Survey and Research
Report
First
National Bank Building
110 - 112 South Tryon,
Charlotte, N.C.
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1. Name and location
of the property: The property known as the First National Bank
Building is located at 110 - 112 South Tryon Street, Charlotte, N.C.
2. Name and address of the current owner of the property:
TSO Tryon
Plaza LLC
1401 Peachtree
St. NE, Suite 400
Atlanta, GA
30309
3. Representative
photographs of the property: This report contains representative
photographs of the property.
4. A map depicting
the location of the property: This report contains a map depicting the
location of the property. The UTM coordinates of the property
are 17
514212E 3898021N.
5.
Current Deed Book Reference to the property: The most recent deed to
the property is recorded in Mecklenburg County Deed Book
20455-755.
The tax parcel number of the property is 07301110.
6. A
brief historical sketch of the property: This report contains a brief
historical sketch of the property prepared by Stewart Gray.
7. A
brief architectural description of the property: This report contains a
brief architectural description prepared by Stewart Gray.
8.
Documentation of why and in what ways the property meets the criteria for
designation set forth in N.C.G.S 160A-400.5.
a. Special significance in terms
of its history, architecture and/or cultural importance: The
Commission judges that portions of the First National Bank Building possess
special significance in terms of Charlotte-Mecklenburg. The Commission
bases its judgment on the following considerations:
1) The 1927 First National Bank Building is the tallest and one of the most
prominent pre-World War II buildings in Charlotte.
2)
The 1927 First National Bank Building
was largely the result of two men, industrialist Henry M. McAden, the
president of the bank from 1907 until its closing in 1930, and Louis Asbury,
arguably Charlotte’s most prominent and important architect of the early 20th
century.
3)
The 1927 First National Bank Building
is a product of a short but important phase of the built environment of
Charlotte and North Carolina. From 1908 until the onset of the Great
Depression, Charlotte led the Carolinas by embracing the building of high
rises and skyscrapers.
4)
The 1927 First National Bank Building
now
holds an important place on the Square in Charlotte, and its presence does
much to convey the historic nature of the Square as the commercial center of
the city.
5)
The twenty-story First National Bank Building was once the tallest building
in the Carolinas and remained the tallest building in Charlotte for forty
years.
6)
The 1927 First National Bank Building's
association with the now defunct First National Bank of Charlotte is
significant, as that institution opened immediately after the Civil War and
contributed to the phenomenal economic success that the city
experienced during the late nineteenth century.
b. Integrity of design,
setting, workmanship, materials, feeling and/or association: The
Commission contends that the architectural description demonstrates that portions of the
First National Bank Building meet this criterion.
9. Ad
Valorem Tax Appraisal: The Commission is aware that designation would
allow the owner to apply for an automatic deferral of 50% of the Ad Valorem
taxes on all or any portion of the property which becomes a "historic
landmark." The current appraised value pf the property, including the
land is $8,181,500.
Date of Preparation of this Report: July
1, 2007
SYNOPSIS OF SIGNIFICANCE
The 1927 First National Bank Building located at 110 and 112
South Tryon Street is the tallest and one of the most prominent
pre-World War II buildings in Charlotte. The building was
largely the result of two men, industrialist Henry M. McAden,
the president of the bank from 1907 until its closing in 1930,
and Louis Asbury, arguably Charlotte’s most prominent and
important architect of the early 20th century.
The twenty-story First National Bank
Building was once the tallest building in the Carolinas and
remained the tallest building in Charlotte for forty years.
The office building is a product of a short but important phase
of the built environment of Charlotte and North Carolina.
From 1908 until the onset of the Great Depression, Charlotte led
the Carolinas by embracing the building of high rises and
skyscrapers. The building’s association with the now
defunct First National Bank of Charlotte is significant, as that
institution opened immediately after th Civil War and
contributed to the phenomenal economic success that the city
experienced during the late nineteenth century. The
building now holds an important place on the Square in Charlotte,
and its presence does much to convey the historic nature of the
Square as the commercial center of the city.
THE FIRST NATIONAL BANK OF CHARLOTTE
The First National Bank of Charlotte was established in 1865 by the
well-connected New York-born Charlottean John Wilkes
(1827-1908.) John Wilkes was the son of New
Yorker Charles Wilkes, a naval officer and explorer who achieved
the rank of Rear Admiral in the Union Navy. Following his
father, John went to sea at the age of 14 and in 1847 was
appointed to the Naval Academy. In 1853 John
Wilkes settled in Charlotte to oversee the family’s mining and
milling operations. The family had interest in the
Capps Mining Company, and Charles Wilkes had been president of
the St. Catherine's Mining Company. John
Wilkes married his cousin, Jane Renwick Smedberg of New York, who
went on to become one of North Carolina’s most important medical
philanthropists. While his father served in the
Union Navy during the Civil War, John Wilkes served the
Confederacy. He served in the Home Guard in Charlotte, and
his Mecklenburg Flour Mills was a chief supplier for the Army of
Northern Virginia.
