PRELIMINARY SUMMARY OF INFORMATION
SUBMITTED TO THE COMMISSION ON CHICAGO LANDMARKS IN FEB. 2019

Pilsen Historic District
Primarily West 18th Street between South Leavitt and South Sangamon
Streets, and 13 blocks bounded by West 18th Street to the North, South
Ashland Avenue to the West, West 21st Street to the South and South
Racine Avenue to the East.
CITY OF CHICAGO
Rahm Emanuel, Mayor
Department of Planning and Development
David Reifman, Commissioner

 TABLE OF CONTENTS
Executive Summary

3

Introduction

5

District Map

6-9

The Development of the Pilsen Neighborhood
and the Buildings in the Pilsen Historic District
Early History and Settlement (1840s – 1880s)

10

Free-Thinking, Religion, Arts & Culture, and Politics (1870s-1890s)

15

City within a City (1890s – 1900s)

17

Overcrowding and Other Adversities (1900s-1920s)

21

Continuity and Change (1920s-1950s)

26

Mexican Influence on Art and Culture (1950s-2018)

27

Building Types in the Pilsen Historic

36

Pilsen’s Architectural Character & Styles

62

Select Architects in the Pilsen Historic District

65

Select Murals and Artists in the Pilsen Historic District

69

Criteria for Designation

80

Significant Historical and Architectural Features

83

Selected Bibliography

84

District Address Ranges

87

Building Catalog

88

Mural Inventory

113

2

 EXUCUTIVE SUMMARY
Pilsen is known for the cultural footprints left behind by waves of immigrants. Beginning with Irish
and German immigrants in the mid-19th century, then Bohemian and other Eastern European immigrants after the Chicago Fire, and more recently by Mexican immigrants. Although the historic architecture in Pilsen is largely attributed to the Bohemian-era of development, Mexican immigration has
made a significant impact on the character of the neighborhood.
By the late 1890s, Pilsen had evolved into a thriving community with W. 18th Street serving as the
“Main Street,” much as it does today. The boundaries of the local district include 14 blocks along the
18th Street corridor as well as a predominantly residential core of 13 blocks south of 18th Street. There
are approximately 850 buildings within these boundaries representing many of the uses of a selfsufficient community: industry, entertainment, residential, schools, churches, banks, and commercial.
Pilsen’s builders generally followed Chicago’s architectural stylistic norms of their day. Built of brick
and stone, most of these structures are examples of the Italianate, Romanesque, and Queen Anne styles.
But the neighborhood developed its own special character of “Bohemian Baroque” flair which is expressed through unusually shaped parapets, carved stone lintels, sculptural treatments of hoodmolds
and other details, and decorative patterns in the brickwork.
The neighborhood’s buildings, originally constructed by the Bohemian community, have persisted or
been adapted for new uses as the community has changed. The neighborhood retains the feel of an ethnic enclave even as the visual landscape has evolved to reflect the voice and culture of the newest residents. The visual character of the neighborhood’s built environment began to be embellished in the
1960s and 1970s as murals, signage, and decoration representing themes from Mexican culture and history appeared on the facades of Pilsen’s buildings.
The Pilsen Historic District meets Criterion 1 for heritage as a self-contained port of entry for immigrants from Europe in the late-19th century and Mexico beginning in the mid-20th century. The District also meets Criterion 4 for architecture as extensive collection of high quality buildings that were
largely designed and produced by talented immigrant tradesmen and architects, many of whom lived in
the neighborhood. The District meets Criterion 6 with the buildings collectively conveying a strong
sense of architectural continuity in terms of their scale, materials, and “Bohemian Baroque” details, as
well as many additive Mexican decorative features. The many murals in the District lend it a distinct
visual appearance that meets Criterion 7.
With regards to the Integrity Criterion, the District retains an exceptionally high number of structures
dating from 1872 through 1968, and many possesses a high level of historic integrity. Most buildings
are intact to a strong degree in location, exterior design, setting, materials, and workmanship. Exceptions include minor ground-floor alterations and the inclusion of a few non-contributing buildings.
The Pilsen Historic District has two periods of significance, one for buildings and a separate period for
murals. For buildings within the district, the period begins with 1870 when the oldest buildings in the
district are believed to have been constructed. The historic buildings in the district were primarily built
between the 1880s and the late 1940s, however historic buildings in the district continued to be used
and altered as the Mexican immigrant began to settle in Pilsen in the 1960s. The National Register of
Historic Places, a national program that recognizes historic significance, has adopted a fifty-year rule
which is used by the National Register staff to evaluate historic significance. The Commission on Chi3

 cago Landmarks does not have a fifty-year rule, however the Commission does apply the National
Register standards in much of its work. Adoption of a fifty-year cutoff for the period of significance for
buildings in the Pilsen Historic District will ensure that architectural contributions made in the district
by Mexican immigrants can be evaluated as significant. Therefore, the period of significance for buildings, whether new construction or alteration, should be 1969, or fifty years from the adoption of this
report.
The period of significance for the murals in the district begins in 1978, the date of the oldest mural
within the district boundary. Murals in the district are continuously restored and repainted up to the
present day and this process will likely continue. No specific end date for the period of significance is
identified in recognition of the ongoing evolution of this art form in the Pilsen Historic District.

4

 PILSEN HISTORIC DISTRICT
PRIMARILY WEST 18TH STREET BETWEEN SOUTH LEAVITT AND SOUTH
SANGAMON STREETS, AND 13 BLOCKS BOUNDED BY WEST 18TH STREET
TO THE NORTH, SOUTH ASHLAND AVENUE TO THE WEST, WEST 21ST
STREET TO THE SOUTH AND SOUTH RACINE AVENUE TO THE EAST.
PERIODS OF SIGNIFICANCE
ARCHITECTURE: 1870 TO 1969
ART & MURALS: 1978 TO Ongoing
Located within Chicago’s Lower West Side community area, the Pilsen neighborhood has been an important port of entry for many major immigrant groups throughout the city’s history. Pilsen is situated
within the original boundaries of Chicago at the time of its incorporation as a city in 1837. The neighborhood developed over time within the confines of some notable physical boundaries: the South
Branch of the Chicago River along the east and south, the BNSF rail lines (between 15th and 16th
Streets), along the north and the Union Pacific rail lines (between Western Ave. and Rockwell St.)
along the west. These transit-oriented boundaries also made the area attractive to industry and commerce, and in turn jobs.
Pilsen is perhaps best known for the deep cultural footprints left behind by waves of immigrants. Beginning with Irish and German immigrants in the mid-19th century, then Bohemian and other Eastern
European immigrants after the Chicago Fire, and more recently by Mexican immigrants. Although the
historic architecture in Pilsen is largely attributed to the Bohemian-era wave of immigration and development, the later era of Mexican immigration has made a significant impact on the visual character of
the neighborhood through the influence of art and culture.
In 2006, a large portion of the Pilsen neighborhood was listed as a Historic District in the National
Register of Historic Places. The local Chicago District lies completely within the larger National District boundary, and much of the historic and architectural significance that was recognized in that district similarly applies here.
Although Pilsen, like most neighborhoods, may have somewhat porous boundaries that ebb and flow
with each generation, there has long been consensus that W. 18th Street is the heart of this community.
Where manufacturing and industry were primarily concentrated around the edges of the neighborhood,
W. 18th Street served as the commercial “Main Street,” much as it does today. The boundaries of the
local district include the commercial corridor on W. 18th Street between S. Leavitt and S. Sangamon
Streets as well as a historic core of 13 residential blocks bounded by W. 18th Street to the north, S.
Ashland Avenue to the west, W. 21st Street to the south and S. Racine Avenue to the east. There are
approximately 850 buildings within these boundaries.

5

 DISTRICT MAP

KEY MAP: AREA A

MAP AREA A: South Leavitt Street at the west, through South Wolcott Avenue at the east.
The boundaries of the Pilsen Historic district include the commercial corridor on W. 18th Street between
S. Leavitt and S. Sangamon Streets as well as a historic core of 13 residential blocks bounded by W.
18th Street to the north, S. Ashland Avenue to the west, W. 21st Street to the south and S. Racine Avenue to the east. There are approximately 850 buildings within these boundaries.
6

 DISTRICT MAP (CONTINUED)

KEY MAP: AREA B

MAP AREA B: South Wolcott Avenue at the west, through South Ashland Avenue at the east.
to the east.

7

 DISTRICT MAP (CONTINUED)

KEY MAP: AREA C

MAP AREA C: South Ashland Avenue at the west, through South Racine Avenue at the east.
to the east.

8

 DISTRICT MAP (CONTINUED)

KEY MAP: AREA D

MAP AREA D: South Racine Avenue at the west, through South Sangamon Street at the east.
to the east.

9

 THE DEVELOPMENT OF THE PILSEN NEIGHBORHOOD AND THE BUILDINGS
IN THE PILSEN HISTORIC DISTRICT
Early History and Settlement (1840s – 1880s)
During the 1840s, the area that would become known as Pilsen had its earliest settlement. The first settlers were Irish and German immigrant laborers who helped build the Illinois and Michigan Canal
which connected the Great Lakes with the Mississippi River. Before long, other opportunities attracted
immigrant settlers to the community including construction of the nearby Burlington and Chicago and
Alton Railroads. Plank Roads along Ogden and Archer Avenues and a cinder roadway, known then as
Black Road (now S. Blue Island Ave.), served as important arterials for raw materials and goods produced at nearby lumber yards, brickyards, tanners, and black smiths.
By the early 1860s, another important industry had become established in the area: brewing. Prussian
immigrant Peter Schoenhoefen and a partner, Matheus Gottfried, had success with a smaller operation.
So they moved their facility to W. 16th and S. Canalport Streets in 1862. According to the Encyclopedia
of Chicago the firm initially produced about 600 barrels of lager beer annually. In 1867, Schoenhoefen
bought out Gottfried renaming the firm as the Peter Schoenhoefen Brewing Company. He soon increased its output to 10,000 barrels a year. Several other breweries operated in Pilsen during the late
19th and early 20th centuries.
Bohemians (native to the western region of the present-day Czech Republic) first began settling in Pilsen immediately after the Great Fire of 1871. Bohemia had been ruled under the Hapsburg Monarchy
for hundreds of years beginning in the 16th century. In the late 1850s, the earliest Bohemian immigration to America was spurred by failed attempts at revolution against what was then the AustroHungarian Empire. The earliest Bohemian immigrants to arrive in Chicago settled near Lincoln Park
and the Near West Side. The surrounding neighborhood came to be known as “Prague.” Much of the
neighborhood was destroyed in the Great Fire of 1871. Following the fire, Chicago’s Czechs moved
west of the South Branch of the Chicago River and along W. 18th Street.
The new Bohemian neighborhood was soon dubbed “Pilsen.” According to various sources the name
came from a tavern near S. Carpenter and W. 19th Streets called "U Města Plzně," meaning “Near the
City of Pilsen.”
The community continued to grow as other industries moved to the Lower West Side including McCormick Reaper Works whose original complex was destroyed by the Great Fire. Cyrus McCormick built
an even larger factory just west of Pilsen at W. Blue Island and S. Western Avenues. The manufacturing company soon became a major employer for Pilsen residents.
Pilsen’s early population was predominantly Bohemian; however, immigrants from many other European ethnicities settled here as well. They included Slovaks, Prussians, Lithuanians, Poles, Swedes,
Dutch, and Croatians. Like Bohemians, many were skilled tradesman who had been lured to Chicago
by the opportunities to rebuild the city after the Great Fire. Home ownership was a shared goal. Tradesmen could stretch their budgets by serving as contractor for their own projects. Very modest cottages
often provided a home for extended families. For example German immigrant Henry Nottke, a laborer
in a brickyard, built a brick cottage around 1875 at 2022 W. 18th St. The 1880 Census indicates that
early on, Henry Nottke lived there with his wife Minnie, their three children, his mother, and his brother John, who worked at an iron foundry. Thirty years later, after Minnie’s death, the Nottke brothers
rented space in their home to a Polish widow and her daughter.
10

 The buildings of the Pilsen Historic District form a distinctive group of historic residential, commercial,
and mixed-use buildings. Primarily developed in the late 19th Century by Bohemian immigrants, the
buildings demonstrate European influences within the Architecture.
Top: three buildings along the 1300 block of West 18th Place constructed in the Italianate style with distinctive Bohemian flair, particularly at their parapets.
Bottom Left: German immigrant Henry Nottke, a laborer in a brickyard, built this brick cottage circa 1875
at 2022 W. 18th St.
Bottom right: The Store with Flats building type is prevalent along the commercial corridor of West 18th
Street with buildings constructed primarily of brick and stone masonry in a variety of Revival styles.
11

 Sometimes Pilsen residents would build a home at the rear of their lot where they would live until they
had the means to erect a larger more expensive house closer to the street. By having two homes on the
same lot, they could accommodate extended family and often also to take in renters and supplement
their income.
Another interesting characteristic of many of Pilsen’s early structures is that several of the smaller
buildings and their lots lie below the grade of the street and sidewalk. These buildings must be accessed by either a small bridge leading to the front door, or by steps down from the sidewalk to a front
entrance at the lower grade level. (In some instances, a stoop leads up to the front door at what was
originally the second story.) These homes were built before or during the time when the neighborhood’s streets were raised. Following an outbreak of cholera in 1854 – the sixth year in a row that saw
widespread epidemics attributed to the unsanitary living conditions of standing water and poor drainage
– the City drafted a plan for a municipal sewer system. The new system utilized gravity to provide
proper drainage. This meant that the grade of all streets in settled neighborhoods had to be raised out
of the swamp in which the city had been built.
Execution of the plan began in 1858 and took two decades to complete. Although the City of Chicago
was responsible for laying of all the pipe, and raising roadways and sidewalks, the responsibility to
raise buildings to meet the new surface elevations was the responsibility of individual property owners.
Where funds or manpower were limited, owners simply created new doorways at the second floor.
Sometimes the lower level became a basement and in other cases the open space between the street and
the house provided a place for a small garden. According to Czechs of Chicagoland, so many Pilsen
families planted below street level gardens in front of their houses that Pilsen was nicknamed the
“Garden City.”
The architecture of many of Pilsen’s early homes and businesses often reflected the influence of the
owner’s homeland. The preferred building material, brick, not only provided better fire resistance than
wood, but it was also the material used for many traditional structures in Central Europe. While many
of Pilsen’s 19th century structures are expressions of the popular architectural styles of the day, such as
Italianate and Romanesque Revival, they had special flourishes that gave their buildings a “Bohemian
Baroque” flair. For example, brick cottages and flat buildings often had carved limestone lintels or
molded surrounds enlivened by ornamentation with floral motifs.
Pilsen’s enterprising immigrant residents often remodeled and rebuilt their structures to adapt to changing needs. One early example was Polish immigrant Jacob Zaremba’s 1870s frame cottage at 1314 W.
18th St. which features fishtail shingles at its gable end. Listed as a house mover in an 1875 City Directory, Zaremba used his professional skills to raise his house onto a new brick first story in 1880 (five
years later). The remodeled structure provided a first story grocery store that was run by his son Frank,
and an apartment for the family above.
The neighborhood grew quickly, soon including stores, offices, restaurants, and saloons as well as residences. Since the demand for housing had continued to grow, these businesses were often designed to
have commercial space on the first story and flats above, lending the building type its historic name of
“store and flats” building. Some noteworthy examples include a well-detailed 1886 mixed-use brick
building at 1644 W. 18th St.; Joseph Nowak’s 1887 corner saloon and apartment building at 1501-1503
W. 18th St.; and Peter Niedzicki’s 1880s mid-block saloon at 1636 W. 18th St.

12

 Top Right: Pilsen’s enterprising immigrant residents often remodeled their structures to adapt to
changing needs. One example was Polish immigrant Jacob Zaremba’s 1870s frame cottage at
1314 W. 18th St.. Zaremba raised his house onto a
new brick first story approximately five years after constructing it. The remodeled structure provided a first story grocery store that was run by
his son Frank.
Top Left: An interesting characteristic of many of
Pilsen’s early structures is that the buildings lie
below street level. These homes were built before
or during the time when the neighborhood’s
streets were raised and were never raised to meet
the new grade like this example at 945 W. 18th St.
Other examples include 2145 W. 18th St. (Center
Left) and 1938 S. Racine Ave. (Bottom Left)

13

 Top Left: One of the neighborhood’s first parishes for Bohemian
Catholics, was St. Procopius
Church. Named after the patron
saint of Czechoslovakia, the parish
erected a handsome brick church
at 1226-1228 W. 18th St. in the early
1880s.
Top Right: During the 1890s, a
number of sokols, or meeting halls,
were built in Pilsen. A sokol was a
social club for men that was meant
to foster healthy minds and bodies.
In 1892, the Bohemian Freethought
organization erected the Plzensky
Sokol at 1812-1816 S. Ashland Ave.
Designed by Bohemian immigrant
architect Frank Randak, the structure was first built as a one story
hall with a gymnasium; then significantly enlarged three years later.
Bottom: One of the most popular
newspapers in Pilsen was Denni
Hlasatel (Daily Herald) founded in
1891. After 1904 their headquarters
were located at 1545 W. 18th St. in
1904.
14

 While some early residents managed to build or purchase their own homes, life was far from easy in
Pilsen. Most area residents worked ten-hour days, six days per week in the area’s garment factories,
lumber mills, railyards, meat processing plants, and other factories. Families often had to put their children to work, and accidents, even fatal ones, were commonplace.
Because of the scale of industrial work in the area, and the strong desire of local residents to improve
their lot in life, Pilsen became a key center in the development of the labor movement in Chicago. According to the Encyclopedia of Chicago, “Perhaps no city in the United States exceeded Chicago in the
number, breadth, intensity and national importance of labor upheavals between the Civil War and
1919.” These Chicago upheavals “were notable for their social impact.” From the 1900s, immigrant
workers in Pilsen were involved in labor actions, mobilizations, strikes and walkouts. Labor protesters
often faced police, militia and even the US Army. These protests were among the most important labor
actions in American history and helped forge the American labor movement.
Free-Thinking, Religion, Arts & Culture, and Politics (1870s-1890s)
Pilsen had a sizable Catholic population during the late 19th century. One of the neighborhood’s first
parishes for Bohemian Catholics, St. Procopius Church, was founded in 1875. Named after the patron
saint of Czechoslovakia, the parish erected a handsome brick church at 1226-1228 W. 18th St. in the
early 1880s. Around the same time, there were also Catholic parishes in the area that served immigrants from other parts of Europe. For instance, Jesuit priests from Chicago’s Holy Family had founded
a small frame mission church for Irish immigrants in Pilsen in 1874. A decade later, they made plans to
replace that structure with the monumental St. Pius V Church completed in 1893 at 1901-1907 S. Ashland Ave. As St. Pius V Church was reaching completion, Holy Trinity Roman Catholic Church first
opened its doors to serve Croatian immigrants at 1848 S. Throop St.
Many Bohemians who, under Hapsburg rule, had been forced to follow the government’s official state
religion and practice Catholicism, had come to America seeking religious freedom. Some followed other Christian faiths, but many rejected religion altogether, instead choosing to follow a form of secular
humanism, known as Freethought. A local organization of Bohemian Freethinkers known as Svobodna
obec Chicagu had formed as early as 1870.
Throughout the late 19th century, the Pilsen community was characterized by an unusual diversity of its
members' religious and political beliefs. Many Bohemians were active in the Democratic and Socialist
parties. By the early 1890s, Freethinkers far outnumbered the religious followers. Freethinkers were
quite intellectual and often met to discuss and debate politics, religion, and other subjects. Pilsen’s immigrant residents were often well-educated. Almost the entire adult population could read and write in
their native language. This high level of literacy, and the strong and diverse attitudes about religion,
politics, and other subjects, created a market for many daily Czech newspapers. One of the most popular in Pilsen was Denni Hlasatel (Daily Herald) founded in 1891. As readership increased, the newspaper soon outgrew its offices on S. Racine Ave and moved its headquarters to 1545 W. 18th St. in
1904.
During the 1890s, a number of sokols, or meeting halls, were built in Pilsen. Much like a German
Turnverein, a sokol was a social club for men that was meant to foster healthy minds and bodies. In
1892, the Bohemian Freethought organization erected the Plzensky Sokol at 1812-1816 S. Ashland
Ave. Designed by Bohemian immigrant architect Frank Randak, the structure was first built as a one
story hall with a gymnasium; then significantly enlarged three years later. The Plzensky Sokol was
used for gymnastic training and exhibitions, lectures, and various social programs. Frank Randak also
designed another important hall in the neighborhood, Česko-Slovanský Podporující Spolek (Czech
15

 Top Left: John Dusek, a Bohemian immigrant , decided to combine the need for a large hall for performances, lectures, meetings and other events with rental apartments and storefronts, as well as a corner
saloon. Located at 1805 S. Allport St., Dusek’s impressive 1892 Romanesque Revival style Thalia Hall is
a designated Chicago Landmark.
Top Right: Schrayer’s & Sons, a hardware firm near W. Roosevelt Rd. and S. Blue Island Ave., made
their own line of tinware and iron products. They expanded by building a second Schrayer’s & Sons Factory at 917-925 W. 18th St. in 1905.
Bottom Left: Anthony Kozel’s bank building at 1332-1334 W. 18th St. was designed and built by his
brother-in-law, Frank Layer in 1892. After the completion of the Romanesque Revival style building, both
Kozel and Layer lived in units above the bank with their families.
Bottom Right: Frank J. Petru built his business at 1443 W. 18th St. providing safe deposit vaults, insurance, and loans, but with a major focus on real estate.
16

 Slavic Benevolent Society), later called Czesky Slovonsky Americky Sokol (C.S.A.S), at 1436-1440
W. 18th St. First built in 1893, it also began as a one-story structure, and then was enlarged in 1902 to a
monumental four-story building. In addition to operating its large meeting hall, C.S.A.S was a protective society. If Czech men had injuries at work, were laid off, or died, the organization helped take care
of their families. Since women were not initially admitted into the Sokols, they formed their own organizations such as Jendota Ceskych Dam (Union of Czech Ladies), a national organization with several local chapters.
In addition to religion, politics, and physical fitness, many Bohemian immigrants were interested in
music and theater. While a number of performing arts groups had formed by the early 1890’s there
were few places for them to practice or perform. John Dusek, a Bohemian immigrant and saloonkeeper, decided to combine the need for a large hall for performances, lectures, meetings and other
events with rental apartments and storefronts, as well as a corner saloon. Located at 1805 S. Allport
St., Dusek’s impressive 1892 Romanesque Revival style Thalia Hall (a designated Chicago Landmark)
was named in honor of one of Zeus’s daughters, the mythical Muse of comedy and pastoral poetry.
City within a City (1890s – 1900s)
By the late 1890s, Pilsen had evolved into a thriving self-sufficient community. Historian Bessie
Louise Pierce described the neighborhood of that period as a small city within the larger city. She
wrote, “…here, the Streets lined with Bohemian provision stores, restaurants, and other businesses, appeared transplanted from the home across the sea, reminders of a place and day now gone.” As a result
of the substantial Czech immigration to Chicago leading up to the turn-of-the century, the city was recognized as having the largest Bohemian population in the nation, and third in the world (following Prague and Vienna).
At this time the McCormick Reaper Works was still a major employer of Pilsen residents, but many
other manufacturers and companies also had operations in the neighborhood. The Chicago Stove
Works Foundry was located at 22nd St. and Blue Island Ave. Schrayer’s & Sons, a hardware firm near
W. Roosevelt Rd. and S. Blue Island Ave., made their own line of tinware and iron products. They expanded by building a second Schrayer’s & Sons Factory at 917-925 W. 18th St. in 1905. There were
other small blacksmiths and foundries throughout Pilsen.
Railroads continued to provide many area residents with jobs. Breweries also became even more prolific than before. In the early 1890s, proprietors of an earlier company known as Bohemian Brewery
opened a larger firm called the Atlas Brewery Company at S. Blue Island Ave and W. 21st St.
Other local businesses were related to the lumber industry. These included the Pilsen Lumber Company; Maxwell Brothers’ box-making factory at S. Loomis St. and W. 21st St.; the Goss & Phillips Manufacturing Company at Cermak Rd. and Carpenter St. that specialized in doors and window sashes; and
numerous furniture factories.
Many Pilsen workers, especially women, were employed in the garment industry. Dozens of small garment finishing sweatshops and tailor shops operated throughout the neighborhood. Wives and daughters often put in long hours at home producing piecework for the manufacturers of cloaks, suits, gloves,
or other clothing. Hart Schaffner & Marx, the largest clothing maker in the nation, had manufacturing
facilities in several areas of Chicago, including Shop No. 5 east of the Pilsen Historic District at W.
18th and S. Halsted Streets.

