Frank H. Furness
|Born||November 12, 1839|
|Died||June 27, 1912 (aged 72)|
Upper Providence Township, Delaware County, Pennsylvania
|Place of burial|
|Service/||United States Army|
|Years of service||1861-1864|
|Unit||6th Pennsylvania Cavalry|
|Battles/wars||American Civil War|
Battle of Brandy Station
Battle of Gettysburg
Battle of Trevilian Station
|Awards||Medal of Honor|
Frank Heyling Furness (November 12, 1839 - June 27, 1912) was an American architect of the Victorian era. He designed more than 600 buildings, most in the Philadelphia area, and is remembered for his diverse, muscular, often unordinarily scaled buildings, and for his influence on the Chicago architect Louis Sullivan. Furness also received a Medal of Honor for bravery during the Civil War.
Toward the end of his life, his bold style fell out of fashion, and many of his significant works were demolished in the 20th century. Among his most important surviving buildings are the University of Pennsylvania Library (now the Fisher Fine Arts Library), the Pennsylvania Academy of the Fine Arts, the Baldwin School Residence Hall, and the First Unitarian Church of Philadelphia, all in Philadelphia, Pennsylvania.
Furness was born in Philadelphia on November 12, 1839. His father, William Henry Furness, was a prominent Unitarian minister and abolitionist, and his brother, Horace Howard Furness, became America's outstanding Shakespeare scholar. Frank, however, did not attend a university and apparently did not travel to Europe. He began his architectural training in the office of John Fraser, Philadelphia, in the 1850s. He attended the École des Beaux-Arts-inspired atelier of Richard Morris Hunt in New York from 1859 to 1861, and again in 1865, following his military service. Furness considered himself Hunt's apprentice and was influenced by Hunt's dynamic personality and accomplished, elegant buildings. He was also influenced by the architectural concepts of the French engineer Viollet-le-Duc and the British critic John Ruskin.
Furness's first commission, Germantown Unitarian Church (1866-67, demolished ca. 1928), was a solo effort, but in 1867, he formed a partnership with Fraser, his former teacher, and George Hewitt, who had worked in the office of John Notman. The trio lasted less than five years, and its major commissions were Rodef Shalom Synagogue (1868-69, demolished) and the Lutheran Church of the Holy Communion (1870-75, demolished). Following Fraser's move to Washington, D.C., to become supervising architect for the U.S. Treasury Department, the two younger men formed a partnership in 1871, and soon won the design competition for the Pennsylvania Academy of the Fine Arts (1871-76). Louis Sullivan worked briefly as a draftsman for Furness & Hewitt (June - November 1873),[a] and his later use of organic decorative motifs can be traced, at least in part, to Furness. By the beginning of 1876, Furness had broken with Hewitt, and the firm carried only his name. Hewitt and his brother William formed their own firm, G.W. & W.D. Hewitt, and became Furness's biggest competitor. In 1881, Furness promoted his chief draftsman, Allen Evans, to partner (Furness & Evans); and, in 1886, did the same for four other long-time employees. The firm continued under the name Furness, Evans & Company as late as 1932, two decades after its founder's death.
Furness was one of the most highly paid architects of his era, and a founder of the Philadelphia Chapter of the American Institute of Architects. Over his 45-year career, he designed more than 600 buildings, including banks, office buildings, churches, and synagogues. Nearly one-third of his commissions came from railroad companies. As chief architect of the Reading Railroad, he designed about 130 stations and industrial buildings. For the Pennsylvania Railroad, he designed more than 20 structures, including the great Broad Street Station (demolished 1953) at Broad and Market Streets in Philadelphia. His 40 stations for the Baltimore & Ohio Railroad included the ingenious 24th Street Station (demolished 1963) beside the Chestnut Street Bridge. His residential buildings included numerous mansions in Philadelphia and its suburbs (especially the Main Line), as well as commissioned houses at the New Jersey seashore; Newport, Rhode Island; Bar Harbor, Maine; Washington, D.C.; New York state; and Chicago, Illinois.
Furness broke from dogmatic adherence to European trends, and juxtaposed styles and elements in a forceful manner. His strong architectural will is seen in the unorthodox way he combined materials: stone, iron, glass, terra cotta, and brick. And his straightforward use of these materials, often in innovative or technologically advanced ways, reflected Philadelphia's industrial-realist culture of the post-Civil War period.