[1] He signed over ownership of the
Mecklenburg Iron Works (which he purchased in 1858) to the
Confederate Government, and he and his brother Edmond directed
wartime railroad construction in the South. At the
end of the war John Wilkes received a pardon directly from
President Andrew Johnson and Secretary of State William Henry
Seward and quickly procured a charter for the First National
Bank of Charlotte, the first national bank in the post-war
South. By December 15, 1865, John Wilkes had traveled to
Baltimore to secure a deposit of $500.000 in US bonds.
[2]
Also in 1865, First National Bank of Charlotte became the first
bank in North Carolina to receive a charter to print national
bank notes, a form of currency.[3]
This early establishment of a significant financial institution
in Charlotte, a city that had survived the war physically intact
with good rail connections to the rest of the country, along
with a booming post-war national economy, surely contributed to
the phenomenal growth of the city in the immediate years after
the Civil War. By 1870 the population was 4,473, double its
pre-war number. By 1871 three other banks had opened in
Charlotte, and by 1872 the city added its fifth rail line.[4]
Despite his success with establishing the First National Bank of
Charlotte, Wilkes was no longer president of the bank in 1867,
and he faced financial ruin in 1869 with the failure of his
woolen mill. Undaunted, John Wilkes re-opened and made a
success of the Mecklenburg Iron Works as a producer of
industrial machinery.
|
Ad for the
John Wilkes's Mecklenburg Iron Works
ca. 1880 |
Despite being an ardent Unionist before the Civil War, Rufus Y. McAden
[5] served in the state legislature
during the War and became Speaker of the North Carolina House in 1866.
In 1867 he moved to Charlotte from Alamance County to become
president of the First National Bank of Charlotte. R. Y. McAden fit well into the progressive commercial climate of
Charlotte. In 1870 he became the Vice President of the
Atlanta and Richmond Air-Line Railway Company, and in 1873
worked with the Southern Security Company to purchase the
Spartanburg and Union Railroad. In 1881 McAden built
the McAden mills in Gaston County along the Atlanta line.
He also constructed a mill village there that came to be known
as McAdenville. Other prominent businessmen
such W.R. Myers and Robert M. Oates also worked for the bank.
Oates became president in 1891.
In 1907 Rufus Y. McAden’s son, Henry M. McAden, became president
of the bank and remained in that position until the bank closed.
Henry McAden also succeeded his father as the owner of the
McAden Mills and became president of the Piedmont Fire
Insurance Company on South Tryon Street sometime after 1903.
The Piedmont Fire Insurance Company was a small yet profitable
company fully owned by the directors of the company.[6]
This may have been an unfortunate model for Henry McAden to rely
on when he began running of the much larger First National Bank
of Charlotte. As the last president of the First National
Bank of Charlotte, Henry McAden was responsible for the
most prominent and substantial of all artifacts of the
failed bank, the twenty story skyscraper located just off of the
Square.
The Square and High Rise Buildings
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The First National Bank Building
is located behind the Coca-Cola sign, ca. 1959 |
The history of Charlotte is concretely linked with Independence Square
(the Square),
as the intersection pre-dates the city itself. The Square
was the site of the pre-colonial intersection of two major
Native American trading paths which were used and expanded as
white settlers moved into the area. The Great Wagon Road,
which stretched to northern Virginia, merged with the local
trail called the Great Trading Path, and crossed through the
middle of what is now Charlotte at the Square in the same manner
as the north-south running Tryon Street. The Tuckaseegee
Trail, which lead to the only Colonial-era Catawba River
crossing, crossed the Great Trading Path at the Square as the
east-west running Trade Street now crosses the Square.
From the city’s earliest days the Square became a center of
commerce. A courthouse at the Square drew farmers,
who when gathered had an opportunity to trade.[7]
As the city’s economy grew, first with the discovery of gold
nearby in
1799 and then with the tremendous textile prosperity after the Civil
War, the Square continued to be the economic center of the city.
Even after the coming of the railroads in 1852, when the
transportation significance of the intersection was greatly
diminished, the Square retained its position as the commercial
center of the city.
As a nineteenth-century
walkable city, Charlotte's Square featured a concentration of
multi-story brick commercial buildings with residences radiating
out into the four wards. Even with the coming of the
streetcar era (1887-1938) which allowed neighborhoods and
businesses to move away from the center of the city, the Square
remained the center of commerce, with late nineteenth-century
and early twentieth-century insurance maps showing businesses
such as banks, insurance offices, cotton brokers, and
professional business offices concentrated around the square,
interspersed with retail establishments. From the late
nineteenth-century into the early twentieth-century, as the city
prospered, two, three, and four-story brick
buildings filled the empty lots along Trade and Tryon streets,
and also along College Street to the east of the Square. Even as
the density of commercial buildings around the Square continued
to increase, the form and scale of the new buildings differed
only slightly from the ante-bellum commercial buildings of
Granite Row. This trend changed drastically in 1908 with
the opening of the 12-story Realty Building at the northwest
corner of the Square, the first steel-farmed "skyscraper" built in
the Carolinas.
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1908 Realty
Building |
The Realty Building was followed in 1912 by the 12-story
Commercial National Bank Building on South Tryon. By the
1920s skyscrapers and other high-rises utilizing steel frame and
concrete deck construction were transforming the skyline.