17

 Top Left: Frank Kriz, who emigrated from Bohemia in 1854, built a store-and-flat building at 1140 W. 18th
St. At the time, a total of thirty-five residents were living in Kriz’s building.
Top Center: Joseph Liska, a butcher who, built this mixed-use building in 1907 at 1328 W. 18th St. It was
designed by architect Anton Charvat.
Top Right: Thomas Kosatka and his wife Anna were Bohemian immigrants who purchased the building
at 1425 W. 18th St around 1909 and opened a music store in the mixed-use building .
Bottom Left: The Loeb Brothers had two facilities in Pilsen between the late 1880s and early 1900s, including and this one at 1915- 1923 S. Blue Island Ave. where they ran their meat-packing operation.
Bottom Right: Photographer Francis D. Nemecek, who emigrated from Bohemia with his family as a
child, began his own photography studio around 1903. In 1907, Nemecek was able to hire the prominent
Czech architect Frank Randak to design a new photography studio at 1439 W. 18th St.
18

 Pilsen’s hardworking immigrant residents were known to be thrifty with their money as they strove to
own a home or start a business. Thus there was a strong local demand for safe places to deposit money.
Large downtown banks were far away and they tended to discriminate against working-class immigrants. In response, many small neighborhood banks opened in Pilsen during the late 19th century.
Since their services often included mortgages, Pilsen bankers also specialized in real estate, and several
building and real estate offices were erected in structures with flats above so that Pilsen bankers and
realtors could live and work in their building. For example, Anthony Kozel’s bank building at 13321334 W. 18th St. was designed and built by his brother-in-law, Frank Layer in 1892. After the completion of the Romanesque Revival style building, both Kozel and Layer lived in units above the bank
with their families.
Frank J. Petru built his business at 1443 W. 18th St. providing safe deposit vaults, insurance, and loans,
but with a major focus on real estate. As was typical during this period, Petru didn’t build a whole new
building. Instead, he remodeled an existing brick structure around 1908 into an office and flat building
that resembles a small Classical temple. He and his family lived in one of the apartments in the structure during his business’s early years. Although they later moved to Cicero, he continued to run his
office out of the Frank J. Petru Building for decades.
Rental properties in the neighborhood could be quite lucrative. Frank Kriz, who built a handsome fourstory store-and-flat building at 1140 W. 18th St., listed his occupation in the 1900 Census as
“capitalist.” Having emigrated from Bohemia in 1854, Kriz had managed to raise two professional
sons— a lawyer and an electrician. They lived (along with a daughter and a younger son) in one of the
apartments, and rented the other units to four Bohemian immigrant families. At the time, a total of thirty-five residents were living in Kriz’s building. Tenants included a saloon-keeper, a carpenter, a carriage painter, an errand boy, blacksmiths, tailors, and glove knitters.
Another successful building owner was music dealer Thomas Kosatka. He and his wife Anna were Bohemian immigrants who rented an apartment at 1419 W. 18th St. in 1900. Within a decade, they were
able to purchase 1425 W. 18th St., a mixed-use building that previously housed a jewelry shop. The
Kosatkas opened a music store where they sold Victor Victrola products. They lived in an upper level
apartment, and rented out the other two units.
Pilsen had many meat-packing firms, sausage factories, and butcher shops, also frequently housed in
buildings with flats above. The Loeb Brothers had two locations in Pilsen between the late 1880s and
early 1900s. One was an expansive operation at 1915- 1923 S. Blue Island Ave. where they presumably
ran their meat-packing operation, and a much small corner storefront at 952 W. 18th St., which was
likely a butcher shop. Both buildings had residential apartments on the upper floors.
Joseph Liska, a butcher who, in 1900 rented a space for his business and lived in the apartment above,
managed to purchase the structure several years later. In 1907, he replaced the older structure with his
own mixed-use building at 1328 W. 18th St. designed by architect Anton Charvat. Along with his
butcher shop and an apartment for his own family, Liska rented units to four other families.
Another business owner who was able to build his own architect-designed structure was photographer
Francis D. Nemecek who emigrated from Bohemia with his family as a child. He began running his
own photography studio from a space in 1450 W. 18th St. around 1903. With a few years, Nemecek
was able to hire the prominent Czech architect Frank Randak to design a new photography studio that
he built at 1439 W. 18th St. in 1907. Nemecek continued operating his business from the elegant corner
building for more than forty years.
19

 German immigrant and Chicago
resident Edward G. Uihlein, headed
the Schlitz Brewing Company, and
built fifty-seven tied houses in Chicago Uihlein hired Frommann &
Jebsen, a local German-American
architectural firm to design the tied
houses. These included an 1899
Schlitz Tied-House at 1870 S. Blue
Island Ave. (Top Right)
Although many independent saloons—like those at 1800 S.
Throop St. (Top Left) and 19011903 S. Blue Island Ave (Bottom)
continued operating throughout
Pilsen, they often faced complaints
and were investigated by authorities. In contrast, the tied houses
were impressive establishments
designed to attract customers
while conveying a sense of legitimacy and decency in the face of
rising social opposition against
alcohol.

20

 Saloons, which had existed in Pilsen since the 1870s, became even more numerous in the 1890s and
early 1900s. As explained by the National Register of Historic Places Pilsen Historic District Registration Form (NRHP Pilsen Historic District Form), throughout the city, the popularity of beer was
“bolstered by the fact that water was often of relatively low quality and because milk was difficult to
keep fresh.” Pilsen’s saloons were especially popular because “the Bohemians were known throughout
the world as being makers – and consumers of exceptional beer.” Beyond the popularity of the beverage being served, saloons also offered a much needed respite from the congestion of the neighborhood.
The overall density of Pilsen meant that there were often many people living in each house making leisure time at home impossible. Spending time outdoors was equally challenging as Pilsen had very little open green space, and the city’s larger parks were far away.
As the Temperance Movement grew in Chicago, Pilsen’s saloons were receiving new scrutiny. John
Huss, a religious missionary, was so concerned about the neighborhood’s vast number of saloons that
he wrote a book entitled What I Found in Pilsen. He wrote, “I saw only one place where the gospel is
preached and counted 72 liquor saloons on one side of the street, and presume there were as many
more on the other side, within a distance of about one and a half miles.” Among the neighborhood’s
numerous saloons of the 1890s and 1900s were establishments run by Joseph Skupa at 1858 W. Allport St.; Joseph Bernard at 1901-1903 S. Blue Island Ave; Paul Heil at 1326 W. 18th St; John Sonfel at
2024 W. 18th St; and Joseph Novotny at 1800 S. Throop St.
During this period, the intense competition among brewing companies and increasing legal restrictions
and social pressures on public drinking, lead some of Chicago’s breweries to adopt a “tied-house” system. Developed in England a century earlier, tied houses allowed large brewing companies to have direct control by exclusively selling their products at their own establishments. Although many independent saloons continued operating throughout Pilsen, they often faced complaints and were investigated by authorities. In contrast, the tied houses were impressive establishments designed to attract
customers while conveying a sense of legitimacy and decency in the face of rising social opposition
against alcohol.
The brewing companies employed high-quality architectural designs and popular historical styles of
architecture for their tied-houses. German immigrant and Chicago resident Edward G. Uihlein, who
headed the Schlitz Brewing Company, built fifty-seven tied houses in Chicago from 1897 to 1905 at a
cost of $328,800. Uihlein hired Frommann & Jebsen, a talented German-American local architectural
firm to produce the handsomely designed and well-detailed tied houses. These included an 1899
Schlitz Tied-House at 1870 S. Blue Island Ave. A number of other similar tied-houses throughout Chicago have been designated as Chicago Landmarks.
Overcrowding and Other Adversities (1900s-1920s)
At the turn of the twentieth century, as Chicago’s immigration rates continued to rise, Pilsen’s population grew rapidly, and the neighborhood became extremely overcrowded. In fact, Chicago: City of
Neighborhoods reports that in 1901, more than 7,000 people were living within a nine-block area of
Pilsen. Congested living and working conditions often led to public health crises.
Sweatshops operated out of many of Pilsen’s flat buildings and disease spread rapidly to the workers
and residents of them. The Illinois Chief Factory Inspector, Dr. F. J. Patera began investigating such
workplaces in 1893 and published annual reports for more than a decade. His First Annual Report
sheds light on the deplorable conditions that took place in many of Pilsen’s sweatshops. In describing
21

 Small businesses in Pilsen fared well in the 1920s. New stores and shops along W. 18th St. and S. Ashland Ave. reflected the prosperity of the times as well as the desires of an increasingly consumeroriented culture.
Top Left: Bien Motor Sales at 1706-1708 S. Ashland Ave.
Top Right: Ashland Radio Shop at 1712 S. Ashland Ave.
Bottom Left: Joseph Jiran Co. at 1333 W. 18th St. supplied tubes and other parts for radio repairs.

22

 the conditions of Mr. B. Kunick’s sweatshop located behind a “deep and crowded four-story tenement and lodging house” at 1423 W. 19th St., the report explained: “…Passing down the alley west
of this building, entrance is had through stable cesspools and past foul closets, to a rear building of
three stories, Kunick’s shop being on the second floor, with another shop below it and tenants
above; entrance to shop by a dark and dirty stairway.” He went on to say that the garment contractor lived on the premises, and employed 17 men, 7 women, and 5 children under the age of 16.
In 1894, a smallpox epidemic ravaged Pilsen, spreading largely through the sweatshops and many
of the mixed-use buildings that housed them. Responding to the smallpox epidemic, City officials
required that victims of the disease be sent to a public health facility known as the “pest-house.”
Public health officers were known to treat the ill with brutality. So much so, that in May of 1894, a
group of residents gathered near W. 19th and S. Allport Streets and attempted to fight off the six
officials who came to take several small pox victims away. This scuffle prompted Bohemian residents to rally for an investigation of the Health Department.
Social reformers recognized the extreme level of need in Pilsen. Inspired by Jane Addams’s Hull
House, several settlement houses formed in the community. These included Gads Hill Social Settlement, which opened in a former saloon at 1919 W. Cullerton Ave. in 1898, and the Howell Neighborhood House (later Casa Aztlan) located at 1831 S. Racine Ave.
Although not unique within the city of Chicago, Pilsen had long suffered from an inadequate number of public schools to keep up with the growing immigrant population. Throop School (later demolished and now the site of Throop Park) had been the only public school in the community for
years. The Board of Education built several new schools in just over a decade: Longfellow School
(1882, demolished); Komensky School (1890, now Perez School Annex); Jirka School (1898, now
Pilsen Community Academy), originally named for a Czech physician who created a make-shift
school to fill the void in the neighborhood; and Jungman School (1903). In addition, the Board
rented space in the mixed-use building at 952 W. 18th St. and operated there the Eighteenth St.
Branch School for a few years in the early 1900s.
Despite additional public facilities in the neighborhood, the plight of workers hadn’t improved
much after the turn of the century. In September of 1910, a group of young women workers from
Pilsen began what turned into one of the most important labor strikes in American history. The 17
female employees of Hart, Schaffner & Marx’s Shop No. 5 in Pilsen walked out in protest against
long hours, low wages, and oppressive working conditions. Tens of thousands of workers from other garment shops throughout the city would join the four-month strike. The Garment Workers’
Strike inspired acts of labor activism throughout the country as well as the formation of the Amalgamated Clothing Workers of America. Perhaps emboldened by the garment workers, employees of
other Pilsen companies rallied for labor reforms the next several years. In one example, the workers
from the Burton-Dixie Cotton Mattress Company at 2024 S. Racine Ave. held a strike in 1915 that
led to violence between unionized and non-unionized workers.
As labor reforms, including efforts to enact child labor laws, made slow but steady progress, life
improved for many working-class residents of Pilsen. Many first generation American children of
the area’s immigrant families became more prosperous than their parents. Immigration stalled when
American entered WWI in 1917. Czechoslovakia gained independence after the war, and as a result, fewer Bohemians were interested in emigrating.

23

 The prosperity of the 1920s ended abruptly with the onset of the Great Depression and little construction took place throughout Chicago. One exception is the 1935 U.S. Post Office for Pilsen
(above) funded through President Franklin D. Roosevelt’s New Deal. Designed by Chicago architect
John C. Bollenbacher, the impressive Art Moderne style Post Office is located at 1859 S. Ashland
Ave. This large postal facility replaced a much smaller post office which operated for at 1509 W. 18th
St. (top), a structure that still has a Pony Express logo in bas relief above the front door (center left).
24

 Above: After WWII, some manufacturing
companies left the neighborhood, but others remained. Some long-time industrial
firms continued to do well. The Burton-Dixie
Company which had run a mattress-making
factory at 2024 S. Racine Ave. since the turn
-of-the-century, was producing pillows,
comforters, and sleeping bags into the
1950s.
Right: Joseph Kaszab, a Hungarian immigrant who had a W. 21st St. business that
produced murphy beds in the 1920s, began
specializing in office furniture in the 1930s.
In the mid-1940s he began operating under
a subsidiary, Woodwork Corporation of
America. The firm built a large new plant at
1424-1436 W. 21st St. in 1946. A Chicago
Tribune article published 20 years later marveled that because so many of the firm’s
200 cabinetmakers were European immigrants who spoke little English, the foremen
knew how to explain a job in German,
Czech, and Polish.

25

 In 1920, the Lower West Side community area, which includes the Pilsen neighborhood, reached its
highest peak in population with more than 85,000 residents, but those numbers soon began to fall. At
the time, the population of Czech immigrants and first generation Czech-Americans throughout Chicago was estimated at 200,000, but they did not all reside in Pilsen. Many had moved to the Lawndale
neighborhood (nicknamed Czech California), while others had begun to relocate to Cicero and other
suburbs.
Continuity and Change (1920s-1950s)
Despite Pilsen’s slow decline of population, the community remained stable through the 1920s and
many residents continued to have a strong sense of pride in their cultural heritage. In August of 1921, a
huge parade celebrating Czechoslovak heritage, started at W. 18th St. and S. Ashland Ave. and proceeded to Chicago’s Coliseum at W. 15th St and S. Wabash Ave. After participants in traditional folk clothing and military regalia held a colorful parade, men, women, and children performed in gymnastics exhibitions at the Coliseum. In 1925, a five-day National Sokol Tournament was held Soldier Field. By
this time, girls were allowed to participate in gymnastic training in sokols in many major American cities. Czechoslovak-Americans throughout the nation came to Chicago to participate in the Soldier Field
Tournament. Female athletes from the Pilsen Sokol won first place.
Small businesses in Pilsen also fared well into the 1920s. New stores and shops along W. 18th St. and
S. Ashland Ave. reflected the prosperity of the times as well as the desires of an increasingly consumer
-oriented culture. Several auto sales companies had opened in the area— Bien Motor Sales at 17061708 S. Ashland Ave.; G & L Auto Sales at 2002 W. 18th St., and the E & M Auto Supply Co. at 1734
W. 18th St. There was an Ashland Radio Shop at 1712 S. Ashland Ave. and the Joseph Jiran Co. at
1333 W. 18th St. supplied tubes and other parts for radio repairs. The Ben J. Fitz Men’s Clothes store
opened in a renovated building at 1726 W. 18th St. in 1926.
The prosperity of the 1920s ended abruptly with the onset of the Great Depression. Pilsen’s population
had plunged significantly by the end of the 1920s, and continued dropping through the 1930s. Little
construction took place throughout Chicago and especially in cash-strapped Pilsen. But one exception
is the 1935 U.S. Post Office for Pilsen funded through President Franklin D. Roosevelt’s New Deal.
Designed by Chicago architect John C. Bollenbacher, the impressive Art Moderne style Post Office is
located at 1859 S. Ashland Ave. This large postal facility replaced a much smaller post office which
operated for two decades or so out of 1509 W. 18th St., a structure that still has a Pony Express logo in
bas relief above the front door.
By the late 1930s and early 1940s, most of the area’s buildings were well over fifty years old. As few
owners had the means to undertake major repairs, many structures began to fall into disrepair. But earlier patterns continued with many families making their livings as small business owners in Pilsen,
whether they still lived above their shop or commuted from another neighborhood or suburb. Always
the strivers, some Pilsen residents opened their first store during this period. For example jewelry repairman Joseph Cwiak added a new brick storefront onto the front of his frame house and opened a
jewelry shop at 1743 W. 18th St. Similarly, undertaker Joseph Linhart, who previously ran his operation
from a rented space, built his own Gothic Revival style funeral home with flats at 1343-1345 W. 19th
St. in 1938.
After WWII, some manufacturing companies left the neighborhood, but others remained. Meat packing, sausage factories, and butchers remained prevalent. Other long-time industrial firms continued to
do well. The Burton-Dixie Company which had run a mattress-making factory at 2024 S. Racine Ave.
since the turn-of-the-century, was producing pillows, comforters, and sleeping bags in the 1940s and
26

 1950s. At the time, several furniture-making and woodworking firms continued to operate in Pilsen.
Joseph Kaszab, a Hungarian immigrant who had a W. 21st St. business that produced murphy beds in
the 1920s, began specializing in office furniture in the 1930s. In the mid-1940s he began operating under a subsidiary, Woodwork Corporation of America. The firm built a large new plant at 1424-1436 W.
21st St. in 1946. A Chicago Tribune article published 20 years later marveled that because so many of
the firm’s 200 cabinetmakers were European immigrants who spoke little English, the foremen knew
how to explain a job in German, Czech, and Polish.
Mexican Influence on Art and Culture (1950s-Present)
Known as ethnic succession by sociologists, many ethnic neighborhoods in Chicago evolved as new
ethnic groups replaced older ones. Pilsen was no exception. Originally settled in the 1840s by Irish and
German workers, Pilsen later become home to other groups including Bohemians, Lithuanians, Croats
and Poles. The area attracted these groups due to its affordable housing and ample job opportunities.
Beginning in the 1950’s, Pilsen, changed yet again to reflect the culture and aesthetic of its most recent
Mexican immigrants. The new arrivals in Pilsen came from Mexico directly, as well as relocating from
other nearby neighborhoods, some of which were undergoing redevelopment.
Until this time, most of Chicago’s Mexican immigrants lived on the Southeast Side, Back-of-theYards, or Near West Side. However, construction of the Eisenhower Expressway (I-290) beginning in
1949, the Stevenson Expressway (I-55) in 1960, and the University of Illinois at Chicago (UIC) campus in 1963, was responsible for the displacement of thousands of African American, Italian, Jewish,
Greek and Mexican residents. Many of these Mexican families moved to Pilsen as long time European
residents of Pilsen relocated to the surrounding suburbs.
In 1952, the Reverend of St. Procopius Church noted that his congregation was becoming more diverse
as it now included Mexicans along with Bohemians, Croatians, and Poles. By 1958, Howell Neighborhood House had begun offering English lessons to Spanish speakers. Pilsen’s population began growing for the first time in decades. By the late 1960’s the demographic of Pilsen changed, and within a
decade it became a majority Mexican community. By 1970, Mexican-born residents accounted for
nearly fifty percent of Pilsen’s population, while the community’s Czech-born population had dropped
to less than one percent.
The Pilsen Neighbors Community Council, a grassroots civic organization that had been founded in
1954 by Eastern European immigrants, embraced the change as new residents began assuming leadership roles in the organization and the focus of PNCC became community organizing. Along with
Czech specialties, the Council’s annual street carnival began featuring Mexican foods in the early
1960s. In 1964, the Pilsen Neighbors asked the Board of Education to begin offering additional resources for the overcrowded schools in Pilsen. Noting the many children come from homes where only
Spanish was spoken, the Community Council stressed the importance of providing English lessons in
those schools.
Like the Bohemian immigrants that preceded them, Pilsen’s Mexican-American residents possess a
strong sense of cultural pride. In celebration of Mexican heritage, history, culture and language, the Pilsen Neighbors Community Council began holding an annual four-day festival each July called Fiesta
Del Sol; The National Mexican Museum of Art hosts an annual exhibit for Dia de los Muertos (Day of
the Dead) each October featuring traditional and contemporary installations honoring the departed; and
other celebrations of Mexican food, art and culture have become commonplace throughout Pilsen.

27

 Beginning in the 1920’s, mural painting became a prevalent form of social and political expression in
Mexico. The government hired many artists to paint murals in and on public buildings, with the three
most influential being David Alfaro Siqueiros (center right), Jose Clemente Orozco (top left) and Diego
Rivera (top right). It is primarily the work of these three artists known as Los Tres Grandes (The Big
Three), that created the visual narrative seen on the walls throughout Mexico.
Early Pilsen Artists were also influenced by the painters of the Works Progress Administration (WPA)
Federal Art Project including those who created works at Chicago’s Lane Tech High School: Epochs in
the History of Man (Center Left) by Edgar Britton, and Illinois (Bottom) by T.C. Wick.
28

 The neighborhood’s buildings, originally designed and constructed by the earlier Bohemian community
remained, but many were adapted for new uses as the need for Sokols was replaced by a demand for
soccer clubs. The neighborhood of family homes interspersed with apartment buildings, small shops
and businesses, ethnic bakeries and restaurants, social service agencies and health care facilities retained the feel of an ethnic enclave especially as the visual landscape began to reflect the voice and culture of the newest residents.
The visual character of the neighborhood’s built environment began to be embellished as murals depicting themes from Mexican culture and history sprouted on the facades of Pilsen’s buildings. Spanish
language signage in shop windows made clear that the neighborhood demographic had changed.
Along with the cultural footprints of blue-collar working-class immigrants, the historic echoes of their
labor history and political action continued well into the 1970s and became an important part of Chicago’s history. Major national and international events of the 1960’s, protests against the Vietnam War,
the rise of Cesar Chavez and the United Farm Workers and the growing Chicano movement arrived in
Pilsen provoking and inspiring community activism through both protest and artistic expression. New
community based artistic and political collaborations and organizations formed and began to claim Pilsen’s public spaces, much as they had in Mexico a few decades earlier.
Beginning in the 1920’s, large- and small-scale mural painting became a prevalent form of nationalistic, social and political expression throughout Mexico. Mexico’s history prior to this time included
invasion, conquest, colonization and military interventions by Spain, France and the United States.
The Mexican Revolution of 1910, considered to be the first major political revolution of the 20th century, was a populist movement led by charismatic folk heroes Emiliano Zapata, Pancho Villa, Victoriano
Huerta and Venustiano Carranza against the 40 year dictatorship of President Porfirio Díaz. These larger than life figures led their armies through a decade of civil war that would result in an estimated death
toll of 3 million people and major social and economic upheaval. Díaz was removed from power and

Above: Mario Castillo’s Metafísca or Peace (1968), formerly near 19th and Halsted.
29

 Above: The façade of Casa Aztlán was first painted in 1970 and then restored and revised several times
in the coming decades (shown at left, circa 2015). Following the original mural’s destruction in 2017,
and in response to community outcry, the mural was repainted by Ray Patlán, Roberto Valadez and
Gerardo Cazares following a design composed digitally by Salvador Vega (shown at right, 2018).
Below: Marcos Raya’s Homage a Diego Rivera Man at the Cross Roads (1972), formerly at 1147 W 18th
Street.

30

 exiled to France in 1911, but the conflict was not over and many of the revolutionary leaders were assassinated. Struggle for power continued until 1920 with the election of Alvaro Obregón.
Confronted by a largely illiterate and rural populace, newly appointed Mexican Secretary of Education
José Vasconselos conceived of government-sponsored murals as a way to promote the ideals of the
Mexican Revolution and Mexicanidad, or the mestizo identity of the Mexican People. The government
hired many artists to paint murals in and on public buildings, with the three most influential and commonly recognized being David Alfaro Siqueiros (1896-1974), Jose Clemente Orozco (1883-1949) and
Diego Rivera (1886-1957). It is primarily the work of these three artists known as Los Tres Grandes
(The Big Three), that created the visual narrative seen on the walls of buildings throughout Mexico.
Techniques used in the creation of murals included frescos painted on freshly plastered walls, and hot
wax or encaustic painting. Siqueiros, also used commercial enamels and automotive paint, and was the
first to airbrush for artistic purposes.
The influence of the Mexican Mural Movement came to Chicago along with the newly-arrived Mexican immigrants of the 1920s and 1930s. In 1931, investigators Robert Jones and Louis Wilson for the
Comity Commission of the Chicago Church Federation wrote for the first time about Mexican murals
in their publication The Mexican in Chicago. They described walking along south Halsted St. where
they found, “a restaurant whose brilliantly painted walls are covered by designs of that Indian culture
which Cortéz and his followers so ruthlessly destroyed”. In addition to the description of works by
anonymous artists, this publication includes several linocuts dating from the late 1920’s attributed to
William L. Ortiz who took classes at Jane Addams Hull House (a designated Chicago Landmark),
founded in 1889 to provide social services to residents of the West Side.

Above: Aurelio Daiz’, Educación Para El Pueblo (Education for the People) was created in 1980 at 1800
S Racine Ave.
31

 In 1940 artist Adrian Lozano, who had emigrated from Mexico with his parents at the age of four,
painted a 5 foot by 20 foot casein mural titled Progress of Mexico for the Benito Juarez Mexican Club
in the Boy’s Club Building at Hull House. The mural was destroyed in the late 60’s when Hull-House
buildings were demolished during the construction of the University of Illinois at Chicago. Lozano who
was taking classes at Hull House, worked under the supervision and tutelage of muralists Mitchell Siporin and Edward Millman who, as painters for the Works Progress Administration (WPA), were also
responsible for painting murals at Lane Tech High School at Western and Addison.
President Franklin Roosevelt created the WPA as a way of putting Americans to work. In 1935 the project was expanded by the addition of the Federal Art Project creating jobs for out of work artists. Roosevelt had been presented with information about the work of Mexico’s Minister of Education, José
Vasconcelos, by artist George Biddle, a personal friend. The Mexican government’s art patronage program offered artists commissions to paint fresco murals. Biddle’s information and proposal would become a New Deal work relief program.
Mario Castillo’s 1968 Metafísca or Peace (formerly near 19th and Halsted), would echo the work of the
WPA artists, but was informed and inspired by the Mexican mural movement of the early 20th century.
Metafísca, painted on the exterior walls of the Urban Progress Center is generally regarded as Chicago’s first outdoor mural of the Contemporary Mural Movement, a community-based expression of public art throughout Canada and the United States which began in the late 1960s.
Castillo, created this work as part of a summer Neighborhood Improvement and Beautification Program supporting President Johnson’s War on Poverty. It also became a proto-type outdoor classroom
introducing students at a young age to the process of mural painting from conception to completion.
Castillo, a veteran of the Vietnam War, created the abstract mural with Anti-Vietnam sentiment and
incorporated indigenous cultural themes from Mesoamerican and Huichol art reflecting the early beginnings of Chicano consciousness. In a 2007 phone interview with Tracey Grimm (archivist with the Institute for Latino Studies at Notre Dame), Castillo said he was influenced by the WPA murals at Lane
Tech, the ancient murals of Teotihuacán, as well as Mexican muralists Diego Rivera, Jose Clemente
Orozco and David Alfaro Siqueiros.
Born in Michoacán, Mexico, Castillo’s Chicago connection is strong. He attended and graduated from
Chicago Public Schools, Jungman Elementary and Lane Tech High School, where he studied surrounded by WPA murals. He earned a Bachelor’s from the School of the Art Institute of Chicago and his
Masters of Arts from the California Institute of Art. He has been teaching, working and living in California since 1975.
Metafísca was partially destroyed in 1988 by the introduction of new doors and windows in the building at 19th and Halsted, and then completely sandblasted a few years later resulting in an immense artistic loss to the Pilsen community. But during its tenure it would teach and inspire those that followed
including artists who are currently working in Pilsen, among them Hector Duarte, Raymond “Ray”
Patlán, Marcos Raya, and Jeff Zimmerman.
Another early and historically important mural was painted on the façade of Casa Aztlán (1831 S. Racine Ave.) beginning in 1970. The former Bohemian Settlement House was renamed Casa Aztlan as it
evolved into a community center for arts and education holding exhibitions, providing studio space,
classroom space and a health clinic run by the social justice organization known as the Brown Berets.
In the early 1970s, native-Chicago artist Ray Patlán used the building’s exterior walls as a canvas while
32

 working as an artist in residence with 40 members of the Neighborhood Youth Corps., As a young
man, on a visit to Mexico with his family, Patlán was inspired by seeing and experiencing in person the
famous murals of the Mexican Mural Movement. A meeting with famous muralist Siqueiros inspired
him to paint murals with social and political messages.
At Casa Aztlán, Patlán conceived a unique process that allowed youth corps members to explore native
motifs in a creative fashion, applying their designs directly to the wall. Bands of horizontal colors connected the different images and unified the design which also included the faces of historic figures and
heroes. After a fire in 1974, Marcos Raya, Salvador Vega, Aurelio Diaz, Carlos Barrera and others reworked the mural. Over the following years, as time and weather took its toll, the murals were restored
and repainted by the continued collaborative efforts of several artists including Marcos Raya, Carlos
Barrera and Salvador Vega. Raya and Vega added new faces to the mural in 1994.
This vibrant and much loved façade; one of the most recognized murals in Pilsen, became a flashpoint
for community protests after it was painted over in June of 2017 as the building came under new ownership. A community protest was organized, following the form of a vigil much like those formed in
the wake of someone’s death. Pilsen’s 25th Ward Alderman, Danny Solis facilitated meetings with the
building’s owner who, after meeting with Patlán and members of Pilsen Alliance, allowed for the repainting of the facade which was completed in December of 2017. Patlán, Roberto Valadez and Gerardo Cazares began working on the restoration project after a design, composed digitally by Salvador Vega, gained community approval. Among the collaborative artists who worked on the project were, Hector Duarte, Mark Nelson, Mirrella Campos, John Weber, Traz Juarez, and many community volunteers.
Throughout the 1970s a number of artists created large scale works of art in the Pilsen neighborhood,
both within the District and beyond its borders. Some of these can be found along the train embankment at 16th Street where dozens of works of art spanning nearly five decades continue to be created,
restored, updated (sometimes by the original artists) and celebrated by the community. Additionally,
time and progress have resulted in the loss of some of Pilsen’s earliest murals. Among them, Ray
Patlán’s 1971 Reforma y Libertad (Reform and Liberty), formerly at 2013 S. Laflin St. and Marcos
Raya’s Homage a Diego Rivera Man at the Cross Roads (1972), formerly at 1147 W 18th Street.
Aurelio Diaz, who also contributed to works at Casa Aztlán, painted two of the earliest extant murals in
the Pilsen Historic District. Organicémonos Para Que Haiga Paz (Let’s Organize So That We May
Have Peace) was created in 1978 at 1657 S Throop St. and Educación Para El Pueblo (Education for
the People) was created in 1980 at 1800 S Racine Ave. Both works have faded with time but continue
to convey the sense of community engagement and a continuity with social history that was the hallmark of the Mexican Mural Movement and the Contemporary Mural Movement.
Between the creation of these earliest works, and the re-creation of the Casa Aztlán mural, scores of
artists have contributed to the evolving visual landscape of Pilsen through artistic painting, decoration,
and mosaic. Although the content and style vary widely including religious iconography, preColumbian imagery, tribute pieces, pop-culture, calls for peace, the Mexican-American experience on
both sides of the border, and abstract expression; collectively these works continue to communicate the
unique culture of the Pilsen community.

