Saturday, May 8, 2010

The Marine "A"

The Marine "A" (designed by AE Baxter Engineering and constructed by the James Stewart Company in 1925) is one of the four grain elevators that were recently purchased by a company that hoped to utilize them in the construction of an ethanol plant. Those plans have fallen through, and the entire area remains inactive, even those parts of it that had been functioning as recently as 2000.


As I mention on page 405 of American Colossus, when Orrin and I were last there, in 1992, "on one of the walls in the basement of the Marine 'A,' there [is] a very detailed, almost gentle multi-colored chalk portrait of the Standard Elevator, which sits across from the Marine 'A' on the Buffalo River. Accurate but not fussy about the details, this careful portrait was made by someone who either had a photograph to work from, or knew the Standard by heart. Such a portraIit could only have been made with adequate lighting, which hasn't existed in the basement of the Marine 'A' since 1965, when the elevator was closed down and abandoned."

Note: those aren't spires that one seems to see along the top of the elevator; those are Y-shaped spouts, seen in relief. (When you see Orrin's pictures of the Standard Elevator, which I will post in the next few days, you'll see what I mean.)


On this, the side of the Marine "A" that faces the water, Orrin has captured one of my attempts at graffiti art. It says, Ruin of the modern spectacle. The ruined structure that dominates the picture is the bottom of one of the elevator's two mobile marine towers ("loose legs").

The Wheeler Elevator (aka Agway/GLF)

Now I'll turn to grain elevators that haven't been demolished, but may no longer be accessible to photographers. It seems fitting to begin with the Wheeler Elevator (built of out of reinforced concrete in 1909), which lies at the heart of the completely abandoned complex formerly owned and operated by Agway/GLF, because back in 1992 -- when Orrin Pavan and I snuck into the place and wondered around it for almost three hours before someone discovered our intrusion and asked us who we were -- we were told, "It's a good thing you're leaving, because if our guard dog gotta hold of you, you'd be in trouble right now." Or something like that.


In the photograph above (not taken by Orrin), the original 1909 bins plus the original marine tower (thus one of the oldest marine towers in Buffalo) appear -- if the whole complex can be likened to a baseball diamond -- at "home plate." At "first base" we see the flour mill (and more concrete grain bins that lead back from the tower) that were designed by AE Baxter and constructed by James Stewart in 1936. And at the "second" and "third bases," we see the huge annex designed by AE Baxter and constructed by Hydro in 1942.


Orrin's picture (above) finds us inside the marine tower, where we see parts of the machine's wood-and-rope drive system.

The H&O Oats Grain Elevator

I might as well as continue in the direction of grain elevators in Buffalo that have been destroyed in the last few years: around the time that the Wollenberg burned down, the steel-binned H&O Oats Elevator (designed by HR Wait & Monarch Engineering in 1931) was razed to make room for a casino that still hasn't been built yet.


As I mention on page 405 of American Colossus, when Orrin and I visited the H&O Oats in 1992, the basement was permanently flooded. And, although someone had laid out a series of bridges that allowed passage to the stairs that in turn led to the top of structure, we decided to go no further than the vantage point at which Orrin took the picture above.

Friday, May 7, 2010

The Wollenberg Grain Elevator and Feed Mill

Built in 1912 out of the wood salvaged from the old Kellogg "B" Elevator (which itself dated back to 1892), the Wollenberg Grain Elevator and Feed Mill managed to stay in business until 1987, when it suddenly closed and was abandoned. In 1990, the Wollenberg -- the only wood-binned country elevator in Buffalo -- was selected for documentation by the Historic American Engineering Record (HAER), and in 2003 the Wollenberg was placed on the National Registry of Historic Places.

Despite these honors, the Wollenberg was never properly cleaned or secured by the City of Buffalo. In point of fact, it was one big firetrap: filled with piles of flour, grain dust and feed. On 1 October 2006, the Wollenberg was partially destroyed by a fire of uncertain origin; on 3 October 2006, whatever remained was torn down by the City of Buffalo.

In 1992, Orrin Pava and I visited the Wollenberg. These are the photographs that Orrin took.

Grain dust (and cobwebs) cover the machinery inside.


Piles of raw grain dumped on the floor.


Looking down into one of the wooden grain bins. Bags as well as raw grain are at the bottom.


Spouts in the ceiling.

Good news, everybody!

During a recent trip to Buffalo, New York, my dear friend Orrin Pava gave me DOZENS of photographs that he took during our grain elevator explorations in that city during 1991 and 1992. In the coming days and weeks, I'll be posting scans of those exciting pictures to this blog. You will see it was worth the wait!

Monday, April 26, 2010

The Superior Elevator in Buffalo, New York


The Superior Elevator in Buffalo, NY, circa 1925. Photographer unknown. Built in three stages by the A.E. Baxter Construction Company and H.R. Wait and/or the James Stewart Construction Company, the Superior used two electrically powered marine towers ("loose legs") and could store up to 3.7 million bushels. Note that these loose legs were restricted to the Superior "A" (built in 1915), and that both the Superior "B" (built in 1923) and the Superior "C" (1925) had to built at an angle to the original structure to accommodate one of the many twists and turns in the course of the Buffalo River.

Montreal, circa 1925



At left, electrically powered mobile marine towers ("loose legs") in Montreal, circa 1925. Photographer unknown.

