CedaRound: The Drowning

Though I was living in Chicago at the time, I was in Cedar Rapids 17 years ago today to visit my folks for their June 14 anniversary. My boyfriend at the time and I had heard stories of looming flooding, and even though the rains and the swollen rivers diverted us north from highway 30 at Mt. Vernon and sent us into Cedar Rapids on Mt. Vernon Road, we still never believed Cedar Rapids could have serious flooding. I mean, it's CEDAR RAPIDS. I grew up here. How could anything bad happen?

By the time we finally got to my folks' house late on the 13th though, the flooding had become serious enough that the city's last intact water pumping station was in such danger of being breached that the urgent call went out on the news for volunteers to sandbag it. Though we'd had a 5-hour drive, we wanted to go out and help, but by the time we had a quick bathroom break before heading for the door, the news announced that they'd already gotten all the sandbaggers they needed. Which was a clear harbinger of the resilience our city would soon show. But at the time it was dark and late and we were 32 blocks from the river so all we could do was go to bed and wait.

The next morning, the footage on the news was devastating. The river had crested at 31.12 feet—19 feet over flood stage—and our entire downtown was drowning, as were 1,300 blocks of the city on either side of the river. Office buildings and banks and stores and my beloved theaters were almost up to the tops of their doors in water. All three bridges that cross May's Island to connect the east and west sides of the city were completely submerged. The Time Check and Czech Village neighborhoods were annihilated, with many houses underwater to their roof lines. The highly elevated I-380 was the only way to get across town, though all of the entrance and exit ramps in the flood zone were submerged. We—like seemingly everyone else in the city—drove slowly along the highway and peered out our windows to survey the devastation as the flood waters rippled mere feet beneath us.

As the water slowly receded, the city reeled over the destruction of homes, the closing of businesses, the undermining of infrastructure ... but never the loss of spirit. The city leaped almost immediately into action to tear down what was unsalvageable, repair what was repairable, clean up what was messy and dangerous, reimagine new life and purpose for what was destroyed, and start to recover and relocate and rebuild ourselves into a newer and better and more thoughtfully redesigned shining city on the river. We now have our vibrant and ever-expanding NewBo district and its neighboring Czech Village restoration, we've literally picked up and moved an entire museum to higher ground, we've creatively and beautifully incorporated new levees and berms into inviting public spaces, we've used the opportunity to upgrade and restore historic buildings, we've turned our once-desolate-after-5:00 downtown into a destination area bustling with restaurants and entertainment (well, before covid hit—but it bounced back as soon as returning was safe) ... and we've salvaged and restored and improved and polished up my beloved Paramount and Iowa (home of Theatre Cedar Rapids) theaters.

The flood was awful and heartwrenching and devastating. Many businesses never recovered. Many homes and families and lives have been forever changed. And our renaissance is perpetually ongoing and far from complete; in the last decade-plus, we've brought to life a towering modern addition to the stately Chicago-school American Building, built an expanding Habitrail of downtown skywalks, converted all the downtown one-way streets into two-way to feel more like friendly streets than impersonal expressways, incorporated towering, visually referential berms into the natural features along the river lowlands, and built many massive, architecturally interesting mixed-use buildings in the vibrantly revitalized Kingston Village neighborhood.

There was one sliver lining linking the 2008 flood that destroyed the center of the city to the 2020 land-hurricane derecho that destroyed enormous amounts of the entire city: The blocks and blocks of still-empty land in what was left of the flood-destroyed Time Check neighborhood became the primary dumping ground for the thousands and thousands of derecho-felled trees that the city slowly hauled away from everyone's property. It was centrally located, it offered a LOT of land and it made a mighty monument to the destruction the city endured. Driving by it was both breathtaking and heartbreaking. But also reassuring in that it provided a useful place for the city to dump the trees it collected and get back out to collect more as efficiently as possible.