33

 Top: (2159 W. 18th St.) Beginning in the 1950s the visual character of the neighborhood’s built environment began to be take on the character of the community’s newest immigrants. Folk art, decoration and murals depicting themes from Mexican culture and history sprouted on the facades of Pilsen’s buildings. Spanish language signage in shop windows made clear that the neighborhood demographic had changed.
Bottom: Virgen de Guadalupe, 1966, artist unknown, 1214 W. 18th St. (Chapel of our Lady of Lourdes
at St Procopius)

34

 Scores of artists have contributed to the evolving visual landscape of Pilsen through artistic painting, decoration, and mosaic. The content and style vary widely
including religious iconography, pre-Columbian imagery, tribute pieces, pop-culture, calls for peace, the Mexican-American experience on both sides of the border,
and abstract expression. Collectively these works continue to communicate the unique culture of the Pilsen
community.
Above: Reach for Peace, 2011, Yollocalli Arts Reach,
1544 W 18th St.
Right: Woman with Flag, 2013, Alejandro Medina, 1637
S. Allport St.

35

 BUILDING TYPES IN THE PILSEN HISTORIC DISTRICT
Residential Buildings
Built between the mid-1870s and early 1910s, Pilsen’s historic residential buildings represent a mix of
building types ranging from small worker’s cottages to two- three- and four-flats, to larger multi-family
structures. Census data of 1880, 1900, and 1910 reveals that buildings that appear to be single family
homes or two-flats, often accommodated numerous families.
To leverage their investment, Pilsen’s early property owners often built a cottage at the rear of their lot
and another structure (often a flat building) at the front of their lot. Examples of modest brick cottages
that sit at the rear of their lots with no front buildings can be found at 1820 S. Throop and 1748 W. 18th
Streets. (In instances in which front and rear historic buildings exist on the same lot today, rear buildings that are not visible from the right-of-way have been deemed as non-contributing structures to the
landmark district.)
Many workers’ cottages and flat buildings that date from the mid-1870s to mid-1880s are examples of
the Italianate style, but often with carved lintels or other special details that give them a Bohemian Baroque flair. As is typical of other workers’ cottages in Chicago, Pilsen’s cottages are generally rectangular in plan with the short end of the buildings facing the street. Front doors are typically located at
one side of the front facade, visually balanced by windows, with a smaller window at the attic level beneath the peak of the gable.
Frame workers’ cottages can be found throughout Pilsen. Many are quite modest. For example, the
cottage at 2012 W. 18th St. is one-and-a-half stories tall. Its gabled roof features a Jerkinhead. Like
many cottages in the neighborhood, it was built before or during the time when the area’s streets were
being raised. Thus, it has a lower level entry door that is below street level. Though many of these
modest cottages resemble single family homes they were often built as flats. Carpenter Frank Stebal,
built a frame cottage in the rear of his lot at 1819 S. Allport St. around 1875. A total of four Bohemian
immigrant families (including his own) were living in the simple two-and-a half story cottage in 1880.
While most frame workers’ cottages are devoid of architectural details, there are some that have embellishments. For instance, the two-and-a-half story structure at 2008 S. Allport Ave. has a fine cornice
with dentils and paired brackets. Most frame cottages in Pilsen have artificial siding today.
Many of Pilsen’s cottages are composed of brick. Their primary façade may be face brick or common
brick, and some have been painted. Several modest one-and-a-half-story brick cottages with special
architectural flourishes can be found throughout Pilsen. For example, the cottage at 2041 W. 18th St.
has carved decorative lintels with a floral motif above the windows and door, and paired brackets at the
gabled cornice. The 2046 W. 18th St. cottage is similar, although its arched lintels feature a center keystone in relief, and its first story windows have been replaced with a picture window. Other one-and-ahalf story cottages with similar details can be found at 2022 W. 18th St., 1015 W. 18th St., and 2004 S.
Throop St. The cottage at 2006 S. Throop St. lacks the decorative lintels, but it has a fanciful cornice
with dentils and brackets.
Two-and-a-half story versions of the Italianate style brick cottages were extremely common in Pilsen.
Many have an entryway with a single door (or a double door within a single frame), which give them
the appearance of a single-family home. However, early Census data reveals that such cottages often
provided homes to five or six families during their early history. There are many two-and-a-half story
brick cottages with gabled roofs, decorative cornices, the front door on one side, long rectangular win36

 dows, and arched/ornamented hoods or lintels above the door and windows. These include: 1815, 1819,
1842, 1843, 2013, 2014 S. Allport St.; 1321 W. Cullerton St.; 1836 and 2014 S. Throop St.; 1836 W.
18th St.; 1316, 1320, 1526, and 1530 W. 18th Pl. and 1321, 1322, 1323, 1325, 1327, and 1513 W. 19th
St.
There is another version of the two-and-a-half story Italianate style brick cottage type in which a parapet further enlivens the front façade. These cottages are quite similar to those in which the cornice follows the gable end. However, in this version, the cornice forms a parapet above the attic window. In
some cases, the parapet and its cornice arch over the upper window. Examples include: 1840, 1844,
and 2015 S. Allport St., 1802 and 1820 S. Throop St. and 1527 W. 18th Pl. A slightly modified version
can be seen at 1838 S. Allport St., where the parapet angles over the attic window and the cornice becomes a decorative frame around it. In another variation, the structures have a fanciful parapet but no
attic window. In this version, the parapet often includes the year of construction as its centerpiece.
Examples of this can be found at 1916 and 1920 S. Throop St. and 1518 W. 18th Pl. The two-flat at
1323 W. 18th Pl. represents another version in which small arched windows are tucked between the cornice’s brackets and the parapet rises to a center pediment. In another variant of this two-and-a-half story type, the parapet takes the form of a false mansard roof. Buildings that reflect this variation can be
found at 1341 S. Allport St.; 1445 W. 18th St.; and 1312, and 1425 W. Cullerton St..
Some Pilsen builders erected three-and-a-half story versions of the brick Italianate style flat building
between the mid-1880s and mid-1890s. Due to their taller stature, these buildings look more like lowrise flats than cottages. However, they share most of the features. They have double entry doors located to one side of the façade. They too have decorative lintels or hoods and ornate cornices with parapets. In this taller version, there are often limestone beltcourses that visually divide the stories. (These
beltcourses are sometimes a feature of the two-and-a-half story structures as well.) Examples of this of
the three-and-a-half story Italianate brick flats include: 1818 W. 18th St.; 1842 S. Laflin St.; 1320,
1332, 1508, and 1512 W. 19th St.; 1927, 2018, and 2020 S. Allport St.; and 1315, 1322, 1324, 1328,
and 1516 W. 18th Pl. (the cornice is missing on several of these structures.)
During the 1880s and 1890s, a few Romanesque Revival style flat buildings were erected in Pilsen. A
three-story walk-up at 2007 S. Ashland Ave. represents a restrained expression of the style. Built in
1892, the structure’s primary façade is fully clad in rusticated limestone. Its upper reaches are enhanced by a pattered masonry frieze. Two other buildings are somewhat livelier expressions of the
style. A four-story structure at 957 W. 18th St. features round and segmented arched openings and alternating courses and blocks of smooth and rusticated limestone, creating a checkerboard effect. The
primary façade of a three-and-a-half story flat building at 1837 S. Allport St. is clad mostly in smooth
blocks of limestone. But it is also enlivened by Ionic pilasters of rusticated blocks, arched patterned
window hoods, panels of garlands and other foliate motifs, and the construction date—1890— carved
above the center second story window.
Queen Anne style residential structures of this era include a corner two-and-half-story double-flat
building at 2003-2005 S. Ashland Ave. (1899). This building features projecting bays, chimneys of
patterned brickwork, a prominent bracketed cornice, and false mansard roof with dormers. Nearby at
2011 S. Ashland Ave., a red brick two-flat has a variety of arched openings, patterned brickwork, fanciful Queen Anne windows with art glass and multi-paned upper sashes, and a decorative pressed metal
cornice. On the same block, twin-two flats at 2019 and 2021 S. Ashland Ave. each have a three-sided
projecting bay, carved limestone lintels joined by beltcourses, fine Eastlake style porches, ornamental
iron porch rails, and ornate pressed metal cornices.

37

 Two-and-a-half story Italianate style brick cottages are extremely common in Pilsen. Many have an entryway with a single door (or a double door within a single frame), which give them the appearance of a
single-family home. However, these cottages often provided homes to five or six families during their
early history. Examples with a traditional gable-end include:
Top: 1321, 1323, 1325, 1327 W. 19th St.
Bottom: 1316, 1320, W. 18th Pl.
38

 Top: Another version of the two-and-a-half story Italianate style brick cottage incorporates a cornice which forms a parapet above the attic window.
Examples include 1840 (left) and 1844 (right), S. Allport St..
Center Right: Yet another variation has fanciful parapet but no attic window.
Examples of this can be found at 1916 (right) and 1920 (left) S. Throop St.
Left: Some Pilsen builders erected three-and-a-half story versions of the
brick Italianate style flat building between the mid-1880s and mid-1890s.
Due to their taller stature, these buildings look more like low-rise flats than
cottages. However, they share most of same the features. Examples include
1320 W. 19th St. (top left), and 1324 W. 18th Pl. (bottom left).

39

 Several three-and-a-half story brick flat buildings have handsome facades with details of stone and
lively cornices and rooflines. The structure at 2014 W. 18th St. (1897), has a subtly projecting side bay,
a first story window opening capped by an arch of rusticated stone, and bands of rusticated limestone
above the second and third stories. Quite similar in height and massing is a red brick flat building at
1319 W. Cullerton St. This structure features arched window and door openings, a fanlight window at
the attic level, a parapet peaked on one side, and false mansard roof running behind it. A red brick
building of the same stature at 1314 W. 18th Pl. has long rectangular windows, however, those at the
third story are capped with blind arches. This building also has a false mansard roof with a center dormer capped by a brick pediment.
Many other red brick three-and-a-half story flats of this period feature a variety of eclectic forms and
details. The structure at 1332 W. 18th Pl. has a three-sided bay that projects above the first story, culminating in an engaged conical roof with false mansard behind it. An art glass window is located within the upper sash of the first story’s triple window. The three-and-a-half story walk-up at 1417 W. 19th
St. has a lively façade with numerous limestone beltcourses that contrast against the red brick. Some
have a series of arches, and others stretch across in straight lines. This building culminates in a false
stepped parapet with limestone coping.
Some three-and-a-half story apartment buildings of the same period are clad in tan or brown brick, rather than red. The tan brick structure at 1815 S. Ashland Ave. sits on a base of rusticated limestone,
and has numerous fine patterned masonry details. The walk-up at 1334 W. 18th Pl. has a light-tan brick
-clad flat primary façade that is enlivened by patterned brickwork, subtly contrasting smooth limestone
beltcourses and double arched windows sitting within a fine peaked parapet at its upper reaches. The
flat building at 1818 W. 18th St., clad in dark brown brick, features rusticated limestone beltcourses,
decorative brickwork, vertical brick insets with small limestone ornaments, and a highly decorated cornice and peaked parapet.
At the turn-of-the century, Pilsen was well built up, and many residents lived in an apartment above a
store or other business. But another wave of multi-residence buildings without commercial space went
up between the early 1900s and 1910s. Many were designed by architects who, like their clients, had
emigrated from Central Europe. Theodore Duessing, a German immigrant, designed an orange brick
two-flat at 2040 W. 18th St. (1903), featuring a three-sided projecting bay, limestone lintels and sills, a
decorative cornice, and a flat brick parapet that edges its flat roof. A two-flat next door at 2042 W. 18th
St. (1906), echoes the massing of its neighbor and has similar detailing. However, this structure, clad
in light tan brick, has a gabled roof, and the cornice extends across only the top of its projecting bay.
Some of the early 20th century flat buildings in the neighborhood are Classically-inspired. A three-flat
at 1819 S. Ashland Ave. (1904) has a three-sided projecting bay running the full height of the primary
façade. Clad in brown brick, the structure has a smooth limestone base, a limestone porch with Doric
columns, and parapet enlivened by a foliated pediment and finial. Another example is 1314 W. 19th St.
(1905), designed by Bohemian immigrant architect Anton C. Charvat. The entire primary façade of the
three-and-a-half story tall brick building is clad in smooth limestone. The front porch comprises delicate Ionic columns supporting a pedimented roof. The triangular form is repeated at the gable end, and
accentuated by a harp-like finial. Although this structure appears to be a traditional three-flat, it was
built to provide two units on each of its four stories.
As in earlier eras, turn-of-the-century flat buildings in Pilsen have elements that give them a distinctly
European character. Bohemian immigrant architect Ludwig Novy designed a two-and-a-half story
structure at 1739 W. 18th St. (1903), clad in variegated orange brick, and possessing the classic three40

 Many brick and limestone three-and-a-half story flats of
this period feature a variety of eclectic forms and details.
Top Left: The structure at 1332 W. 18th Pl. has a threesided bay that projects above the first story, culminating in an engaged conical roof with false mansard behind it.
Top Center: The tan brick structure at 1815 S. Ashland
Ave. sits on a base of rusticated limestone, and has numerous fine patterned masonry details.
Some of the early 20th century flat buildings in the
neighborhood are Classically-inspired. Some examples
include:
Top Right: 1314 W. 19th St. (1905), designed by Bohemian immigrant architect Anton C. Charvat.
Left: 1852 S. Allport St. (1902), designed by Bohemian
41

 sided projecting bay. But the building has some Bohemian Baroque features. Most notably, it has a
bell-shaped parapet topped by a limestone fanlike or sunburst ornament framed in orange brick and
topped with a stylized finial. Another example is the three-and-a-half story structure at 1852 S. Allport
St. (1902), designed by James Dibelka, another Bohemian immigrant architect. This highly detailed
brick flat building has many Classical Revival style details such as pediments crowning its front entryway and above some of the third story windows and scrolled brackets that support them. But it also
has some distinctly Bohemian elements such as delicate bows and flowers that embellish its porch columns, and brick parapets above the attic windows that are topped with fanlike ornaments and spindly
finials.
Although less ornate, several early 20th century flats that are similar in appearance also have a vaguely
European flair. One example is a three-and-a-half story tall building at 1815 S. Laflin St. (1908) designed by Charvat. The side bay, is flat, and it projects only slightly. But here again, it is the upper
reaches that most distinguish this type. The attic windows fit within a Palladian arch, and are capped
by a hood that follows the same form. Above this, the brick parapet is angled at its sides, but at the
crest, it echoes the top of the Palladian arch. Charvat designed a very similar three-flat at 1521 W. 18th
Pl. (1911). He also produced a building with similar massing and details, but without the Palladian
windows at 1505 W. 19th St. (1912). Nearby, at 1511 W. 19th St. (1911), a Dibelka-designed three-anda-half story walk-up, has a three-sided projecting bay, but it has a similar parapet.
Religious Buildings
Like many other aspects of daily life in Pilsen, houses of worship became a link to the native customs,
cultures and language of the immigrant population. Most of the 19th century churches in Pilsen originally served eastern European immigrants, and although Catholicism was the dominant religion in the
neighborhood, there were also Jewish and Protestant congregations. For example Slovak Jews in Pilsen built B’Nai Jehoshua Synagogue on S. Ashland Ave. and W. Cullerton St. in 1892. The congregation worshipped there for more than six decades, eventually merging with a suburban synagogue. The
building was razed in the early 1960s.
Over the next century many churches and their individual communities would evolve and sometimes
dissolve. Today, there is still a strong religious presence amongst the predominantly Mexican community in Pilsen. This is felt and seen the various and sometimes elaborate celebrations for El Dia de los
Muertos (Day of the Dead) each October, El Dia de los Ninos (Children’s Day) each April, and the
Way of the Cross annual procession through the streets of Pilsen each spring reenacting the Crucifixion
of Christ.
One of the earliest Catholic churches in Pilsen was founded by Czech immigrants in 1875. St. Procopius Church at 1222-1228 W. 18th St. is named for the patron saint of Czechoslovakia. The congregation’s modest beginnings afforded a small frame building purchased from a nearby Methodist congregation that was constructing a new church. The building was moved from 19th and Halsted to three lots
at 18th and Allport Streets. By 1881 St. Procopius parish was able to commission a monumental building designed by J. Paul Huber (1826-1902) in the Romanesque Revival style. The new building was
dedicated on September 23, 1883, by Archbishop Patrick H. Feehan. Composed of brown common
brick, the structure is trimmed in limestone and it sits on a rusticated limestone base. Tall narrow arches and trefoil details are featured across the church’s primary facades. Its fine monumental bell tower
and spire were not completed until September 1892.
In 1885, St Procopius Church came under the leadership of the Benedictine Order. The first Benedictine Pastor, Father John Nepomucene Jaeger, oversaw the construction of St. Procopius Rectory (1641
42

 Like many other aspects of daily life in Pilsen, houses of worship became a link to the native customs,
cultures and language of the immigrant population. Most of the 19th century churches in Pilsen originally served eastern European immigrants, but over the next century many churches would evolve to serve
the predominantly Mexican community.
Top Left: Chapel of our Lady of Lourdes, 1908, 1214 W. 18th St.
Top Right: In 1881 St. Procopius parish was able to commission a monumental building designed by J.
Paul Huber at 1222-1228 W. 18th St. in the Romanesque Revival style.
Bottom Left: St. Procopius Rectory, 1886, 1641 S. Allport
43

 Bottom Right: Historic view of St. Procopius Church
Top: St. Pius V. Church at 1901-1907 S. Ashland Ave, 1885-1892, by James J. Egan
Bottom Left: St. Pius V. Rectory at 1909 S. Ashland Ave.
Bottom Right: Holy Trinity Church and School (1914) was organized to serve Croatian Catholics in the
Pilsen neighborhood at 1848 S Throop).

44

 S. Allport) in 1886. The rectory served as an Abbey until 1914 when the Benedictine Fathers moved to
Lisle. Both the Abby and a nearby Convent sought to prepare Czech-speaking abbots and nuns to
teach at parochial schools. The flat-roofed red brick three-and-a-half story structure has a rusticated
limestone base. Its primary façade is enlivened by details in smooth limestone, terra cotta panels, and
brickwork including long vertical crucifix shapes made from recessed areas in the brick.
To counter the growing secular Freethinker movement, the Benedictines at St. Procopius began the
Benedictine Press which published a daily Catholic, Bohemian-language newspaper called Narod (The
Nation), a tri-weekly periodical Katolik (The Catholic) and a youth magazine Pritel Deti (The Children's Friend). In 1905, Father Valentine Hohlbek oversaw the construction of a new Benedictine
Press building at 1637 S. Allport St. Architects Lonek & Houda designed the building. (Lonek was
Bohemian-born, and Houda, a first-generation American, grew up in Pilsen.) Clad in smooth limestone,
the two-and-a-half story structure has Classically-inspired details including pilasters and a pediment.
In 1908, as St Procopius was celebrating the 25th anniversary of their permanent brick church, the
Chapel of our Lady of Lourdes (1214 W. 18th St.) was dedicated just the east of the main church. Constructed of rusticated Joliet-Lemont ashlar limestone, the small chapel sits back from the street. The
long side of gable-roofed structure fronts onto W. 18th Street and features domed tower. The south face
of this tower is embellished with a mosaic of Our Lady of Guadalupe which was created in the 1970s.
The Benedictine Monks of St Procopius had begun learning Spanish in the 1960s to support the growing Mexican Catholic population in Pilsen and mass continued to be offered in three languages for
more than a decade.
The tremendous influx of new residents to the City in the 1870s and 1880s created a population density
that allowed factions of previously established congregations to form their own churches either to differentiate themselves by doctrine, geography, language, or culture. In 1874, Jesuit priests from Chicago’s Holy Family Church founded a small frame church for Irish immigrants at 18th and Paulina
Streets. This marked the beginnings of St. Pius V Parish. As the mission church quickly became overcrowded, expansion plans were underway within three years. Architect James J. Egan designed the new
St. Pius V Church at 1901-1907 S. Ashland Ave.
The cornerstone of the current St. Pius V Church was laid in 1885 and construction of only the basement level commenced at this time. This portion of the building accommodated 1500 worshipers until
1892 when the remainder of the structure was completed. Egan’s Romanesque Revival style, St. Pius V
Church is somewhat modest in its exterior ornamentation. Composed of red brick and trimmed in
smooth limestone, the structure’s appearance contrasts with many of Egan’s other churches which were
clad in rusticated stone. The Romanesque form of the dramatic sloping roof and the deeply recessed
arched windows, is complimented by fine details in geometric and stylized forms which evoke Arts &
Crafts style influences.
The St. Pius V. Rectory is located at 1909 S. Ashland Avenue. The four-story flat-roof red brick structure is trimmed in limestone. The primary façade’s smooth limestone details include an ashlar base,
double arched window surrounds with pilasters at the second story level, and prominent quoins that
extend from the second to fourth stories. A large addition at the east side of this structure dates to the
late 1940s. Just to the south, a parochial school addition is located at 1919 S. Ashland Avenue. Constructed in 1960, this three story structure is clad in red brick and has streamlined limestone details.
Holy Trinity Church (1848 S Throop St.) was organized to serve Croatian Catholics in the Pilsen
neighborhood. The combination church and school building, as well as a Rectory (1850 S Throop)
45

 Top : Designed by architect August Fiedler in 1890, the Komensky School (now Perez School Annex
2001 S Throop St.) was named in honor of a Czech philosopher. The design of the building incorporates
rectilinear forms of red brick, with a substantial rusticated limestone stone base.
Bottom: In a continuing effort to ease overcrowding Jungman School was built in 1902 at 1632 S Miller.
Designed by Board Architect William B Mundie, the three-story, 22-room school would provide space for
nearly 1,200 students.
46

 were constructed in 1914. Both structures are clad in orange brick. The primary façade of the building
(1848 S. Throop St.) features geometric details of brickwork and limestone. A pair of engaged limestone columns with fanciful capitals flank the front door and contrast with the building’s other architectural elements. Holy Trinity School, housed in the upper stories of the church building (1848 S
Throop) served Croatian families from 1914 through 1990.
Schools
During the early history of Pilsen, the existing schools were consistently overcrowded as the population
underwent rapid growth. Two early public schools in the neighborhood were Throop School at 1811 S
Throop (1878, demolished 1947) and Longfellow School (1882, demolished circa 1987).
By 1890, the Board of Education began making plans to ease overcrowding. The Board utilized extra
land adjacent to the Longfellow lot which had been left vacant to build the “new” Longfellow School.
Designed by architect August Fiedler, the building was constructed with 13 classrooms and an assembly hall allowing for instruction of over 700 students (in two shifts). With an L-shaped plan, the structure has a hipped, clay tile roof with dormers along the north accommodating the upper level assembly
hall; the south portion of the building has a flat roof. The design of the building incorporates rectilinear
forms of red brick, with a substantial rusticated limestone stone base. By the opening of the next school
year the building was renamed Komensky School (2001 S Throop St.) after the Czech philosopher Jan
Amos Komensky. Today the building is part of the Perez School (1241 W 19th St.) campus. The building features a fine entrance with a three-story-tall ornamental surround that includes the building name
and construction date.
In a continuing effort to ease overcrowding, Jungman School was built in 1902 at 1632 S Miller. Designed by Board Architect William B Mundie, the three-story, 22-room school would provide space for
nearly 1200 students, but within three years the Board was planning a 12 room addition. The classroom
addition was never realized due to challenges with land acquisition, but a combination assembly hall/
gymnasium, designed by Dwight Perkins, was constructed in 1913. The design of the Jungman School
includes monumental pilasters, a highly ornamented entablature, a bracketed pressed metal cornice,
quoined corners, and hooded windows; elements that would appear in many of Mundie’s school designs and likened them to other civic and municipal architecture in Chicago. The assembly hall addition takes its design influence from the school building and continues the use of red brick and limestone detailing.
Sokols, Benevolent Societies & Settlement Houses
As immigrant populations grew in Chicago, the creation of ethnocentric social, entertainment, and athletic clubs was widespread. German immigrants created Turnhalles, Polish immigrants created Falcon
Halls, and Bohemian immigrants created Sokols. The Sokol movement in America started in 1865 in
St Louis and, according to Ethnic Chicago, there were 184 Sokol societies in the United States by
1900. Pilsen was no exception, offering a number of facilities to the neighborhood residents.
One of the foremost purposes of the Sokol was athletic in nature, providing amenities to support strong
bodies and minds and organizing competition. However, many among the prevalent working-class did
not want to spend their free time exhausting themselves further. Thus the Sokols also offered entertainment options, sometimes in hopes of keeping young men away from the Saloons as reported in a Chicago Tribune article from 14 December, 1896: “free public entertainment in the Plzensy Sokol Hall.
No tickets were needed for admission, but the use of the Bohemian language was used as a password.