Buffalo, circa 1900




A picture looking up Main Street, Buffalo, NY, in 1900. Photographer unknown. At the left, the Brown Elevator. At the right, moving from left from right, the Wilkeson, the CJ Wells, and the Sternberg Elevators. All of these grain elevators were designed by Robert Dunbar (the true inventor of the mechanized grain elevator), constructed out of wood and powered by coal-burning steam engines.

Thursday, March 11, 2010

Sales March 2009 to March 2010

This blog debuted exactly one year ago today to publicize the existence of American Colossus: the Grain Elevator 1843 to 1943, the first book-length history of the American grain elevator. To date, the book has sold 77 copies: 18 copies through www.lulu.com, 21 copies through www.amazon.com, and 38 through Colossal Books, which published the title and will be offering a second, expanded edition of the book later this year.

Thursday, February 25, 2010

Feedback on presentation at GEAPS 2010

Audience response:
We had 65 attendees, 94% completed the evaluation.

How would you rate the quality of this session overall?
Excellent 34%
Good 57%
Fair 8%
Poor 0%

How interesting was the session?
Very 70%
Somewhat 30%
Not at all 0%

How useful will it be at work?
Very 16&
Somewhat 37%
Not at all 46%

Was the session?
Too tech 1%
Not enough 10%
Just Right 89%

To what degree did it improve your understanding?
Very 36%
Somewhat 52%
Not at all 12%

How would you rate your speaker?
Excellent 41%
Good 52%
Fair 7%
Poor 0%

Should GEAPS offer this as a webinar?
Yes 32%
No 62%

Comments:
Good history of the industry.
Very interesting session, no operations benefit, but fun to learn about the history of the industry.
Very interesting historical background.

Text of presentation at GEAPS 2010 Wichita, Kansas

The History of the Grain Elevator
by William J. Brown

I was born in a place where a huge grain elevator stood and, indeed, still stands. The elevator was built back in the 1920s. As a child, I used to see it often, riding in my parents' car on the way to Grandma's house. Many years later, I went to graduate school in a place where there were (and still are) over a dozen grain elevators, one or two of which are among the most active facilities in the USA. I became fascinated by grain elevators, and spent several years reading about them, looking at old pictures of them, exploring the abandoned elevators and getting guided tours of the ones that were still working. Eventually, I wrote American Colossus, which is a book about the history of the American grain elevator between 1843 and 1943.

Now, without reading any more, you might assume that I was born and went to graduate school somewhere on the prairies, in the American Midwest or Canada. Certainly somewhere in or near the great wheat/corn/soybean belt that is the geographical center of our great nation and this extraordinary continent. But in fact I was born in Brooklyn, New York, and went to graduate school in Buffalo, New York. If you are surprised by this -- and clearly I am hoping that you are -- it is probably because Brooklyn and Buffalo are big cities, not small towns or villages, and because both cities are centers of industry, not agriculture. To give this hoped-for surprise a voice: "What would a city boy know about grain elevators?"

Now, generally speaking, city boys and girls know very little or nothing about grain elevators; indeed, the very words "grain elevators" are often foreign to their ears. And this is because city folks on the West, East and Gulf coasts of the USA live at the terminals of the torrential streams that bring hundreds of millions of bushels of grain (and all of the many products that are derived from it) from farms in small towns in the American Midwest to supermarkets, bakeries, liquor stores and gasoline stations everywhere else. By the time all or any of that grain has reached the city folks, the grain elevators have already done their work, and so they escape notice. Of course, there are grain elevators in the big cities (port cities, especially), but these facilities generally ship grain overseas, and so the average big-city coast-dweller doesn't know or doesn't need to know what those huge, odd-looking buildings are, or how they fit into the international "grain stream."

OK, so I'm "unusual" for a city boy: I know all about grain elevators; in fact I wrote "the book" about them! Humorous though it might be, this little pleasantry isn't the real punch-line of my story. My real punch-line is the fact that the grain elevator itself was invented in a major city (in Buffalo, New York, as a matter of fact), and not in a rural town. Despite our expectations, the grain elevator was invented more than 160 years ago in an urban transshipping hub and in the middle of the grain stream, and not at the beginning or the "well-spring" of that stream. How and why did this happen?

Technically speaking, the first grain elevators -- that is to say, the first steam-powered bucketed conveyor-belts -- were used by Oliver Evans, an inventor and businessman in Maryland who started using them in his flour mills in the mid-1780s. The idea was both simple and brilliant. Evans could have used the new invention (the wood-burning steam engine) to move grain to and from the millstones on horizontal belts, which would have required his flour mills to be big and wide enough to encompass all that machinery. Instead, Evans used his conveyor belts to "elevate" the grain vertically, to the top of the mill, from which the force of gravity alone was needed to conduct the grain down to the millstones and then down from the millstones to the barrels in which the flour was sealed. Not only did Evans' top-down flour mills function much more rapidly and efficiently than "traditional" mills (which were powered by water currents, the wind, or teams of horses), but they also didn't take up as much space as their predecessors. They were tall buildings, not wide ones, and thus well-suited for locations near water (rivers, lakes or oceans), where the demand for space is always much higher than elsewhere.