Aside from the before-and-after photos of my dad's office, where he thought two levels of concrete blocks would protect his antique roll-top desk from the floodwaters that eventually submerged his entire office past its ceiling, the pictures I'm posting here aren't mine. But they show the depth and breadth of the destruction we all faced and make a great reminder of how amazingly far we have come in the last ten years.

So happy floodiversary, Cedar Rapids! May we keep our recovery and flood-protection development speeding along forevermore. (And don't forget to wish my folks a happy 61st anniversary tomorrow.)

Third Street looking south from First Avenue. You can see the old Theatre Cedar Rapids marquee on the left.

Theatre Cedar Rapids. All the First Avenue storefronts on the left were shut down after the flood, and the space became the awesome new Linge Lounge.

Dad’s office—and beautiful oak roll-top desk—before and after the flood. The desk was unsalvageable, and everything in it got ripped out and carried away by the floodwaters.

1,300 blocks on both sides of the river were submerged—some under more than 10 feet of water.

Those ghostly lines in the water are the totally submerged bridges that cross May’s Island as they connect the east and west sides of the city.

That’s normally-high-in-the-sky I-380 snaking through downtown with floodwater submerging its ramps and lapping at its floors.

The massive crown-jewel National Czech & Slovak Museum & Library building on the lower right was actually lifted and relocated to higher ground after the flood.


We parked this string of train cars on this essential train bridge before the flood to weigh it down so the floodwaters wouldn’t wash it away.


We parked this string of train cars on this essential train bridge before the flood to weigh it down so the floodwaters wouldn’t wash it away.


Entire neighborhoods. Families’ lives. Wiped out. No words.


The floodwaters floated the Mighty Wurlitzer organ console two stories from the bottom of the Paramount Theater orchestra pit to above the stage, where they dumped it like a dirty carcass.

CedaRound: Kingston Square

Incorporated on the west side of the Cedar River as the town of Kingston in 1852 and annexed by Cedar Rapids in 1871, this long-neglected neighborhood is making a slow but gorgeous recovery after drowning in almost 10 feet of water in the 2008 flood.

 
There is a layered boxiness that visually links the architecture in the area, from the 1911 People's Bank Building designed by Louis Sullivan in his fortressy "jewel box" style to the post-war brutalist commercial spaces clad in corrugated concrete to the new mixed-use residential construction profiled with broad crenellations and proud cornices.

 
That boxiness creates a relentless horizontalness to the neighborhood's rooflines and setbacks, and someone somewhere in the neighborhood's recent revitalization decided to trace all that horizontal geometry with simple lines of bright white lights. And the effect at night is at once austere, majestic and stunning. So stunning, in fact, that I go out of my way to drive through the neighborhood every time I'm in the area at night. I've stopped and parked and wandered around with my iPhone a couple times to try and capture the magic, but I could never find the right spot to frame the full expanse of everything I find so beautiful.

 
But I finally captured it a year ago tonight when I discovered I was parked in an ideal location to capture most of it, which—since I've finally accepted that all that grand horizontalness is just too horizontal to squeeze into one picture—is still perfectly breathtaking.

The lights are a small touch, but they beautifully unify a relatively small neighborhood and help make it a smart district set along the river and embedded in our modest but friendly skyline.

CedaRound: Cedar Rapids History Center

The building that for a glorious moment was the architecturally contextual Cedar Rapids History Center was built in 1935 as a Quonset hut encased in industrially horizontal blond brick for the Rapids Chevrolet car dealership, and it stood resolutely as what seemed to be a permanent, demoralizing architectural stain on First Avenue at the edge of downtown until after I was out of college.

It was an exceptionally dreary example of early 20th century prefabricated architecture that was probably seen as austerely noble in its day and was unfortunately built to last well past its visual expiration date a decade later as the architectural world rediscovered the soul-nourishing properties of ornamentation.