In 1922 work was begun on the twelve-story Hotel Charlotte,
which was designed by New York architect William Lee Stoddart
(1869-1940). Another Stoddart building, the 17-story Johnson
Building on South Tryon, was begun in 1924 and was for a short
time the tallest building in Charlotte.
The Johnson Building was usurped by the 20-story First National
Bank Building (1927) followed by the 10-story 100
room Mayfair Manor Hotel on North Tryon in 1929. Other
tall buildings such as the seven-story Builders Building and the
five-story Addison Office Building and the Ivey’s and Efird’s
Department Store building were also constructed within a few
block of the square in the 1920s.
First National Bank Building (1927)
Now eighty years old, in good condition, and serving its original
function as a bank and office building, the First National Bank
Building has survived longer than the institution that spawned
it. Ironically, the building itself may have had much to
do with the failure of the bank.
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The original First
National Bank Building is the center seven-bay-wide three-story
building |
The old, three-story First National Bank Building was located on
South Tryon near the Square. It was similar to the other
nineteenth-century two- and three-story brick buildings
that crowded the Square and lined Tryon and Trade Streets.
Early in the bank's history Rufus McAden lived in the building
with his family in the upper floors.[8]
Around 1925 Henry McAden tore down the old bank building and
rebuilt on the same spot.
While president of the First National Bank of Charlotte, Henry
McAden hired Louis Asbury (1877-1975) in 1916 to design for him
a large and handsome home in the Myers Park neighborhood.[9]
He must have been well satisfied. Henry McAden could have
chosen a New York architect, such as William Lee Stoddart, who
had designed the Johnson Building, or the N.Y. firm of Hopkins & Dentz
which specialized in bank architecture, but instead he chose
Asbury to design the bank’s new twenty-story skyscraper, the
tallest building in the state.
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Louis Asbury in
1915
Below is the 1917
Henry McAden House |
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Asbury graduated from Trinity College in 1900 and then received
training at the Massachusetts Institute of Technology. He
returned to Charlotte in 1908 and established himself as an
architect. Asbury became the first North Carolina member
of the American Institute of Architects and helped organize the
first North Carolina Chapter of the A.I.A. By 1913 Asbury
was expanding his practice to include commercial designs.
That year he designed a new Neoclassical facade for the Southern
Loan and Savings Bank on South Tryon Street.[10]
Ten years later his design for the large five-story Efrid’s
Department Store was built as well as the eight-story
Professional Building at 403 North Tryon. By the late
1920s, Asbury was perhaps the most prolific Charlotte architect
in terms of Uptown buildings with his First National Bank
Building in 1927, the 1928 Mecklenburg County Courthouse, and
the Mayfair Hotel in 1929.
In early 1925 Louis Asbury was at work on the First National
Bank Building. He did not work alone. His partner in
the project was the Lockwood, Green & Company, an international
engineering firm that was active in building industrial
structures in
Charlotte such as the Textile Mill Supply Company Building
located at 1300 South Mint Street. The
architect and engineering firm were to charge the owners 6% of
the cost of the building, with each party receiving 3%.[11]
A March 3, 1925, memorandum explains that Asbury would produce
sketch plans and construction plans while Lockwood, Greene would
produce structural, heating and electrical plans.
Although they were being compensated equally, it was quite clear
that Asbury, working closely with the owners, was in charge of
the project. Lockwood would solicit and receive bids which
would then be approved by Asbury and the owners.
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In addition to producing the design of the building, Asbury also
oversaw the selection of all the materials from the stone
cladding to the thermostat covers. In a letter from March
1, 1927, Asbury writes to disappointed vendor, “I beg to advise
that we do not favor the use of the Venetian Blinds.”
Another important part of his responsibilities was to oversee
and endorse payments. Asbury endorsed checks to Lockwood,
Greene & Co. for as little at $460 and as great as $20,090, to
pay the general contractor, the Hunkie-Conkie Company of
Cleveland, Ohio as well as other vendors and subcontractors.
The relationship between Asbury and bank president Henry McAden must have
remained good during the nearly three years it took to open the
new building. Asbury received a note dated September 2,
1927, stating the on “September 9th we will open our
new banking room, and as this is your building as well as ours,
I hope you will help us make the opening a success.”[12]
The opening of the First National Bank Building was promoted for
weeks in the Charlotte newspapers. Advertisements illustrated with
drawings by Louis Asbury extolled the convenience and security
of the new bank. On the evening before the opening the
Charlotte News ran a nearly full-page advertisement inviting the people of
Charlotte to attend the opening: “see the beauty of
architecture, the convenience of arrangement, and the
extraordinary mechanical equipment of the new First National.”
The same advertisement ran the next day in the morning paper. Perhaps
because so many high rise buildings were erected in Charlotte
during the 1920s, the opening of the tallest building in the
state did not merit front page coverage in either paper.