In 1865, looking back on the history of the invention that he claimed was his, and his alone, the Buffalo-based merchant Joseph Dart, Jr. was paradoxically explicit in his debt to Oliver Evans. In his address to the Buffalo and Erie Historical Society (BECHS), Dart stated: "Indeed, the building I then erected [in 1843] may perhaps be called the parent, not only of the Bennett Elevator [built in 1863 on the site previously occupied by the Dart Elevator], but of all others; for I believe it was the first steam transfer and storage Elevator in the world. It was the first Elevator in the world. It was the first successful application of the valuable invention of Oliver Evans to the commercial purpose for which it is now extensively employed."

For Dart, who had been out of the grain business for years before the historic elevator that bore his name burned down, this acknowledgment of Oliver Evans had two purposes. Dart not only wanted to help historians trace the history of the invention that, by 1865, had transformed Buffalo into the biggest grain port in the world. He also wanted to lobby in favor of granting a patent for the device called "the grain elevator" to one Joseph Dart, Jr., of Buffalo, New York. Oliver Evans had been awarded a patent, and so should Joseph Dart, Jr., too, because "an inventor's merit consists not merely in conceiving an idea of a machine, but also in overcoming the practical difficulties of its successful operation [...] It is worthy of remark that some of the most useful inventions have not been discoveries of new principles or methods of mechanical action, but new applications of methods and principles already known."

But Dart was never granted a patent for the "grain transfer and storage elevator." One can easily see why. Despite his claim to personally "overcoming the practical difficulties of [the elevator's] successful operation," Dart's address to the BECHS contains nothing about the construction, mechanics or day-to-day functioning of "his" grain elevator. The people who really knew about these subjects were Robert Dunbar, the mechanical engineer who both designed and built the Dart Elevator, the Bennett Elevator, and many others in Buffalo and elsewhere in the USA, and William Wells, the superintendent of the Dart Elevator and several others in Buffalo.

Far from being without interest, Dart's self-serving address to the BECHS is full of information about the rapid increase in the grain trade through Buffalo between 1831, when the first grain-bearing brig arrived from Chicago, and 1845, when the Dart Elevator was doubled in size and capacity to accommodate the ever-rising demand for "transfer and storage" services in that city. Why was Buffalo so important? Because of its unique geographical location: at the eastern end of Lake Erie, and thus reachable from anywhere on the Great Lakes, which is the single biggest system of lakes in the world; and at the western end of the Erie Canal, and thus reachable from Albany (and points east, such as Boston), the Hudson River and New York's Harbor. Completed in 1825, the Erie Canal was, at first, an east-to-west route for immigrants, pioneers and settlers who were heading out to Ohio, Indiana, and Illinois. Soon afterwards, and thanks to the great productivity of the farms in the new "West," the Erie Canal became a two-way conduit: people and manufactured goods traveling from East to West; but also grain (flour in barrels, and wheat in sealed sacks) being shipped from West to East, that is to say, from farm to market.

An in-land port city, Buffalo also had a problem. The vessels that navigated the Great Lakes were too large to sail through the Erie Canal, and the boats that traveled the Erie Canal were too small to sail on the Great Lakes. And so, the grain that came into Buffalo had to be transshipped, that is, unpacked from the lakers, temporarily stored on the docks, and then packed up into the canal boats. As late as 1842, this transshipping was accomplished by the oldest and most labor-intensive of technologies: a block-and-tackle, and teams of stevedores, who would do most of the carrying of the barrels and sacks on their very backs. It was a very slow process, and often times required as much as a week to transship a single shipment of grain (approximately 3,000 bushels). But by 1842, when Buffalo began to receive a million bushels of grain from in-coming lakers, it was clear that this method had become obsolete. The answer, certainly, lay in mechanizing the transshipping process, just as agriculture had been mechanized by such inventions as Cyrus McCormick's steam-powered reaper (1831), the Pitt Brothers' steam-powered thresher (1834) and John Deer's steel-tipped plow (1837).

Here Joseph Dart, Jr. had no choice but to turn to Robert Dunbar, who had been working on the problem in nearby Black Rock, New York. A trained mechanical engineer, Dunbar had tried water mills to power his elevators. (A miller from Black Rock named Mahlon Kingman had tried teams of horses.) But these were only experiments. Over the winter of 1842-1843, Dunbar -- working under the auspices of Joseph Dart, Jr. but using his own designs, his own iron foundry and his own hands -- constructed what came to be known as the world's first "marine tower." Called marine because it faced the water (Buffalo Creek), this tower was a tall, thin box made of heavy wood timbers. Inside of it, the conveyor-belt was stored horizontally, just as the elevators at Evans' flour mills were. Powered by a wood-burning steam engine and enclosed in its own wooden tube, the elevating device was called a leg because, when lowered out of the marine tower, the apparatus appeared to "step" out, down and into the hull of the grain ship that was docked in front of it. The buckets that were attached to the conveyor belt (later called "Buffalo buckets") could each store a quart of grain. Dunbar did some experimenting before he finally got the number and spacing of the buckets right. When the leg was lowered into a ship's hull, these buckets bit into the piles of grain in bulk stored therein, and elevated it to the top of the marine tower, where the grain was expelled from the "leg" and collected separately. Because it had been elevated in this fashion, the grain could then be sent -- using nothing but the force of gravity -- to a canal boat, which was docked underneath the structure, or to the top of the "mainhouse" of the elevator, where the grain was stored temporarily in tall, rectangular bins. When it was needed, the stored grain was conducted by gravity down from the bottom of the bin into a "boot," from which the grain was then elevated by another steam-powered leg (called a "lofting leg" or simply a "lofter" to distinguish it from the marine leg) to the top of the tower. From the tower, the grain was then conveyed by gravity down into a canal boat or horse-driven wagon, depending on who the ultimate purchaser was. (Later, with the coming of the railroads, the marine tower could also dispatch grain into a shed and the cars of the trains that had pulled into it.)

