines for Selling, Niles, MI,1946.• Ketchum, M. Shops & Stores: Revised Edition,Progressive Architecture Library, ReinholdPublishing Corporation, New York, 1957.• Leibs, C. J. Main Street to Miracle Mile: Ameri-can Roadside Architecture, John Hopkins Univer-sity Press, Baltimore, 1995, 59-64.• Libbey-Owens-Ford Glass Co. 52 Designsto Modernize Main Street with Glass, Toledo,Libbey-Owens-Ford Glass Co., Ohio, 1935.• Reid, K., Ed. “Store Fronts of Tomorrow,”The New Pencil Points Magazine, ReinholdPublishing Corporation, East Stroudsburg,Pennsylvania, February 1943, 30-70.• Treu, M. Signs, Streets, and Storefronts, JohnsHopkins University Press, Baltimore, 2012.

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Figure 3: The early 20th century Booth Building inSpringfield, Illinois received an elegant stone midcenturystorefront ca. 1955.

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Figure 4: The Booth Building was clad in a panelizedslipcover by the early 1970s concealing part of thestorefront.

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Figure 5: As part of an historic preservation tax credit project, the non-historic-period slipcover was removed to exposethe original upper oors, and the midcentury storefront was preserved and retained.

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Figure 7: he rendering shows the design the owner first proposed,which included demolition of the historic midcentury storefront andinstallation of a completely new storefront.

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Figure 8: For purposes of the federal historic tax credit project the SHPO explained that the midcentury storefront was historic and required its retention. The owner kept the midcentury storefront and installed a compatible clear-view door, restored the white metal window framing and added a canvas awning.

Figure 6: This ca. 1890 building in Rockford, Illinoisreceived a number of alterations during the period ofsignificance of the historic district, including the installationof an angled midcentury stone veneer storefront.Sometime after the period of significance the midcenturystorefront window frames were painted dark and a laterdoor installed.

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