But articles did run in both papers on Friday September 9, 1927,
to announce the opening. Both papers discussed the history
of the bank, the height of the new building (250 feet) and the
evening’s free musical performance. On September 11th
the Charlotte News ran a glowing editorial on the new building,
proclaiming the First National Bank Building “a splendid,
palatial thing.” Referring to the bank’s and to the city’s
modest beginnings, the paper boasted that Charlotte had
“abundant (banking) resources and with an individual and
composite strength that would be a credit to a city twice as
large as this.” The editors saw this new building as
a testament to the faith that bankers had in the future of
Charlotte:
Those now in charge of its destinies have been exhibited in
tangible materials something of the prosperity it has been
enjoying through the years and much of their own vision as to
what this community and this section are to experience in
earthly enrichment through the years that are to be. They
have leaped far into the future in the propulsion of this
enterprise. The tall and lovely brow of this gigantic
edifice, the pride and ornament of Charlotte and of the
Carolinas, stands to testify to their faith as much as to their
immediate enterprise.
With the opening of the First National Bank Building came
another event that seemed to be a harbinger of the rosy future
for Charlotte’s banking industry in general, and of the First
National Bank in particular. Soon after the First National
Bank Building opened in 1927, the Charlotte Branch of the of the
Federal Reserve opened on the nineteenth floor.
While the work of Louis Asbury may have been done, Henry McAden and the
First National Bank had to make their investment in the new
building payoff. In 1925 Lockwood and Greene estimated the
cost of the building at around 1.5 million, and a later estimate
put the cost at 1.9 million. But it appears that filling
the new building with tenants was difficult. In late 1930
the Charlotte News reported that the building only had a 30%
occupancy rate.[13]
Powell Majors, a long-time financial executive in Charlotte,
remembers Henry McAden:
Henry wore high celluloid collars and seemed distant to me….Rumor had it
that Henry would not allow doctors to be tenants because of the
various odors that would be created by their offices.
[14]
Powell also recalls that McAden:
Failed to rent to the telephone company because he feared that linemen
would be in and out of the building. The Johnston building,
later the Linked Carolina Bank building, added floors to
accommodate Southern Bell.[15]
This reluctance to rent to undesirable tenants contrasted with the
situation at the Johnston Building where the rental agent
Thomas Griffith claimed in 1924 that the building was
"already largely booked as to tenants and will likely have a
compliment of occupants when it is ready to open."[16]
Two years
after the bank's opening, the Reynolds Building
in Winston Salem surpassed the First National Bank Building to
become the state’s tallest building, and within three years the
optimistic climate in Charlotte and the nation had changed
drastically.
The Failure of the First National Bank of Charlotte
On December 4, 1930, the First National Bank of Charlotte failed
to open its doors. A notice posted on the cast-bronze
doors read:
On account of heavy withdraws of our deposits, we have decided
to close our bank, in order that every depositor be protected
alike, and the bank is now in (sic) charge of the national bank
examiners for the purpose of orderly liquidation. First
National Bank of Charlotte, N.C. By Henry M. McAden, President;
R.C. Johnson, Cashier.
A statement issued that same day clarified the situation:
Conditions the most trying ever experienced in this section, has
made business with us extremely poor. Several years ago
when conditions were on the high road to bigger business
and larger returns, our institution believing in ever increasing
prosperity, planned and carried out a building program for our
bank, that had conditions remained good, would have been for us
a gratifying success and have largely increased our business
The large expenditure of funds for our building, when business
slackened and became less, made this expenditure a great burden
on our resources, and this same lack of good business, made the
task of putting our proposition on a paying basis from a rental
standpoint more difficult, and with our liquid funds largely
invested in building, our bank problems daily have become so
complex that in justice to everyone it has become our firm
conviction, that our institution should be turned over to the
national bank examiners for an orderly liquidation.
On top of all this burden within the last ten days the withdraws of funds
have been exceedingly heavy and this has made our action
imperative at this time….
[17]
While the opening of the First National Bank Building did not merit front
page coverage, the demise of the bank commanded extensive front
page coverage. In the papers it was universally reported that
the failure of the bank was directly due to the expensive new
building on Tryon Street. A headline in the December 5th
Charlotte Observer read: “Heavy Carrying Charges on New Building
Blamed For Closing Institution.” W. H. Wood, president of
the American Trust Company, was quoted as saying: “The primary
cause of the closing of the First National Bank of Charlotte was
the abnormally large investment which that bank made in its
21-story office building, which cost $1,818,000. That was
a mistake in judgment.” He went on to say: “This closing
was not unexpected by the bankers of Charlotte, and, while it is
unfortunate, it really is not of great importance because it was
the smallest bank among the seven commercial banks of Charlotte
and had only about $1,600,000 total of deposits.”[18]
|
The Charlotte National Bank
Experienced a "run-on-the-bank" due to the collapse of
the similarly name First National Bank of Charlotte |
The Charlotte News and the Charlotte Observer took an activist role in
the crisis, downplaying the significance of the bank failure,
and promoting the soundness of the other banking institutions
with headlines that read “FEEL NO ALARM OVER CRASH OF FIRST
NATIONAL, Failure Attributed to Peculiar Circumstances, OTHER
BANKS UNAFFECTED.”
[19]
A run the same day on the similarly named Charlotte National
Bank was downplayed, attributed largely to “negros whose
withdraws were observed to be from $10 to $40.”[20]
The editorial page of the Charlotte Observer went so far as to
put a positive spin on the bank failure.