So you can imagine how the city aesthetes rejoiced with great jubilation when the building started to be torn down in the 1990s, and then we waited with surprised but hopeful trepidation when we realized that what had brought devastating visual and emotional blight to the city for over half a century was not disappearing entirely but was instead being partially repurposed into delightfully contextual architecture: Ghosts of chipped-away pillars, arcs of corrugated metal and jagged geometries of pre-war brick suddenly stood with beauty, grace and a touch of fun as part of the endlessly clever new Cedar Rapids History Center building. And I quickly learned to stop sighing and looking away every time I drove past it. The new concept was quirky and invigorating and created a meaningful architectural dialogue between antiquated visual efficiencies and Post-Modern plays on scale, material and embellishment.

In 2017, the Cedar Rapids History Center moved to Cedar Rapids' historic 1896 Douglas Mansion—whose adjacent carriage house at 5 Turner Alley was transformed in the 1920s into an apartment and studio by American Gothic painter and Cedar Rapids homeboy Grant Wood—and the History Center building was renovated to become the new Cedar Rapids Day School. I'm kinda sad that the History Center abandoned its delightfully contextual hybrid-architecture home, but I still rejoice with civic pride every time I drive by it.

ChicagoRound: Iroquois Theatre

Chicago emerged from its devastating Great Fire on October 10, 1871, after a two-day conflagration that destroyed 17,500 buildings over four square miles, left 90,000 of the city’s 300,000 inhabitants homeless and killed an impossible-to-quantify-accurately 200–300 people.

And the city immediately began rebuilding.

Thirty-two years and two months later, after rising both literally and proverbially from its ashes to reclaim its place as one of America’s most populous and vital cities, Chicago was devastated by another fire … this time in the month-old, state-of-the-art, “fireproof” Iroquois Theatre.

When it opened on November 23, 1903, the Iroquois Theatre was hailed as an architectural masterpiece and a jewel in the crown of Chicago’s theater scene. Designed in the highly ornate French baroque style, it featured grand staircases, gilded ornamentation, lush velvet curtains and a 6,300-square-foot domed auditorium with a dropped stage to improve the sightlines from every seat in the house. And though it was billed confidently as “absolutely fireproof,” the Iroquois contained almost no fire-safety features. No fire alarm. No backstage telephone. No labeled fire exits (most exits were hidden behind velvet curtains anyway). Even its supposedly fireproof asbestos curtain was made of a highly flammable wood pulp. (Less than ten years later, the “unsinkable” Titanic would succumb to a similarly overconfident hubris.)

The theater’s opening production was a touring musical pastiche called Mr. Bluebeard, which featured a 400-person cast and starred popular Vaudeville comedian Eddie Foy. It had enjoyed critical and popular success for over a month when its December 30 audience filed in on a freezing Wednesday afternoon during the break between Christmas and New Year’s Day. Since the theater’s opening had been delayed repeatedly, its owners were desperate to make up for lost revenue, so they oversold the house, seating extra patrons up and down the aisles in the orchestra and balconies.

The fire started at the top of Act II when an overhead light shorted and sent sparks leaping to a nearby curtain. As the fire spread through the flylines and burning bits of scenery rained down on the stage, the actors continued soldiering through their performance, confident in their understanding that the theater was fireproof. A handful of people in the audience got nervous enough to leave, but many chose to stay in their seats (or aisles) until it became obvious the fire was not going to be contained.

And then panic set in.

The ensuing stampede up overcrowded aisles through an unfamiliar theater with hidden exits left trampled bodies everywhere. And since most of the Iroquois exit doors opened inward, the bodies piled up in front of the doors, leaving no hope of escape.

The actors, too, created their own stampede to find exits. And when they finally pried open the giant freight door on the north end of the stage, the arctic winter blast that blew into the building combined with the fiery gases above the stage to create a superheated fireball that exploded into the auditorium and incinerated everything in its path, including hundreds of people still in their seats.