Furness married Fanny Fassit in 1866, and they had four children: Radclyffe, Theodore, James, and Annis Lee. He died on June 27, 1912, at "Idlewild," his summer house outside Media, and is buried at Laurel Hill Cemetery in Philadelphia.
During the Civil War, Furness served as Captain and commander of Company F, 6th Pennsylvania Volunteer Cavalry ("Rush's Lancers"). He received the Medal of Honor for his gallantry at the Battle of Trevilian Station.
Rank and organization: Captain, Company F, 6th Pennsylvania Cavalry. Place and date: At Trevilian Station, Virginia, June 12, 1864. Entered service at: Philadelphia, Pa. Birth:------. Date of issue: October 20, 1899.
The President of the United States of America, in the name of Congress, takes pleasure in presenting the Medal of Honor to Captain (Cavalry) Frank Furness, United States Army, for extraordinary heroism on 12 June 1864, while serving with Company F, 6th Pennsylvania Cavalry, in action at Trevilian Station, Virginia. Captain Furness voluntarily carried a box of ammunition across an open space swept by the enemy's fire to the relief of an outpost whose ammunition had become almost exhausted, but which was thus enabled to hold its important position.
Twenty-five years after fighting in the Battle of Gettysburg, he designed the monument to his regiment on South Cavalry Field:
In design it is a simple granite block, as massive as a dolmen, but surrounded by a corona of bronze lances that are models of the original lances. ... [T]hey are depicted in a resting position, as if waiting to be seized at any instant and brought into battle. The sense of suspended action before the moment of the battle is all the more potent because it is rendered in stone and metal, making it perpetual. Of the hundreds of monuments at Gettysburg, Furness's is among the most haunting.
Following decades of neglect, during which many of Furness's most important buildings were demolished, there was a revival of interest in his work in the mid-20th century. The critic Lewis Mumford, tracing the creative forces that had influenced Louis Sullivan and Frank Lloyd Wright, wrote in The Brown Decades (1931): "Frank Furness was the designer of a bold, unabashed, ugly, and yet somehow healthily pregnant architecture."
The architectural historian Henry-Russell Hitchcock, in his comprehensive survey Architecture: Nineteenth and Twentieth Centuries (revised 1963), saw beauty in that ugliness:
[O]f the highest quality, is the intensely personal work of Frank Furness (1839-1912) in Philadelphia. His building for the Pennsylvania Academy of the Fine Arts in Broad Street was erected in 1872-76 in preparation for the Centennial Exposition. The exterior has a largeness of scale and a vigor in the detailing that would be notable anywhere, and the galleries are top-lit with exceptional efficiency. Still more original and impressive were his banks, even though they lay quite off the main line of development of commercial architecture in this period. The most extraordinary of these, and Furness's masterpiece, was the Provident Institution in Walnut [sic Chestnut] Street, built as late as 1879. This was most unfortunately demolished in the Philadelphia urban renewal campaign several years ago, but the gigantic and forceful scale of the granite membering alone should have justified its respectful preservation. No small part of Furness's historical significance lies in the fact that the young Louis Sullivan picked this office - then known as Furness & Hewitt - to work in for a short period after he left Ware's School in Boston. As Sullivan's Autobiography of an Idea testifies, the vitality and originality of Furness meant more to him than what he was taught at the Massachusetts Institute of Technology, or later at the Ecole des Beaux-Arts in Paris.
Architect and critic Robert Venturi in Complexity and Contradiction in Architecture (1966) wrote, not unadmiringly, of the National Bank of the Republic (later the Philadelphia Clearing House):
The city street facade can provide a type of juxtaposed contradiction that is essentially two-dimensional. Frank Furness' Clearing House, now demolished like many of his best works in Philadelphia, contained an array of violent pressures within a rigid frame. The half-segmental arch, blocked by the submerged tower which, in turn, bisects the facade into a near duality, and the violent adjacencies of rectangles, squares, lunettes, and diagonals of contrasting sizes, compose a building seemingly held up by the buildings next door: it is an almost insane short story of a castle on a city street.