But out of yesterday’s affair the Charlotte intuitions will emerge more
firmly implanted in the confidence of the local public than
ever, because of the established strength that means the
Charlotte banks are as firmly planted as a rock. One weak
point has been worked out of the situation…[21]
The failure of the First National Bank of Charlotte was noted in
the national media. Perhaps more objective than the local
media, Time Magazine saw the failure linked to a larger bank
crisis involving Caldwell & Co., a financial institution in
Tennessee.
Despite the optimism expressed by other bankers and the local
press, the financial situation in Charlotte continued to decline
drastically, as it did in the rest of country. The
predictions of stability from Charlotte’s newspaper editors and
bank presidents proved hollow as four of the seven Charlotte
banks that existed in 1930 failed during the Great Depression.
Despite the demise of the bank, the building at 112 South Tryon Street
continued to be called the First National Bank Building until at
least 1939. By 1934 the grand bank facility in the base of the
building contained the Charlotte Branch of the Federal Reserve
Bank of Richmond Virginia, which also retained its offices on
the 19th floor. If the office tower was only
30% leased in 1930, then new ownership of the building had
better luck with an occupancy rate of around 60% in 1934.
This, despite the fact that overall economic conditions were
generally much more dire in 1934 than in 1930. Tenants in
1934 included the National Barber Shop and the National Bank
Building Soda Shop on the first story. If Henry McAden had
a prohibition on physicians as tenants, then it had been lifted
with the new owners. Numerous physicians, dentist, and
hairstylist were found on many of the floors. The majority
of the building, however, was occupied at that time by insurance
businesses, cotton industry offices, and government offices.[22]
By 1942 the building had changed names to the Liberty Life Building.
The Federal Reserve Bank had moved to their new building a few
blocks away on South Tryon Street, but much of the rest of the
building appears to have been occupied.
[23]
|
The Charlotte Brach of the
Federal reserve Bank moved out of the First National
Bank Building in 1942, and into this facility on South
Tryon Street. The 1942 Federal Reserve Building
has been demolished. |
By 1964 the building’s name changed again and became the Baugh
Building, and a new “modern” façade was added. Despite the
facelift and the fact that the First National Bank Building was still the tallest
building in the city, tremendous post-WWII commercial growth in
Charlotte meant that more modern office space was available.
City Directories from 1964 indicated that the building again had many
vacancies. By 1976 businesses were leaving the Uptown, and
the building, now called the Bank of North Carolina Building,
was half empty with many of the floors completely vacant.
In 1982 SYNCO Inc. invested $11 million in the building, restoring the
original entrances and adding a twenty-story extension to the
rear wing. A. G. Odell & Associates were in charge
of the renovation.[24]
The building has been sensitively updated since that time and
now appears to be in exceptionally good condition. The
First National Bank Building is now owned by TSO Tryon Plaza
LLC.
[1]
Wilkes Family Papers, 1818-1947, UNCC
Manuscript Collection 38
[2]
U.S. Supreme Court FIRST NAT. BANK v. NATIONAL EXCH.
BANK, 92 U.S. 122 (1875)
[5] Walter Whitaker Centennial History
of Alamance County 1849 – 1949, Dowd Press, Inc.
Charlotte, NC
[8] Tom Hanchet ”THE GROWTH OF CHARLOTTE:
A HISTORY” Charlotte-Mecklenburg Historic Landmarks
Commission
[11] 6-18-25 letter from Lockwood & Greene
, Louis H. Asbury Papers, 1906-1975, UNCC Manuscript
Collection 145
[12] Note from H. McAden, Louis H. Asbury
Papers, 1906-1975, UNCC Manuscript Collection 145
[13] “Banks Are Solid” Charlotte News,
December 4, 1930.
[14]
Major
Powell’s Recollection 1916-1998
http://www.charlotterotary.org/powellsrecollections.php
[15]
Major
Powell’s Recollection 1916-1998
http://www.charlotterotary.org/powellsrecollections.php
[16] Mary Beth Gaza, “The Johnson
Building,” Charlotte-Mecklenburg Historic Landmarks
Commission, 1919
[17] “Banks Are Solid” Charlotte News,
December 4, 1930.
[18] “1st National Bank Shuts
Doors” Charlotte News, December 4, 1930.
[19] Charlotte Observer, 12-05-50.
[20] “Banking Skys Clear” Charlotte
Observer, 12-05-50.
[21] “Solid As a Rock” Charlotte
Observer, 12-05-50.
[22] Tenants and occupancy were determined
from the Charlotte City Directories from the various years
cited.
[23] Mary Kratt, Mary Manning Boyer,
Remembering Charlotte, Postcards from a New South City,
1905-1950 (University of North Carolina Press, Chapel Hill,
2000), p. 70.
[24] Mary Kratt, Mary Manning Boyer,
Remembering Charlotte, Postcards from a New South City,
1905-1950 (University of North Carolina Press, Chapel Hill,
2000), p. 108.
Architectural Description
|
First National
Building, ca. 1959 |
The
definition of a skyscraper is not very precise, and distinctions
between skyscrapers and high-rises are not always clear. The
American Heritage dictionary defines a high rise as a multi-story
building equipped with elevators. Many high rises were built in
Charlotte during the first three decades of the twentieth-century.