Many of the people who did manage to get out of the building found themselves trapped high in the air on unfinished fire escapes. As these fire escapes got more and more crowded, people begin to fall (or jump) to their deaths in the alley below. By the time the fire was over, bodies were piled 10 deep in what is still called to this day Death Alley.

Though it was contained to one building and it burned less than an hour, the fire killed over 600 people (twice the number killed in the two-day Great Fire of 1871), shut down theaters around the world out of fire-safety concerns (leaving thousands of actors and theater employees unemployed), generated worldwide outpourings of sympathy, exposed yet another Chicago corruption scandal in the years of ensuing lawsuits, and ultimately brought about great changes in the way we respond to massive disasters and catalogue and identify disaster victims. It even inspired an Indianapolis hardware salesman named Carl Prinzler, who randomly had to miss the deadly performance, to invent what he called the Self Releasing Fire Exit Bolt once he learned that a disproportionate number of victims had died in desperate piles in front of the inward-opening exit doors with confusing European-style bascule locks. Known today as the “panic bar,” his invention—along with outward-opening exit doors—are perhaps the biggest public-safety legacy of the Iroquois disaster.

Today, the stunning Asian-baroque Oriental Theatre [update: now the James M. Nederlander Theatre] sits pretty much on the exact footprint of the Iroquois Theatre. A thriving part of the Broadway in Chicago theater collective, it features touring productions that play year-round to thousands upon thousands of theater patrons who largely have no idea that they’re sitting on a historic graveyard of sorts. To my knowledge there isn’t even a memorial on the property commemorating the fire.

There is a memorial about three blocks away, in Chicago’s classical-revival City Hall building. Designed by Chicago sculptor Laredo Taft, the bas-relief plaque currently sits above a glass column that houses a revolving door, so it’s both hard to see up close and hard to photograph, especially with an iPhone.

Thankfully, it’s accompanied by an eye-level plaque that explains it context and memorializes the 600 lives lost on December 30, 1903, in one of the worst theater disasters in history.

ChicagoRound: The John Hancock Center

Chicago’s most recognizable skyscraper, with its delicate tapering and its iconic X-bracing, is only the city’s fourth tallest building.

Erected between 1965 and 1970, the Hancock Center actually sits on landfill from Chicago’s great 1871 fire. As legend has it, a mountebank named George Wellington "Cap" Streeter ran his steamboat aground on a sandbar 450 feet off Chicago’s north shore in 1886, convinced post-fire contractors to dump debris between the shore and his boat, and over the decades sold deeds and collected taxes on the growing mass of landfill he called the United States District of Lake Michigan.

The area is today called Streeterville, and the Hancock Center reportedly occupies the spot where Cap Streeter’s boat stood for over a decade.

100 stories tall, the Hancock Center houses stores, restaurants and about 700 condominiums. That swirly structure behind the building in this awesome satellite photo is the ramp to the parking garage, which sits on floors 4–12.

ChicagoRound: AT&T Corporate Center

Here’s my reward for getting up at 5:45 every morning to meet my trainer: a glorious, neck-straining view of Chicago's tallest building peeking out from behind its fifth-tallest building as the sun rises over the steel-and-stone canyons of the Loop:

That’s Willis Tower (née Sears Tower) in the center. At 108 floors, it’s the tallest building in the United States and the seventh tallest building in the world. Completed in 1974, it comprises nine square tubes bundled into a 3x3 footprint and rising to different heights with dramatic, efficient setbacks. You can clearly see the two tallest tubes in this picture ... though from this perspective they don't look at all like they tower over the city.

(The next three tallest Chicago buildings in order are the brand-new 96-floor Trump International Hotel and Tower, the 83-floor Aon Center and the 100-floor John Hancock Center.)