47

 The Sokol buildings in Pilsen are among the largest and most prominent. The Czesky Slavonsky
Americky Sokol (C.S.A.S.) at 1438 W. 18th St. (top), constructed in 1893 and expanded in 1902, was
designed by Frank Randak. This imposing 5-story, Classical Revival limestone façade with a mansard roof, recalls the designs of the World’s Columbian Exposition and differs from the Bohemian
influences of many of Randak’s other buildings in Pilsen.
Also designed by Frank Randak, the Plzensky Sokol at 1812 S. Ashland Ave. (bottom) was built in
two separate campaigns starting in 1892 and completing in 1895. Randak chose to execute the design of this hall in the Romanesque style with rusticated stone at the lower two floors and brick ad
terra cotta at the upper floors.

48

 The entertainment consisted [of] gymnastic feats…musical and vocal solos, stereopticon views of Bohemia, addresses, and declamations.”
Beyond providing a social and athletic venue, Sokols also offered immigrants a path to self-education.
Many offered opportunities to learn English, and conversely opportunities to preserve the Bohemian
language and culture among both children and adults.
The Sokol buildings in Pilsen are among the largest and most prominent. One of the earliest was Cesko
-Slovanska Podporujici Spolecnost (C.S.P.S.), built at 1126 W. 18th St. in 1886, the building was later destroyed by fire in 1918. The Czesky Slavonsky Americky Sokol (C.S.A.S.) at 1438 W. 18th St., constructed in 1893 and expanded in 1902, was designed by Frank Randak. This imposing 5-story, Classical Revival limestone façade with a mansard roof, recalls the designs of the World’s Columbian Exposition and differs from the Bohemian influences of many of Randak’s other buildings in Pilsen. The
pedimented openings, balustrades, Ionic columns and pilasters were likely intended to convey a sense
of permanence for this early Sokol. The building included a 2,000 seat theater, many smaller meeting
rooms, and a saloon.
Also designed by Frank Randak, the Plzensky Sokol at 1812 S. Ashland Ave. was similarly built in two
separate campaigns starting in 1892 and completing in 1895. Randak chose to execute the design of
this hall in the Romanesque style with rusticated stone at the lower two floors and brick ad terra cotta at
the upper floors. The original cornice has been removed but the two-story Corinthian columns and the
highly detailed arched openings continue to convey the important position that the building held in the
neighborhood.
In 1913 the Bohemian newspaper Denni Hlasatel announced the opening of the new Bohemian Settlement House at 1831 S. Racine Ave. The building, sometimes referred to as Howell House after its primary benefactors, contained “a gymnasium covering an area of 50 by 100 feet, and an electric washing
machine which will be available to the neighborhood women. The first floor contains a large assembly
hall, a dispensary, a reading room, and an office. The second floor is divided into several schoolrooms,
a kindergarten, a sewing room, cooking school, and two music rooms. On the third floor are living
quarters for those who will work in the Settlement, and there is room for eleven employees. The rooms
are modern throughout, tastefully furnished, and electrically lighted, and all those present agreed that
the new Bohemian Settlement House surpasses all buildings of its kind in Chicago.” In the 1970s the
building became home to Casa Aztlan, a social service agency founded to serve Mexican immigrant
families.
The cultural, educational and entertainment needs of the Bohemian community were also served by the
grand Thalia Hall at 1807 S. Allport St. (a designated Chicago Landmark). John Dusek hired architects
Faber & Pagels to design his large mixed-use building. The structure rises to a height of four stories
with five commercial spaces along the ground floor and 21 apartments above on the W. 18th St. frontage. The primary façades of the handsome Romanesque Revival style corner building are clad in rough
rusticated limestone. The exceptions to this surface treatment, found in the cluster columns of the entrances, the string courses, the alternating courses of rusticated and ashlar facings on the second floor,
the third floor arches, and the ashlar facing of the fourth floor dormers and towers, serve to articulate
the mass and emphasize the monumental aspect of the facade. The ground floor elevation is punctuated
by a rhythm of rectangular storefront openings that alternate with the massive stone arches of the residential entrances. The elevation is asymetrical, having towers of differing size and shape at its east and
west ends. Variety was emphasized in the profile of the roofline which includes hip, truncated hip,
mansard front, and dome designs.
49

 Top: M. Schrayer & Sons, a firm that made its own line of tin iron products, hired architect Henry Leopold Ottenheimer to design their building at 917-925 W. 18th St. The son of German immigrants,
Ottenheimer had studied architecture in Paris and also trained under Adler & Sullivan.
Bottom: The Dixie Cotton Felt Mattress Company Building, illustrated in this 1909 advertisement,
dates largely to an addition designed by architects Postle & Mahler in 1906.
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 At the time of Thalia Hall’s completion in 1892, the residential apartments were considered to be
among the finest in Pilsen, offering to tenants what were described in the contemporary press as "all
the modern conveniences." Dusek and his family were among the original tenants of the building.
Dusek operated his saloon in the corner storefront space, which was connected to the adjoining theater
by an enclosed passage, the better to gain patronage from those attending its functions. Today, the
building continues to provide its original functions.
In addition to Pilsen’s large sokols and halls, there were also some small clubs in the community, often
with athletic facilities. For example a two-and-a-half story structure at 1821 S. Racine Ave. was built
as a club with a gymnasium in 1906. The building’s red brick primary façade is trimmed in limestone
with fine eclectic details including a portal window accentuated by a foliated frame and an unusual
parapet with arched crenellations. While the building was likely constructed by a private Bohemian
club, it housed a chapter of the National Athletic Club from at least the late 1930s to the late 1950s.
Industrial Buildings
Since Pilsen’s early history, the presence of industrial complexes in the neighborhood attracted workers and their families to settle here. Many of the area’s 19th century manufacturing structures are no
longer extant. However, today, a collection of handsome industrial buildings dating from the early to
mid-20th century remains. While some have been adapted to apartments or work space lofts, others
still support manufacturing or related uses.
Two of the earliest industrial structures in the district are the M. Schrayer & Sons Building at 917-925
W. 18th St. (1905) and the Dixie Cotton Felt Mattress Company Building at 2014-2022 S. Racine Ave.
(1906). Both are brown brick buildings with large windows and simple pattered brickwork. These
structures are simple expressions of the Classical style with pilasters, cornices, and monumental
massing. However, they also convey an Arts & Crafts sensibility with strong horizontal bands of
brickwork that make the scale of each structure seem less daunting.
M. Schrayer & Sons, a firm that made its own line of tin iron products, hired architect Henry Leopold
Ottenheimer (1868-1919) to design their building at 917-925 W. 18th St. The son of German immigrants, Ottenheimer had studied architecture in Paris and also trained under Adler & Sullivan. His
work includes the 1913 Swedish American Bank at 5400 N. Clark St. (a designated Chicago Landmark.)
The Dixie Cotton Felt Mattress Company Building was built in stages, but the existing building dates
largely to a substantial addition designed by architects Postle & Mahler in 1906. As the firm was
owned by the Burton Company, a panel with word “Burton” tops the doorway at 2022 S. Racine Ave.)
Their work featured the five story corner part of the building.
For many decades meat processing, packing, and butchering served as a major industry in Pilsen. The
Fuhrman & Forster Company, which was founded by Bavarian immigrants in 1897, had expanded
their facilities to include several markets in Pilsen in the early 1900s. As the firm grew, they needed
additional facilities. Two structures they built in the neighborhood in the 1920s survive— the Cold
Storage Building at 1846 S. Loomis St. (1922 ) and the Truck Fleet Complex at 1647 S. Blue Island
Ave. (1924). Architect Worthman & Steinbach designed the Cold Storage Building, featuring simple
limestone and brick details that give a vague sense of the Gothic Revival style. Architect William Sevic (1898-1983), the son of Czech immigrants who grew up nearby on S. Blue Island Ave., produced

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 the Truck Fleet Building. The red brick structure features fine terra cotta details including an eagle and
a shield, and a panel spelling out the “Furhman & Forster” name.
Although manufacturing slowed in the 1930s and 1940s, there were some firms that built fine Modern
industrial buildings in Pilsen at that time. Two examples are 2050-2052 W. 18th St. (1934), a sleek yellow brick warehouse built by The Kusper Brothers, a wholesale liquor dealer; and 1424-1444 W. 21st
St. (1946) built as a woodworking production facility. For years this building housed the Woodworking
Corporation of America which employed 200 cabinetmakers mostly of Czech, German, Hungarian and
Polish descent. The red brick building has horizontal ribbons of massive windows and a limestone central stair tower with glass block windows. In the early 2000s, the building was rehabilitated into the
Woodworking Lofts.
Bank Buildings
During the late 19th and early 20th centuries, several small neighborhood banks opened in Pilsen. As
most of Chicago’s larger banking institutions would not lend money to laborers or other low-wage
earners, neighborhood banks and building and loan associations (later called savings and loans) formed
to provide this service and generate profits.
At the time, Illinois state laws prohibited banks from opening multiple branches. The intention of the
law was to prevent the growth of bank monopolies and to support small independent banks. As a result
of the law, independent banks were established throughout Chicago neighborhoods. Serving local
banking needs their services included checking and savings accounts, safety deposit vaults, as well as
business loans and mortgages. Because these businesses helped residents finance the purchase of their
homes, the proprietors often offered real estate services as well.
Industrial Bank at 2007 S. Blue Island Ave. was established by General August L. Chetlain, a North
Sider who realized that tens of thousands of workers in and around Pilsen needed created a tremendous

Top Left: Industrial Bank at 2007 S. Blue Island Ave. was established by General August L. Chetlain.
Bottom Left: The Novak and Steiskal Bank at 1817 S. Loomis St. (1925) features a Classically-designed
façade of limestone with monumental Corinthian columns and an ornate cornice.
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 market for banking. Erected in 1891, the Romanesque Revival style structure’s front façade is clad in
rusticated limestone with fine foliated ornamentation. The name, “Industrial Bank Building,” is incised
into the curved stone base of the business’s original storefront. Historically, the building featured the
bank on the first story and flats above.
The Savings and Mortgage Bank at 1332-1334 W. 18th St. (1892) is another beautifully detailed Romanesque Revival style bank with upper flats. Its founder, Anthony Kozel, had emigrated from Bohemia
in the 1860s and settled in Pilsen within a decade or so. Kozel became involved in real estate in 1890.
He hired his brother-in-law, Frank C. Layer (1860-1941), a Bohemian immigrant contractor, to design
and build his Savings and Mortgage Bank building. The structure has a prominent corner round bay. Its
primary façade is also enlivened by alternating bands of smooth and rusticated limestone. Kozel and
his family briefly lived in one of the apartments above his Savings and Mortgage Bank.
Many banks in Pilsen underwent additions and renovations over the years. John L. Novak and Frank
Steiskal first established a small private bank occupying about half of what would become a more expansive structure at 1817 S. Loomis St. structure. The Novak and Steiskal Bank thrived, especially after it became a state bank in 1921. By the mid-1920s, Noval and Steiskal acquired an adjacent lot in
order to expand their existing facility into a much more substantial building. They hired an up-andcoming architect, Leonard A. Gliatto to undertake the ambitious remodeling project.
Born in Chicago to Italian immigrant parents, Leonard Anthony Gliatto (1896-1974) received a degree
in architecture from the Armour Institute (IIT) in 1920. Three years later, he established his own firm.
As the new Novak and Steiskal State Bank had a construction budget of $105,000, there is no doubt
that the project was among Gliatto’s most prominent early commissions. In 1925, as the Novak and
Steiskal State Bank expansion was underway, the Chicago Tribune reported that the larger structure
was “being built right over the old banking quarters without interruption to business.” Gliatto’s enlarged structure featured a Classically-designed primary façade of smooth limestone with monumental
Corinthian columns and an ornate cornice with dentils scrolled modillions.
The structure operated as the Novak and Steiskal State Bank until the early 1930s, when a prominent
local banker, Frank J. Skala (1869-1968) purchased the structure. Skala had previously operated a twostory bank at 966-970 W. 18th Street (now a vacant lot.) According to the Chicago Tribune Skala had
emigrated from Pisek, Bohemia in 1890, and worked as a journalist. He soon purchased a steamship
ticket agency, providing a service that was in high demand during a time when immigration was on the
rise. And, the article explains, “as the residents of Pilsen community prospered, an increasing number
of them brought Skala their savings and asked his advice on investments.” The 1817 S. Loomis building continued as Skala Bank until 1963, when it was sold and renamed as the Republic National Bank
of Chicago. The structure continued to operate as a bank until the mid-1970s. Another Classicallydesigned real estate and mortgage building was erected sometime around 1919 at 1809 S. Racine Avenue. This two-story brick structure has an impressive primary façade fully clad in white terra cotta
with tall Doric columns, an elaborate entryway, and a prominent cornice topped by a balustrade. Pilsen
resident and real estate broker James Karban erected the building. The structure functioned as a bank
for just over a decade. Today, it houses a storefront church.
A somewhat smaller and earlier bank building with a livelier Classical Revival style façade is located
at 1443 W. 18th St. Frank J. Petru (1880-1972), the son of Bohemian immigrants, purchased an existing commercial structure and hired an unknown architect to remodel into his bank and real estate office
around 1908. Petru’s services included safe deposit vaults, insurance, and loans, but his primary real
focus was real estate. Clad in white terra cotta, the Frank J. Petru Building emulates a diminutive Greek
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 temple. The one-and-a-half story structure has a prominent pediment with a sculptural eagle as the centerpiece, a palmette crowning the parapet, an original doorway and storefront flanked by tall Ionic pilasters, and a cartouche in the smaller pediment over the front door. Frank J. Petru’s name is spelled out
in the terra cotta within the frieze below the pediment.
Petru and his family lived in a flat within the building during his business’s early years. Although they
later moved to Cicero, he continued to run his office from the Frank J. Petru Building at 1443 W. 18th
St. until 1957. The structure was then converted to other commercial uses.
The Ashland State Bank at 1800 S. Ashland Ave. was a small bank with a much more subdued appearance. According to a Chicago Tribune article entitled “New Ashland State Bank Buys Ashland Corner”
its organizers purchased an existing three story brick structure in 1921 to be converted into their new
bank. With the bank on the first story and flats above, the corner building has two primary facades.
Each features two doorways flanked by fluted engaged columns and crowned by open-scroll pediments. They building facades have a pleasing two-tone effect, with red brick along the upper stories,
and a smooth limestone base. The name “Ashland State Bank” in relief stretches across the limestone
frieze at the top of the base.
Commercial/Mixed Use Buildings
During Pilsen’s early history, enterprising residents and businessmen began erecting buildings that
combined commercial and residential uses, a building type historically known as a “store and flat”.
Many examples of this building type are found along 18th Street, Pilsen’s commercial corridor. With a
store and flat building, shop owners could live above their own business while also leveraging their investment by renting out additional units to tenants. Builders and owners often strove to create highquality and architecturally distinguished mixed-use structures. Like other buildings in the neighborhood, the structures were often expressions of popular styles of the day, but with Baroque flourishes
referencing the architecture of Central Europe. But their motivations were not merely sentimental.
Cognizant of the need to create good impressions for potential tenants and customers, landlords strove
to own buildings with fine exterior appearances.
Many of the mixed-use buildings erected in Pilsen between the mid-1870s and late-1880s were similar
in materials and style to the neighborhood’s cottages and flats of the same era. Most are expressive of
the Italianate style, and as was the case with residential structures, Pilsen’s early mixed-use Italianate
style buildings often had special flourishes such as carved lintels or hood moldings and highly decorative cornices and parapets.
There are a number of mixed-use Italianate style buildings dating the mid-to-late 1870s in Pilsen. Like
many of the residential flats that began going up in the neighborhood during the mid-1870s, these are
often red-brick structures with long rectangular windows topped with fine carved lintels or hood molds.
One example, 1916 S. Racine Ave., has a prominent cornice and a false mansard roof. Although the
original use of its storefront is unclear, it housed a pharmacy from at least 1896 to 1926. Bohemian
immigrant druggist Voita Vavra and his family lived above the store, and rented out the other units.
Another 1870s Italianate, 2008-2010 S. Blue Island Ave., a three-story building, has long arched windows with ornately sculpted stone hood molds. This deep structure had many rental units over two first
story commercial spaces. At the storefront level, the façade retains original cast iron pillars and brick
pilasters with simple stone capitals.
Many noteworthy mixed-use buildings in the neighborhood date to the mid-1880s. A handsome threeand-a-half story Italianate style red brick building at 1914 S. Throop St. was built in 1886. Along with
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 Pilsen’s commercial/mixed use buildings are designed in a variety of architectural styles including Italianate, Romanesque Revival and Queen Anne.
Top Right: 1501 W. 18th St. (circa 1895) Built by John Nowak, this Italianate structure originally housed
his saloon in the first story storefront.
Bottom Left: 1636 W. 18th St. (circa 1882) Polish immigrant Peter Niedzwicki and his family resided in
this Italianate building and operated a saloon in the storefront until prohibition when he converted it into
a shop.
Bottom Right: 1722 S. Ashland Ave (1894) This corner Italianate structure built has two primary facadesone expressing the Italianate style and the other Romanesque.
Top Left: 1844 S. Racine Ave. (1897) the name “F.M. Smolik” is carved in stone at the this Romanesque
Revival style structure’s parapet on which a miniature hipped roof crowns the peak of the gable.
Top Right: 1646 W. 18th St. (1895) historically housed the Soukup School of English.
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 Bottom Left: 1663 S. Blue Island Ave. (1893) This Queen Anne style building has a second primary façade at 1340 W. 18th St. Interestingly, the W. 18th Street façade is clad in brown brick, rather than red.
Bottom Right: 1454 W. 18th St. (1894) George Hulla, a Bohemian immigrant dentist owned the building
and operated his “Dental Parlor” here until his death in 1917.