But not all high rises are skyscrapers. Using the definition of a
skyscraper as “a building of great height constructed on a steel
skeleton and provided with high-speed electric elevator,”[1]
buildings such as the twelve-story Independence Building (1908) and
the fifteen-story Johnson Building (1924) could be classified as
“skyscrapers.” It is also important to look at the intentions of
the builders and how the people of Charlotte saw the buildings as
they were being built.
The twelve-story Independence Building was planned as a "new 12-story
fireproof office building of the skyscraper type." Newspapers at
the time referred to the Independence Building as “a new 12-story
and basement steel-frame skyscraper, " and as the “only skyscraper
in the State."[2]
However, as high rise construction in the country increased, a
common definition of a skyscraper came to include a minimum height
of twenty stories. By all definitions, the First National Bank
Building is a skyscraper, and by some definitions it was the only
true skyscraper built in Charlotte before World War II.
The
First National Building is a twenty-story steel-framed office
building faced with stone panels. The building sits adjacent to the
sidewalk on the west side of South Tryon Street, and is situated
just 100 feet from the Square. The building roughly faces the east,
sitting on a narrow site that slopes down to the south (the Square
is the top of a hill). When it was built, the First National Bank
Building was bordered by low-rise commercial buildings that obscured
the lower stories of the north and south elevations. The building
traditionally had two street addresses, 110 and 112 South Tryon.
One Hundred Ten is a large, high-ceilinged, store-front bank that
occupied most of the first two floors, and 112 South Tryon is the
address for a narrow elevator lobby that services the rest of the
building.
|
ca. 1930 |
The building consist of a rectangular (nearly
square) tower with a distinct base. The majority of the tower is
six bays wide and five bays deep. Attached to the tower is a
full-height seven-bay-deep rear wing. On the north elevation, the
wing is set back two bays from the principal section of the
building. This setback highlights the principal section of the
tower when viewed from the Square. On the South elevation the rear
wing is flush with the principal section of the building for four
bays, and then a one-bay wide, three-bay deep secondary wing juts to
the south . The rear of the building was originally five bays wide
and featured exterior steel fire escape stairs.
[3] The original rear elevation is now totally
obscured. A recent thirty-story building is attached to a portion
of the rear elevation of the original rear wing. The remainder of
the original rear elevation is covered with a ca.1981 addition that
is sheathed with cast concrete panels.
|
View From the Square |
The
First National Building features a great deal of ornamental
stone-work, with much of the building’s ornamentation concentrated
on the building’s three-story base section. In contrast to the grey
limestone blocks that cover the majority of the building, the tall
base section is sheathed on the façade with porous sandstone that
ranges in color from nearly white to a muted red, with a yellow-tan
color being dominant. The building’s two principal doorways pierce
the façade on the first story. The northernmost entrance (110 South
Tryon) is composed of a massive and deep two-and-one-half-story tall, half-round
arch supported by recessed Corinthian pilasters carved into the
sandstone. The carved stonework, which was carved in place,[4]
gives the First National Bank Building the distinction of having
arguable the finest stonework of any historic building in
Charlotte. The extrados and the intrados (soffit or ceiling of the
archway) feature low-relief foliated carvings with vines that
intertwine around carved depictions of characters and symbols.
|
Entrance at 110 South
Tryon |
The
imposts are decorated with acanthus leaves. The extrados features
twenty-five carved vignettes. In addition to figures from
mythology, the vignettes show symbols from nature: the beehive
representing industry, the squirrel representing thrift, and the owl
representing wisdom. The enriched extrados is bordered by an outer
band with a diamond pattern. The inside edge of the extrados is
decorated with a carved rope-patterned band.
The
intrados is decorated with five carved panels. The center panel
appears to depict Confucius holding a beehive, with the remainder of
the large panel containing foliated enrichment. Bordering the
center panel are two mirror-image panels depicting classical figures
who appear to be working on a chariot wheel, perhaps representing
industry or hard work. The final two panels depict squirrels
surrounded by foliated enrichment featuring grapes.
The
archway is filled with a glazed bronze framework. At the center of
the metal framework is a large doorway with a sandstone surround.
The original elaborate carved stone pediment has been lost. Plain
sandstone pilasters support a simple lintel. The only decorative
elements applied to the door surround are two simple sandstone
consoles. The stone doorway surrounds two cast iron doors[5]
faced with cast bronzes fronts. Each door features twelve panels.
The panels depict mythological figures accompanied by symbols. Zeus
is accompanied by an owl. Hermes is shown with a ship and the
caduceus (entwined snakes) a symbol of peace. Asclepius, the god of
medicine, is shown with his snake staff. The panels are surround
with embossed borders that contain symbols for commerce (ships),
plenty (hay stacks), power (eagle), and good luck (swastika).
The
bronze-framed sidelights are topped with a bronze cornice featuring
foliated enrichment. Two thick mullions rise from the cornice,
decorated with cast bronze spiral pilasters. The pilasters are
topped with stylized cat heads, above the cat heads sit fully
realized cast owls. The entire glazed frame is bordered with a
bronze band decorated solely with embossed stylized owl heads. The
bronze frames surrounding the doorway may have once held eighty
individual glass panes. An ATM now occupies a portion of the
sidelight to the south of the double doors. Large octagonal brass
lamps border the entrance. The lamps feature finials, red glass,
dentils, and borders embossed with the same symbols found on the
doors.