The building on the right is the fifth-tallest building in Chicago and the taller half of the 61-story AT&T Corporate Center complex, which is actually two buildings (the other is the 35-story USG Building) connected by a grand (and I mean over-the-top, Art-Deco-meets-Prairie, worth-a-stop-to-stare-up-and-gawk grand) 16-story atrium.

Constructed in 1989, the AT&T Corporate Center effortlessly represents the personality and exuberance of postmodern architecture. It takes the clean, efficient aesthetics of modernism and elevates them beyond the movement's midcentury austerity with ornament, technique and stylistic references. Obviously the dominant reference here is Art Deco, with soaring verticals, pale colors, dramatic setbacks and low-relief detailing.

Here’s a shot I stole off the Internet showing the complex from the USG Building side. Notice how the vertical channel in the center of each face expands as it rises—a fabulous twist on standard Art Deco detail that makes the building seem both taller and wider:

ChicagoRound: Chicago River, north shore

I love this block where State Street crosses the Chicago River. It houses a fabulous juxtaposition of architectural styles and shapes and ideas.

The roundish buildings in the center of the picture are Bertrand Goldberg's iconic 1964 Marina City towers. Known colloquially as Chicago's corncob buildings, they're most famous to people of a certain generation as the implied office location of Bob Newhart's psychology practice. The twin 65-story towers contain a collective 900 pie-shaped condominiums with semi-circular balconies atop two 19-story spiral parking ramps. The complex comprises two other organically shaped buildings: a mid-rise hotel supported by abstract Gothic arches (hidden by the towers in this picture) and the saddle-shaped House of Blues concert hall, which you can see crouching in the bottom left corner. (Incidentally, the sharp corner sticking up over the House of Blues is my old office building.)

In stark, austere contrast to Marina City's explosion of curves and shapes and movement, the square building to the right (on the other side of State Street) is Mies van der Rohe's 330 North Wabash building (originally the IBM Building). It was finished in 1973, four years after van der Rohe died. This modernist black-box aesthetic clearly espouses van der Rohe's "less is more" philosophy: efficient construction, modern industrial materials, simple rectilinear and planar forms, clean lines, pure use of color and—above all—a conspicuous lack of ornamentation.

The building at the far right is Skidmore, Owings and Merrill's still-under-construction Trump International Hotel and Tower. Slated for completion in 2009, it promises to become the second tallest building in Chicago, after the Sears Tower. While I loath almost everything about the building's blowhard namesake, I'm really liking this gracefully curved, tastefully shimmery highrise. And I love the way its three setbacks will nod to the heights of the buildings around it: the Wrigley Building, the Marina City towers and 330 North Wabash.

ChicagoRound: City Hall

Chicago's City Hall, built between 1905 and 1911, is a classical revival structure that's both imposing in its heft and nondescript in its standard-issue city-hallishness. It's situated as the old-school corner of a triangle of downtown government buildings that include 1965's black-box Daley Center and 1985's spaceship-in-a-bowl-of-tomato-soup Thompson Center. I've never been beyond the first floor of the City Hall building, but I've always loved its vaulted hallways that maintain their austere symmetry as far as you can see:

Chicago citizens have a range of reasons to visit City Hall, but in my case it's always to clear up fuckups related to owning a car. I spent the last business hours of 2007 traversing these vaulted hallways to pay fines on a license plate sticker that had expired because the renewal form had been sent to my old address. Even though I went in person last January to make sure my address had been updated in every possible city database. Even though I asked repeatedly for confirmation that there was no possible way my old address still existed on something important like maybe a sticker renewal form. But the city's fuckups are always our fault, and I'm now $148 poorer for it all. Which probably was needed to offset the cost of the holiday displays:

ChicagoRound: Palmolive Building, 1936

This picture, which I lifted from the Chicago Tribune archives, looks like it was taken near North Avenue looking south toward North Michigan Avenue:

