National Farmers` Bank

National Farmers’ Bank
Owatonna, Minnesota
Louis Sullivan and George Elmslie
National Farmers’ Bank
Owatonna, Minnesota
Louis Sullivan and George Elmslie
Carl Bennett was interested in
building a new type of bank and
after considering many architects
to design it gave the commission
to Sullivan’s firm in 1906.
History
The building’s design is usually
attributed to Sullivan but it was
Sullivan’s draftsman George
Elmslie who is responsible for most
of the design. Construction began
in April, 1907 and was completed
on July, 14 1908. The total
construction cost was $125,000
(about $25 million today).
Millet, Larry. “The Curve of the Arch”
Cardinal-Pett, Clare.
Cardinal-Pett, Clare.
Carl Bennett was interested in
building a new type of bank and
after considering many architects
to design it gave the commission
to Sullivan’s firm in 1906.
History
The building’s design is usually
attributed to Sullivan but it was
Sullivan’s draftsman George
Elmslie who is responsible for most
of the design. Construction began
in April, 1907 and was completed
on July, 14 1908. The total
construction cost was $125,000
(about $25 million today).
Millet, Larry. “The Curve of the Arch”
Cardinal-Pett, Clare.
Cardinal-Pett, Clare.
Carl Bennett was interested in
building a new type of bank and
after considering many architects
to design it gave the commission
to Sullivan’s firm in 1906.
History
The building’s design is usually
attributed to Sullivan but it was
Sullivan’s draftsman George
Elmslie who is responsible for most
of the design. Construction began
in April, 1907 and was completed
on July, 14 1908. The total
construction cost was $125,000
(about $25 million today).
Millet, Larry. “The Curve of the Arch”
Cardinal-Pett, Clare.
Cardinal-Pett, Clare.
Sullivan and Elmslie’s design called
for a building simple in it’s basic
form but uncommonly rich in its
detailing. The bank itself was to
be almost like a cube – 68’ square
and 49’ high.
The exterior wall is made up of a
nine foot tall sandstone base with
two large semicircular stainedglass windows facing south and
west. The windows are set into a
textured brick wall. The walls also
contain terra-cotta ornament and
glass mosaics.
Millet, Larry. “The Curve of the Arch”
History
Sullivan and Elmslie’s design called
for a building simple in it’s basic
form but uncommonly rich in its
detailing. The bank itself was to
be almost like a cube – 68’ square
and 49’ high.
The exterior wall is made up of a
nine foot tall sandstone base with
two large semicircular stainedglass windows facing south and
west. The windows are set into a
textured brick wall. The walls also
contain terra-cotta ornament and
glass mosaics.
Millet, Larry. “The Curve of the Arch”
History
The interior of the bank has a large
lobby with offices, tellers’ cages,
vaults, and various meeting rooms
around it. The lobby is reached by
a low vestibule to provide a
dramatic entry into the 40’ high
banking room. The interior is also
decorated with plasterwork, terra
cotta, and cast iron and has a
extremely complex color scheme.
Lighting was to be provided by the
two big arched windows, a stained
glass skylight, and four gigantic
light fixtures or electroliers.
Millet, Larry. “The Curve of the Arch”
Millet, Larry. “The Curve of the Arch”
History
The interior of the bank has a large
lobby with offices, tellers’ cages,
vaults, and various meeting rooms
around it. The lobby is reached by
a low vestibule to provide a
dramatic entry into the 40’ high
banking room. The interior is also
decorated with plasterwork, terra
cotta, and cast iron and has a
extremely complex color scheme.
Lighting was to be provided by the
two big arched windows, a stained
glass skylight, and four gigantic
light fixtures or electroliers.
Millet, Larry. “The Curve of the Arch”
Millet, Larry. “The Curve of the Arch”
History
The interior of the bank has a large
lobby with offices, tellers’ cages,
vaults, and various meeting rooms
around it. The lobby is reached by
a low vestibule to provide a
dramatic entry into the 40’ high
banking room. The interior is also
decorated with plasterwork, terra
cotta, and cast iron and has a
extremely complex color scheme.
Lighting was to be provided by the
two big arched windows, a stained
glass skylight, and four gigantic
light fixtures or electroliers.
Millet, Larry. “The Curve of the Arch”
Millet, Larry. “The Curve of the Arch”
History
The interior of the bank has a large
lobby with offices, tellers’ cages,
vaults, and various meeting rooms
around it. The lobby is reached by
a low vestibule to provide a
dramatic entry into the 40’ high
banking room. The interior is also
decorated with plasterwork, terra
cotta, and cast iron and has a
extremely complex color scheme.
Lighting was to be provided by the
two big arched windows, a stained
glass skylight, and four gigantic
light fixtures or electroliers.