On 12 June 1843, the Dart Elevator serviced its first vessel, the schooner Philadelphia, which brought 4,515 bushels of grain in bulk from Chicago. A cheap but remarkably indirect route, which took as long as a month to complete: all the way up Lake Michigan, all the way down Lake Huron, and then all the way across Lake Erie! The grain from Chicago was transshipped from the Philadelphia to canal boat in a single day, which was almost seven times faster than a "traditional" grain warehouse could manage. Over the course of the 1843 shipping season, the Dart successfully unloaded a total of 229,260 bushels of grain from more than 70 different vessels. Indeed, the Dart was so successful that, just two years after its opening, its storage capacity was doubled (a total of 110,000 bushels) and a second marine tower was added. It was clear: Buffalo's transshipping problems could be solved if another half-dozen of these elevators were built there. Together, they could easily accommodate the millions of bushels that the Port of Buffalo was receiving every year. By 1852, Buffalo's harbor was indeed filled with such elevators, as well as floaters (grain elevators placed on small ships) and transfer towers (elevators without storage bins accompanying them).

But the grain elevator was not an invention that was adopted immediately and universally. Indeed, it wasn't until 1846 that other grain elevators were built in Buffalo, and it wasn't until 1847 that "Buffalo-style" grain elevators were built outside of that city. What accounts for the delay? It seems there were a great many factors, including the costs of construction, the difficulty of obtaining credit, the absence of plans or designs for constructing a good grain elevator, the limited demand for grain in bulk, the different ideas of what a "bushel" meant, the resistance in the local community to "time-saving devices" that put people out of work, the absence of a local flour-milling industry, and the uncertainty and chaotic nature of the grain trade itself (no telegraph lines, no "to arrive" contracts, no futures markets, no standardized grain-grades, etc). In fact, it was only in the 1850s that the basic conditions for the widespread adoption of the transcontinental grain elevator system were finally met. The key development was the universal adoption of the switch-over from shipping grain in sealed, burlap sacks to shipping grain in bulk. Once this switch-over was accomplished, grain elevators weren't merely helpful in dealing with exceptions (shipments that weren't in sacks or shipments of grain other than wheat); they were necessary for conducting business on an everyday basis.

The beginnings of the interlinked grain elevator system of today can be seen in the locations of the world's second and third steam-powered grain elevators, which were constructed by Robert Dunbar in 1847 in Toledo, Ohio, and Brooklyn, New York. The line that stretched from Toledo to Buffalo to Brooklyn moved grain along an all-water route from the interior of the country to one of its primary coastal marketplaces. Along this line, the grain had to be transshipped three times: from horse-driven wagon or canal boat to lake vessel at Toledo; from laker to canal boat at Buffalo; and from canal boat to wagon, rail car or ocean-going vessel at Brooklyn. In time, this line would be extended west to Chicago, Illinois, where a steam-powered elevator was built in 1848, and east to Oswego, New York, where one was built in 1851.

Thanks to this interlinked system of grain elevators, America was able to develop its enormous agricultural potential. Grain that was grown for profit could now be transported more easily, more cheaply and much further than ever before. These advances in transportation meant greater profits for both grain growers and grain dealers. Greater profits in turn meant that more land could purchased and turned into farmland, and more and bigger markets for grain products could be constructed. Both enterprises required human labor, which meant that more people would be able to move "out west" and find jobs . . . as grain-growers, grain-transporters or grain-dealers. As a result, more grain was grown and . . . the cycle began anew. And so let us say, in word: America had grain, but it was the grain elevator that turned that grain into power: grain power.

It was through the British that American grain elevators came to dominate the transshipping practices of the world. Because it had long nourished itself on bread made from wheat, and because it was becoming increasingly dependent on American wheat after the abolition of its Corn Laws in 1846, England was one of the first countries to start switching-over from grain shipped in sealed sacks to grain shipped in bulk. It appears that the first American-style grain elevators to be used in England were floaters: one of them was in fact towed clear across the Atlantic Ocean in the 1880s. Once in England, this elevator was studied and copied by British engineers, who began building their own floaters. Thereafter, the "American Elevator," as it was known, was sold off to the Belgians, who successfully used it in their harbors. Around 1905, floating elevators were first introduced in Holland. But it wasn't until the 1910s, when reinforced concrete became the primary material out of which grain bins were made, that huge land-based elevators were built in Western Europe, Russia and India. At first, their bins were shaped like rectangles, not cylinders. Eventually, or rather, after ravages of World War II, truly American-style elevators (cylindrical silos and all) were built in Europe and elsewhere in the world.

