Whether they were spaces initially built for a different purpose, or specifically designed 'monuments to Black print', Black publishers and publishing companies attempted to shape their offices and plants to reconcile the built environment with their editorial message.
A powerful example of this effort to align spatial and editorial constructions of Black identity can be seen through the development of the Chicago Bee building during the 1920s. Built within the context of the "New Negro" movement and architectural modernism, the building was an attractive, art-deco inspired addition to the South Side's skyline
A powerful example of this effort to align spatial and editorial constructions of Black identity can be seen through the development of the Chicago Bee building during the 1920s. Built within the context of the "New Negro" movement and architectural modernism, the building was an attractive, art-deco inspired addition to the South Side's skyline
Its ornate and attractive design also aimed to distinguish the editorial philosophy of the Bee from rival publications such as the Defender. Overton saw the Defender as a lower class affair which relied on sensationalism and the exploitation of reader fears and anxieties to help boost sales and circulation. By contrast, he envisioned the Bee as a more respectable organ - a sedate and sophisticated publication which "would adhere to professional journalistic standards and appeal to middle-class, conservative black Chicagoans."
Accordingly, the design of the Bee building would come to serve two purposes. Its impressive stature positioned Overton's publication as a legitimate competitor to the Defender's reputation as Chicago's premier black publication, while at the same time serving as a physical reminder of the newspaper's sophisticated editorial tone.
The building's bold yet functional exterior, open floor plans, and large glass facades were all hallmarks of the International Style. In addition, Moutoussamy arguably took inspiration from the postwar emergence of Brutalism, which became a popular outgrowth of mid-century architectural modernism. Its severe and functional aesthetic has been interpreted as an attempt to project 'moral seriousness', and it is perhaps unsurprising that the style came to dominate many American University campuses during the 1960s and 1970s. From a similar perspective,
The decision to entrust Johnson's vision of a bold Afrocentric publishing space to the imagination of a queer white Southerner is just one of the curious decisions behind the development of 820 South Michigan Avenue, but the results were spectacular. Architectural critic Lee Bey has described the building's interiors as 'an exuberant, high-style and fearless mix of a color, texture, art, contemporary furnishings and pattern...an afrocentric modernism that was well-turned, avant garde and quite hip - a perfect match for publisher John H. Johnson's groundbreaking magazines."
Former Ebony digital editor Eric Easter has suggested that the building was an important part of rehabilitating the negative media image of Chicago's Black population which had been cultivated during the devastating race riots of 1968. Easter contended that 820 South Michigan was "its own loud protest - a visual pronouncement that black America had arrived in all its striving, outrageous, hip and fashionable glory." At the building's formal unveiling in April 1972, Johnson was no less dramatic:
Accordingly, the design of the Bee building would come to serve two purposes. Its impressive stature positioned Overton's publication as a legitimate competitor to the Defender's reputation as Chicago's premier black publication, while at the same time serving as a physical reminder of the newspaper's sophisticated editorial tone.
The building's bold yet functional exterior, open floor plans, and large glass facades were all hallmarks of the International Style. In addition, Moutoussamy arguably took inspiration from the postwar emergence of Brutalism, which became a popular outgrowth of mid-century architectural modernism. Its severe and functional aesthetic has been interpreted as an attempt to project 'moral seriousness', and it is perhaps unsurprising that the style came to dominate many American University campuses during the 1960s and 1970s. From a similar perspective,
The decision to entrust Johnson's vision of a bold Afrocentric publishing space to the imagination of a queer white Southerner is just one of the curious decisions behind the development of 820 South Michigan Avenue, but the results were spectacular. Architectural critic Lee Bey has described the building's interiors as 'an exuberant, high-style and fearless mix of a color, texture, art, contemporary furnishings and pattern...an afrocentric modernism that was well-turned, avant garde and quite hip - a perfect match for publisher John H. Johnson's groundbreaking magazines."
Former Ebony digital editor Eric Easter has suggested that the building was an important part of rehabilitating the negative media image of Chicago's Black population which had been cultivated during the devastating race riots of 1968. Easter contended that 820 South Michigan was "its own loud protest - a visual pronouncement that black America had arrived in all its striving, outrageous, hip and fashionable glory." At the building's formal unveiling in April 1972, Johnson was no less dramatic:
As these images of the interiors demonstrate, the offices interior design looked to blend corporate sophistication with a sense of domestic functionality. Perhaps inspired by the lavish interior design of other black media buildings such as the Johnson Publishing edifice in Chicago, Graves opted for eye-catching design choices such as a spiral staircase which connected the 10th and 11th floors. The magazine claimed that its library - formally known as the Minority Business Information Institute (MBII) - was "the nation's only research library and information center specializing in data on minority business and economic development."
The most dramatic design choices could be found in the 11st floor corporate office and boardroom spaces, which were described as a "traditionally 18th century English" style that was intended to create a sense of sophistication, culture and stability. Notable features included an ornate faux-chandelier in the upper reception area, and an impressive grandfather clock. The upper floor also included more artwork and collectables, including African sculptures, Romare Bearden collages, Haitian watercolors and other items designed to "depict a strong allegiance to heritage." Arguably the centerpiece of this approach could be seen in the Executive Dining Room, which featured lavish Chippendale and Queen Anne furnishings, brass and glass accessories and an Oriental Rug.
The most dramatic design choices could be found in the 11st floor corporate office and boardroom spaces, which were described as a "traditionally 18th century English" style that was intended to create a sense of sophistication, culture and stability. Notable features included an ornate faux-chandelier in the upper reception area, and an impressive grandfather clock. The upper floor also included more artwork and collectables, including African sculptures, Romare Bearden collages, Haitian watercolors and other items designed to "depict a strong allegiance to heritage." Arguably the centerpiece of this approach could be seen in the Executive Dining Room, which featured lavish Chippendale and Queen Anne furnishings, brass and glass accessories and an Oriental Rug.
Licensed under a Creative Commons Attribution 4.0 International License
© 2020 Building the Black Press
© 2020 Building the Black Press