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Salt Lake City & County Building
Today, city officials conduct government business from rooms in which similar issues were discussed as far back as the late 1800’s. Visitors and employees wander through the building’s beautiful grounds in the shade of ancient trees imported by immigrants from all over the world. The City & County Building and Washington Square remain an oasis of permanence and dignity. Here, the past lives harmoniously with the present and points the way to the future.
Washington Square and three other ten-acre plots were identified and set aside as public space almost immediately after the pioneers arrived. The other sites include Pioneer Park, Temple Square and the site where West High School is located today. Washington Square, named after George Washington, initially served as a hub. Many American pioneers found their way here. They would rest, refurbish their equipment and restock supplies before heading west to California or Oregon. Pioneers were met by welcoming crowds who would greet them with food and drink. This hub concept lasted until the railroad entered Utah in 1869. Through the years, Washington Square continued to be a center of activities for the new community. Hay and livestock were brought here to be sold. Cricket, a very popular game, was played at Washington Square. Baseball was introduced in the 1880’s, but its style was considered so vulgar and its players thought to be so blasphemous that it was banned for a time. Washington Square was the scene of carnivals, medicine shows, circuses, cattle drives, baptisms and religious services — even jousting tournaments. The Shoshone and Ute, who had been at war, signed their first peace treaty at Washington Square. As early as 1859, Washington Square was considered to be the property of Salt Lake City. Although records indicate the land was leased at times, it was done so until required for city purposes. Some historical data attributes actual ownership of the land to Salt Lake City by virtue of a deed executed between President Ulysses S. Grant, representing the United States as the initial owner, and Daniel H. Wells, Mayor (1872) representing current and future generations of Salt Lake City residents. The Making of an Architectural Landmark
Arranging financing and selecting an architect proved to be a time consuming process. It was resolved that funds from both the city and county be appropriated and work begin. After it was agreed to have one building house both branches, the next problem seemed to be finding the best possible building site. Since the structure was to be one of the most important government buildings in the area, it was agreed to have it centrally located in the city. Several sites were considered, with a site at First South and Second East being initially selected. However, the county was opposed to this site because it was not close enough to the business center of town. The county preferred the building be erected on the "City Hall" site at the corner of First South and First East. The city agreed and the site was acquired. Following site acquisition, a competition was held for architectural plans. The prize, $250, was awarded to C. E. Apponyi, an architect residing in San Francisco. Construction began in the Autumn of 1890. The site was excavated and footings were poured, but problems arose with the site. After almost $20,000 of work was completed, it was determined that the location would not be feasible for several reasons, one being poor geologic conditions. Beyond the physical problems of the building site, there seemed to be many questions regarding the safety of Apponyi’s design as well as the actual costs, which appear to have been underestimated. Another cause for concern was that the First South-First East site was small. Apponyi’s design was so large that the resulting structure would present the appearance of a business block. Officials thought the public building should be surrounded by a park. These arguments won out and a resolution was passed in March 1891 to change the site to Eighth Ward Square, known today as Washington Square, where the building could be surrounded by a public park. The site change angered many Salt Lake City residents. The business community was prepared to oppose the change through legal means. The general public was frustrated with all the delays surrounding the project. This feeling is evidenced by a March 1891 statement to the City Recorder which says, "Whilst we may think the site of the 8th Ward Square superior to the original we view with alarm any effort to further delay this building." A new competition for an architect was advertised. On May 25, 1891, the Salt Lake firm of Messrs. Monheim, Bird and Proudfoot was selected to be the new architects. They designed the building in the Richardson Romanesque style. In September 1891, John H. Bowman was awarded the contract to supervise construction of the building; his bid being the lowest at $377,978. Construction began in December 1891, almost three years to the day after the project was initially suggested. One of the first projects was placing a rail spur to the Washington Square site to facilitate deliveries of building materials. It was quickly determined that the ground was much less stable than anticipated. Quicksand under the soil made it necessary to dump trainloads of broken rock into the excavation. Footings were increased, railroad T-beams were crisscrossed throughout the hole and everything was encased in concrete. This created a massive 31,150 square foot foundation. A grand event was planned to celebrate the laying of the corner stone. It was presided over by the ancient fraternity of the Masons, as was customary for dedicatory ceremonies of great public buildings. The