Between 1843 and, say, 1943, grain elevators in America underwent several significant changes. With the change-over from wood to coal as the source of fuel, the steam engines inside these elevators became more powerful and the machines they powered became even faster and more efficient. Storage capacities grew from around 100,000 bushels to nearly a million bushels per elevator. Another major change-over came at the end of the 1890s, when the availability of electrification brought about the obsolescence of the steam engine. To answer the challenge of this new, "cleaner" and more-modern form of energy, and to take advantage of the lowered insurance rates that were offered to operators of electrified grain elevators, designers and builders experimented with a number of building materials other than wood and iron: tile, steel, and reinforced concrete. As a result of all this experimentation, grain elevators -- or, rather, the buildings that enclosed them, as well as the buildings that stored the grain -- began to look very different from the Dart Elevator and the ones that were built in the 19th century. The chief difference was the visual appearance of the grain bins: they were no longer stored within a larger structure (the "mainhouse"), but instead stood alone, on their own.

During and after World War II, the construction and technology of grain elevators changed once again. At some grain elevators, the storage bins were no longer compartments, as they had been since the time of the Dart Elevator, but single rooms capable of storing a million bushels each. At other grain elevators, the machines were no longer housed in buildings of their own, but were -- like the grain tanks they serviced -- freestanding structures, fully visible to the eyes of passers-by. At still other elevators, external conveyor-belts were no longer necessary, because some sailing vessels had machines aboard that did the unloading themselves. Indeed, some "grain elevators" were no longer grain elevators, but grain blowers (or grain suckers, if you prefer): machines that transship piles of grain in bulk by vacuum cleaners and pneumatic tubes, not buckets and belts.

Generally speaking, the old American classics of the 1843 to 1943 era have been destroyed, either to make room for newer facilities or to simply remove a troublesome eyesore or "attractive nuisance," as the lawyers say. In some places, especially in small rural communities with a strong sense of municipal pride, the old classics (the "country elevators") have been turned into museums. In other places, the old classics of the reinforced-concrete variety have been transformed into climbing gyms, planetaria, hotels, and condominiums. Paradoxically, it is only in poor communities -- places like Chicago, Cincinnati and Buffalo -- that classic elevators still stand, but only because they haven't been demolished yet, not because they have been "saved" from demolition.

Quite obviously, we can learn from a great deal from the past. In the course of my research, I have compiled this list of "lessons" that might be useful for the future.

1). In America, the order of development has not the same as it was in Europe, where the rural village existed long before before the big city. In America, the small town and the big city were built at the same time. A "big city" could spout up anywhere, even in the middle of the wilderness. Likewise, big cities collapse and end up looking like wildernesses again.

2). Unlike the production of grain, the grain trade doesn't necessary originate with or even follow the contours of the land. Generally speaking, the grain trade follows the opportunities offered by current business conditions. And so, the grain trade can embrace or abandon a place -- even the very same place -- with equal rapidity and coldness once an opportunity arises.

3). Though the "givens" of the natural environment play a large role in determining the success or failure of a local enterprise, one shouldn't forget that the natural environment can be modified, sometimes quite substantially. And so the question isn't, "Who has access to the best resources?" but "Who can imagine how those resources could be put to use?"

4). There is no such thing as a "pure" invention. All inventions are built upon the work of others. There is certainly something "original" in an invention, but it lies in its imaginative use of something else, something that pre-exists it. This suggests that there are no solitary inventors, no "isolated geniuses," and that inventions are always the work of a team of individuals (at least two of them).

5). The beginnings of modern industry, globalization and other apparently contemporary phenomena are much earlier than we might believe. They all seem to start in the 1840s, not later (the 1880s, the 1920s, or the 1940s). This might help us today, when it global capitalism is undergoing its worst crisis since the 1930s.

6). Despite the widespread notion that most industries strive to produce just enough "quality" or "excellence" to survive, but never strive to produce real excellence for its own sake, many of the grain elevators of the classic period were truly excellent architecture. They were very well-built, and they were very striking to look at, even if the viewer couldn't decide if they were spectacularly beautiful or spectacularly ugly.

Friday, January 1, 2010

Presentation in Wichita, Kansas, 22 February 2010

From 2-3 pm on Tuesday, 23 February 2010, I will be giving a presentation at the Grain Elevator and Processing Society's 81st Technical Conference and Trade School, which will be held at the Century II Performing Arts 
and Convention Center
 in Wichita, Kansas. Entitled "The Mechanized Grain Elevator: How Did We Get Here?" my presentation will be part of a session coordinated by Kathy Reading, Vice President of Sales at the Seedburo Equipment Co., Des Plaines IL.

The mechanized grain elevators of today have their roots in American history. This session, by the author of a new book, will discuss how we got here, and why an understanding of the past may be useful to us in the future. What necessities led to the invention of the mechanized elevator? How did it work?  How did grain elevators become so important to the development of the U.S.? How did they influence grain handling in other countries? And what happened to the old American classics?


For more information, visit GEAPS Exchange 2010.

Sunday, December 20, 2009

Mark Sommer reviews my book

“American Colossus: The Grain Elevator, 1843 to 1943,” is a provocative, thought-provoking and informative must-read for grain elevator aficionados.

Most Buffalonians today know these hulking structures as largely dilapidated ruins, detached from the critical role they once played in bringing prosperity to Buffalo, the city of their invention in 1843.

The book—so named by author William J. Brown for the elevators’ towering bulk and unapproachable facade —examines them and their forgotten role in developing Buffalo and the nation over a 100-year period.