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 an ornate cornice and parapet, it has carved limestone lintels and pilaster capitals that flank its storefront— the location of a bakery in the late 1890s. A two-and-a-half story structure that dates to the
same period at 1636 W. 18th St. shares many of the same features. Its owner, Polish immigrant Peter
Niedzwicki and his family resided here from at least 1889 to 1920, and they had tenants in four other
units. Niedzwicki operated a saloon in the storefront until prohibition when he converted the space into
a shop.
A two story mixed-use building with four storefronts is located at 1415-1421 W. 18th St. This brown
brick structure has restrained patterned brickwork, a limestone beltcourse that extends above the second story windows with floral carvings between the bays, and pilasters with ornately carved capitals
between each of the storefronts. An exquisite pressed metal cornice stretches across the top of its primary facade. Erected in 1886, the building’s storefronts originally included a crockery store and a real
estate office.
Architects Edbrooke & Burnham, a Chicago firm with a national practice, designed a series of three
mixed-use buildings at 948, 950, and 952 W. 18th Street. These two-story brick structures were also
erected in 1886. They lack the carved lintels or sculpted hood molds that were typical of the Italianate
buildings of the area. Rather, two of them have second story projecting bays, and the other (948) has
patterned brickwork. The center storefront (950) has been completely refaced. The corner structure
(952) originally housed the Loeb Bros. Meat Market, one of Pilsen’s many early butcher shops.
Some 1880s Italianate style mixed-use buildings included turrets and towers that would become characteristic of the Queen Anne style. For example the three-story building at 1040 W. 18th St. is red brick
with long arched windows that have sculpted surrounds. This Italianate style structure has a round corner tower with a conical roof. Another example of a large Italianate style store and flat building with a
prominent tower is at 1501-1503 W. 18th St. Built by John Nowak, this structure originally housed his
saloon in the first story storefront. According to Engineering & Building Record and the Sanitary Engineer, the 1887 building was the work of builders Riedel & Widlar. The four-story red brick structure
has fanciful carved limestone lintels, beltcourses, brickwork, a dormered mansard roof, and a foursided projecting bay that is described by the AIA Guide to Chicago Architecture as “an effusively ornamented pressed-metal corner tower.”
Another fine red brick tenement with storefronts is the three-story Stuchlik Pharmacy and Flat Building
at 1008-1012 W. 18th St. Built by William Stuchlik, the son of one of earliest Bohemian’s to settle in
Chicago, the structure had sixteen rental units over three storefronts. It has bold limestone beltcourses,
three-sided projecting bays, a deep decorative cornice, and a hipped roof with dormers.
During the 1890s, many Romanesque Revival mixed-use buildings began springing up in Pilsen. With
primary facades that are fully clad in limestone, the structures convey a sense of strength or permanency. A two-story example at 1714 S. Ashland Ave. features alternating courses of smooth and rusticated
limestone with a handsome entryway nestled into an arched opening. Rising from its flat stone parapet
features are two fanlike carved details, one framed within a pediment, and the other in a curved panel.
Built in 1894, the building originally housed the publishers of the Dziennkl Polski Gazette and the A.
Wohl Co. embroidery firm.
A large corner structure built at 1722-1724 S. Ashland Ave. in 1894 has two primary facades- one expressing the Italianate style and the other Romanesque. Comprising a long rectangular mass, the building’s W. 18th Street façade did not originally house commercial spaces. On this brick face, long rectangular windows have the same kind of stone lintels with floral carvings throughout the many Italianate
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 facades nearby. At the corner of S. Ashland Ave, the building features a curved projecting bay, and
this entire elevation is clad in rusticated limestone. The façade is enlivened by a few smooth stone
beltcourses, alternating areas of smooth and rusticated blocks in a checkerboard, and dentil-like details
across a smooth band beneath the cornice.
The neighborhood has an extensive collection of three-and-a-half and four-story flat roofed Romanesque Revival style buildings with handsome rusticated limestone facades— a few that retain elements of their original storefronts. The structures at 1456, 1640, and 1646 W. 18th Street are all stonefaced subtle checker-board style ornamentation beneath third and fourth story windows. The 1646 W.
18th St. building, which retains much of its cast iron storefront, historically housed the Soukup School
of English, with several apartments above. Two other noteworthy examples with rusticated stone facades are located at 1536 W. 18th St. and 1844 S. Racine Ave. The one at 1536 W. 18th Street has a
lively stone parapet. At 1844 S. Racine Ave., the name “F.M. Smolik” is spelled in stone at the center
of the structure’s parapet on which a miniature hipped roof crowns the peak of the gable. The1897
Smolik Building has an exquisite façade with a center arch, pediments over third story windows, and a
variety of other carved stone details. Frank Smolik, a successful Bohemian butcher, lived in the building with his family and ran his business from its storefront.
Some of Pilsen’s Romanesque buildings have substantial amounts of smooth limestone which give
them a more Classical Revival appearance. The façade of 1806-1824 S. Blue Island Ave. is embellished with a mix of rusticated outer bays and smooth ones in the center with triple columns and a variety of carved details. For many decades, this building served as Lurie’s, a department store with flats.
Its storefront was later bricked in, and a larger grocery story added on its southeast side. A nearby four
-story department store with flats is located at 1852 S. Blue Island Ave. Designed by architect Frank
Randak, the 1894 building has a primary façade clad almost entirely in smooth limestone. Limited rusticated masonry and minimal foliate carvings and dentils subtly embellish the upper levels.
Many mixed-use buildings found throughout the neighborhood are expressions of the Queen Anne
style. In Pilsen, these structures, which generally have corner towers or projecting bays, often incorporated Bohemian Baroque references. The three-and-a-half story tall structure at 1002 W. 18th St., built
in 1890, has the same kind of red face brick and limestone beltcourses as found in many nearby Italianate style structures. However, it also features a well-ornamented corner turret with a conical roof, terra
cotta lintels with rosettes at each end, and small terra cotta panels flanking its attic windows expressive
of the Queen Anne style. A characteristically Bohemian sunburst carved into a small limestone panel
is located above the storefront window opening.
Another building that represents a transition from the Italianate to Queen Anne style is at 1663 S. Blue
Island Ave. Completed in 1893, the four-story structure was developed by William Menge, a successful German immigrant grocer and coal dealer. Although this four-story building is clad in red brick
and has limestone lintels and belt, it also has a three-sided projecting bay, patterned brickwork and several highly ornamental terra cotta panels. One panel includes the date 1892 (when the building was
first planned) below William Menge’s initials. The structure has a second primary façade at 1340 W.
18th St. Both sides originally featured first story storefronts. Interestingly, the W. 18th Street façade is
clad in brown brick, rather than red. It features a round engaged tower and patterned brickwork.
A four-story mixed-use building at 1454 W. 18th St. was designed in the Queen Anne style without
making reference to Bohemian architecture. Erected in 1894, this painted-brick structure has a threesided projecting bay with lively applied ornamentation at each of the upper levels. George Hulla, a Bohemian immigrant dentist owned the building. He lived nearby and operated his “Dental Parlor” here
until his death in 1917. A much larger Queen Anne structure is located at 1800 S. Morgan St. and also
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 encompasses 983-1011 W. 18th St.. The four story corner building is clad in light tan brick and has
engaged corner towers with conical roofs at its eastern and western ends that front onto W. 18th Street.
Its owner was John Klaus, an Austrian immigrant grocer who lived about two blocks away and likely
had his store in this building.
A Queen Anne style mixed-use building that has some Gothic Revival details is located at 1125 W.
18th St. Anton C. Charvat, a prolific local architect, designed this three-and-a-half story structure for
the Bohemian immigrant undertakers, the Urban Brothers. Clad in light brown brick, the walk-up has
an engaged corner tower, limestone beltcourses, Gothic windows in the corner façade of its storefront,
and a limestone Gothic Revival style entryway with the word “Morticians” inscribed over the door.
Albert and John Urban worked in the 1902 building and lived in apartments above with their families.
They rented the third unit to tenants.
Charvat also produced a 1907 mixed-use building at 1328 W. 18th St. that provides a hint about its
owner’s profession. Clad entirely in smooth limestone, the four-story structure has a subtly projecting
bay on one side that is topped by a tall bell-shaped parapet. Restrained foliate ornamentation stretches
above triple windows on the second story and the inner part of a fourth story pediment. A sculptural
cow’s head projects above the third story triple windows. The cow represents the profession of the
building’s owner, Bohemian-immigrant butcher Joseph Liska.
Another nearby building that has a primary facade clad in smooth limestone is the Nemecek Photography Studio and Apartment Building at 1439 W. 18th St. Designed by Frank Randak, a Czechimmigrant architect who was responsible for several noteworthy structures in Pilsen, the building was
also completed in 1907. Frances D. Nemecek (1880-1950) grew up in Pilsen and became a successful
photographer. The structure housed his second story studio, first story shop, and four apartments, including the one the Nemecek family occupied. It has an enormous slanted skylight in Nemecek’s original studio as well as other fine leaded glass windows. The façade includes an engaged corner tower
beneath an egg-shaped roof. The limestone surfaces are embellished by fine carved ornamentation including several characteristically Bohemian shell-like details.
During the early 20th century, some mixed-use brick buildings have eclectic details but convey an overall sense of the Arts and Crafts style. In Pilsen, these structures often have some Bohemian Baroque
attributes. For instance, a three-and-a-half story orange brick store and flats at 1620 W. 18th St. has a
subtly projecting bay, leaded glass upper windows, arched limestone lintels, and brick quoins flanking
most of the window openings. The structure has a tall peaked parapet enlivened by brickwork and
topped with a finial with an elongated shell motif.
Another noteworthy eclectic structure at 1742-44 W. 18th St. was built in 1909. Architect Perley Hale
designed this building for watchmaker Paul Lenik and his family. In addition to Lenik’s jewelry store
there were four residential units above. The light brown primary façade is embellished with lively yellow brick details. A tall vivacious bell-shaped parapet has pattered brickwork and limestone finials.
New construction slowed considerably in the 1910s, but a handful of mixed-use buildings went up at
this time. Though buildings of this period were generally restrained in design, most still featured a distinctive parapet. One example, a 1912 dark brown three-and-a-half story structure at 1858 W. 18th St.
was designed by architect John Flizkowski. Its restrained and generally flat primary façade is distinguished by tall brick pilasters, limestone stringcourses, and arched windows at the attic level. Its steep
parapet angles in on both sides rising to a flat top and has a squared peak on each side near the tops of
the upper windows—echoing the form of many others in Pilsen.
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 Top Left: 1620 W. 18th St. (circa 1900) possesses an overall sense of the Arts and Crafts style with Bohemian Baroque attributes.
Top Center: M.V. Kowalski hired architect Josesph Klafter to design his funeral home and flats at 1737
W. 18th St. (1940) in an Art Deco version of the Gothic Revival Style.
Top Right: A noteworthy eclectic structure at 1742-44 W. 18th St. (1909) was designed by architect
Perley Hale for watchmaker Paul Lenik and his family.
Bottom Left: Some buildings with a restrained design still featured a distinctive parapet, including 1858
W. 18th St. (1912 ) designed by architect John Flizkowski.
Bottom Right: Anton Charvat designed the 1907 mixed-use building at 1328 W. 18th St. with a subtly projecting bay on one side that is topped by a tall bell-shaped parapet.
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 Another three-and-a-half story mixed use building that dates to 1912 is located at 1339 W. 18th St. Produced by architects Novy & Son, the structure is clad in light brown brick and well-trimmed in simple
Arts & Crafts style limestone details. Its two square attic windows sit within a rectangular limestone
frame. They stand in the center of a fine stepped parapet that has limestone coping and detail of vertical lines and squares, as well as a round finial that rises from its flat top. This building housed Pilsen
Electric Supply from 1912 until at least late 1940s. A two-and-a-half story red brick structure at 1524
W. 18th St. was erected in 1915. Its sparse Arts & Crafts style details of limestone squares and horizontal lines are most pronounced at its parapet which is both angled and stepped.
Throughout Pilsen’s history, building owners often altered existing structures to either provide more
space or accommodate new uses. By the mid-1910s, the community was built up and these kinds of
projects were much more commonplace than new construction. One example is a two-and-a-half story
structure at 1412 W. 18th St. Built in a series of additions, the building’s oldest part is one-story brick
cottage that sits at the rear end of the lot. In 1901, a one-story brick addition was built onto the front of
the cottage. The storefront housed the Joseph Mendel Florist Shop. In 1916, a much larger two-and-ahalf story flat-roofed addition was erected that includes the existing primary façade. Clad in yellow
brick, the façade had includes simple limestone details including a flat parapet with a step and peak in
the center.
Another example is 1624 W. 18th St., a two-and-a-half story brick structure that resulted from a major
alteration and new front addition in 1926. The primary façade, clad in light yellow brick, has attractive
limestone details. Its flat parapet, which has steps at its outer ends, conceals the building’s gable roof.
The gabled portion fronts onto two contiguous flat-roofed structures at the rear. The building housed
an employment office in the early 1910s. After the construction of its addition, it included six apartments and the storefront space. The store was converted into an office space in the mid-1950s.
During the Depression era, alterations to existing buildings continued. Sometime around 1935, a Yugoslavian couple, Frank and Annette Ciekovic made alterations to an existing one-story brick structure
at 1802 S. Allport St. They transformed the structure into a tavern in the front and their apartment in
the back. The building’s primary façade represent a simplified Art Deco expression. It is clad in lannon stone (painted dark grey) and has large glass block openings that curve towards the front doorway.
Over the decades, several business proprietors in Pilsen had added small one-story brick storefronts to
the front of their homes. One example is jeweler Joseph Cwiak who built a brick storefront onto the
front of his frame house in 1940. The storefront at 1743 W. 18th St. originally housed Cwiak’s jewelry
shop has an assuming yellow brick façade. A number of similar storefronts added onto the fronts of
cottages can be found throughout Pilsen.
Only a limited number of entirely new mixed-use buildings were erected in Pilsen after the late 1910s.
Two noteworthy examples are funeral homes, both constructed during the Depression years. Czech
immigrant undertaker Joseph Linhart built his funeral home with flats at 1335-1345 W. 19th St.in 1938.
The building is, in essence, two contiguous large rectangular structures with a unifying primary façade.
Composed of two-toned header bricks that form a checkboard pattern, the façade features three alternating bays of smooth limestone. The building represents the Gothic Revival style, but with some modernistic elements such as ziggurat repeating shapes.
Similarly, the other funeral home is an Art Deco version of the Gothic Revival Style. M.V. Kowalski
hired architect Josesph Klafter - to design his funeral home and flats at 1737 W. 18th St. Clad in yellow
brick, the structure’s primary façade has expansive applied smooth limestone with stylized details. The
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 structure functioned as a funeral home until the late 1970s when it was converted into an office for the
Spanish Coalition for Jobs. Around 2010, the National Latino Education institute moved in. Today, the
building houses a Chinese restaurant, and some of the façade’s most interesting elements are obscured
by a large awning.

PILSEN’S ARCHITECTURAL CHARACTER & STYLES
As explained in the NRHP Pilsen Historic District Form, the neighborhood’s immigrants
“enthusiastically expressed their national identity in architectural terms, constructing many buildings
based on the forms and styles of their homeland.”
Pilsen’s builders generally followed Chicago’s architectural stylistic norms of their day. Built of brick
and stone, most of these structures are examples of the Italianate, Romanesque, and Queen Anne styles.
But the neighborhood developed its own special character because the immigrant builders and architects also incorporated Baroque references that related to the architecture of their homeland.
The Baroque style had been popular in Central Europe since the late 17th and early 18th century. A
highly ornate expression that evolved from Italian Renaissance architecture, Baroque influences took
many forms. In general, buildings of this type are characterized by undulating shapes, curvaceous
forms, and highly decorative treatments. In cities such as Plzen and Prague, there were many Baroque
churches, monasteries, chateaus and palaces. These structures commonly had curving rooflines and
fanciful facades with towers, ornate sculptural treatments, highly detailed fenestration, and intricate
painted surfaces, often in bright colors. In smaller towns throughout Southern Bohemia, buildings reflecting a simpler expression considered “Folk Baroque” became common. For example Holašovice
Historic Village, a UNESCO heritage site, features buildings of painted stucco with varied rooflines
and fanciful decorations. The upper reaches of the gable ends of the bell shaped facades were often
particularly well-decorated. Fanlight shaped windows with painted frames or sunburst-like motifs were
often located at the attic level of the rooflines.
The “Bohemian Baroque” was expressed in Pilsen’s architecture through unusually shaped parapets,
carved stone lintels, sculptural treatments of hoodmolds and other details, and decorative patterns in the
brickwork. These expressions were adapted to the various architectural styles and period of development in the community. Rooflines are especially ornate. Ornate parapets are often bell-shaped, angled,
or have a curved form at their center concealing the peak of the gable roof behind them. Many structures also have fanciful finials capping the upper reaches of their façade.
The following architectural styles are found throughout Pilsen, many in “Bohemian Baroque” variations:
Italianate
The Italianate style, which first came into fashion in America in the 1840s, was popular in Chicago
from the pre-Fire (1871) period until the mid-to-late- 1880s. Buildings of the style are characterized by
hipped or gabled roofs with overhanging eaves, bracketed cornices, long windows that are flat or
arched on the top, and arched hoods or lintels above doors and windows. Structures may be constructed of wood-frame or brick walls. The Italianate style is quite prolific in Pilsen. It is expressed in
workers’ cottages, residential flats, and mixed-use buildings.
Romanesque Revival
Inspired by the work of renowned architect Henry Hobson Richardson (1838-1886), the Romanesque
Revival style became popular throughout the nation from approximately 1880 to the late 1890s. In Pil62

 sen, buildings that represent this style are seen from the early to late 1890s. Romanesque Revival style
buildings are characterized by primary facades that are fully clad in limestone. Rusticated limestone is
most common, however, in many facades, both rusticated and smooth limestone are used. In addition
to varied masonry textures, the buildings of this style often feature carved limestone ornamentation.
Romanesque structures often have arched openings, projecting or curved bays, and decorative cornices
or parapets.
Medieval churches and cathedrals in Europe often inspired ecclesiastic buildings designed in the Romanesque Revival style. These structures are often composed of brick and trimmed in limestone. They
generally feature asymmetrical facades, towers, and arched doorways and window openings.
Queen Anne
The Queen Anne style became nationally popular including throughout Chicago between the late 1880s
and 1910. Many examples can be found in Pilsen. Although buildings of this style can be constructed
of wood-frame or brick walls, in this neighborhood most are brick. Color is often emphasized, and Pilsen’s Queen Anne structures represent a range of colors of brick. The structures often have corner towers, turrets or projecting bays. Lively decorative schemes are composed of patterned brickwork, terra
cotta panels, applied ornamentation, and leaded or art-glass windows. Pressed metal cornices or applied
ornamentation is popular in the style. Pilsen’s Queen Anne buildings often represent eclectic mixes and
elements of Eastlake, Second Empire, or Gothic Revival. As was the case with other styles, these Victorian ere elements were frequently blended with Bohemian references.
Classical Revival
In America’s architectural history, there have been several periods in which Classical Revival expressions were popular. In Chicago, the style was popularized by design of the 1893 World’s Columbian
Exposition which emphasized symmetry and formality and made references ancient Greece and Rome.
In Pilsen, the Classical Revival style was most popular from the early 1900s through the 1920s. In this
neighborhood, the style was most commonly used for banks, real estate offices, and other businesses
that wanted to convey a sense of importance or integrity such as newspaper publishers. Buildings of
this type are often monumental in scale. They often include columns, pilasters, pediments, dentils, and
other elements that have Greek or Roman precedents.
Arts & Crafts
Arts & Crafts was a movement that took place in England and America during the late 19th and early
20th centuries. Spurred in reaction to overly-fanciful designs and poorly constructed machine-made
items, this aesthetic movement valued handcrafted goods, clean lines, and simplicity. In Chicago bungalows and classic two- and three-flats can be considered part of this style. Pilsen has no bungalows.
However, it has a fine collection of flats and mixed-use Arts & Crafts buildings. These structures are
generally constructed of brick. They often emphasize straight lines and are sparsely detailed with
brickwork and limestone details in geometric patterns. Some of these buildings have leaded or artglass windows.
Art Deco
An expression of Modernism first popularized in Paris in the 1920s, the Art Deco style became most
common in Chicago from the 1930s to mid- 1940s. In architecture, the style emphasizes clean lines,
geometric forms, and stylized representations of earlier forms or details. In Pilsen, only a limited number of buildings were constructed or remodeled during the 1930s or 1940s. Those that represent the
Art Deco style are generally constructed of brick and may include sparse geometric details, glass block,
and the use of two contrasting materials such as brick and smooth limestone.
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 Pilsen’s builders generally followed Chicago’s architectural stylistic norms of their day. Built of brick
and stone, most of these structures are examples of the Italianate, Romanesque, and Queen Anne
styles. But the neighborhood developed its own special character because the immigrant builders and
architects also incorporated Baroque references that related to the architecture of their homeland. In
general, buildings of this type are characterized by undulating shapes, curvaceous forms, and highly
decorative treatments. In cities such as Plzen and Prague, there were many Baroque churches, monasteries, chateaus and palaces.

64

 SELECT ARCHITECTS IN THE PILSEN HISTORIC DISTRICT
Anton Charvat (1864-1923)
Anton (or Anthony) C. Charvat was a Bohemian immigrant who established an architectural practice in
Pilsen in the late 1880s. Little is known about his education or architectural training. Initially he
worked from his home at 1921 S. Loomis Street. By 1914, Charvat had an office at 1801 S. Ashland
Avenue in Pilsen, and he and his family had moved to the Lawndale community. Several years later,
Charvat ran his office out his home on S. Millard Avenue. By 1920, his son Anton (or Anthony) O.
Charvat (1884 -1940) was working as a draftsmen for the firm.
Charvat Sr. was active in many Bohemian organizations and societies, often receiving commissions
through these connections. For example, he designed the Bohemian Old People’s Home and Orphanage
at W. Foster and N. Crawford Avenues, and the Jan Hus Memorial at 4236 W. Cermak Road which
served as a library and community center for Bohemian Freethinkers. The Charvats produced a large
collection of residential and mixed-use buildings in Pilsen, Lawndale (especially in the K-Town area of
North Lawndale, which had a large Czech population, and is listed as a NRHP Historic District.) They
were responsible for designing more than ten extant structures in Pilsen including mixed-use and multiresidential buildings.
James B. Dibelka (1869-1925)
James B. Dibelka emigrated from Bohemia with his family during his childhood. He grew up in Pilsen and was educated in the Chicago Public Schools. It is unclear where Dibleka received his architectural training. By 1899, he had established his own firm. He soon became quite busy designing a variety of projects including residential properties, religious buildings, industrial structures, and park buildings including the Natatorium in Union Park. Dibelka served on Chicago’s Board of Education for several years. He was appointed as State Architect in 1913 and continued in that role for four years.
Through this position, he produced several buildings at the University of Illinois, and the Illinois Building at the 1915 Panama Pacific International Exposition in San Francisco, for which he won an international gold medal in architecture. His work in Pilsen includes flat buildings, the Bohemian Bazaar
Building (1906) at 1657 S. Blue Island Ave., and the Bohemian Reformed Church on S. Ashland Avenue (no longer extant).
James J. Egan (1839-1914)
Born in Cork, Ireland, Egan studied the Government School of Design at Queens College prior to immigrating to New York. He worked for several New York firms and then relocated to Chicago, where
he became one of the city’s most prominent early architects. Egan was especially well-known for his
ecclesiastic work. In addition to St. Pius V. his churches include St. Vincent DePaul Church in Chicago; St. Ambrose Cathedral in Des Moines, IA; and St. Mary’s of the Assumption Cathedral in San
Francisco, CA (no longer extant).
William August Fiedler (1842-1903)
Born in Elbing, Germany, W. August Fiedler was educated in architecture before immigrating to the
United States in 1871. He worked as an architect in New York City for several years, and then moved
to Chicago in 1874 as part of a large influx of architects that saw professional opportunity in the rapidly-growing city. Fiedler was also one of a number of German-born architects who were drawn to Chicago with its large German-American population.

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 Once in Chicago, Fiedler entered the field of interior design and high-quality furniture and furnishings,
first in partnership with John W. Roberts and then by himself as A. Fiedler & Co. Fiedler's clients included many of the city's social elite, with one of his most elaborate interior designs created in 1879 for
Samuel M. Nickerson’s sumptuous residence (1883, 40 East Erie St., a designated Chicago Landmark).
During the 1880s, Fiedler formed an architectural firm with John Addison, who was known for his
“Modern Gothic” designs. The firm designed grand homes and commercial buildings in Chicago and
across the Midwest. One of their best Chicago works was the Germania Club Building (1889, 108 West
Germania Pl., a designated Chicago Landmark). In 1890, Fiedler and Addison ended their partnership,
and Fiedler briefly practiced independently until he was appointed Board of Education Architect in
1893.
During his 3-year tenure at the Board of Education, Fiedler designed 58 new school buildings and dozens of additions, including Komensky School (1890, 2001 S Throop St. now Perez Annex), Yates
School (1896, 1839 North Richmond St.), and Goethe School (1895, 2236 North Rockwell St.).
Fiedler’s designs outside of the school system include, most notably, the expansion of the West Side
Grounds at Taylor and Wolcott Streets (1893, demolished 1920), which was the home of the Chicago
Cubs until the team moved to Weeghman Park (now Wrigley Field) in 1916.
John S. Flizikowski (1868-1934)
John S. Flizikowski, a Prussian immigrant, received his architectural training at the Art Institute of Cologne and the Technical University of Berlin. He graduated in 1891, and two years later immigrated to
the United States. He established his own firm in Chicago in 1894 and was soon designing buildings in
neighborhoods throughout the city. His noteworthy buildings include the Polish Roman Catholic Union of America in Chicago’s West Town neighborhood which now houses the Polish Museum of
America. Flizikowski produced several store and flat buildings in Pilsen
Frommann & Jebsen (Firm 1881-1925)
The Chicago architectural firm of Frommann & Jebsen enjoyed frequent patronage from Edward
Uihlein and the Schlitz Brewing Company. The American Contractor identifies 27 commissions that
the firm received from Uihlein or the brewery; a substantial number of these buildings were tied houses. Frommann & Jebsen also designed Uihlein’s residence at 2041 W. Pierce (1877, demolished circa
1921) and the brewery’s distribution and bottling facility at Ohio and Union Avenues (1903, also demolished). Surviving tied houses known to have been designed by Frommann & Jebsen including those
at 3159 N. Southport Ave. (1903) and 8900 S. Normal Ave. (1910). Frommann & Jebsen likely designed the tied house at 11400 S. Front Ave. (1906) and the stable building at 11314 S. Front Ave.
(1906) in “Schlitz Row” near Pullman. The firm also produced the Schlitz Tied House at 1870 S. Blue
Island Ave. in Pilsen.
Architect Emil Henry Frommann (1860-1950) was born in Peoria as the son of German immigrant and
architect George N. Frommann. In 1871, the elder Frommann moved to Chicago to participate in the
post-Fire reconstruction. The younger Frommann apprenticed in his father’s office in the late-1870s
before leaving to study architecture at the Massachusetts Institute of Technology in 1880. His father’s
death a year later cut short his formal education, though he was able to return to Chicago and successfully carry on his father’s practice with Ernst Jebsen (1850-1917), about whom little is known. Frommann continued to practice architecture after Jebsen’s death, with his last-known design completed in
1925.

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 John Klucina (1861-1921)
John Klucina emigrated from Bohemia in 1890 and settled in Pilsen. He received his architectural
training prior to immigration. Klucina established his own firm sometime before 1900. Within the following decade Klucina and his family moved to W. 26th Street in the heart of Chicago’s “Czech California” district and he began receiving many design commissions from the community. Although he
produced some buildings that reflect Victorian styles, Klucina’s work is characteristically representative of Arts & Crafts architecture. Klucina produced several residential and mixed-use buildings in Pilsen.
Lonek and Houda
Lonek & Houda was an architectural firm founded by Adolph Lonek and Joseph F. Houda. Born in
Bohemia, Adolph Lonek (1864-1938) immigrated to America in 1892, and established his own firm in
Chicago by 1898. He became quite active designing residential and mixed-use buildings for Bohemian
clients, especially in the Lawndale neighborhood. Along with his architectural work, Lonek served on
the boards of two banks in Lawndale. Lonek went into partnership with architect Joseph Houda around
1905.
The son of a Bohemian immigrant tailor, Joseph Houda (1874-1933) was born in Chicago and raised in
the Pilsen neighborhood. Although little is known about his architectural training, he attended college.
Houda began practicing on his own by 1900, quickly developing a large body of work. Lonek and Houda produced several buildings in Pilsen including stores and flats at 1152 and 1538 W. 18th St. and the
Benedictine Press Building at 1637 S. Allport St.
John Hulla
Bohemian immigrant John Hulla (1876-1970) lived in Oak Park, Illinois and ran an architectural firm
from an office in downtown Chicago from the 1890s until at least the mid-1950s. His wife, Adelaide
Benham Hulla received an architectural degree from the Armour Institute and assisted her husband.
Hulla’s work includes a 1905 Rectory for the All Saints Episcopal Church in the Ravenswood neighborhood, several buildings in the Dover Street Historic District, and the couple’s own home at 417 S.
Grove Street in Oak Park. In Pilsen, the Hullas designed store and flat buildings.
William B. Mundie (1863-1939)
William Bryce Mundie was born in Hamilton, Ontario, Canada in 1863. His parents were natives of
Scotland and both his father and paternal grandfather were architects. Mundie was educated in public
schools and the Hamilton Collegiate Institute. He worked as an "indentured student'' (his own term) for
Peter Brass from 1880 to 1884. That year he came to Chicago and was hired as a draftsman by William
Le Baron Jenney. In 1891 he became Jenney’s partner in the firm of Jenney & Mundie. In 1892 he
married Jenney's niece, Bessie Russel.
In 1905, Elmer Jensen joined the practice as William Jenney went into retirement, and the firm became
Jenney, Mundie & Jensen. In 1907 Jenney died, and the firm became Mundie & Jensen until 1936.
From then until the time of Mundie's death in 1939 the practice was known as Mundie, Jensen, Bourke
& Havers.
Mundie joined Jenney as he was building the Home Insurance Building (1885, demolished 1931) commonly credited as the first metal skeleton frame building. While Mundie and Jenney worked together
their main commissions were tall office buildings, including the State Bank of India Building (1893,19
South LaSalle St.), and the LaSalle-Monroe Building (1894, 37 South LaSalle St.). Among the im67

 portant buildings designed by Jenney, Mundie & Jensen are the Lake View Building (1912, 116 South
Michigan Ave), and the Union League Building (1926, 65 West Jackson Blvd).
Mundie was Architect for the Chicago Board of Education from December 1898 to May 1904. Some of
his extant designs include Jungman School (1902, 1632 S Miller St.), Plamondon School (1903, 2642
West 15th St.) and Phillips High School (1904, 244 East Pershing Road, a designated Chicago Landmark). According to Donna Rae Nelson in her study of Dwight Perkins (who followed Mundie as
Board of Education Architect), Mundie was "badgered out of office by a school board that was more
interested in rewarding cronies than in quality scholastic architecture." The March 28, 1904, Chicago
Board of Education Proceedings state that Mundie resigned "on account of his health." He died in 1939
and is buried at Rosehill Cemetery.
Ludwig Novy (1854-1917); L. Novy & Son
Ludwig Novy was trained as an architect in Bohemia and immigrated with his wife and son in 1880.
He soon established the firm of L. Novy architect. He became quite prolific, specializing in residential
and commercial buildings for Bohemian immigrant clients. His son, Joseph James Novy (1878- 1964),
began working in the practice before 1900, and the firm’s name was changed to L. Novy & Son around
1909. Continuing after his father’s death, the practice became known as J.J. Novy in 1918. Joseph’s
son Norman Novy (1907-1998) later joined the office and went on to established his own practice after
Joseph retired in the 1950s.
The three generations of Novy’s produced a large body of work in Chicago and the western suburbs.
Among the firm’s best known buildings is the Sokol Slavsky Building at 6130 W. Cermak Avenue in
Cicero. Constructed in 1927, the structure included a grand ballroom that was later converted to a
movie theater. The Novys produced store and flat buildings as well as a blacksmith shop and flats at
1530 W. 21st St.in Pilsen.
Frank Randak (1861-1926)
Frank Randak was an architect who had produced a number of prominent buildings in Pilsen and other
nearby Czech communities. Born in Bohemia, he trained in architecture before emigrating in 1888. His
Pilsen work includes the Plzensky Sokol at 1812-1816 S. Ashland Avenue; the Česko-Slovanský Podporující Spolek at 1436-1440 W. 18th; and the Nemecek Photography Studio and Flats at 1439 W. 18th
Street. He also designed the store and flats at 1852 S. Blue Island Ave.
Among Randak’s other noteworthy work are the Anton Cermak House at 2483 S. Millard (designed
with architect James B. Rezny); the Lawndale National Bank 3333 W. 26th Street; the Douglas Natatorium and Gymnasium (no longer extant); and the Crematorium at Bohemian National Cemetery (5200
N. Pulaski Road).