cornerstone was placed on July 25, 1892 under the traditional auspices of the Masonic Fraternity. There were 4,000 people in attendance. During the winter of 1892-1893, construction of the building gradually changed from a community project to a Public Works Project. Salt Lake City was not immune to the devastating economic downturn that swept across the nation. American history books refer to it as the Panic of ‘93. For area residents, it meant unemployment as high as twenty to thirty percent. In an attempt to spread the work around to as many men as possible, government officials agreed to a plan allowing laborers to work one week and then be replaced. The displaced worker’s name would be placed at the bottom of the work list and he could qualify for another week’s work when his name was called. Only married men were allowed to bid on jobs. Feeling unjustly treated, one young man argued successfully before the City Council that although he wasn’t married, he was still expected to support his mother and sister. From that day on, all men were allowed to apply. Work stoppages, delays and problems with the head contractor, Bowman, plagued construction. An April 8, 1893 article in the Deseret Evening News reported that several contractors were angry with Bowman because he was not paying them their full fee. Another article a month later attacked Bowman as being totally unqualified for the job. In July, the bricklayers walked off their jobs because of pay squabbles, causing almost all work on the project to be suspended. Bowman was dismissed on July 26, 1893. From that point on, the City Council assumed responsibility for completing the structure. Financing remained uncertain. As late as the Spring of 1894 officials contemplated shutting down the project for lack of funds. By this time the building was costing more than two times the original estimate. Somehow, the necessary additional construction bonds were sold and the building was completed. In December of 1894, three years and two months after the ground-breaking ceremony, the City & County Building was officially complete. The actual cost of construction was $892,534; more than double the original bid of $377,978. With its completion, the City & County Building became the most expensive and important civic structure in Utah at the turn of the century. Dedication ceremonies were set for December 28, 1894. The ceremony began in the Council Chamber, which was decorated with flowers, spreading palms and pines. After the building was officially dedicated to public use, a statue of "Columbia" was unveiled as she perched high up on the tower. A Monument of Usefulness and Beauty
For the first twenty years of its existence, the building housed city offices in the north portion and county offices in the south portion. A variety of other services were provided in the building as well. Utah’s Constitutional Convention was held in the City & County Building in 1895. On January 19, 1896, Utah became the 45th state in the Union. When Utah became a state, its legislative body did not have a meeting site. Therefore, the building served as the state’s Capitol Building for two decades, from Utah’s statehood in 1896 until construction of the present State Capitol was finished in 1916. The third floor’s beautiful City Council Chamber once housed the Utah Senate and is the only room still used for its original purpose — legislative deliberation. The State Senate reached an agreement with the City Council and they jointly shared the Council Chamber. Utah Senator Martha Hughes Cannon, a noted physician, was the first female state senator in our nation’s history. She served in the Utah Senate after defeating her husband, Angus, in the 1896 election. Room 335 is named in her honor. During the early part of the 20th century the fourth floor of the building was leased to the state and served as offices for the Governor and Utah House of Representatives. For twenty years, Utah’s House of Representatives met in the building. During each of the sessions, the Governor and his staff would occupy an adjoining suite of offices. Throughout both World Wars, the City & County Building served as a First Aid Training Center. The building was a place where various volunteer groups met to assemble bandages and gifts for troops overseas. Much of the building’s fourth floor was used by the courts system and one case drew the world’s attention. In 1914, two Salt Lake City grocers were shot and killed in a robbery attempt. Their attacker was also wounded during the gunfight. That night, Joseph Hillstrom, a traveling poet and American labor song writer — better known as Joe Hill — was treated for a gunshot wound which he claimed was inflicted during a fight. With only circumstantial evidence, a jury convicted Joe Hill of the grisly murders. Protests by the labor movement generated a firestorm of controversy; even the Swedish minister and President Woodrow Wilson intervened on Hill’s behalf. But Utah Governor William Spry refused their pleas for clemency. On November 15, 1915, Joe Hill was executed at the Utah State Prison in Sugarhouse. Many years later, Ted Bundy, the infamous serial killer, was convicted of aggravated kidnapping in what is now Room 445. The first City Library and the Cemetery Sexton were located in the building. Throughout the years, thousands of weddings have been performed in the City & County Building and, conversely, many divorce decrees granted. Richardson Romanesque Architectural Style