The shiny building in the center of the picture is Holabird & Root's iconic Palmolive Building, at the time one of the tallest skyscrapers in Chicago. It was built between 1927 and 1929 in high Art Deco style with soaring vertical lines, dramatic setbacks and a 97-foot tower topped by the Lindbergh Beacon, which could be seen all over the city and even by airplanes 225 miles away. The Arthur Rubloff Company renamed the burgeoning North Michigan Avenue shopping area the Magnificent Mile in the 1940s in an effort to brand it as a retail destination in consumers' minds. In 1967, the Palmolive Building was bought by Playboy magazine and became the Playboy Building. Two years later, Skidmore, Owings and Merrill built the John Hancock Center on the lot immediately behind the Playboy Building in this picture. At 1,127 feet, the Hancock Center dwarfed the once-mighty Playboy Building, and the beacon had to be turned off so it wouldn't shine directly into the Hancock's residential units. The building was rechristened the Palmolive Building in 2002 when it was converted to high-end condominiums and, of course, high-end retail shops.

ChicagoRound: Water Tower

Chicago's iconic Water Tower on North Michigan Avenue was one of a handful of downtown buildings to survive the 1871 Chicago fire. It originally housed a 138-foot standpipe to equalize water pressure coming from Lake Michigan. The tower was connected to a tunnel leading the then-revolutionary length of two miles into the lake to ensure water coming into the city was uncontaminated by sewage and runoff. The standpipe was removed in 1911 when it was rendered obsolete by the installation of rotary pumps.

The soaring Water Tower and the turreted Pumping Station across the street were modeled by architect William W. Boyington on a medieval castle and constructed of Joliet limestone between 1897 and 1869 in what's called the castellated Gothic style. The two buildings have stood for over a century as symbols of Chicago's resilience after the fire. The ornate tower offers a striking counterpoint to the modern consumer architecture around it, and it looks especially stunning at night:

The Pumping Station is still in use today, though it also houses a visitor welcome center, the Lookingglass Theatre and a Hot Tix office. The Water Tower is now home to a rotating gallery of photographs, and it holds court over a small fountained plaza in a manicured park on the west side of Michigan Avenue. In the winter, the city hangs canopies of lights over the walkways in the park. We took a stroll under the canopies last night after our annual pilgrimage to hear the always-spectacular Chanticleer kick off the holiday season in the Gothic splendor of nearby Fourth Presbyterian Church.

ChicagoRound: Graceland Cemetery

We took the Chicago Architecture Foundation's two-hour walking tour of Chicago's pastoral Graceland Cemetery on Sunday afternoon. The tour is only ten bucks for non-members, and it gives you a sweeping overview of Chicago history, politics, architecture and society. The cemetery, founded in 1860, was designed by landscape architects H.W.S. Cleveland and Ossian Simonds in the Victorian park style, with winding roads, lush native foliage and man-made lakes that work to create a serene, inviting space for visitors. Everyone who's anyone in Chicago history is buried at Graceland, and many of the monuments and mausolea are architectural icons designed by the city's most famous architects. Here's a mere sample of the architecture and the stories the cemetery contains:

This heavenward-facing angel welcomes visitors to the cemetery. In true Victorian fashion, she's the embodiment of lyric Romanticism, and she becomes so entangled in vines that she has to be hacked free at least once a year.

Lorado Taft's iconic Eternal Silence is perhaps the cemetery's most famous monument. Built in 1909 for the family of Chicago pioneer, hotelier and spooky-boneyard-name titleholder Dexter Graves, it features a hooded figure whose dark receded face stands in arresting contrast to the bright patina of its robes. The monument was recently cleaned and restored, but the face was left dark, presumably to freak out little children who wander too close:

Taft's 1931 Crusader was erected to honor newspaper publisher and philanthropist Victor Lawson. The figure is as solitary and heroic as Eternal Silence, but it features the smoother surfaces and sleeker lines of the Art Deco movement, in contrast to the overwrought turn-of-the-century emotion of Eternal Silence.