Brown became interested in writing “American Colossus” while pursuing master’s and doctorate degrees in American literature at the University at Buffalo in the 1980s. The freewheeling book—exhaustively researched and amply footnoted, but weak in the proofreading department—doesn’t hesitate to add an unlikely array of voices to Brown’s ruminations, from Zane Grey and Karl Marx to Thomas Hobbes and William Shakespeare.

The author acknowledges a debt to the late architecture critic Reyner Banham, and repeatedly refers to “A Concrete Atlantis,” his landmark 1986 book on grain elevators. But Brown is sure to ruffle feathers by bludgeoning the revered former chair of UB’s School of Architecture for errors in scholarship.

Brown frequently cites and sometimes spars with Banham’s work while examining how the grain elevator came to be embraced by European Modernists and influence the Bauhaus style of art and architecture.

“American Colossus” is available at www.amazon.comand the Buffalo& Erie County Historical Society. It includes an appendix that lists some 122 grain elevators once in Buffalo, of which only about 15 remain. —Mark Sommer

Buffalo News, 20 December 2009.

Thursday, November 5, 2009

R. Alan Wight reviews my book

American Colossus represents a unique weave of important, but often unconnected threads of American Imperialism. From waterways and railroad monopolies to oil conglomerates and Cargill, Brown discusses the evolution of the modern American grain transportation and storage system. His poetic narrative illustrates how the American Colossus (the grain trade) is used as an economic force to export the American diet and culture, along with our particular form of hegemonic capitalism. This project on the grain “system” of market dumping and local farmer destabilization that threatens our planets ecological stability goes hand in hand with the work of prominent authors such as Dr, Vandana Shiva, Michael Pollen, and Bill McKibben.

Brown walks the reader through the history of the grain elevator. He poses important questions about the classification of these hybrid “building-machines,” traces the many architectural and industrial innovations brought together to “fire proof the tinderbox,” compares and contrasts the architectural and systematic differences of America to Europe, and does this all by neatly structruing his arguments on the shoulders of such renowned historians as R. Banham and W. Cronon. Also, Brown challenges existing historical works for their accuracy regarding pictures and names of grain elevators.

In addition, this research uses poetry, cultural mythology, and religion, with a hint of autoethnographic material to relate the beginnings of our American Colossus to the reader. Brown’s voice can be heard loud and clear has he describes his first hand experiences exploring the now silent, hybrid building-machines of Buffalo, NY. From the huge grain elevators admits our concrete metropolises, to the skyscrapers of the plains, to the thousands upon thousands of local nodes spread across this vast continent; Brown uncovers one of the foundations of our Modern American Empire.

-- R. Alan Wight M.A., Sociologist, University of Cincinnati

Monday, October 26, 2009

Henry Baxter reviews my book

AMERICAN COLOSSUS
William J. Brown
Colossal Books

This book reviews one chapter in mankind's oldest industry, the processing and storage of grain, which extends at least back to 9500 BC.

The story is taken up in 1842 with the building of Dart's grain elevator which was the first storage and transfer grain elevator powered by a steam engine. This innovation reduced the number of workers by 80%, speeding up the process of transferring grain from lake boats to canal boats and so solving a serious congestion problem in the Port of Buffalo. This, combined with the Erie Canal, permitted rapid development of the Midwest and the Port of New York. The trade increased from 1,500,000 bushels in 1841 to 20,000,000 bushels in 1854.

By the standards of the day these elevators were huge, up to 200' long by over 100' high, with almost no windows or doors, and painted black resulting in an almost sinister look. In the words of English visitor Anthony Trollope, "The grain elevator is as ugly a monster as has yet been provided," an so we learn the source of "Colossus" in this book's title.

This book also considers the influence of Buffalo's grain elevator designs on European architecture. For instance German architect Walter Gropius visited Buffalo and was so impressed by the almost pure functionalism of Buffalo's elevator designs that he used the idea at his Bauhaus School of Architecture which produced designs of great simplicity and elegance.

The principal promoter of the idea that Buffalo’s elevator designs greatly influenced European architecture was Reyner Banham, Director of the School of Architecture at the University of Buffalo. Banham in his book “A Concrete Atlantis” compares the elevator designs to those of Richardson and Wright. Brown however is critical of “A Concrete Atlantis” due to its many factual errors.

A useful appendix lists every grain elevator ever built in Buffalo. 140 are included to which in fact a few more should be added. One of them, the Cargill (Urban Mill) elevator, consisted of 4 free standing steel bins serviced by bucket elevators and conveyors which were not in enclosures. So this elevator did not include a building. And you wonder what the German architects would think of how the purely functional approach which produced the buildings they so admired went a step further and eliminated the buildings themselves.

-- Henry Baxter

Western New York Heritage, Volume 12 Number 3, Fall 2009, p.18-19.

Wednesday, September 2, 2009

Availability through Amazon.com



American Colossus: the Grain Elevator, 1843 to 1943 is now available from Amazon.

Wednesday, August 26, 2009

Diet Soap interview




In March 2009, I was interviewed at length on the telephone by Doug Lain. This interview has just been "podcast" and can now be heard on the "Diet Soap" website. Doug also conducted an interview with me by email, which has been available here here since 18 March 2009.