Below
the façade’s sandstone is a starter course of polished black
granite. The granite blocks on the southern part of the façade are
taller to account for the sloping grade.
|
Foundation Detail |
|
Facade Detail |
The
recessed entrance at 112 South Tryon gives access to the elevator
lobby for the tower. While the entrance for 110 South Tryon has
retained a high degree of integrity, the entrance at 112 has been
significantly altered with the addition of a bronze-clad awning
decorated with applied swags and prominent scroll brackets. The
original carved stone pediment may have been destroyed when a false
façade was added to the building in 1964.[6]
Surviving original features from entrance to the portico include a
robust architrave composed of white marble blocks pocked with fossil
inclusions and bordered with bronze rope trim. Consoles in the
architrave may be original. The large wall mounted lamps on either
side of the entrance do not appear to be original.
|
Detail of the entrance
to 112 South Tryon Street |
The
walls of the portico are clad in marble with a black and white
granite floor. A plaster ceiling with simple crown moulding may be
original. The portico shelters original brass, single-light, double
doors, with a large single-light transom, and topped with a brass
cornice with dentils.
|
Details of base
and balcony |
|
Above
the awning, two sets of original casement windows pierce the
three-story base. Above a simple triangular bed moulding, the
building's base section is capped by a narrow gray limestone balcony
that runs the width of the facade. Inspired by the seminal designs
of Louis Sullivan, the rectangular form of most early 20th-century
skyscrapers was divided into three distinct section: a base, a
shaft, and a capital. In the case of the First National Bank
Building, the narrow balcony serves as a distinct delineation
between the base of the building and the shaft. The limestone
balcony serves both as a differentiated cornice for the sandstone
base, and as a decorative base for the shaft.
The
colorful sandstone of the base transitions into the grey limestone
with a simple triangular bed moulding. Above the bed moulding,
modillions carved in the shapes of the head of Mercury as well as
lions and other beasts support the narrow balcony. The base of the
balcony is decorated with a low relief floral freeze featuring
beehives and topped with dentils. Above the freeze is a balustrade
composed of solid pillars separating carved stone panels with
acanthus leave arranged as balusters. It is at this level, the
fourth floor, that the regular and symmetrical fenestration that
characterizes the rest of the façade is established. Each of the
six bays contains a single two-light window. The windows each
feature moulded architrave and a cornice with dentils. Dentil trim
connects the individual cornices of the six windows and all of the
windows are topped with a single projecting band that forms a single
cornice that runs the width of the facade.
In
contrast to the base and the fourth story, the decoration applied to
the next eleven stories is minimal. Each of the six bays is
separated by plain pilasters that run uninterrupted to the sixteenth
floor. The windows rest on a simple stone sill and are topped
with a simple stone head, framing a plain stone panel over each window.
|
Facade Detail |
Ornamentation again appears on the sixteenth story with long stone
pendant-like corbels supporting a row of stone half-pinnacles
(pinnacles that lay against the building like a pilaster). Between
the corbels, each window is topped by a row of three flower
medallions. Above the medallions is a triangular bed moulding
topped with an angled nailhead band. The corners are topped with
decorative stone beehives turrets with pyramidal caps topped with
finials. The turrets are supported by gabled and stepped corbelled
bases with faux loophole windows.
On the façade, the top four stories are reduced to four bays which
are set back slightly from the lower stories. The setback appears
deeper because of the deeply corbelled cornice on the sixteenth
floor. On this topmost section of the building, the corners are
clipped, with a single bay recessed into each of the corners
adjacent to the façade. The clipped recessed corners are bordered
by Corinthian pilasters like those found on the building’s base
section. The windows in the facade of the top section are also
slightly more recessed than those below. On the twentieth floor,
the façade’s four window bays are topped with moulded half-round
arches containing a half-round stone panel. The arches are
separated by six-sided corbels that support five lion head
gargoyles. The carved heads are integrated into moulded cornice
with dentils. The cornice is topped by a stone corbel table
pediment featuring a round cartouche bordered with two grotesque
carved heads and a richly carved hood.
|
South elevation detail |
The side elevations of the First National Bank Building are quite
plain when compared to the façade. Originally three-story buildings
bordered the skyscraper, thus, for the first three stories the walls
of the skyscraper were sheathed with brick. Concrete panels topped
with a projecting cornice now cover the side elevation adjacent to
the square. At the sixteenth floor, the north side elevation
features a simple cornice without the enrichments or corbles found
on the façade. The cornice terminates in a third beehive turret.
Like the façade, the seventeenth story is setback from the cornice.
On the north side elevation the top four stories are three bays
wide. The side elevation is topped with a pediment with a corbel
table, but the pediment lacks the gargoyles and enrichments found on
the façade. The four-bay-wide south side elevation is even more simple, lacking
the sixteenth floor setback and the beehive turret found on the
north elevation.
|
Pediment on the north
elevation |
The National Bank Building’s three rooftop pediments hide a flat
roof and are supported by angled steel braces. A seven-sided brick
water-tank room is located on the roof near the façade. The water
tank has been removed. Also on the roof is a limestone clad
penthouse containing the machinery for elevators. The penthouse
features a concrete hipped roof covered with red terra-cotta tile.