Henry Hobson Richardson (1838-1886) is considered one of the greatest architects of his time. He was the most important American architect to emerge in the 1870’s and in many ways he is America’s first architect of world importance. Richardson, from St. James Parrish, Louisiana, had a variety of educational experiences before the Civil War. He received a nomination to West Point, but was not accepted due to a speech impediment. Richardson attended the University of Louisiana for a year and eventually graduated from Harvard in 1859. In 1873, Richardson won a competition for the design of Trinity Church in Boston. It was that work which would ultimately represent his springboard for fame. In the words of noted architectural historian Wayne Andrews, the Trinity Church design "fixed not only [Richardson’s] own reputation but the course of American architecture for nearly two decades." During the 1870’s and into the 1880’s, Richardson firmly established himself as the leading architect in America. One successful design led to another commission and then on to another. American Architect and Building News, a popular journal of 1885, took a poll of its readers to determine the ten most beautiful buildings in the United States. Richardson’s Trinity Church was easily ranked first with 84 percent of the total vote. Other Richardson designs on the list were the Albany City Hall, Sever Hall at Harvard University, the New York State Capitol and the Town Hall at North Easton, Massachusetts — these ranking 7, 8, 9 and 10, respectively.
Some beautiful exterior details instantly identify the City & County Building as being of the Richardson Romanesque style. The arches over the windows, the enormous columns that help support the entry ways and balconies, and the sheer size of the rough stone blocks. The architects who carried on Richardson’s tradition became known as Richardsonians. The architectural firm of Messrs. Monheim, Bird and Proudfoot designed the City & County Building. Very little is known about the architects. They joined forces in 1891 and set up shop in Salt Lake City. The City & County Building was the only structure this threesome ever designed together. As one of the finest and most representative examples of the Richardson Romanesque style in Utah, in 1970 the City & County Building was listed on the National Register of Historic Places, a register maintained by the National Parks Service in Washington, D.C. The building has also been listed in the Salt Lake City Register of Cultural Resources, maintained by the Historic Landmark Commission. A drawing of the City & County Building can be found in the American Architecture collection at the Smithsonian Institution. The City & County Building reflects the strong American influence of the Richardson Romanesque style. The sandstone walls of the 267 foot by 128 foot structure are over five feet thick. The top of the tower rises 239 feet above the ground and was the tallest structure in Salt Lake well into the 20th century. Some of the different types of stone used in the construction of the building are sandstone, granite, slate and onyx, most of which came from areas within Utah. A red granite was selected for many of the exterior columns. Most of the sandstone came from the Castle Gate-Kyune Junction area in Carbon County. Tests were carried out at Illinois State University to determine the stress characteristics of the stone and its suitability for construction. The simple rough-hewn beauty of the Kyune sandstone exterior is in stark contrast to the intricate carved figures that adorn it. The intricate relief carvings on the exterior of the building were created by a French sculptor named Linde, who set up his workshop right on Washington Square. His own portrait can be seen on the north facade between the words "City" and "Hall." Linde’s work symbolizes the early history and heritage of the community. His work includes a sun rising behind a beehive flanked by two pioneers, marine monsters from ancient Lake Bonneville, fleur-de-lis friezes, faces of dignitaries, an American eagle, an owl, a mountain lion, an eel, a crocodile, roses and the sun representing the seasons. Pressed metal statues originally stood atop each of the building’s five towers. The central tower was crowned with a statue representing "Columbia," the symbol of America before the Statue of Liberty. The gables along the east and west doors were guarded by "Commerce." Over the south entrance was "Justice" and "Liberty" enhanced the north entrance gable. The statues were 8½ feet tall except for "Columbia" which was 12½ feet tall. Due to earthquake damage in 1934, the statues were removed for the public’s safety. Years later, one statue was found in a museum, duplicated and returned to its place above the east entrance. Of the five statues, only the one of "Commerce" from the west facade is an original. Over the west doors are carved busts of three men who were in public office at the time of construction and oversaw the project. Mayor Scott is at the upper left, he authorized the project. Judge Blair is at the top, he represented the county and approved its participation. Mayor Baskin is at the upper right, he was in office when the building was completed. The words "City Hall" are carved on the north side of the building and "County Court House" carved on the south side. There is a loft arch on the west side of the building. Carved within the arch is a beehive, which has symbolized industry for Utahns since Territorial times. To the right of the beehive is a farmer holding a rake with a grain shock symbolizing the success of the pioneers in turning the desert valley into a food-bearing land. To the left is the figure of a miner holding a pickax with a pile of stones representing the importance mining had in helping to build the state’s economy. The figures frame a radiant sunburst carved with facial features. There are two water fountains on the west side of the square, both are reproductions. The originals were destroyed in the 1950’s. An article in a local newspaper at the time described them as "old fashioned."