Friday, August 21, 2009

The Consolidated Grain & Barge Co. grain elevator in South Cumminsville, Ohio





Today Isaac took me to the grain elevator formerly operated by the Consolidated Grain & Barge Company in South Cumminsville (west part of Cincinnati). It was a remarkable experience and seems to have laid the groundwork for future collaborations between us.

In ruins since October 2008, when the "top" or northern section of the structure was demolished, this grain elevator (photographed from ground-level by Joe Wessels and from space by Google Maps' satellites) is quite an oddity: it stands in complete isolation. (For more photographs of the elevator before and during this stage of demolition, visit the Queen City Disco.)

As one can see, it was once a large facility, built in at least two stages, and probably capable of storing more than two million bushels of grain in bulk. The elevator is in fact so big that one might suspect that it was originally built to receive grain for a nearby flourmill, animal-feed mill or brewery that was subsequently demolished. Positioned along the banks of Mill Creek, the elevator was in fact built to transship grain from rail cars (farms in Indiana and Ohio) to barges (markets in St. Louis or News Orleans). But there are no barge-loading facilities (nor ruins of them) on the water-side of the elevator. Furthermore, on the elevator's other side (the one visible in Joe Wessel's photo), there is only a single track laid down by the old Cincinnati, Hamilton & Dayton Railroad. Such a massive elevator would normally service a train shed into which four or five train tracks or "spurs" would feed.

Not surprisingly, there is very little public information about the Consolidated elevator, which bears no corporate signs or logos upon it. Its address, 3180 Beekman Street, is no longer listed. (Try 3100 Beekman, instead.) In 2000, a photographer named Casey Walker wrote that "In the background, under the viaduct, [there] is a very big grain elevator. From closer I could see huge cracks in the concrete grain elevator; I heard that it had failed as soon as it was built and was never used." Never used? Impossible. The blue plastic (!) grain-bucket that I kept as a souvenir of today's visit still had grain in it. But this fellow was certainly responding to something that is really there: this particular grain elevator is remarkably isolated from its surroundings, a true island.

Based upon my preliminary research, it seems that the first section (now destroyed) was probably built as a rail-to-barge transshipping elevator in the 1920s or 1930s, used for a while, and then abandoned in the 1940s, when the Queensgate rail terminus was built on the other side of Mill Creek. Perhaps the second section was constructed in the early 1970s, right after the formation of the Consolidated Grain & Barge Company (known today as "CGB Enterprises"). The entire facility was abandoned in 1993, when CGB transferred its operations to a facility at 3164 Southside Avenue, which is on the Ohio River, and not a narrow, minor tributary to it. Despite being left out in the rain and snow to rot, the elevator's second section is still in remarkably good condition. Though someone has taken care to prevent access to anything that might serve as stairs to the top, the reinforced-concrete structure itself is as handsome and solid as ever.

Saturday, August 15, 2009

Where to buy a copy

American Colossus still isn't available on Amazon, but I'm sure it will be by October of this year. In the meantime, you can still buy it through Lulu. The price will be the same ($29.99) in either case.

To date, 34 copies of the book have been sold. Two-thirds of them (22 copies) were purchased by Colossal Books (which re-sold 15 of them and gave 7 of them away to potential reviewers); and one-third (12 copies) were purchased by others through Lulu. To all those people who have bought a copy of American Colossus: thank you very much!

Thursday, May 21, 2009

Adaptive Reuse: A Practical Proposal

On pages 401-404 of American Colossus, I discuss the various ways in which grain elevators that have recently been abandoned by their owners can be "adaptively reused," that is, not used as grain elevators or grain-storage warehouses, but as something else. As I've noted before, the most common way to adaptively reuse a grain elevator is to transform it into a home, a house or a hotel. Old grain elevators have also been transformed into in-door rock-climbing facilities, planetariums and museums about grain elevators.

But what about grain elevators that have been abandoned and become derelict, even dilapidated? These are buildings that can't be reused without first spending massive amounts of money to clean them out, fix whatever damage has occurred, re-wire them for electricity, etc. On the other hand, these are, generally speaking, large buildings made of reinforced concrete, which means they are expensive to demolish. But be demolished they must, that is, if the land upon which they stand is to be sold to a buyer who doesn't want to adaptively reuse an old building, but build a new one.

Such is the "stand-off" or state of paralysis one sees in Buffalo, New York. The waterfront area is full of long-abandoned elevators made out of reinforced concrete. As time goes by, they continue to rot, get vandalized, etc. Though there are many individuals, groups and institutions in Buffalo who are involved in the documentation, appreciation and lamentation of the passing of the city's grain elevators, few of them are able to come up with truly practical solutions to the problem of adaptively reusing ruined buildings.

(Not all of the elevators in Buffalo are in the dilapidated state that renders the Superior, the Concrete Central, the Great Northern and the Connecting Terminal difficult, if not impossible, to reclaim. But those that remain in or near operable condition are more likely to be sold to ethanol-producers than reused as houses or museums, for which there is much less market demand.)

When the city has proposed or agreed that one of Buffalo's abandoned and derelict elevators be destroyed -- in the hope or with the contractual provision that the buyer of the "cleaned" property builds something valuable to the community on it -- the "preservationists" have found themselves in an untenable position. They had have no workable proposals for what to do with the Eastern States, Meyer Malting, Kreiner Malting, and, last but not least, the H & O Oats, all of which have been demolished since 2000, but without being replaced with a "new" building of any kind. The worst of both worlds: no elevator, no new building, just a vacant lot no one wants.