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 SELECTED MURALS & ARTISTS IN THE PILSEN HISTORIC DISTRICT
Outdoor murals are, by their very nature, ephemeral as they are subjected to their interaction with nature and humankind. They are also often dynamic, perhaps more so with community based art. The
murals of Pilsen are no exception, with many having been lost or faded to near-obscurity but also revived, modified to suit a new social-political context, or even re-created to maintain an important community connection.
Despite these facts, the murals of Pilsen are a key part of the community identity, even if any description of their content is merely a snapshot in time. Similarly, the artists who have contributed this snapshot include well-known and recognized leaders in the art community; numerous self -taught, outsider,
folk and naïve artists; as well as students, neighbors and anonymous contributors. The following descriptions, presented in chronological order, provide a sample of the art and artistry that exist in the
Pilsen Historic District today.
Organicémonos Para Que Haiga Paz (Let’s Organize So We May Have Peace), 1978, Aurelio Diaz
1657 S. Throop Street
Aurelio Diaz (b. 1954) immigrated to the United States from Zamora, Michoacán, México in the early
1970’s. He painted murals in the Southwest, Arizona, and New Mexico before migrating to Chicago.
Diaz’ murals in Pilsen and Little Village include Organicémonos Para Que Haiga Paz and several at
St. Pius V Church and School. He currently resides in Mexico.
Nuestra Sagrada Familia (Our Holy Family), 1989, Aurelio Diaz
1919 S. Ashland Avenue, St. Pius V School
Above the doorway on the south side of the school, families are depicted examining books. On either
side of the central image of multi-racial families, Aztec warriors stand at attention. The mural which
evokes the style of Diego Rivera, highlights cultural pride and the importance of knowledge.
Mural @ La Catrina Café, date unknown, Salvador Vega
1800 S. Morgan Street (also 1011 W. 18th Street)
Chicago born and raised, Salvador Vega has been an artist and muralist since the 1970’s. A life- long
activist, he participated in Pilsen demonstrations that resulted in the construction of Benito Juarez High
School. Vega was also one of many young student artists who worked on the execution of A La Esperanza the 2,000 foot mural painted on the east side of the new school. Later, as a student at the

Above: Organicemonos Para Que Haiga Paz (Let’s Organize So We May Have Peace), 1978, Aurelio Diaz,
1657 S. Throop Street.
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 Murals can be found throughout Pilsen dating from 1970s and continuing to today. Artists who have
contributed these work include well-known and recognized leaders in the art community; numerous
self -taught, outsider, folk and naïve artists; as well as students, neighbors and anonymous contributors.
Top: Nuestra Sagrada Familia (Our Holy Family), 1989, Aurelio Diaz, 1919 S. Ashland Avenue, St. Pius V
School
Bottom: Mural @ La Catrina Café, date unknown, Salvador Vega, 1800 S. Morgan Street (also 1011 W.
18th Street)
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 Homage to the Women of Mexico
(bottom left) and others, 19931995, Francisco Mendoza, 1710
W. 18th Street at the CTA Pink
Line Station
Mendoza working with Joy Anderson and other local artists
and area youth painted murals on
the stairs, stairway walls and
platform wall of the Chicago
Transit Authority (CTA) 18th
Street Pink Line Station.
They mixed traditional and contemporary Mexican designs with
iconic Pre-Columbian images in
an exuberant homage to Mexican
Culture.

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 School of the Art Institute of Chicago, he was a leader in protests for more rights and representation.
Vega continues to work as an artist and muralist often provides technical assistance to other artists
based on his years of experience.
Homage to the Women of Mexico and others, 1993-1995, Francisco Mendoza
1710 W 18th Street at the CTA Pink Line Station
Mendoza, working with Joy Anderson and other local artists and area youth, painted murals on the
stairs, stairway walls and platform wall of the Chicago Transit Authority (CTA) 18th Street Pink Line
Station. They mixed traditional and contemporary Mexican designs with iconic Pre-Columbian images
in an exuberant homage to Mexican Culture. Sponsored by the Mexican Fine Arts Center Museum, the
Chicago Transit Authority Community Station Program and Gallery 37, the installation grew to include
the glass tile mosaic Homage to the Women of Mexico at the entrance to the station.
Born in Blue Island, Illinois, Francisco Mendoza (1958 - 2012) was a graduate of Bowen High School
and later of the School of the Art Institute of Chicago. He taught at Cooper Elementary school where,
with support from the Mexican Fine Art Center Museum, he taught and worked with students directing
a multi-year project to create mosaics featuring historic cultural heroes on the façade of the school.
Mendoza’s public art projects also included murals at the former St. Vitus Church Plaza, the first mosaic/mural at the CTA 18th Street station, and the largest Venetian glass mosaic mural project in Chicago
on the façade of Jose Clemente Orozco Community Academy. He was also a Golden Apple Finalist

Left: Popocatepetl and
Iztaccihuatl, date unknown, artist unknown
1244 W. 18th Street (also
1658 S Allport Street)
Mexican theme of starcrossed lovers Popocatepetl and Iztaccihuatl,
based on the original image La Leyenda de Los
Volcanes by Mexican
painter Jesus Helguera
(1910-71). The mural
continues above the door
with images of the Sun
Stone and Aztec Calendar.

72

 and was recognized with the OPPY Award for Excellence in Teaching for his work at Jose Clemente
Orozco and Cooper Elementary school. He was a gifted printmaker and the quintessential art educator,
many of his former students are now artists or teachers.
Popocatepetl and Iztaccihuatl, date unknown, artist unknown
1244 W. 18th Street (also 1658 S Allport Street)
Mexican theme of star-crossed lovers Popocatepetl and Iztaccihuatl, based on the original image La
Leyenda de Los Volcanes by Mexican painter Jesus Helguera (1910-71), an illustrator whose images
were used extensively on calendars and cigar boxes.
Sírvales (Serve), 2005, Jeff Zimmerman
1538 W Cullerton Avenue
One of the artist’s well recognized photo realist murals with imagery raising the issue of Social Justice
and Education. The apple and water representing education flowing from suspended hands to the children of the neighborhood.
Chicagoan Jeff Zimmerman’s large- scale Pilsen photo realistic murals done in the 90’s marked his beginnings as muralist. After graduating from the University of Illinois with a degree in art history and
computer design, Zimmerman spent two years working with the Jesuit Volunteer Corp in Peru working
with children. Upon his return, he began volunteering at St. Pius V teaching art to at-risk students. His
work in Pilsen began with the murals around St. Pius church and school.
All About the Women, 2006, Alejandro Medina
1757 W. 18th Street
Alejandro Medina, a local artist, created a number of large scale images that can be seen at various
sites in Pilsen. He also worked with students as part of Yollocalli Arts Reach. All About the Women
celebrates female figures who have achieved iconic status in Mexican/Mexican American history and
culture. The women depicted include La Malinche, Josefa Ortiz de Domínguz, La Adelita, Gabriela
Mistral, Dolores Del Rio, Frida Kahlo, Dolores Huerta and Rigoberta Menchú.
Declaration of Immigration, 2009, Yollocalli Arts Reach With Salvador Jimenez-Florez
1808-29 S Blue Island Avenue
Continuing the artist/student collaborative model supported by the National Museum of Mexican Art,
Salvador Jimenez-Flores with Yollocalli Arts Reach students created a 2-story tall by 30 foot wide mural on the southwest exterior wall of what was then the Yollocalli Arts Reach/Radio Arte building. It
was unveiled on August 11, 2009, and was dedicated to all immigrants and allies in the face of antiimmigrant rhetoric. Historic and current issues were examined in its conceptualization and design as a
way of emphasizing that the foundation of the United States was immigration. An interdisciplinary artist from Jalisco, Mexico, Jimenez-Flores creates public and studio-based art exploring the themes of
colonization, migration and cultural appropriation. His work reflects his life experience on both sides
of the border.
Wall of Hope, 2010-12, Yollocalli Arts Reach with Jesús Chucho Rodriguez
1856 S. Loomis Street
Yollocalli Arts Reach started in 1997 as an initiative of the National Museum of Mexican Art. The
program, whose name means “House of Youth” in the Aztecan language Nahuatl, received a National
Arts and Humanities Youth Program Award in 2009. Program participants often called “Yollos” collaborate and learn from artists through all aspects of the art making process. The program has engaged
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 Top Left: Sírvales (Serve), 2005, Jeff Zimmerman, 1538 W Cullerton Avenue.
Bottom Left: All About the Women, 2006, Alejandro Medina, 1757 W. 18th Street.
Top Right: Declaration of Immigration, 2009, Yollocalli Arts Reach With Salvador Jimenez-Florez, 180829 S. Blue Island Avenue.
Bottom Right: Wall of Hope, 2010-12, Yollocalli Arts Reach with Jesús Chucho Rodriguez, 1856 S.
Loomis Street.
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 over 1,000 youth artists with more than 40 art professionals. Together they have created over 50 murals throughout Chicago including this one along the south elevation of the now shuttered San Jose
Obrero Mission.
Flyboy, 2013, Hebru Brantley
972 W. 18th Street
Chicago-native and internationally recognized artist Hebru Brantley created Flyboy, one of his signature iconic characters, inspired by the Tuskegee Airmen (a group of African-American WWII fighter
pilots). Brantley’s works often address ideas around nostalgia, power and hope.
Pilsen Wall of Honor, 2014-17, J-Def Peace Project
1700-04 W. 18th Street (at the Paulina Street facade)
This block long tribute mosaic is one of several created by The J-Def Peace Project whose mission is
memorialized in the mural itself: “The J-Def Peace Project was created in honor of Jeff Moldonado Jr.,
a young Pilsen Artist who was killed in a case of mistaken gang identity. Jeff or J-Def, as he was
known, was a talented college student and hip hop emcee whose music tells the story of growing up in
the community he loved yet that was filled with violence. Jeff was killed on July 25, 2009, a day after
his 19th birthday. He was returning home from the barbershop preparing for his first public performance that afternoon. J-Def Peace Project is an organization whose mission is to provide teens with a
positive safe place where creativity and peace flourish.

Top: Pilsen Heart, 2016, Jo Dufo , 1436-40 W. 18th Street.
Left: Pilsen Wall of Honor, 2014-17, J-Def Peace Project, 1700-04 W. 18th Street (at Paulina Street facade)
Right: Flyboy, 2013, Hebru Brantley, 972 W. 18th Street.
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 Pilsen Heart, 2016, Jo Dufo
1436-40 W. 18th Street
Pilsen Heart, by Jo Dufo of Fort Worth, Texas, is painted on the cornerstone of the former Czesky
Slovonsky Americky Sokol (C.S.A.S) building. A number of other murals by various artists join this
work along the base of the structure. Dufo has been a visionary public muralist since 1991. Through
her “Walls of Peace Global Peace Mural Project” she has painted Peace Murals in orphanages, clinics
and community centers around the world.
Pilsen, 2016, Raul “Rawooh” Ramirez
1447 W. 18th Street
Ramirez works as an aerosol muralist, an illustrator and an advertising artist. He describes his style as a
fusion between comic books and graffiti.
Greed, 2016, Pablo Machioli
Taming the Bull, 2016, Nether 410
1430-34 W. 18th Street
Uruguayan born Pablo Machioli, immigrated to the United States in 2003. He has exhibited, taught and
painted all over the world. He currently resides in Baltimore.
Nether 410 is a Baltimore-based street artist and mural painter. His interests focus on documenting the
struggles, histories and dilemmas faced by cities as they age and change. He has worked internationally
and co-founded Arts+Parks.
From Matter to Mind, From Mind to Matter, 2016, Ruben Aguirre
960 W. 18th Street
Ruben Aguirre, a Chicago based painter, describes his work as being at the intersection of abstract
graffiti, formalism and mural painting. His non-narrative work is primarily abstract, plays with color,
texture, negative and positive space on infrastructure.
La Dama (The Woman), 2016, MATR and KOZMO
1447 W. 18th Street
El Corazón (The Heart), 2016, MATR and KOZMO
1448 W. 18th Street

Right: Greed (left), 2016, Pablo Machioli; Taming the Bull (right), 2016, Nether 410; 1430-34 W. 18th
Street.
Left: Pilsen, 2016, Raul “Rawooh” Ramirez , 1447 W. 18th Street.
76

 Top Left: From Matter to Mind, From Mind to Matter, 2016, Ruben Aguirre, 960 W. 18th Street.
Top Right: La Dama (The Woman), 2016, MATR and KOZMO, 1447 W. 18th Street.
Bottom Left: El Corazón (The Heart), 2016, MATR and KOZMO, 1448 W. 18th Street,
Bottom Right: La Valienta (The Brave One), 2016, MATR and KOZMO, 1454 W. 18th Street.
77

 La Valienta (The Brave One), 2016, MATR and KOZMO
1454 W. 18th Street
El Apache (The Apache) and La Sirena (The Siren), 2016, MATR and KOZMO
1715 S. Laflin Street
Collaborative artists Manuel “MATR” Macias and his wife Brenda “KOZMO” Macias -López have
created numerous images of Lotería (Mexican Bingo) cards on doors along 18th St. MATR is both a
visual artist and a tattoo artist from Back of the Yards neighborhood whose style is based on realism.
KOZMO, was born in Chicago and raised in Puerto Rico and her style leans more toward pop art.
They have combined their styles for the Lotería series as well as other public art in Chicago. Other artists have also contributed to the Lotería collection in Pilsen.
MLS Soccer Mural, 2017, Sam Kirk with Jenny Q, Eva Gancino and Karla Olvera
1722-24 S. Ashland Avenue
Commissioned by Major League Soccer (MLS), the Soccer Mural celebrates the 22nd Annual MLS AllStar Game at Soldier Field in 2017. Kirk’s work highlights people of underrepresented communities
with the goal of inspiring recognition and pride in themselves and their culture/community.
Casa Aztlan, 2017, Ray Patlan, Robert Valdez and others; design by Salvador Vega
1831 S. Racine
This façade of the former Bohemian Settlement House was originally painted in 1970 by nativeChicago artist Ray Patlán. As a young man, on a visit to Mexico with his family, Patlán was inspired
by seeing and experiencing in person the famous murals of the Mexican Mural Movement. A meeting
with famous muralist Siqueiros inspired him to paint murals with social and political messages. The
original mural was reworked and revised several times over the following three decades by various artists including Marcos Raya, Salvador Vega, Aurelio Diaz, Carlos Barrera and others.
The original mural was lost in 2017, but following outcry from the community, a new mural was created in its place. Patlán, Roberto Valadez and Gerardo Cazares created the mural with numerous collaborating artists and community volunteers based on a design by Salvador Vega.

Above: MLS Soccer Mural, 2017, Sam Kirk with Jenny Q, Eva Gancino and Karla Olvera, 1722-24 S. Ashland Avenue, Commissioned by Major League Soccer
78 (MLS), the Soccer Mural celebrates the 22nd Annual MLS All-Star Game at Soldier Field in 2017.

 Top: Casa Aztlán, 2017, Ray Patlan, Robert Valdez and others; design by Salvador Vega, 1831 S. Racine
Avenue. This façade of the former Bohemian Settlement House was originally painted in 1970 nativeChicago artist Ray Patlán. Patlán, Roberto Valadez and Gerardo Cazares created the current mural with
numerous collaborating artists and community volunteers based on a design by Salvador Vega.
Bottom: Frida K, 2018, Roberto Valadez, 1711-13 W. 18th Street
79

 CRITERIA FOR DESIGNATION
According to the Municipal Code of Chicago (Sections 2-120-620 and -630), the Commission on Chicago Landmarks has the authority to make a preliminary recommendation of landmark designation for
an area, district, place, building, structure, work of art or other object with the City of Chicago if the
Commission determines it meets two or more of the stated “criteria for designation,” as well as possesses a significant degree of historic integrity to convey its significance.
The following should be considered by the Commission on Chicago Landmarks in determining whether to recommend that the Pilsen Historic District be designated a Chicago Landmark.

Criterion 1: Value as an Example of City, State, or National Heritage
Its value as an example of the architectural, cultural, economic, historic, social, or other aspects of the
heritage of the City of Chicago, State of Illinois, or the United States.


The Pilsen Historic District is one of the city’s best-surviving examples of a neighborhood that
served as a port of entry for waves of immigrants beginning just after the Great Fire of 1871. A
variety of industries such as garment making; lumber, furniture, and related products; meat
packing and sausage making; and mattress and pillow firms attracted workers to settle in the
area. As each successive wave of immigrants found success and moved to other Chicago
neighborhoods and the western suburbs, new immigrants settled in the neighborhood. By the
late 1950s Mexican immigrants, attracted by many of the features that spurred earlier settlement, moved into the neighborhood.



Chicago’s Bohemian immigrants brought cultural values and aspirations with them when they
settled in Chicago. As they valued education, “freethought,” and physical fitness, they formed
sokols, gathered in saloons where they could discuss ideas and debate politics, and they read
locally published newspapers. Therefore, buildings in the neighborhood reflect the importance
of ethnic immigration in Chicago’s history and development, generally, and specifically the
contributions of the Chicago’s Bohemian ethnic community.



Chicago’s Mexican immigrants brought their own customs, culture and aesthetic when they began settling in Pilsen. The neighborhood of family homes, apartment buildings, shops and
businesses, retains the feel of an ethnic enclave even as the visual landscape has changed to reflect the voice and culture of the neighborhood’s most recent settlers. The visual character of
the neighborhood’s built environment has been supplemented with Spanish language signage,
traditional Mexican decoration, and murals depicting themes from Mexican and MexicanAmerican culture.



Historically, Pilsen was a thriving mixed-use community. The district, and especially the W.
18th Street corridor, is filled with stores and flat buildings, as well as industrial structures located in close proximity to cottages and flats. The vibrant, mixed-use character of the community
continues to define Pilsen today.

Criterion 4: Exemplary Architecture

Its exemplification of an architectural type or style distinguished by innovation, rarity, uniqueness, or
overall quality of design, detail, materials, or craftsmanship.

80

 

Pilsen’s buildings are distinguished for representing a broad range of periods and styles, each
designed with special features and flourishes representing the homelands of their immigrant
builders and owners. Flourishes that can be described as “Bohemian Baroque” include unusually shaped parapets, carved stone lintels, sculptural treatments of hoodmolds and cornices, and
decorative patterns in the brickwork.



Pilsen’s immigrant residents valued community spaces where residents could gather, attend cultural events, participate in athletic training and tournaments, and discuss politics and other ideas. As a result, several monumental sokols and halls were designed in ornate styles and built of
high quality materials. For example Thalia Hall at 1807 S. Allport St. is a fine Romaneque Revival style structure designed by architects Faber & Pagels. Bohemian-born architect Frank
Randak designed two impressive sokols in Pilsen, the Plzensky Sokol at 1812-1816 S. Ashland
Avenue; the Česko-Slovanský Podporující Spolek at 1436-1440 W. 18th St.



Pilsen’s extensive collection of high quality buildings was largely designed and produced by
talented immigrant tradesmen and architects, many of whom lived in the neighborhood. Among
the local tradesmen of fine 19th century structures was Bohemian immigrant contractor Frank C.
Layer, who produced the Romanesque style mixed-use building at 1332-1334 W. 18th St. European immigrant architects or first-generation Americans who designed buildings in the community include Frank Randak, Anton C. and Anton O. Charvat, Ludwig Novy and Novy & Son,
and Lonek & Houda.

Criterion 6: Distinctive Theme as a District
Its unique location of distinctive physical presence representing an established and familiar visual feature of a neighborhood, community or City of Chicago.


Although varied in their range of styles and periods of construction, the buildings in the district
provide a strong sense of architectural continuity in terms of their scale, materials, and
“Bohemian Baroque” details. Italianate style and Queen Anne style structures with ornate lintels, hoodmolds, cornices, and parapets are especially prolific and provide a design theme that is
unique to Pilsen.



Mixed-use buildings of two- to four-stories tall with ornate primary facades are prolific especially along the W. 18th St. corridor. The “store and flat” type allowed many Pilsen building
owners to live and work in their structure while also generating revenue from tenants. In other
Chicago neighborhoods, examples of 19th and early-20th century mixed-use buildings are scattered throughout the area or in small groups along a commercial street. However, Pilsen retains
hundreds of such buildings especially along W. 18th and S. Racine Streets, and S. Blue Island
and S. Ashland Avenue.



Many 19th century residential cottages and flats in the neighborhood provide a sense of unity
through scale, materials, and architectural details. For example, there are dozens of Italianate
style brick cottages and flats with gable roofs, the front door on one side, long rectangular windows, ornamented hoods or lintels above the door and windows, and fanciful parapets that generally conceal the peak of the gable behind them. Many such buildings can be found on S. Allport, S. Loomis, S. Laflin, and S. Throop Streets, and W. Cullerton Ave., W. 18th Place.

Criterion 7: Distinctive Visual Feature
Its unique location or distinctive physical appearance or presence representing an established and familiar visual feature of a neighborhood, community, or the City of Chicago.
81

 

Over the course of four decades, scores of artists have contributed to the evolving visual landscape of Pilsen through artistic painting, decoration, and mosaic. Although the content and
style vary widely including religious iconography, pre-Columbian imagery, tribute pieces, popculture, calls for peace, the Mexican-American experience on both sides of the border, historic
and folk cultural images and abstract expression, collectively these works communicate the
unique multilayered culture and history of the Pilsen community.



Originally inspired by the post-Revolution Mexican Mural Movement of the 1920’s and the art
created under the Works Progress Administration Federal Art Project of the 1930’s, a number
of artists began creating large-scale murals in the neighborhood of Pilsen in the 1960s and
1970s. The work that emerged at this time continues to attract and inspire artists to express
their voice on buildings in this neighborhood. The influence of Mexican culture and the Mexican-American experience on many of these works and artists solidifies a strong connection to
works of the most widely recognized Mexican Muralists of the 1920s, including: David Alfaro
Siqueiros, Jose Clemente Orozco and Diego Rivera. Additionally, the murals of Pilsen create a
distinctive physical appearance which – although originally built by an earlier Bohemian community - retains the feel of an ethnic enclave that reflects the voice and culture of its current residents.

Integrity Criteria
The integrity of the proposed landmark must be preserved in light of its location, design, setting, materials, workmanship and ability to express its historic community, architecture or aesthetic interest or
value.
The Pilsen neighborhood retains an exceptionally high number of structures dating from the 1870s to
early 20th century. The district possesses a high level of historic integrity, especially for buildings of
such early vintage in Chicago. Most are intact to a strong degree in location, exterior design, setting,
materials, and workmanship. With the exception of relatively minor ground-floor alterations and the
inclusion of a few non-contributing buildings, the buildings strongly reflect the character of the district
in the years 1872 through 1969, during the period when the area developed as a thriving mixed-use
community.
Historically, many Pilsen residents were thrifty immigrants who altered or added onto their existing
structures rather than fully razing them to construct new ones. Therefore, alterations of high quality
materials and design are often representations of significant changes over time. Similarly, as is the
case in other neighborhoods that have large collections of commercial or mixed-use buildings, some
changes to Pilsen buildings were spurred by commercial prosperity, changes in architectural tastes, the
advent of new building materials and technologies, and changes in building use. These changes often
occurred during district’s period of significance, and are important as a reflection of the evolution of
the neighborhood.

82

 Changes to street-level storefronts are among the most common alterations in commercial and mixed
use historic districts; storefront alterations in Pilsen are numerous, particularly along the W. 18th Street
corridor. Some modern aluminum frame-and-glass storefront assemblies have been installed often
within the original storefront openings. Remnants of original cast iron storefronts are often present in
Pilsen buildings even when new assemblies have been added.
The upper story facades of Pilsen buildings often retain exceptionally high integrity. In cases where
storefronts have been significantly altered but the remainder of the primary facades are well intact, the
overall integrity is still considered high.

SIGNIFICANT HISTORICAL AND ARCHITECTURAL FEATURES
Whenever an area, district, place, building, structure, work of art or other object is under consideration
for landmark designation, the Commission on Chicago Landmarks is required to identify the
“significant historical and architectural features” of the property. This is done to enable the owners and
the public to understand which elements are considered most important to preserve the historical and
architectural character of the proposed landmark.
Based upon its preliminary evaluation of the Pilsen Historic District, the Commission staff recommends that the significant features be identified as:


All exterior elevations, including rooflines, of the buildings visible from public rights of way.



Murals on exterior facades of the buildings visible from public rights of way.