Millet, Larry. “The Curve of the Arch”
Millet, Larry. “The Curve of the Arch”
History
The interior of the bank has a large
lobby with offices, tellers’ cages,
vaults, and various meeting rooms
around it. The lobby is reached by
a low vestibule to provide a
dramatic entry into the 40’ high
banking room. The interior is also
decorated with plasterwork, terra
cotta, and cast iron and has a
extremely complex color scheme.
Lighting was to be provided by the
two big arched windows, a stained
glass skylight, and four gigantic
light fixtures or electroliers.
Millet, Larry. “The Curve of the Arch”
Millet, Larry. “The Curve of the Arch”
History
Renovation
The building was originally
designed for 12 employees and
that number grew to 51 in 1997.
This required that the building by
renovated to compensate for this
change. These images show how
the tellers’ counter was remodeled
during the building’s 98 year
history.
The Owatonna Journal-Chronicle (Special
edition).
Black and white photos from “The Curve of the
Renovation
The building was originally
designed for 12 employees and
that number grew to 51 in 1997.
This required that the building by
renovated to compensate for this
change. These images show how
the tellers’ counter was remodeled
during the building’s 98 year
history.
The Owatonna Journal-Chronicle (Special
edition).
Black and white photos from “The Curve of the
Renovation
The building was originally
designed for 12 employees and
that number grew to 51 in 1997.
This required that the building by
renovated to compensate for this
change. These images show how
the tellers’ counter was remodeled
during the building’s 98 year
history.
The Owatonna Journal-Chronicle (Special
edition).
Black and white photos from “The Curve of the
Renovation
The building was originally
designed for 12 employees and
that number grew to 51 in 1997.
This required that the building by
renovated to compensate for this
change. These images show how
the tellers’ counter was remodeled
during the building’s 98 year
history.
1908
1940
1958
1970
1982
2006
The Owatonna Journal-Chronicle (Special
edition).
Black and white photos from “The Curve of the
Renovation
In 1940 the interior space was
remodeled ruthlessly to modernize
the bank as cheaply as possible. A
contractor was hired to create
more banking room. Terra cotta
blocks were simply removed and
discarded from the enclosure walls
around the lobby. The lighting
fixtures around the room and the
tellers’ wickets were also removed
and sold to collectors around the
country. Fluorescent lighting was
also installed around the room
destroying the soft ambient
lighting of the room and making it
difficult to see the ornament of the
upper walls.
Millet, Larry. “The Curve of the Arch”
Millet, Larry. “The Curve of the Arch”
Renovation
In 1940 the interior space was
remodeled ruthlessly to modernize
the bank as cheaply as possible. A
contractor was hired to create
more banking room. Terra cotta
blocks were simply removed and
discarded from the enclosure walls
around the lobby. The lighting
fixtures around the room and the
tellers’ wickets were also removed
and sold to collectors around the
country. Fluorescent lighting was
also installed around the room
destroying the soft ambient
lighting of the room and making it
difficult to see the ornament of the
upper walls.
Millet, Larry. “The Curve of the Arch”
Millet, Larry. “The Curve of the Arch”
Restoration
In the 1950’s a new bank owner
decided to remodel the bank once
again. The Minnesota Society of
Architects was concerned about
the buildings fate and requested
that a Sullivan-school architect be
hired to assist in the renovation.
Harwell Harris was hired for the
renovation of the interior.
In addition to remodeling the teller
counter and removing the
fluorescent lighting around the
lobby, the decorative plaster,
stenciling, and murals were
cleaned and repaired. Although the
renovation was time consuming
and expensive, the bank’s interior
was greatly improved and more
like it was originally intended.
Millet, Larry. “The Curve of the Arch”
Millet, Larry. “The Curve of the Arch”
Restoration
In 1982-83 and again in 1996-97
the building was further restored
and modified to allow for ADA
accessibility to the second and
third floors of the addition. Other
changes were made to make the
building more functional but in
keeping with the spirit of Sullivan’s
design. The architect involved in
this work was David Bowers.
The building is currently in good
condition and has been maintained
well. It is currently being used by
Wells Fargo. It is listed on the
Nation Register of Historic Places
and is a National Historic
Landmark.
The Owatonna Journal-Chronicle (Special
edition).
References
1. Cardinal-Pett, Clare. Masterpiecework. Ames, IA.
January 15, 1995.
2. Millet, Larry. “The Curve of the Arch: The Story of
Louis Sullivan’s Owatonna Bank.” Minnesota Historical
Society Press. St. Paul, MN. 1985.
3. Morrison, Hugh. “Louis Sullivan: Prophet of Modern
Architecture.” W.W. Norton & Company. New York, 1935.
4. The Owatonna Journal-Chronicle (Special edition).
Owatonna To Celebrate Remodeling of Norwest Bank.
Owatonna, MN. May 12, 1997.