The demolition the H & O Oats is the most recent and most painful example. Between 2005 and 2007, there were those who wanted to demolish this abandoned and derelict grain elevator in the name of building something that would hopefully provide jobs and attract tourists/money to the area (a casino); and there were those -- the "preservationists" -- who wanted to save the elevator because Buffalo is the city in which the grain elevator was invented and developed. Both sides had strong cases: title to the land, in the case of the former (the Seneca Nation of Indians), and a pattern of indifference and neglect on the part of the city in the protection of these buildings, in the case of the preservationists. And yet both sides also had weak cases: respectively speaking, the casino could be built in such a location on the property that the H & O Oats need not be demolished, and there was in fact little else to do with the elevator (or, rather, what remained of it in the aftermath of a devastating fire in 1987) other than demolish it. In the end, the elevator was demolished and the casino was not built due to lack of capital funds.

And so, here is my proposal: commission internationally-known artists to paint gigantic murals upon these abandoned elevators, make a movie of the process, and then hold an exhibition, perhaps in tandem with a July 4th fireworks display and a projection of the aforementioned movie upon an elevator that had been painted all-white for the occasion. The effect would be truly spectacular!

Of course, the murals chosen for -- temporary? permanent? -- display would have to be much better than the one in Midland, Ontario (see below).



Gary Friesen wrote a piece about this, "North America's largest outdoor mural," in the 14 April 2001 edition of The Globe and Mail.

Painted on the side of a century-old grain elevator, the mural depicts a Jesuit missionary and a Huron-Ouendat native overlooking Sainte-Marie among the Hurons, the Jesuit mission and the first permanent European community in Canada west of the Ottawa River. Built in 1639, Sainte-Marie was the headquarters of the Jesuits sent to preach among the Huron-Ouendat natives. In 1649, after years of deadly attacks by the invading Iroquois to the south, the remaining Jesuits and Huron-Ouendats burnt Sainte-Marie to the ground and eventually returned to New France (Quebec).

Visitors can easily see the mural from anywhere along the waterfront, although the pier to the far right offers the best face-on view. Binoculars and a lawn chair would allow the viewer to experience and really appreciate the extremely detailed workmanship by artist Fred Lenz. The weather dictates when work begins as the concrete walls must be totally dry for the special mural paints to properly adhere and maintain their vibrant colours. Visitors and residents delight in watching the progress through the warmer and drier months. The mural is scheduled to be completed in time for the dedication ceremonies during Midland's annual Waterfest Weekend in early August.

The gigantic waterfront mural is the crowning achievement of artist Fred Lenz's career and the highlight of Midland's outdoor historical mural project. Over 30 huge murals splash colour and local history throughout the downtown commercial core. Sponsored by the Midland Business Improvement Association, the mural project plays a major role in an overall downtown revitalization program. With a descriptive brochure and guide map, visitors can easily stroll through almost 400 years of local history. These brochures are available throughout the community. The exquisite craftsmanship will impress you as will your appreciation of Midland's rich and unique heritage.


This outdoor historical mural project is a great idea, and could easily be brought to a place like Buffalo, but this particular mural is just awful. "Extremely detailed workmanship"?! The left arm of the Huron-Ouendat, presumably gesturing to the settlement and not extending his hand in friendship to the missionary (whose hands are hidden), is clearly deformed. This is especially poignant, given that -- in 1930, almost 25 years before the preserved remains of two of the missionaries were discovered at the site -- the eight "Canadian Martyrs" of Sainte-Marie were canonized by the Pope. Inevitably, the canonization of these missionaries meant the demonization of their killers, who weren't simply Iroquois, but members of the Seneca Nation. I hope that I'm wrong, but I sincerely doubt that any of the murals sponsored by the Midland Business Improvement Association document the displacement and devastation of both the Hurons and the Senecas.

A really strong pro-Seneca mural would be perfect for Buffalo. Some old wounds have still not healed there. To recall the last few lines of an article published in The Buffalo News on 6 December 2005, in the midst of the battle over the H & O Oats elevator:

Several critics of the project said the Senecas were showing insensitivity by not including the public in its decisions.

John Laping, chairman of the Buffalo Preservation Board, regretted there has been none of the scrutiny or public input required in Buffalo. "It's too bad the Seneca Nation does not feel the same kind of civic responsibility," said Laping.

Richard Lippes, the attorney filing the lawsuit against the purchase of the DL&W site on the grounds that it violates state and federal law, agreed. He hopes the Senecas will reconsider its decision to destroy the H-O Oats complex.

"The Senecas, perhaps more than most, should understand the importance of our history and our environment, and respect these historic structures," Lippes said.


To state the obvious: the "insensitivity" here is among those who do not know or simply refuse to admit that hundreds of years before this "historic" elevator was built -- indeed, hundreds of years before the founding of Buffalo itself -- the Senecas lived on these precise tracts of land, and that thereupon they had their own "history" and "environment." They want some of that land back? They have every right to it: not you, not me. Put that on your mural.

(Note added 23 December 2011: see the Stored Potential Project in Omaha, Nebraska, which used abandoned grain elevators to display silo-length scrolls of art on a temporary basis.)