On the occasion of its centennial in 1969, the Philadelphia Chapter of the American Institute of Architects memorialized Furness as its 'great architect of the past':
For designing original and bold buildings free of the prevalent Victorian academicism and imitation, buildings of such vigor that the flood of classical traditionalism could not overwhelm them, or him, or his clients ...
For shaping iron and concrete with a sensitive understanding of their particular characteristics that was unique for his time ...
For his masterworks, the Pennsylvania Academy of the Fine Arts, the Provident Trust Company, the Baltimore and Ohio Railroad Station, and the University of Pennsylvania Library (now renamed the Furness Building) ...
For his outstanding abilities as draftsman, teacher and inventor ...
For being a founder of the Philadelphia Chapter and of the John Stewardson Memorial Scholarship in Architecture ...
And above all, for creating architecture of imagination, decisive self-reliance, courage, and often great beauty, an architecture which to our eyes and spirits still expresses the unusual personal character, spirit and courage for which he was awarded the Congressional Medal of Honor for bravery on a Civil War battlefield.
Provident Life & Trust Company, Philadelphia (1879, demolished 1959-60).
Baltimore & Ohio Railroad Station, Philadelphia (1886-88, demolished 1963).
Furness designed custom interiors and furniture in collaboration with Philadelphia cabinetmaker Daniel Pabst. Examples are in the collections of the Philadelphia Museum of Art; the University of Pennsylvania; the High Museum of Art in Atlanta, Georgia; the Victoria and Albert Museum in London, and elsewhere. Mark-Lee Kirk's set designs for the 1942 Orson Welles film The Magnificent Ambersons seem to be based on Furness's ornate Neo-Grec interiors of the 1870s. A fictional desk designed by Furness is featured in the John Bellairs novel The Mansion in the Mist.
Furness's independence and modernist Victorian-Gothic style inspired 20th-century architects Louis Kahn and Robert Venturi. Living in Philadelphia and teaching at the University of Pennsylvania, they often visited Furness's Pennsylvania Academy of the Fine Arts -- built for the 1876 Centennial -- and his University of Pennsylvania Library.
In 1973, the Philadelphia Museum of Art mounted the first retrospective of Furness's work, curated by James F. O'Gorman, George E. Thomas and Hyman Myers. Thomas, Jeffrey A. Cohen and Michael J. Lewis authored Frank Furness: The Complete Works (1991, revised 1996), with an introduction by Robert Venturi. Lewis wrote the first biography: Frank Furness: Architecture and the Violent Mind (2001).
The 2012 centenary of Furness's death was observed with exhibitions at the Philadelphia Museum of Art, the Pennsylvania Academy of the Fine Arts, the University of Pennsylvania, Drexel University, the Library Company of Philadelphia, the Athenaeum of Philadelphia, the Delaware Historical Society, the First Unitarian Church of Philadelphia, and elsewhere. On September 14, a Pennsylvania state historical marker was dedicated in front of Furness's boyhood home at 1426 Pine Street, Philadelphia (now Peirce College Alumni Hall). Opposite the marker is Furness's 1874-75 dormitory addition to the Pennsylvania Institute for the Deaf and Dumb, now the Furness Residence Hall of the University of the Arts.
Lindenshade (Horace Howard Furness house), Wallingford, Pennsylvania (c. 1873, demolished 1940). A country house built for the architect's brother, it was later greatly expanded.
Centennial National Bank, Philadelphia (1876), now Paul Peck Alumni Center, Drexel University.
Brazilian Section, Main Exhibition Building, Centennial Exposition, Philadelphia (1876).
Knowlton (William H. Rhawn mansion), Northeast Philadelphia (1881).
Baltimore & Ohio Railroad Station, Philadelphia (1886-88, demolished 1963), looking west from 24th Street.
Baltimore & Ohio Railroad Station, Philadelphia (1886-88, demolished 1963), stairs from Lower Waiting Room.
Baltimore & Ohio Railroad Station, Pittsburgh (1887, demolished 1955).
Alexander J. Cassatt townhouse, 202 West Rittenhouse Square, Philadelphia (altered by Furness c. 1888, demolished 1972).
Merion Cricket Club, Haverford, Pennsylvania (1896-97). Allen Evans was a founding member of the club, and probably designed all its buildings.
Arcade Building and pedestrian bridge to Broad Street Station, Philadelphia (1901-02, demolished 1969).