Original plans called for the wainscoting in the halls to be of ornamental copper plating. However, in December 1893 the Utah Onyx Company declared it would contribute without charge all the stone necessary for the areas to be wainscoted. The beautiful onyx wainscoting in the hallways of the second and third floors was mined at Pelican Point, Utah. Embedded in the onyx is a variety of interesting fossils. The thirteen stairs leading to the building’s second floor commemorate our nation’s thirteen original colonies. In honor of Salt Lake Valley’s native inhabitants, floor tiles in the central areas of the main corridors are designed to resemble woven Indian blankets. Portraits of nearly all former Salt Lake City mayors decorate the third floor hallway. The two largest are of Scott, who initiated construction, and Baskin, who was in office at the building’s completion. A number of safes are found in the building, each decorated with a hand-painted landscape by an unknown artist, executed in the romantic tradition of the mid-19th century. The safes were installed by Mosler Bahmann Company of Cincinnati in 1894 and 1895. When the building opened in 1894, all of the rooms on the north or "city" side of the building were painted red. All of the rooms on the south or "county" side of the building were painted dark green. There was considerable discussion about introducing such dark colors into the offices and a compromise was agreed. In most of the large, open-space rooms lighter green and red highlights were used but in the corner and smaller spaces the more vibrant colors were retained. Many of the "audience" chairs in the Council Chamber are originals. The original furniture for the Council Chamber was bought from A. H. Andrews Company in Chicago and crafted in the Eastlake style. Most of it was sold at auction in the 1960’s. Somehow these chairs escaped. They have been refinished and reupholstered. There are some reproductions, although it is almost impossible to identify them. A giant portrait of Brigham Young dominates the east wall of the Council Chamber. Although he was never mayor, he was the leading political, religious and social figure for thirty years until his death in 1877. Like the building, the portrait was controversial. Brigham Young outraged local artists by commissioning an itinerant artist traveling through Salt Lake City to paint his profile. To add insult, the City Council agreed to pay the artist the extraordinary sum of $1,000 for the artwork. In 1934, the Hansel Valley earthquake (6.1 on the Richter Scale) sent 2.5 tons of clock works plummeting from the clock tower to the fourth floor. The upper levels of the building have always been surrounded by an eerie mystique. City employees shared their office space with bats and rumors often circulated that the building was haunted. A story goes that a mysterious voice warned a security guard patrolling the fifth floor not to board the elevators. Luckily he didn’t because the elevator plunged to the bottom of the shaft.