Potter Palmer, proprietor of Chicago's iconic Palmer House hotel, is entombed next to his wife, Bertha Honoré Palmer, in a pair of sarcophagi under an austere 1902 Greek revival temple featuring a stately colonnade of pillars. The Honoré family monument, in a Gothic splendor reminiscent of Notre Dame Cathedral, sits just below the Palmer monument. But apparently I forgot to take a picture of it.

Marshall Field's 1906 family plot features a seated figure holding oak leaves, a traditional symbol of strength, in front of a private reflecting pool in a grotto of foliage. The twin caducei on the front of the base are the traditional symbol of the medical profession, but our docent on Sunday said they're also a traditional symbol of commerce. My attempts to confirm this via Wikipedia and dictionary.com only confuse the matter further.

I'm afraid I can't remember whom this monument—featuring the traditional Victorian figures of faith, hope and charity—was built for. But what struck me (and everyone else in our group) was a line of five small headstones at its base marking the remains of an entire family—two parents and three children—who were killed in the Iroquois Theater fire on December 30, 1903. The fire, which started when a lighting fixture ignited a curtain and quickly exploded into a giant fireball, killed 602 people during a matinée of the popular musical Mr. Bluebeard, starring Eddie Foy. The deaths were attributed to corrupt fire inspectors in combination with fire exits that opened inward, trapping everyone inside as bodies piled up against them. This disaster is the reason that all fire doors open outward to this day.

Louis Sullivan is often credited as the creator of the modern skyscraper. The development of cheap, available steel in the last half of the 19th century suddenly allowed buildings to rise higher than architects had ever imagined. And since their outside walls didn't have to bear the weight of the extra floors, they were suddenly free to be ornamental. Sullivan helped define a graceful visual vocabulary for buildings that soared into the outer reaches of perspective, and the mighty skyscraper was born. While Sullivan coined the phrase "form follows function"—meaning a building's practical use should trump superfluous aesthetics—he often gave his buildings lush Art Nouveau or Celtic Revival ornamentation ... like the intricate cast-iron latticework that graces his Carson, Pirie, Scott Building in Chicago and the terra cotta detailing on the Peoples Savings Bank in my hometown. Despite Sullivan's epic achievements in architecture—including some of the most notable monuments at Graceland Cemetery—he died penniless and alone due to his alcoholism and his uneven temperament. And his gravestone is little more than a rock with an ornament bearing his silhouette.

Architect and urban planner Daniel Burnham was the director of works for the 1893 World's Fair (read all about it in Devil in the White City) and the architect of such notable structures as Chicago's Reliance Building, Washington D.C.'s Union Station and New York City's Flatiron Building. He also created the great 1909 Chicago Plan, the first comprehensive blueprint for controlled growth of an American city. Despite his vast, ornate architectural oeuvre, his grave marker is a simple plaque on a rough-hewn stone. But his family plot occupies a private island in the cemetery's Lake Willowmere. Interesting fact: When Lincoln Park Cemetery was deconsecrated in the 1800s and its bodies were reinterred at Graceland, the broken headstones were used to line Lake Willowmere. You can still see etchings on the stones that border the lake.

Ruth Page, the first American ballerina to dance with Diaghilev's Ballet Russe, was also the first American choreographer to employ Rudolf Nureyev after his defection from the Kirov Ballet. She helped bring modern dance to the masses, and she worked with some of the early 20th century's most influential artists, including Irving Berlin, Aaron Copland and Anna Pavlova. She's interred in a grotto surrounded by some of Graceland Cemetery's most avant-garde and unusual grave markers, an apt tribute to her life and her work.

Architect Mies van der Rohe founded the International Style, the fabled "less is more" school that eschewed ornament over sleek dark facades and pure functionality. Dirk Lohan's polished granite slab marking his grave echoes the austere aesthetic of van der Rohe's architecture, which includes Chicago's IBM Building and New York City's Seagram Building.