Hager, Otto J., House

The Otto J. Hager House (1907-08), an example of Prairie School design, was noted by Chicago architect Robert Clossen Spencer Jr.'s only Iowa-known commission and is representative of what is thought to have been the most innovative period of his long career. Spencer's work stands out among the major practitioners of the Prairie School by virtue of the fact that his work was strongly influenced by the English arts and crafts movement, however, this example does not exemplify that influence. The modest house design exemplifies both the Prairie School and Spencer's own design approach. The house is generally well preserved.

Robert Clossen Spencer (1865-1953) is considered to have played a central role in the development of the Prairie School movement in the midwest. He entered private practice in Chicago in 1895. Spencer, like his fellows, sought in his own way to "break away from the stylistic merry-go-round of nineteenth-century architecture and to find an experience that was both "personal" and "American."' Spencer was attracted by English antecedents and utilized Tudor design components to a greater degree. He combined half-timbering, light stucco, dormers, stair tower, dark trim, and rows of casement windows with plans which featured cross axial roofs and wings, broad rectangles, and a steep gable roof. He along with Wright experimented with low-lying plans.

Spencers more creative period is considered to have followed the St. Louis Lousiana Purchase in 1904.- Spencer joined in late 1905 in partnership with Horace S. Powers (1872-1928) another notable Chicago-based adherent to the Prairie School. Spencer however served as the primary designer, with Powers working as office manager. No apparent exterior design changes took place in spencer's work. Spencer at this time began to author a series of informative house design articles which appeared between 1905-09 in House Beautiful. Spencer, in switching from writing for professional to popular magazines was to serve as a major popularizer of the Prairie School.
Spencer and Powers, Architects, produced plans and specifications for a "Residence For Mr. 0. J. Hager To Be Built At Waukon Iowa' dated August 12, 1907. While nothing is known concerning how Mr. Hager selected either architect or style (there was a design competition of sorts between the Hager brothers, but the J. H. Hager House, see below, dates from 191314). There is no indication that work on the house began prior to spring 1908. The local paper announced on 12 August of that year "The new O. J. Hager residence has also recently been surrounded with fine walks and curbing." Construction on the house was nearly complete by late December 1908 when the local paper announced "Mr. and Mrs. O. J. Hager have moved into their new home on Allamakee Street, probably the most modern up-to-date house in the city." The day before, the same paper announced "Mr. and Mrs. O. J. Hager moved into their palatial new home last week in time to partake of their Christmas dinner therein. A portion of the house is still receiving its finishing touches during which they will occupy a few of the rooms only. It will be as handsome a finished home as is to be found anywhere when completed." Hager was a banker and businessman. He lost his wealth during the depression.

The 0. J. Hager House fits nicely into the continuum of Spencer's design efforts. His J. August Magnus House (1906), Chicago utilized many of the same components including an octagonal tower, hip roof with dormers, a basic rectangular core plan, with cross-axial wings, and a juxtaposed chimney placement. A large curved bow window occupied the same relative location as did the balcony in the Hager House. The design differed primarily with overall irregularity in terms of stories and plan, and its use of stucco and half-timbering.

Robert Spencer's design for his townhouse, (1905, River Forest, 111.) produced a compact two-story rectangle with a hip roof, window bands, and a 2nd-floor string course. It too was fully stuccoed and had slanting corner pieces and a chimney base.

H. Allen Brooks considers Spencer's two best works to have been contemporaneous with the Hager House design, all having been executed in the years 1907-08. These works are according to Brooks typified by a 'palladium formality' and an emphasis on balance, not symmetry. These designs are the Edward W. McCready House, Oak Park 111., (1907), and the John W. Broughton House, River Forest, 111. (1908). The former most clearly resembles the Hager House (although Brooks acknowledges that the Hager commission was a private design on Spencer's part and is therefore not quite comparable). Spenser had moved by this time to the use of more expensive brick in lieu of stucco for his exteriors. According to Brooks (speaking about the McCready design) "The varied internal requirements are reflected in the fenestration which is carefully ordered and scaled to produce a harmonious effect on the exterior... the doorway... is placed off-center and balanced by the decorative glass windows of the stair and landing. Behind this pavilion, the plan of the house seems clear. To the left are the living and dining rooms and to porch; the right is primarily for services..." The McCready house has an identical two-story rectangular plan, off-center entrance, a strong 2nd story stringcourse, roof dormer, and chimney arrangement. The house is more contemporary in appearance as was the Hager design, this effect is achieved by discarding the half timber look. The Broughton House offers a more complex plan but utilized the same internal plan scheme and the same range of component parts including a chimney and terrace scheme with parapet walls that match those used in the Hager plan.

The Hager house is more modest in its conception by virtue of the use of regular dimension brick in lieu of longer and thinner Roman brick, a simpler overall plan, and its very compact size. It retains the requisite range of Spencer's design components, and these are well executed, especially the stair tower and entryway.

After this design period "... the most inventive phase of Spencer's career was nearly over. He had never entirely abandoned English medievalism, and by 1910 the revival of these forms became increasingly pronounced in his work."