Restoration of the building during the 1980’s seemed at times to be as controversial as its original construction. Many local government officials opposed its restoration and supported demolition. They preferred a new building be erected on the Washington Square site. In an attempt to find a satisfactory solution, city and county elected officials approved funds for a comprehensive study. Of the ten options explored, restoration was no more expensive than demolition and new construction. Public hearings were held and virtually every speaker had a story to tell or a memory to share. A poll was conducted at about the same time and there appeared to be broad support in Salt Lake City for keeping the building, but almost no support in the southern parts of the county. Following the public hearings, construction plans were drawn up and voters approved a $34.5 million bond issue. County officials moved out during the summer of 1986; a few months later City employees moved to temporary quarters. Restoration work began. The building’s exterior sandstone walls were cleaned and protected. Inside, artisans restored beautiful tile floors, replaced numerous fireplace hearths and repainted landscapes on the building’s many safes. To protect the building and its occupants from earthquakes, engineers installed a base isolation system made up of 443 "shock absorbers," designed to withstand earthquakes up to 7.0 on the Richter Scale. Restoration was complete in about two and a half years. The magnificently restored building reopened for business in 1989. Total costs for construction, furniture, relocation and miscellaneous expenses amounted to $31,192,500. Dedication ceremonies were held on the last weekend in April 1989. More than 10,000 people participated. They liked what they saw; they liked their building. Following completion of restoration work, the City & County Building Use and Conservancy Committee was established in 1991. The mission of this eight member committee is to maintain the integrity of the building. Committee members advise the Mayor on the building’s use, maintenance, preservation, modification, historical fabric, corresponding furnishings and landscape elements. L.D.S. President Wilford Woodruff presided over the building’s original dedication in 1894. One hundred years later, Church President Howard W. Hunter joined Governor Michael O. Leavitt, Mayor Deedee Corradini and Council Chair Alan Hardman in celebrating the 100th birthday of the beautifully restored City & County Building. During Mayor Baskin’s remarks at the 1894 dedication ceremony, he stated that the building "fulfilled the dreams of many citizens as being a truly remarkable architectural landmark in the Salt Lake Valley." This statement remains true during the building’s Centennial year and beyond.
Although not part of the hour-long tour, guides can also show visitors the clock tower, clock works and the remarkable structural support system. For more information, contact the Utah Heritage Foundation at 533-0858. A fifty minute video on the City & County Building may be checked out free of charge from the City Library.
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The City & County Building has served as the site of virtually every
local government decision during this century. Visitors are astonished by
its sheer size and bulk.
Over time, the ten-acre site known today as Washington Square had several
names: Emigration Square, Eighth Ward Square and finally in 1865, Washington
Square. Today it is home to Salt Lake City’s historic City & County
Building.
The City & County Building’s history is fraught with setbacks,
alterations and legal problems. The need for a building to jointly house the
city and county governments was one of the major issues facing Salt Lake
officials during much of 1888. On Tuesday, December 18, 1888, in an
executive session presided over by Mayor Francis Armstrong, members of the
Salt Lake County Court made a proposition to join with the city in
constructing a building for a city hall and a county court house.
During the 1894 dedication ceremonies, Salt Lake City Mayor Robert Baskin
stated that even though the building had been constructed during a time of
financial hardships, it would more than repay the city and county in
usefulness and beauty. He said the building emphasized the pluck and
enterprise of Western spirit. That prophecy has been fulfilled many times
over.
The architectural style of the City & County Building is truly
American. In a guide to American design published by the National Trust for
Historic Preservation, the authors note, "In only a few instances has
an American architectural style been so influenced by one figure as to bear
that person’s name. But so it was with Henry Hobson Richardson and the
late 19th century Romanesque Revival. As interpreted by Richardson in the
1870’s and the 1880’s, the Romanesque became a different, and uniquely
American, style. Heaviness was an ever present characteristic of the style,
emphasized not only by the stone construction but also by deep window
reveals, cavernous door openings and, occasionally, bands of windows."
The Richardson Romanesque design became a viable and distinct
architectural style. The most obvious features were the heavy courses of
rough-finished stone, rounded arches for entrances and romantic towers.
There is a tremendous feeling of weight and mass to Richardson’s
buildings, which is amplified by very deep window reveals, expansive roofs
and an overall sense of enormity. Richardson loved masonry and stonework; he
also loved designing on a monumental scale. It has been said that
Richardson’s ability to express the identity of a building was one of his
outstanding characteristics.
The crossed-axis interior features seventeen foot vaulted ceilings with
wide plaster moldings, onyx and oak wainscoting, multi-colored floor tiles,
marble fireplaces and a potpourri of unique architectural elements — many
of which could never be reproduced.
By the 1980’s, nearly a century of use and exposure to the elements had
left the City & County Building in dire need of restoration. The
exterior, although weathered, was salvageable. The interior, however, was in
terrible shape. It appeared that each succeeding administration had its own
concept of architectural beauty and office efficiency. Over the years
ceilings were lowered, air conditioning was added in bits and pieces, walls
were painted white and the chandeliers — of which there were nearly 100
— were thrown out and replaced with fluorescent tubes. Despite a brief
period in the 1970’s when the east entrance was restored, no comprehensive
maintenance work had been performed.
The