Architects:
Architects that resided in Sioux City designed several of the residences found along Jackson Street. The following is background information on these designers.
Wilfred Warren Beach:
Born November 1872 in Alton, Iowa. He attended the University of Illinois from 1894 to 1898 and worked for Josselyn and Taylor of Cedar Rapids, before coming to Sioux City. By 1910, his primary work awas writing architectural specifications for architects in Chicago and New York City, and at one time he formed a partnership with William Steels. His mottos was, “better buildings in less time at lower costs.” Specializing in commercial and public buildings, Beach is credited with designing many prominent Sioux City buildings including Morningside College’s Lewis Hall, the Knaoo and Spencer warehouse (razed), Hunt School, and the First Church of Christ at 920 Jackson. Beach died in 1937 in Texas and is buried at Sioux City’s Logan Park cemetery.
Beuttler & Arnold:
Forming a partnership between 1912 and 1940, William Beuttler and Ralph Arnold formed one of Sioux City’s most prominent architectural firms. Beuttler & Arnold were credited with designing numerous significant buildings including the Masonic Temple, the U.S. Federal Building, Alee Gymnasium on the Morningside campus, numerous public schools buildings, and several churches including Trinity Lutheran Church at 12th and Jackson Streets.
Charles P. Brown:
Born March 1855 in Salem, Mass. He apprenticed in Boston until 1873 when he moved to Detroit to work with E. E. Myers who designed the Michigan State Capital Building. In 1886 he moved to Sioux City and in 1895 was placed in an asylum in Salt Lake City, Utah. His business was taken over by William McLaughlin. Structures that he designed include the Cathedral of the Epiphany, 1890 and 1891 Corn Palaces, the Krumann Block and the Peirce home at 2900 Jackson St.
E. W. Loft:
Born in 1854 in Dubuque, Iowa, E. W. Loft had no formal university or apprentice training. He moved to Sioux City from Cherokee, Iowa in 1881 and is credited with designing the Bay State Block, the Boston Block and the Plymouth Block in downtown Sioux City’s 4th Street Historic District. . He also designed the 1887 through 1889 Corn Palaces. He lived at 2101 Jackson. Upon Loft’s death in July 1890 of tuberculosis, Willam McLaughlin took over his architectural firm.
William D. McLaughlin:
Born May 1864 in Baltimore, Maryland. McLaughlin apprenticed under Baltimore architect E. G. Land before moving to Minnesota. In 1890 he came to Sioux City and formed a partnership with E. W. Loft. Notable accomplishments include the design of St. Joseph Catholic Church, Livestock Exchange Building (burned), Security National Bank (razed), and he Myius-Eaton house at 2900 Jackson Street. He committed suicide January 18, 1897.
William Labarth Steele:
Born May 1875 in Springfield, Illinois. He graduated from the University of Il;linois in 1896. Much of his training was in Chicago under famed architect Lewis Sullivan, who also trained with Frank Lloyd Wright. In 1904 Steele moved to Sioux City to work for, and later form a partnership with W. W. Beach. Steele designed dozens of homes and buildings, and many of these structures are now listed on the National Register of Historic Places. A few of his designs include the Woodbury County Courthouse, th eWilleges building in downtown Sioux City, and several of the city’s Branch Libraries. For a time he lived at 2512 Jackson Street. In 1928 Steele moved to Omaha and died in 1949.
Architectural Styles:
Jackson Street displays a wealth of architectural styles. To help you identify the characteristics that separate one from another, below the styles are listed by age. These are the common styles found throughout Sioux City. If you would like to explore these and others in more detail, refer to A Field Guide to American Houses by Virginia and Lee McAlester.
Classic Revival (1820 – 1880)
• Entry porch dominates the front façade
• Porch features simple columns and a prominate center gable
• A semi-circular or elliptical fan light occurs above the front door
• Windows are aligned horizontally and vertically in symmetrical rows
Stick (1860 – 1890)
• Wooden rail cladding (shingles or board) interrupted by patterns of horizontal, vertical or diagonal boards (stickwork) raised from wall surfaces
• Porches commonly show diagonal or curved braces
• Gabled roof usually steeply pitched with cross gables
• Gables commonly show decorated trusses at apex
• Overhanging eaves usually with exposed rafter ends
Richardsonian Romanesque (1880 – 1900)
• Stone walls with a rough, bumpy feel
• Arches over windows and entrances
• Towers with battlements
• Sometimes decorative stone carving such as flowers, leaves, animals
Queen Anne (1880 – 1910)
• Steeply pitched roofs or irregular shapes
• Patterned shingles
• Partial or full-width front porches
• Applied wood decorations & stained glass
Colonial Revival (1880 – 1955)
• Accentuated front door with decorative pediment
• Columns or pilasters
• Doors commonly have overhead fan window or side lights
• Door usually centered on front façade
• Windows with double hung sashes, usually with multi-pane glazing
Dutch Colonial Revival (1880 – 1940)
• Front facing gambrel roof (barn like roof)
• Nearly full second story
• Entrance usually symmetrical side-lights, sometimes beside door
• Entry porch supported by round columns
Italian Renaissance (1890 – 1935)
• Low pitched roof (flat in some examples)
• Roof typically covered by clay tiles
• Upper story windows smaller and less elaborate than windows below
• Arches common above doors, first story windows or porches
• Entrance area usually accentuated by small classical columns
Tudor Revival (1890 – 1940)
• Steeply pitched gabled roof
• Decorative (not structural) half timbering
• Tall, narrow windows, usually in groups and with multi-panes
• Massive chimneys commonly crowned by decorative chimney pots
• Exterior walls are commonly stucco, brick, stone or wood
Mission (1890 – 1920)
• Decorative dormer wall or roof parapet
• Red tile roof covering is common
• Square piers supporting front porch
• Exterior walls usually stuccoed
Prairie Style (1900 – 1920)
• Low, long appearance
• Low-pitched roof, gently sloping
• Widley overhanging eaves
• Often massive square porch supports
Foursquare (a sub category)
• Simple square or rectangular plan
• Low pitched roof symmetrical façade
• Entrance may be centered or off-centered
• Front porch usually extends full length of house
Craftsman or California Bungalows (1905 – 1930)
• Low-pitched, gabled roof
• Exposed roof rafters (rafter tails)
• Decorative braces commonly added under gables (knee braces)
• Porches either full or partial width with roof supported by tapered or square columns
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