A small sandstone tower that projects above the penthouse may have
housed flues.
INTERIOR
When the building was completed in 1926, it enclosed 160,000
square feet among its twenty stories. Much of the
interior of the building has been repeatedly re-modeled to suit the
needs of various tenants. Currently,
the vestibule for the 112 South Tryon entrance, the main and
secondary elevator lobbies, the board room, and some utilitarian
sections of the building have retained a high degree of integrity.
|
Entrance to Bank
Lobby from Vestibule |
The original, glazed, brass double-doors of the portico at 112
South Tryon lead to a vestibule that gives access to the bank lobby
at 110 South Tryon and to the elevator lobby for the office tower. The
floor of the vestibule slopes up toward the elevator lobby.
The pattern of white stone flooring with a black border found
in the portico is repeated in the vestibule with marble instead of
granite. The walls are
also clad in marble and are topped with a tall crown moulding.
Around a hanging light fixture the ceiling is decorated with
four concentric squares of applied moulding.
The deep doorway of that leads to the bank lobby contains a
replacement metal door as well as a brass security gate that
disappears completely into a wall cavity.
The jams of the doorway are faced with black marble,
and feature black-marble consoles.
The black-marble frame of the door is surrounded with a
moulded stone architrave, topped with a moulded stone cornice with
dentils. The doorway
leading to the elevator lobby is similar to the entrance doors in
the portico, except that the transom is shorter, and the brass
doorframe is surrounded by a moulded marble architrave topped with a
moulded stone cornice.
|
Elevator Lobby |
The elevator lobby is a narrow room containing a small stairway and
five elevators that serve the office tower.
The white marble floor with a black marble border is
continued from the vestibule. The
floor is topped with a black marble baseboard, and the walls of the
elevator lobby are clad with marble.
The ceiling of the lobby is divided into two sections by a
large marble-clad beam. The
front section of the lobby features a deep entablature.
A bed moulding is topped with a wide frieze with low-relief
foliated enrichments. The
cornice features dentils decorated with acanthus leaves topped with
a band of hanging triangles. There
may be more of the cornice hidden behind a drywall ceiling that now
covers ductwork. The
walls in the rear section of the elevator lobby are topped with a
simpler entablature. Dentils,
connected with a shape like a tudor arch, decorate the frieze and
are topped with moulded acanthus leaves.
Above the acanthus leaves runs a simple dentil moulding
topped with rope moulding. More
of the cornice may be obscured with drywall ceiling.
|
Elevator
Door |
The most prominent feature of the richly decorated elevator lobby
is the bank of five elevators. The
elevators feature identical pairs of brass door.
Each door contains four cast brass panels.
The top panel features a stylized depiction of the sun.
The lower panels feature a bird of paradise, a peacock, and a
dragon, all in a garden setting.
Each of the panels contains an identical foliated border of
entwined vines. The
elevator doors are surrounded with simple brass frames.
A tall, brass, illuminated elevator floor indicator is
located between the second and the third elevators.
|
Stairs in
Elevator Lobby |
The lobby also features four marble stairs and a small landing.
Past the landing the stairway has been blocked.
The landing and three of the steps are constructed of white
marble. A simple
cast-brass newel decorated with acanthus leaves supports a curved
brass banister. The
newel rests on scroll-shaped block of black marble.
The bottom step was cut from black marble and curves around
the newel. Two original
two-panel brass doors lead from the lobby into closets.
The lobby features a brass directory board topped with cast
acanthus leaves. A brass
screen below the directory board may have covered an air duct.
The lobby also contains a brass letterbox connected to the
upper floors via a brass and glass letter-shoot.
The rear of the elevator lobby gives access to the rear-wing
addition. The marble
floors and some marble wall cladding associated with the original
elevator lobbies have survived in each of the additional nineteen
floors.
|
Boardroom |
The boardroom has retained a high degree of integrity.
The room is paneled entirely with oak and features fluted
pilasters that border an original two-panel door.
The most prominent feature of the boardroom is a bank of four
twenty-four-light casement windows containing stained glass.
The windows are topped with eight-light transoms.
The two center transoms feature stained-glass depictions of a
medieval town and a sailing ship.
The stained-glass windows are protected from the elements by
original double-hung windows containing textured opaque glass.
The paneled walls of the boardroom are topped with dentil
moulding. However, more
mouldings may be obscured by a later wall-board ceiling.
The First National Bank Building has retained some original
utilitarian interior spaces. An
original stairwell contains a simple metal handrail supported with
metal posts. The
mechanical room for the elevators and the interior of the water tank
room are largely original.
|
|
Stairwell |
Elevator
Motor |
[1] Francisco Mujica, History of the
Skyscraper (Paris, 1929), p.21
[2] Dr. Dan L. Morrill, “Survey and
Research Report on the Independence Building,”
Charlotte-Mecklenburg Historic Landmarks Commission, 1977.
[3] Mary Kratt, Mary Manning Boyer,
Remembering Charlotte, Postcards from a New South City,
1905-1950 (University of North Carolina Press, Chapel Hill,
2000), p. 24.
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