83

 SELECTED BIBLIOGRAPHY
Books & Articles
Adams, Jane [1910] 1938. Twenty Years at the Hull House. New York: Macmillan
Adelman, William J. [1979]1983. Pilsen and the West Side: A Tour Guide. Chicago: Illinois Labor
History Society.
Armstrong, Liz. 2006. “Whitewashed How the City Wiped Out a Decade of History”. Chicago Reader,
September 2626. Downloaded from the Chicago Reader Story Archive, www.Chicagoreader.com
Bluestone, Daniel, et al. 2005. Pilsen Historic District, National Register of Historic Places Registration Form.
Bohemian National Cemetery. 1927. Padesátileté Jubileum Českého Národního Hřbitova v Chicago,
Illinois. Chicago: Tiskem R. Mejdrich & Co.
Chicago (Ill.). Board of Education. Annual report (various years). Chicago: Board of Education.
Chicago Fact Book Consortium, editors. Local Community Fact Book: Chicago Metropolitan Area
Chicago: The Chicago Factbook Consortium, 1980, pp. 86-88.
Chicago Historic Resources Survey, 1996.
Encyclopedia of Chicago. 2005. http://www.encyclopedia.chicagohistory.org/
George, P. B. & Cumpián, C. (1977) Interview with Carlos Cumpián from MARCH: Movimiento Artístico Chicano, Chicago, Illinois, part 1. Chicago, Illinois, July 2. [Audio] Retrieved from the Library of Congress https://www.loc.gov/item/afc1981004_afs20770/.
Fernandez, Lila 2012. Brown in the Windy City Mexicans and Puerto Ricans in Postwar Chicago. Chicago: University of Chicago Press
Ganz, Cheryl R. and Margaret Strobel 2004 Pots of Promise Mexicans and Pottery at Hull House, 1920
-140. Urbana and Chicago. University of Illinois Press.
Goldman, Shifra M. 1994. Dimensions of the Americas: Art and Social Change in Latin America and
the United States. University of Chicago Press.
Goodspeed, Weston A. and Daniel D. Healy. 1909. History of Cook County Illinois. Chicago: The
Goodspeed Historical Association.
González, José Gamiel. 2010. Bringing Aztlán to Mexican Chicago: My Art, My Work, My Life. Introduced and edited by Marc Zimmerman. Urbana. U of Illinois Press.
Grams, Diane 2010. Producing Local Color Art Networks in Ethnic Chicago. Chicago University of
Chicago Press.
Gray, Mary Lackritz. 2001 A Guide to Chicago’s Murals. Chicago: University of Chicago Press
Gude, Olivia and Huebner, Jeff 2000 Urban Art Chicago. Chicago: Ivan R. Dee Press.
Hurlburt, Laurance P. 1991 The Mexican Muralists in the United States. New Mexico: University of
New Mexico Press.
Herrera, Olga U. 2008. Contributors Sorell, Victor A and Cardenas , Gilberto Toward the Preservation
of A Heritage Latin American and Latino Art in the Midwestern United States. Notre Dame Ind:
Institute for LatinoStudies.
Jones, Robert C. and Louis Wilson. 1931 The Mexican in Chicago. Chicago, Il,: Pub for the Comity
commission of the Chicago Church federation.
84

 Jirasek, Rita Arias and Carlos Tortolero. 2001 Mexican Chicago. Arcadia Publishing: Charleston, SC
Mexican Fine Arts Center -Museum 1987. The Barrio Murals Murales Del Barrio, July 21-September
1, 1987. Chicago, IL Mexican Fine Arts-Center Museum
Moreno, Cesáreo, 2018 Sin Fronteras Art Knows No Borders, Gilcrease Magazine of Gilcrease Institute of American History and Art.
Pacyga, Dominic. 2009. Chicago: A Biography, Chicago: University of Chicago Press:
Pacyga, Dominic and Ellen Skerrett. 1986. Chicago City of Neighborhoods, Chicago: Loyola University Press.
Pero, Peter N. 2011. Chicago’s Pilsen Neighborhood. Arcadia Publishing: Charleston SC.
Pierce, Bessie Louise. A History of Chicago, Volume III, The Rise of a Modern City (Chicago: University of Chicago, 1957.
Rogovin, Mark, Burton, Marie; and Highfill, Holly. 1975 Mural Manual. Tim Drescher, ed. Beacon
Press, Boston.
Sinkevitch, Alice, ed. AIA Guide to Chicago. Orlando: Harcourt Brace, 1993
Sorell, Victor A. “The Enduring Presence of the Chicano-Mexican Mural in Chicago” In Arceo, Sorell,
and Rogovi, Barrio Murals, 3-7.
_______, Barrio Murals I Chicago: Painting the Hispanic-American Experience on “Our Community
Walls” Revista Chicano-Riquena Fall 1976. Pgs 79
Taft, Maggie and Robert Cozzolino. Art in Chicago: A History from the Fire to Now 2018 Chicago: the
University of Chicago Press
United States Census Data from 1870, 1880, 1900, 1910, 1920, 1930, 1940. Available at: Ancestry.com.
Withey, Henry F. and Elsie Rathburn Withey. Biographical Dictionary of American Architects
(Deceased). Los Angeles: Hennessey & Ingalls, 1970.
Zimmerman, Mark. “Latino Art Now! On the eve of the Lan Conference: A state of the art “PreHistory” in El BeisMan: http://www.elbeisman.com/article.php?action=read&id=1035

Newspapers, Periodicals, & Reports
American Architect and Architecture; various dates.
American Contractor, various dates
Annual Report of Factory Inspector of Illinois. Chicago: Office of Inspector of Factories and Workshops; various dates between 1893 and 1908.
Certified List of Domestic and Foreign Corporations, various dates.
Chicago Daily Tribune; various dates.
Chicago Tribune, various dates,

85

 Chicago Directory Company and Lakeside Press. Lakeside Chicago City Directories, 1887, 1897,
1899, 1900, 1909, 1910.
The Economist; various dates.
The Inland Architect and News Record, various dates.
Sanitary News, various dates.
Landmark Nominations
Bluestone, Daniel and Lydia Brandt, Diane Dillon, Cora Palmer, Edgar Barron, Flora Favela, David
Hernandez, and Stephanie Navarro. Pilsen Historic District. National Register of Historic Places Registration Form. U.S. Department of the Interior, October, 2005.
City of Chicago, Commission on Chicago Landmarks. Preliminary Staff Summary of Information
on Thalia Hall, October, 1988.
City of Chicago, Department of Planning and Development. Landmark Designation Report for
Former Schlitz Brewery Tied House (5120 N. Broadway Avenue), Feb. 3, 2011.
City of Chicago, Department of Planning and Development. Landmark Designation Report for
Former Schlitz Brewery Tied House (1801 W. Division Street), March 11, 2011.
City of Chicago, Department of Planning and Development. Landmark Designation Report for
Former Schlitz Brewery Tied House (1944 W. Oakley Street), July 7, 2011.
City of Chicago, Department of Planning and Development. Landmark Designation Report for
Five Schlitz Brewery Tied Houses and One Schlitz Brewery Stable Building. April 7, 2011.
Logman, Elisabeth, Midwest Preservation, LLP. K-Town Historic District. National Register of
Historic Places Registration Form. U.S. Department of the Interior, May 5, 2010.
Illustrations
All photographs 2018 by Bauer Latoza Studio (consultant) except those noted below:
Courtesy of Bill Latoza: p 42
Chicago History in Postcards: pp 12 (top left), 39 (top left and bottom right)
Mexican Chicago (Jirasek, and Tortolero): pp 26, 28 (bottom)
Department of Planning and Development, Historic Preservation Division: p 28 (top left)
Smithsonian Institution, Archives of American Art: p 26:
Top left: Jose Clemente Orozco, ca. 1938 / Alfredo Valente, photographer. Alfredo Valente
papers, 1941-1978.
Top right: Diego Rivera at work in his studio, 194- / unidentified photographer. Florence
Arquin papers, 1923-1985.
Center right: David Alfaro Siqueiros with “Heroic Voice”, 1971 / unidentified photographer. Heritage Gallery records, 1944-2000, bulk 1960-1998.

86

 DISTRICT ADDRESS RANGES
W. 17th Street

1601-1611 (odds)

W. 18th Place

1300-1358 (evens), 1500-1610 (evens),
1301-1359 (odds), 1501-1557 (odds)

W. 18th Street

940-2158 (evens), 917-2159 (odds)

W. 19th Street

1200-1556 (evens), 1201-1557 (odds)

W. 21st Street

1200-1556 (evens), 1201-1557 (odds)

S. Allport Street

1658-2024 (evens), 1637-2025 (odds)

S. Ashland Avenue

1708-1824 (evens), 1723-2025 (odds)

S. Bishop Street

1800-1852 (evens), 1801-1855 (odds)

S. Blue Island Avenue

1800-2030 (evens), 1647-2031 (odds)

S. Carpenter Street

1714-1800 (evens), 1715-1801 (odds)

S. Cullerton Street

1300-1556 (evens), 1301-1557 (odds)

S. Damen Avenue

1714-1810 (evens)

S. Hamilton Avenue

1714-1724 (evens), 1715-1725 (odds)

S. Hoyne Avenue

1714-1810 (evens), 1715-1811 (odds)

S. Laflin Street

1714-2024 (evens), 1715-2025 (odds)

S. Leavitt Street

1715-1811 (odds)

S. Loomis Street

1724-2026 (evens), 1801-2025 (odds)

S. Marshfield Avenue

1714-1810 (evens), 1701-1827 (odds)

S. May Street

1800-1804 (evens), 1801-1805 (odds)

S. Miller Street

1624-1658 (evens), 1655-1659 (odds)

S. Morgan Street

1800-1802 (evens), 1801-1809 (odds)

S. Paulina Street

1714-1812 (evens), 1713-1811 (odds)

S. Racine Avenue

1724-2024 (evens), 1723-1843 (odds)

S. Sangamon Street

1800-1808 (evens), 1801-1809 (odds)

S. Throop Street

1656-2024 (evens), 1655-2025 (odds)

S. Wolcott Avenue

1713-1725 (odds)

S. Wood Street

1714-1724 (evens), 1713-1811 (odds)

87

 BUILDING CATALOG
The categorization of whether a property is contributing, non-contributing or potentially contributing to the Pilsen Historic District represents a preliminary determination by the Bureau of Planning, Historic Preservation and Sustainability staff only. It is solely provided as guidance for property owners and the public to anticipate how these properties might be treated under the Chicago
Landmarks Ordinance. Individual property owners retain the right to petition the Commission on
Chicago Landmarks and the City Council on whether a building is contributing, non-contributing
or potentially contributing to the district on a case-by-case basis as part of the permit review process. The Commission and the City Council reserve the right to make a final determination in accordance with the procedures established by the Ordinance and the Commission’s adopted Rules
and Regulations. The staff’s preliminary determination remains preliminary—it is not binding on
the staff or the Commission on Chicago Landmarks, nor does the Commission or the City Council
adopt it as part of the designation.

* Building is Contributing due to mural.
88

  

Contributing

Non?Contributing

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Address Building Type Date Architect Original Owner Potentially Contributing
1516 W. 18th Place Cottage circa 1872 NA NA Contributing
1517 W. 18th Place Vacant Lot circa 1900 NA NA Non-Contributing
1518 W. 18th Place Two-Flat 1882 NA NA Contributing
1519 W. 18th Place Cottage circa 1925 NA NA Contributing
1520 W. 18th Place Three Flat 1889 NA Vaclav Mara Contributing
1521 W. 18th Place Three Flat 1911 NA Mrs. K. Jeran Contributing
1522 W. 18th Place Three Flat circa 1900 NA NA Contributing
1523 W. 18th Place Two Flat 1892 NA John Oilaiski Contributing
1526 W. 18th Place Cottage circa 1885 NA NA Contributing
1527 W. 18th Place Two Flat 1889 NA Anton Fara Contributing
1528 W. 18th Place Cottage circa 1885 NA NA Contributing
1529 W. 18th Place Store Flats 1893 NA John Sirovatka Contributing
1530 W. 18th Place Cottage circa 1875 NA NA Contributing
1532 W. 18th Place Three Flat 1895 NA Joseph Kernes Contributing
1536 W. 18th Place Cottage circa 1875 NA NA Contributing
1537 W. 18th Place Two Flat 1887 NA F. Ciklar Contributing
1538 W. 18th Place Three Flat 1894 NA Geo. Langhor Contributing
1539 W. 18th Place Three Flat 1893 NA Joseph Maly Contributing
1540 W. 18th Place Store Flats 1894 NA John Freer Contributing
1541 W. 18th Place Vacant Lot NA NA NA Non-Contributing
M. Schraupers Sons
917-925 W. 18th Street Manufacturing 1905 NA Co. Contributing
927 W. 18th Street Vacant Lot NA NA NA Non-Contributing
Single arnity
935 W. 18th Street Residence circa 2000 NA NA Non-Contributing
937 W. 18th Street Vacant Lot NA NA NA Non-Contributing
939 W. 18th Street Store Flat circa 2005 NA NA Contributing*
Single 
943 W. 18th Street Residence circa 1875 NA NA Contributing
944 W. 18th Street Three Flat circa 1885 NA NA Contributing
945 W. 18th Street Cottage circa 1875 NA NA Contributing
946 W. 18th Street Cottage circa 1875 NA NA Contributing
947 W. 18th Street Cottage circa 1875 NA NA Contributing
948 W. 18th Street Store Flat 1886 NA A. Pearson Contributing
949 W. 18th Street Cottage circa 1872 NA NA Contributing
front facade
altered circa
950 W. 18th Street Store Flat 20005 NA NA Contributing
952 W. 18th Street Store Flat 1886 NA Andrew Pearson Contributing
955 W. 18th Street Two Flat circa 1880 NA Sam Pagels Contributing
circa 1890;
l-story
957 W. 18th Street Four Flat addition, 1892 NA NA Contributing
960 W. 18th Street Store Flat circa 1885 NA NA Contributing
Single Famity
961 W. 18th Street Residence NA NA NA Contributing
963 W. 18th Street Cottage circa 1875 NA Chas Joekisck Contributing

 

 

 

 

 

 

Building is Contributing due to mural.

89

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Contributing
Non?Contributing
Address Building Type Date Architect Original Owner Potentially Contributing
965 W. 18th Street Store Flat 1888 NA John Meister Contributing
966 W. 18th Street Vacant Lot NA NA NA Non-Contributing
969 W. 18th Street Vacant Lot NA NA NA Non-Contributing
971 W. 18th Street Store Flat 1906 L. Novy Frank Hagner Contributing
972 W. 18th Street Store Flat 1894 NA F. Stubs Contributing
974 W. 18th Street Store circa 1905 NA as. Suf Contributing
1002 W. 18th Street Store Flat 1890 NA George Scheneberger Contributing
1004 W. 18th Street Store Flat 1889 NA Charles Libal Contributing
1008-1012 W. 18th Street Store Flat 1894 NA Wm. Stuchlik Contributing
circa 1875;
Residence with front addition
1013 W. 18th Street Storefront circa 1920s NA NA Contributing
1015 W. 18th Street Cottage 1888 NA 1. Geske Contributing
1019 W. 18th Street Two Flat 1875 NA NA Contributing
1021 W. 18th Street Store Flat circa 1875 NA NA Contributing
1023 W. 18th Street Garage circa 1975 NA NA Non-Contributing
1880, front
Single Famity facade circa
1034 W. 18th Street Residence 1930s NA John Denernark Contributing
1036 W. 18th Street Two Flat circa 1880 NA NA Contributing
1038 W. 18th Street Two Flat 1881 NA Joseph Vrichto Contributing
1040 W. 18th Street Store Flat circa 1880 NA Vrarbad Schaptak Contributing
1044 W. 18th Street Store Flat circa 1879 NA Vrarbad Schaptak Contributing
circa 1890;
front facade
Commercial rebuilt circa
1102-1104 W. 18th Street Residential 2000s NA NA Non-Contributing
1106-1110 W. 18th Street Vacant Lot NA NA NA Non-Contributing
1112 W. 18th Street Store Flat 1879 NA F. Pechota Contributing
1113 W. 18th Street Store Flat circa 1890 NA NA Contributing
1114-1 1 16 W. 18th Street Vacant Lot NA NA NA Non-Contributing
1115-1 1 17 W. 18th Street Vacant Lot NA NA NA Non-Contributing
1118 W. 18th Street Store Flat 1879 NA Joseph Vydana Contributing
1121 W. 18th Street Garage 1923 NA NA Contributing
1122 W. 18th Street Store Flat 1879 NA Frank Chalupra Contributing
1125 W. 18th Street Store Flats 1902 Anton Charvat Urban Brothers Contributing
1126 W. 18th Street Vacant Lot NA NA NA Non-Contributing
1129-1137 W. 18th Street Store Flat 1887 NA Frank Mikula Contributing
1132 W. 18th Street Store Flat 1890 NA J. J. Norton Contributing
1134 W. 18th Street Store Flat 1890 NA W. Butta Contributing
1136 W. 18th Street Vacant Lot NA NA NA Non-Contributing
1140 W. 18th Street Store Flat 1891 NA Frank Kring Contributing
1142 W. 18th Street Vacant Lot NA NA NA Non-Contributing
1146 W. 18th Street Store Flat 1895 NA W. Wodak Contributing

 

 

 

 

 

 

Building is Contributing due to mural.

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Contributing
Non?Contributing

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Address Building Type Date Architect Original Owner Potentially Contributing

1880; changes

to 1149 circa
1147-1149 W. 18th Street Store Flat 1900 NA NA Contributing
1148 W. 18th Street Vacant Lot NA NA NA Non-Contributing
1151 W. 18th Street Store Flat 1895 NA os. Krah Contributing
1152 W. 18th Street Store Flat 1904 NA V. Tanka Contributing
1153 W. 18th Street Store Flat 1883 NA Joseph Karl Contributing
1154 W. 18th Street Two Flat circa 1880 NA NA Contributing
1156 W. 18th Street Store Flat circa 1885 NA P. J. Hertt Contributing
1157 W. 18th Street Store Flat 1884 NA os. Novobney Contributing
1158 W. 18th Street Commercial circa 1950s NA NA Potentially Contributing
1159-1163 W. 18th Street Commercial circa 20005 NA NA Non-Contributing

front facade
1165 W. 18th Street Store Flat 1909 NA os. Koucnik Contributing
1167 W. 18th Street Store Flat circa 1890 NA NA Contributing
1208 W. 18th Street Store Flat circa 1925 NA NA Contributing

Chapel (Lourdes
1214-1218 W. 18th St. Chapel) 1908 NA Archbishop of Chicago Contributing
Church (St. Procopius

1222-1226 W. 18th Street Church) 1882-1883 Paul Huber Archbishop of Chicago Contributing

frame portion

circa 1872;

brick portion
1314 W. 18th Street Cottage circa 1880 NA Jacob Zaremba (1880) Contributing
1315 W. 18th Street Store Flat 1880 NA M. Tupa Contributing
1316 W. 18th Street Store Flat circa 1880 NA Joseph Klirna Contributing
1317 W. 18th Street Store Flat circa 1900 NA E. Rohusek Contributing
1320 W. 18th Street Store Flat circa 1900 NA 0. Kohat Contributing

1881

(1934

storefront
1321 W. 18th Street Store Flat alteration) NA J. Jirarn Contributing
1322 W. 18th Street Store Flat circa 1885 NA NA Contributing
1323 W. 18th Street Store Flat 1888 NA J. Novack Contributing
1324 W. 18th Street Store Flat 1894 NA Vaclav Polka Contributing
1325 W. 18th Street Store Flat 1890 NA V. Kolau Contributing
1326 W. 18th Street Store Flat 1890 NA Chas. Wier Contributing
1327 W. 18th Street Store Flat 1916 M. Mrayas L. Koenig Contributing
1328 W. 18th Street Store Flat 1907 NA os. Liska Contributing
1329 W. 18th Street Store Flat circa 1885 NA NA Contributing
1332 W. 18th Street Store Flat 1892 Frank C. Layer Co. Anthony Kozel Contributing
1333 W. 18th Street Store Flat circa 1895 NA NA Contributing
1335 W. 18th Street Store 1909 NA os. eran Contributing
1337 W. 18th Street Store Flat 1891 NA James Buazka Contributing

 

 

 

 

 

 

Building is Contributing due to mural.

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Contributing
Non?Contributing
Address Building Type Date Architect Original Owner Potentially Contributing
Pilsen Electric Supply
1339 W. 18th Street Store Flat 1912 Noiy Sores Co. Contributing
original
building 1883;
Residence with front addition
1343 W. 18th Street Storefront circa 1920 NA Frank Conrad Contributing
1345 W. 18th Street Store Flat circa 1910 NA NA Contributing
1350 W. 18th Street Store circa 1985 NA NA Non-Contributing
rebuilt circa
1400-1408 W. 18th Street Store Flat 1990 NA NA Non-Contributing
front facade
1412 W. 18th Street Store Flat 1916 NA J. Norah (1916) Contributing
front facade
circa 19305;
storefront circa
1414 W. 18th Street Store Flat 19705 NA NA Potentially Contributing
1415-1421 W. 18th Street Store Flat 1886 NA Frank Zajecek Contributing
1416 W. 18th Street Vacant Lot NA NA NA Non-Contributing
1418 W. 18th Street Store Flat circa 1890 NA J. Bidlas (1888) Contributing
front facade
1420 W. 18th Street circa 2000 NA NA Contributing?
frame building
1423 W. 18th Street Store Flat circa 1875 NA NA Contributing
1424-28 W. 18th Street Vacant Lot NA NA NA Non-Contributing
1425 W. 18th Street Store Flat 1892 NA Anna Frank Contributing
1429 W. 18th Street Store Flat circa 1900 NA NA Contributing
front facade
1430 W. 18th Street Store Flat circa 1924 NA NA Contributing*
1434 W. 18th Street Store circa 19605 NA NA Contributing
1431 W. 18th Street Vacant Lot NA NA NA Non-Contributing
Ethnic Athletic Club
(Czesky Slavonsky
Americky Sokol
after 1982
Association Pro- Czesky Slavonsky
Drenches Borers Americky Sokol
1436-1440 W. 18th Street 1893 NA (C.S.A.S.) Contributing
Store Flat
(Francis D. Nemecek
1439 W. 18th Street Photo Studio) 1907 F. Randak Francis D. Nemecek Contributing
1441 W. 18th Street Store Flat 1907 NA F. D. Neurecek Contributing
1443 W. 18th Street Bank circa 1910 NA NA Contributing

 

 

Building is Contributing due to mural.

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ontributing
on?Contributing

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Address Building Type Date Architect Original Owner Potentially Contributing
1444 W. 18th Street Store Flat circa 1880 NA NA Contributing
1445 W. 18th Street Two Flat circa 1880 NA NA Contributing
1446 W. 18th Street Store circa 1910 NA Joseph Tipuer Contributing
1447 W. 18th Street Store Flat circa 1875 NA John Vanderboal Contributing
1448 W. 18th Street Store Flat 1894 NA Albert Martinic Contributing
original
building 1883;
Three Flat with front addition
1450 W. 18th Street storefront addition circa 19203 NA 05. Valsak Contributing
1454 W. 18th Street Store Flat 1894 NA no. Hula Contributing
1456 W. 18th Street Store Flat circa 1890 NA NA Contributing
circa 1880
1892, one-story
1500 W. 18th Street Store Flat addition NA V. Koutnik (1892) Contributing
1501-1503 W. 18th Street Store Flat 1887 NA John Novak Contributing
1502 W. 18th Street Store Flat 1902 NA Fred. Hunt Contributing
1504 W. 18th Street Store Flat 1894 NA John Zelezny Contributing
1508 W. 18th Street Store Flat 1913 L. Novy Son Anton Alavanty Contributing
front facade
1510 W. 18th Street Store circa 2010 NA NA Non-Contributing
151 1 W. 18th Street Post Of?ce 1912 Frank Pansak Anton Novack Contributing
front facade
1512 W. 18th Street Store Flat circa 1960s NA NA Potentially Contributing
front facade
1514 W. 18th Street Store circa 1960s NA NA Potentially Contributing
1515 W. 18th Street Vacant Lot NA NA NA Non-Contributing
1517 W. 18th Street Store Flat 19 12 os. S. Flizikowzki Joseph Contributing
front facade
1518 W. 18th Street Store Flat circa 1910 NA NA Contributing
1519 W. 18th Street Store Flat circa 1882 NA no. Contributing
1520 W. 18th Street Vacant Lot NA NA NA Non-Contributing
1521 W. 18th Street Store Flat 1907 NA as. Liska Contributing
front facade
1522 W. 18th Street Store Flat circa 19203 NA NA Contributing
1523 W. 18th Street Two Flat 1886 NA Albert Mazance Contributing
front facade
1524 W. 18th Street Store Flat 1915 NA A Barnard Contributing
refronted circa
1527 W. 18th Street Store Flat 2000 NA NA Non-Contributing
19 12, facade
1528 W. 18th Street Theater circa 1960 Hall Westerlund Dr. Wm. Kassina Potentially Contributing
1529 W. 18th Street Store Flat 1887 NA Frank Sula Contributing
1530 W. 18th Street Store Flat 1886 NA Frank Paspiekor Contributing
1889, top ?oor
1531 W. 18th Street Store Flat addition 1889 NA F. J. Kvasnicka Contributing

 

 

 

 

 

 

Building is Contributing due to mural.

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Contributing
Non?Contributing

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Address Building Type Date Architect Original Owner Potentially Contributing
Single Famity
1532 W. 18th Street Residence 1881 NA V. Mourzek Contributing
front facade
1535 W. 18th Street Store Flat 1902 NA F. Karsuicka (1902) Contributing
1536 W. 18th Street Store Flat 1894 NA V. Pincas Contributing
1537 W. 18th Street Two Flat NA NA NA Contributing
1538 W. 18th Street Store Flat circa 1908 NA NA Contributing
1539 W. 18th Street Vacant Lot NA NA NA Non-Contributing
1540 W. 18th Street Store Flat circa 1910 NA NA Contributing
1541 W. 18th Street Three Flat 1886 NA no. Blaha Contributing
1913, front
facade circa
1544-1550 W. 18th Street Store 1990 J. Rocha Paul Remmla Contributing?
Commercial (Daily
Herald newspaper,
1545 W. 18th Street 1904) circa 1910 NA NA Contributing
1616-1618 W. 18th Street Vacant Lot NA NA NA Non-Contributing
1617 W. 18th Street Bank circa 2016 NA NA Non-Contributing
1620 W. 18th Street Store Flat circa 1900 NA NA Contributing
1926 new front
1624 W. 18th Street Store Flat facade NA NA Contributing
Single Famity
1626 W. 18th Street Residence 1880 NA John Contributing
1627 W. 18th Street Two Flat circa 1896 M. Benish (builder) M. Chak Contributing
1628 W. 18th Street Three Flat circa 1885 NA NA Contributing
1629 W. 18th Street Two Flat 1883 NA V. Levora Contributing
1630 W. 18th Street Store Flat circa 1907 NA NA Contributing
1631 W. 18th Street Two Flat 1890 V. Kesl Jos. Alexa Contributing
1634 W. 18th Street Store Flat 1916 C. L. Piontek John oskolski Contributing
1635 W. 18th Street Two Flat 1885 NA F. Becrarek Contributing
1636 W. 18th Street Store Flat circa 1882 NA NA Contributing
1887; refronted
1637 W. 18th Street Store Flat circa 1920s NA V. Kledzinski (1887) Contributing
1638 W. 18th Street Vacant Lot NA NA NA Non-Contributing
1639 W. 18th Street Store Flat 1890 NA G. Hollenboch Contributing
1640 W. 18th Street Store Flat 1894 NA John Kniola Contributing
1888; refronted
and store added
1641 W. 18th Street Store Flat circa 1910 NA John Karz (1888) Contributing
1644 W. 18th Street Store Flat 1886 NA J. Glyiske Contributing
1645 W. 18th Street Commercial circa 2000 NA NA Non-Contributing
Store Flat (S011ka
1646 W. 18th Street School of English) 1895 NA NA Contributing

 

Building is Contributing due to mural.

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Contributing
Non?Contributing

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Address Building Type Date Architect Original Owner Potentially Contributing
1647 W. 18th Street Store Flat 1886 NA Jno. Vlasak Contributing
1648 W. 18th Street Store Flat 1891 NA Frank Petkaski Contributing
1649 W. 18th Street Store Flats 1889 NA NA Contributing

front facade
1650 W. 18th Street Store Flats circa 1930s NA NA Potentially Contributing
1653 W. 18th Street Store Flats 1896 NA Jno. Daunal Contributing
1654 W. 18th Street Gas Station circa 1995 NA NA Non-Contributing
1655 W. 18th Street Cottage circa 1880 NA NA Contributing
1657-1659 W. 18th Street Student Dormitory circa 2017 NA NA Non-Contributing

circa 1911- Menke+Co(1911
1700-1704 W. 18th Street Store F1at 1925 builder) Herman Misch (1911) Contributing
1703-1709 W. 18th Street Commercial circa 2010 NA NA Non-Contributing

CTA Pink Line 

1710 W. 18th Street Station Circa 1995 NA NA Non-Contributing
1711-1713 W. 18th Street Store 1928 NA NA Contributing
1714 W. 18th Street Store circa 1960s NA NA Potentially Contributing
1716 W. 18th Street Store Flat 1917 J. J. Cemy Joseph Kubik Contributing
1719 W. 18th Street Store Flat 1886 NA M. Schultz Contributing
1720 W. 18th Street Store Flat 1901 NA F. Lyzirokowski Contributing
1721 W. 18th Street Store Flat circa 1910 NA NA Contributing
1722 W. 18th Street Store Flat circa 1890 NA NA Contributing
1723 W. 18th Street Store Flat 1896 NA A. Baley Contributing
1724 W. 18th Street Store Flat circa 1875 NA NA Contributing
1725 W. 18th Street Store Flat 1891 NA Joe Fislowski Contributing
1726 W. 18th Street Store Flat circa 1920 NA NA Contributing
1727 W. 18th Street Store Flat 1908 NA L. Rutkowski Contributing
1730 W. 18th Street Store Flat circa 1920 NA NA Contributing
1731 W. 18th Street Store Flat 1916 J. Flizokowski Mrs. P. Parzatka Contributing
1732 W. 18th Street Store Flat 1913 Ernest Braucher S. Kovler Contributing
1733 W. 18th Street Vacant Lot NA NA NA Non-Contributing

front addition
1734 W. 18th Street Store Flat 1920 NA NA Contributing
1735 W. 18th Street Store Flat 1910 John Rus (builder) os. Vokval Contributing

facade circa
1736 W. 18th Street Store Flat 2010 NA NA Non-Contributing
1737 W. 18th Street Funeral Home 1940 J. Kla?er M. V. Kowalski Contributing
1738 W. 18th Street Store Flat circa 1890 NA Martin Blazek Contributing

Single Farnity

1739 W. 18th Street Residence 1903 F. Masek (builder) Jacob Huliler Contributing
1740 W. 18th Street Store Flat circa 1912 A. Rusy R. Ruiner Contributing
1742 W. 18th Street Store Flat 1909 Perley Hale Louis Lanik Contributing

front facade
1743 W. 18th Street Store Flat 1940 NA NA Potentially Contributing
1745 W. 18th Street Store circa 1930s NA NA Potentially Contributing
1746 W. 18th Street Two Flat 1883 NA no. Vacholka Contributing
1747 W. 18th Street Two Flat circa 1885 NA NA Contributing

 

Building is Contributing due to mural.

95

 

 

Contributing

Non?Contributing

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Address Building Type Date Architect Original Owner Potentially Contributing
1748 W. 18th Street Cottage circa 1880 NA M. Parilea Contributing
1749 W. 18th Street Store Flat 1891 NA J. Ronoulnjki Contributing
1750 W. 18th Street Store Flat circa 1909 C. Koski (builder) John Kroot Contributing
1751 W. 18th Street Store Flat circa 1887 NA John Sherman Contributing
1754 W. 18th Street Vacant Lot NA NA NA Non-Contributing
1755 W. 18th Street Store Flat 1887 NA 05. Szarmach Contributing
1756 W. 18th Street Store Flat 1896 V. Kiohl (builder) J. Sherparn Contributing
1757 W. 18th Street Store circa 19605 NA NA Contributing?
1758 W. 18th Street Store Flat circa 1910 NA NA Contributing
facades circa
1800 W. 18th Street Store Flat 19305 Owner (builder) A. Polzez Potentially Contributing
1802 W. 18th Street Store Flat 1896 Thos Sonka (builder) John Diwoovsky Contributing
1806 W. 18th Street Store circa 1893 NA Frank Zodek Potentially Contributing
1808 W. 18th Street Store 1910 W. Peltzau (builder) Stephen Mikolzczaw Potentially Contributing
1810 W. 18th Street Store Flat circa 1910 F. Sedloe (builder) F. Wolin Contributing
1812 W. 18th Street Store circa 19205 NA NA Contributing
1814 W. 18th Street Cottage 1887 NA Joe Wishtine Contributing
1818 W. 18th Street Store Flat circa 1891 NA Simon Brucha Contributing
1820 W. 18th Street Store Flat circa 1894 NA J. Tracey Contributing
1822 W. 18th Street Two Flat circa 1890 NA NA Contributing
1824 W. 18th Street Two Flat 1887 NA Jacob Uhlir Contributing
1828 W. 18th Street Two Flat circa 19205 NA NA Contributing
Single Famity 1885; facade
1830 W. 18th Street Residence circa 19805 NA Joe Brown (1885) Non-Contributing
Single Famity
1832 W. 18th Street Residence 1890 NA John Adams Contributing
1834 W. 18th Street Two Flat circa 1887 NA 05. Roghan Contributing
1836 W. 18th Street Two Flat 1888 NA A. Laule Contributing
Single Famity
1840 W. 18th Street Residence circa 1875 NA NA Contributing
1842 W. 18th Street Store circa 19805 NA NA Non-Contributing
1844 W. 18th Street Three Flat 1916 M. F. Stauch Anton Bedus Contributing
1846 W. 18th Street Three Flat 1891 NA 05. Kukuska Contributing
1848 W. 18th Street Three Flat circa 1893 NA John Homolka Contributing
1852 W. 18th Street Two Flat 1890 NA Jos. Hora Contributing
1854 W. 18th Street Store Flat 1894 NA J05. Hora Contributing
1856 W. 18th Street Vacant Lot NA NA NA Non-Contributing
1858 W. 18th Street Store Flat 1912 J. S. Flizekoski S. Contributing
2000 W. 18th Street Store Flat circa 1880 NA NA Contributing
2001 W. 18th Street Store Flat 1900 Gus Schartz (builder) Henry Groth Contributing
2002 W. 18th Street Garage 1929 W. E. Sarnrnons John Las John Gall Contributing
2003 W. 18th Street Vacant Lot NA NA NA Non-Contributing
Single Famity
2007 W. 18th Street Residence circa 19205 NA NA Contributing

 

 

 

 

 

 

Building is Contributing due to mural.

96

 

 

Contributing
Non?Contributing

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Address Building Type Date Architect Original Owner Potentially Contributing
2008 W. 18th Street Cottage circa 1875 NA NA Contributing
2009 W. 18th Street Vacant Lot NA NA NA Non-Contributing

Single Famity
2010 W. 18th Street Residence 1881 NA F. A. Kouig Contributing
2011 W. 18th Street Three Flat circa 1893 NA Frank Rovsurika Contributing
2012 W. 18th Street Cottage circa 1875 NA NA Contributing
2014 W. 18th Street Three Flat 1897 NA A. Neaurnaun Contributing

American Coconut
2015-2031 W. 18th Street Store circa 1913 W. D. Cowles Butter, Co. Contributing
2016 W. 18th Street Two Flat 1888 NA F. Krejice Contributing
2020 W. 18th Street Two Flat circa 1890 NA NA Contributing
2022 W. 18th Street Cottage circa 1875 NA NA Contributing
2024 W. 18th Street Store Flat 1892 NA John San? Contributing
2026 W. 18th Street Cottage circa 1875 NA NA Contributing
2028 W. 18th Street Two Flat circa 1892 NA Fred Sudwig Contributing
H. Nirterinktlo
2032 W. 18th Street Store Flat 1897 (builder) Josephine Kohn Contributing
2033-2037 W. 18th Street Garage circa 1960s NA NA Potentially Contributing
2034 W. 18th Street Store circa 1910 os. Thomas (builder) Mrs. Frances Topuska Contributing
2036 W. 18th Street Vacant Lot NA NA NA Non-Contributing
2038 W. 18th Street Store Flat circa 1910 NA NA Contributing
2039 W. 18th Street Cottage circa 1880 NA NA Contributing
Frank Rukowsky

2040 W. 18th Street Two Flat 1903 (builder) J. Icespaiuer Contributing
2041 W. 18th Street Cottage circa 1880s NA 1e Witt Contributing

Single Famity
2042 W. 18th Street Residence 1906 os. Petra (builder) Michluichi Contributing
2043 W. 18th Street Cottage 1881 NA J. Kuppir Contributing
2046 W. 18th Street Cottage circa 1880 NA NA Contributing

Single Famity front facade
2047 W. 18th Street Residence circa 1990s NA NA Potentially Contributing
2048 W. 18th Street Cottage circa 1875 NA NA Contributing

Single Famity front facade
2049 W. 18th Street Residence circa 19205 NA NA Contributing
2050 W. 18th Street Commercial circa 1918 NeWhouse Henry Sabath Potentially Contributing

Single Famity
2051 W. 18th Street Residence circa 1930s NA NA Contributing
2053 W. 18th Street Store Flat circa 1879 NA John Brad?sh (1879) Contributing
2057 W. 18th Street Store circa 1960 NA NA Potentially Contributing
2056 W. 18th Street Store circa 19205 NA NA Contributing
2058 W. 18th Street Store Flat circa 1885 NA NA Contributing

1884; facade

2059 W. 18th Street Store Flat circa 1930s NA Albert Benis (1884) Potentially Contributing
2100-06 W. 18th Street Vacant Lot NA NA NA Non-Contributing

 

 

 

 

 

 

Building is Contributing due to mural.

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Contributing
Non?Contributing

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Address Building Type Date Architect Original Owner Potentially Contributing
1887; front
facade circa
2101 W. 18th Street Store Flat 19505 NA NA Contributing
2103 W. 18th Street Two Flat circa 1875 NA NA Contributing
circa 1875;
storefront circa
2105 W. 18th Street Store ?at 1925 NA NA Contributing
Single Famity 1887; facade
2108 W. 18th Street Residence circa 1925 NA 05. Mikulaski Contributing
2109 W. 18th Street Two Flat 1888 NA Vaclar Sorua Contributing
front facade
2110 W. 18th Street Cottage circa 19605 NA NA Potentially Contributing
2111 W. 18th Street Cottage 1886 NA Jno. Riedt Contributing
facade, circa
2112 W. 18th Street Cottage 19305 NA NA Potentially Contributing
2113 W. 18th Street Cottage circa 1880 NA NA Contributing
1886; facade
2114 W. 18th Street Cottage circa 19305 NA F. Kiebal (1886) Potentially Contributing
2115 W. 18th Street Vacant Lot NA NA NA Non-Contributing
2117 W. 18th Street Two Flat 1890 NA John Bochozko Contributing
2118 W. 18th Street Cottage 1886 NA Joseph Hora Contributing
2120 W. 18th Street Cottage circa 1887 NA F. Kube Contributing
Single Famity
2121 W. 18th Street Residence NA NA NA Non-Contributing
2122 W. 18th Street Vacant Lot NA NA NA Non-Contributing
2123 W. 18th Street Cottage 1886 NA J. Pokjnzay Potentially Contributing
2124 W. 18th Street Store Flat 1895 NA John Dlouhy Contributing
1886, facade
2125 W. 18th Street Cottage 2018 NA V. Zabraw Non-Contributing
2127 W. 18th Street Two Flat 1889 NA V. Kaspar Contributing
Single Farnity
2131 W. 18th Street Residence 1886 NA Joseph Vucha Contributing
2133 W. 18th Street Store circa 1928 G. E. Pearson Anna Brozzouski Contributing
1887; front
facade circa
2134 W. 18th Street Store Flat 19905 DSO Properties LLC J. Kasker (1887) Non-Contributing
2135 W. 18th Street Store Flat 1890 NA Frank Hopbestes Contributing
2136 W. 18th Street Cottage 1887 NA J05. Kasper Contributing
2137 W. 18th Street Cottage 1887 NA M. Waetaroski Contributing
2138 W. 18th Street Cottage 1907 NA oth . Stomski Contributing
2139 W. 18th Street Cottage 1887 NA J. Martin Contributing
2140-2142 W. 18th Street Cottage 1887 NA Jos. Czeszka Contributing
2144 W. 18th Street Cottage circa 1875 NA NA Contributing
2145 W. 18th Street Cottage 1887 NA C. R. Walker Contributing
2146 W. 18th Street Cottage circa 1875 NA NA Contributing

 

Building is Contributing due to mural.

98

 

 

Contributing
Non?Contributing

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Address Building Type Date Architect Original Owner Potentially Contributing
2147 W. 18th Street Cottage 1886 NA C. Jenkow Contributing
2148 W. 18th Street Cottage 1886 NA Peter Olson Contributing
2149 W. 18th Street Cottage 1887 NA Karl Freshski Contributing
1886; facade
2150 W. 18th Street Store Flat circa 1920s NA Jno. Fogl (1886) Contributing
2151 W. 18th Street Cottage circa 1880 NA NA Contributing
2152 W. 18th Street Two Flat circa 1891 NA 0s. Pondelick Contributing
facade circa
2153 W. 18th Street Cottage 1930s NA NA Potentially Contributing
2156 W. 18th Street Two Flat 1893 NA Vaclar Contributing
2159 W. 18th Street Store Flat circa 1913 Martin Schultz oth Slomski Contributing
School (Manuel Perez,
1241 W. 19th Street Jr. Elementary) circa 1970s NA NA Contributing*
1313 W. 19th Street Undertaker Flats 1893 NA John Zajiek Contributing
1314 W. 19th Street Three Flat 1905 NA NA Contributing
1316 W. 19th Street Three Flat circa 1890 NA J. Hyhal Contributing
Single Family
1317 W. 19th Street Residence circa 1880 NA G. Hlava Contributing
1881, front
1319 W. 19th Street Store Flats facade 1929 NA NA Contributing
1320 W. 19th Street Three Flat circa 1885 NA NA Contributing
1321 W. 19th Street Cottage 1880 NA Franz Braz Contributing
1322 W. 19th Street Cottage 1880 NA P. Swobotta Contributing
1323 W. 19th Street Cottage 1881 NA Jno. Meuitz Contributing
1324 W. 19th Street Cottage 1881 NA John Praka Contributing
1326 W. 19th Street Two Flat 1889 NA J. Jeowzal Contributing
1327 W. 19th Street Cottage circa 1880 NA NA Contributing
1328 W. 19th Street Store Flats 1880 NA John Sen? Contributing
1329 W. 19th Street Two Flat circa 1880 NA NA Contributing
1331 W. 19th Street Cottage 1882 NA Frank Leory Contributing
1332 W. 19th Street Two Flat 1886 NA J. Nejal Contributing
1333 W. 19th Street Two Flat 1886 NA no. Narnskia Contributing
1334 W. 19th Street Vacant Lot NA NA NA Non-Contributing
Single Family
1336 W. 19th Street Residence circa 1875 NA NA Contributing
1337 W. 19th Street Cottage 1882 NA no. Zececk Contributing
1338 W. 19th Street Vacant Lot NA NA NA Non-Contributing
1339 W. 19th Street Two Flat circa 1886 NA Mab. Chemilk Contributing
1340 W. 19th Street Cottage 1880 NA John Kris Contributing
1341 W. 19th Street Cottage 1880 NA M. Keora Contributing
1343-1345 W. 19th Street Funeral Home 1938 NA NA Contributing

 

 

 

 

 

 

Building is Contributing due to mural.

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Contributing
Non?Contributing
Address Building Type Date Architect Original Owner Potentially Contributing
1880; front
1344 W. 19th Street Store F1ats addition 1883 NA J. Chwadal Contributing
Multi-Farnily
1402 W. 19th Street Residential circa 2016 NA NA Non-Contributing
1415 W. 19th Street Three Flat 1883 NA V. Mayer Contributing
1417 W. 19th Street Three Flat circa 1890 NA NA Contributing
1419 W. 19th Street Two Flat 1883 NA Jno. Hallrock Contributing
1890; front
facade circa
1423 W. 19th Street Four Flat 19305 NA Ravkop Kunik Potentially Contributing
circa 1910-
1450 W. 19th Street Church 1925 NA NA Contributing
1500 W. 19th Street Store Flats circa 1890 NA NA Contributing
1502 W. 19th Street Vacant Lot NA NA NA Non-Contributing
front facade
1503 W. 19th Street Store 1901 NA NA Contributing
facade circa
1504 W. 19th Street Cottage 2000 NA NA Non-Contributing
1505 W. 19th Street Three Flat 1912 A. Charvat Frank Bachasky Contributing
1508 W. 19th Street Three Flat 1889 NA NA Contributing
1509 W. 19th Street Cottage circa 1875 NA NA Contributing
1510 W. 19th Street Vacant Lot NA NA NA Non-Contributing
1511 W. 19th Street Three Flat 1911 NA B. L. Sedgley Contributing
1512 W. 19th Street Three Flat 1891 NA M. Schumberger Contributing
1513 W. 19th Street Cottage 1883 NA Fred. Putzle Contributing
1517 W. 19th Street Cottage 1881 NA M. Stack Contributing
1887; facade
1518 W. 19th Street Cottage circa 19305 NA Louis Brosel Potentially Contributing
1519 W. 19th Street Vacant Lot NA NA NA Non-Contributing
1882, facade
1520 W. 19th Street Cottage circa 1970 NA J. Steonnet Non-Contributing
1521 W. 19th Street Two Flat 1889 NA Albert Jauda Contributing
1522 W. 19th Street Cottage circa 1883 NA Joe Milke Contributing
1523 W. 19th Street Two Flat circa 1885 NA NA Contributing
1525 W. 19th Street Store Flats 1889 NA John Ruzek Contributing
front addition
1526 W. 19th Street Cottage 1909 NA NA Contributing
circa 18805;
front facade
1528 W. 19th Street Cottage circa 19705 NA NA Non-Contributing
circa 1881,
facade circa
1530 W. 19th Street Cottage 19205 NA V. Begdckovsky Contributing

 

Building is Contributing due to mural.

100

 

 

Contributing
Non?Contributing

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Address Building Type Date Architect Original Owner Potentially Contributing
1531 W. 19th Street Two Flat 1887 NA John Kucera Contributing
front facade
1532 W. 19th Street Store Flats circa 1970s NA NA Non-Contributing
1533 W. 19th Street Cottage 1887 NA Vaclar Liska Contributing
1536 W. 19th Street Two Flat 1889 NA F. Drasel Contributing
1537 W. 19th Street Cottage 1886 NA no. Stonkol Contributing
circa 1887;
front facade
1538 W. 19th Street Two Flat circa 1942 NA Mab. Kristufek Contributing
1539 W. 19th Street Three Flat 1891 NA Frank Tupa Contributing
1540 W. 19th Street Two Flat circa 1882 NA M. Christopher Contributing
1906 W. 19th Street Vacant Lot NA NA NA Non-Contributing
1314 W. 21st Street Storage circa 1990s NA NA Non-Contributing
1424 W. 21st Street Manufacturing NA NA NA Non-Contributing
1424-1444 W. 21st Street Manufacturing 1946 NA NA Contributing
1526 W. 21st Street Store Flats 1893 NA Mat Rolenec Contributing
1528 W. 2lst Street Cottage circa 1875 NA NA Contributing
Blacksmith Shop 
1530 W. 21st Street Flats 1900 NA F. Ludwig Contributing
1532 W. 21st Street Cottage circa 1875 NA NA Contributing
Single Family
1536 W. 21st Street Residence circa 2000 NA NA Non-Contributing
Single Family
1538 W. 21st Street Residence 2018 NA NA Non-Contributing
Building and Loan
1658 S. Allport Street Association circa 1880 NA William Kaspar Contributing
1637 S. Allport Street Benedictine Press 1905 Lonek Houda Rev. F. M. aeger Contributing
1881, 18 91
Two-Story
1639 S. Allport Street Three-Flat Addition NA Martin Hobel Contributing
1641 S. Allport Street St. Proc opius Rectory 1886 NA Rev. F. M. aeger Contributing
1800 S. Allport Street Store Flats circa 1911 NA NA Contributing
1802 S. Allport Street Store circa 1930 NA NA Potentially Contributing
1805 S. Allport Street Thalia Hall 1892 Faber Pagels John Dusek Contributing
1806 S. Allport Street Store Flats circa 1890 NA NA Contributing
1808 S. Allport Street Store Flats circa 2000 NA NA Non-Contributing
1810 S. Allport Street Store Flats 1891 NA Valcan Kralschost Contributing
181 1 S. Allport Street Vacant Lot NA NA NA Non-C ontributing
1812 S. Allport Street Cottage circa 1875 NA NA Contributing
1813 S. Allport Street Two-Flat 1887 NA as. Sazima Contributing
1816 S. Allport Street Cottage circa 1875 NA NA Contributing
1817 S. Allport Street Two Flat 1887 NA NA Contributing
1818 S. Allport Street Cottage circa 1875 NA NA Contributing
1819 S. Allport Street Two-Flat 1883 NA Jesse Kragaci Contributing
1820 S. Allport Street Three-Flat 1889 NA P. David Contributing
1821 S. Allport Street Cottage circa 1875 NA NA Contributing
1822 S. Allport Street Cottage circa 1875 NA NA Contributing
1823 S. Allport Street Cottage circa 1875 NA NA Contributing

 

Building is Contributing due to mural.

101

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Contributing
Non?Contributing
Address Building Type Date Architect Original Owner Potentially Contributing
1826 S. Allport Street Cottage 1901 Ant. Chan/at Chas. Raispies Contributing
circa 1875;
front facade
1827 S. Allport Street Cottage circa 1930 NA NA Contributing
1828 S. Allport Street Cottage circa 187 5 NA NA Contributing
1829 S. Allport Street Store Flats NA NA NA Contributing
1830 S. Allport Street Cottage circa 1875 NA NA Contributing
1831 S. Allport Street Cottage circa 1875 NA NA Contributing
1832 S. Allport Street Cottage circa 1875 NA NA Contributing
1833 S. Allport Street Two Flat 1889 NA J. Beske Contributing
1836 S. Allport Street Store Flats 1879 NA Joseph Kisl Contributing
1837 S. Allport Street Three-Flat 1890 NA Jacob Smaha Contributing
1838 S. Allport Street Two-Flat 1880 NA Rudolph Pospisie Contributing
Single Family
1839 S. Allport Street Residence circa 2000 NA NA Non-Contributing
Single Family
1840 S. Allport Street Residence circa 1879 NA NA Contributing
1841 S. Allport Street Three-Flat circa 1880 NA NA Contributing
1842 S. Allport Street Cottage circa 1880 NA NA Contributing
1843 S. Allport Street Cottage 1891 NA Frank Roj ek Contributing
Single Family
1844 S. Allport Street Residence 1879 NA A. Zelieka Contributing
1847 S. Allport Street Multi-Family Residence circa 2010 NA NA Non-Contributing
1848 S. Allport Street Cottage circa 1875 NA NA Contributing
1849 S. Allport Street Cottage circa 1879 NA NA Contributing
1850 S. Allport Street Multi-Farnily Residence circa 2010 NA NA Non-Contributing
1851 S. Allport Street Two Flat 1887 NA Mrs. A. Sibera Contributing
1852 S. Allport Street Three-Flat 1902 J. B. Dibelka John Benicek Contributing
front facade
1853 S. Allport Street Cottage 1938 NA NA Contributing
front facade
1854 S. Allport Street Cottage circa 1930s NA NA Potentially Contributing
1857 S. Allport Street Two Flat circa 1875 NA NA Contributing
1858 S. Allport Street Store Flats 1883 NA Kubin Vaclav Contributing
1859 S. Allport Street Store Flats NA NA NA Potentially Contributing
1901 S. Allport Street Store Flats circa 1886 NA NA Contributing
1903 S. Allport Street Two Flat circa 1896 NA NA Contributing
1907-1909 S. Allport Street Multi-Family Residence circa 2015 NA NA Non-Contributing
1911 S. Allport Street Cottage circa 1875 NA NA Contributing
Single Family
1913 S. Allport Street Residence circa 2000 NA NA Non-Contributing
1915 S. Allport Street Multi-Family Residence circa 2015 NA NA Non-Contributing
1919 S. Allport Street Multi-Farnily Residence circa 2015 NA NA Non-Contributing
1921 S. Allport Street Cottage circa 1875 NA NA Contributing

 

Building is Contributing due to mural.

102

 

 

Contributing
Non?Contributing

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Address Building Type Date Architect Original Owner Potentially Contributing
1923 S. Allport Street Multi-Farnily Residence circa 2015 NA NA Non?Contributing
1927 S. Allport Street Three-Flat circa 1890 NA NA Contributing
1931 S. Allport Street Multi-Farnily Residence 2018 NA NA Non-Contributing
2001 S. Allport Street Store Flats circa 1891 NA NA Contributing
2003 S. Allport Street Store Flats 1892 NA Sukas Macek Contributing
2005 S. Allport Street Three-Flat 1892 NA NA Contributing
2006 S. Allport Street Vacant Lot NA NA NA Non-Contributing
2007 S. Allport Street Store Flats 1892 NA B. Benda Contributing
2008 S. Allport Street Cottage circa 1875 NA NA Contributing
2011 S. Allport Street Multi-Farnily Residence circa 2000 NA NA Non-Contributing
2012 S. Allport Street Two Flat circa 1885 NA NA Contributing
2013 S. Allport Street Cottage 1883 NA F. Charat Contributing
2014 S. Allport Street Cottage 1883 NA John Sladik Contributing
2015 S. Allport Street Three-Flat circa 1885 NA NA Contributing
2016 S. Allport Street Cottage 1883 NA Albert Bilz Contributing
2017 S. Allport Street Vacant Lot NA NA NA Non-Contributing
2018 S. Allport Street Two Flat circa 1885 NA NA Contributing
Single Family
2019 S. Allport Street Residence 1888 NA NA Contributing
2020 S. Allport Street Three-Flat 1890 NA John Zoland Contributing
2021 S. Allport Street Two Flat 1889 NA Vaclav Havel Contributing
2024 S. Allport Street Store Flats 1894 NA M. Kalal Contributing
2025 S. Allport Street Store Flats circa 1885 NA NA Contributing
1700 S. Ashland Avenue Garage circa 1950s NA NA Non-Contributing
Salesroorn 
1708 S. Ashland Avenue Apartments 1928 NA NA Contributing
1710 S. Ashland Avenue Store Flats 1893 NA Frank Krasnicka Contributing
1712 S. Ashland Avenue Store Flats 1925 NA NA Contributing
1714 S. Ashland Avenue Store Flats circa 1900 NA NA Contributing
1718 S. Ashland Avenue Store Flats 1911 NA NA Contributing
1720 S. Ashland Avenue Vacant Lot NA NA NA Non-Contributing
1722-1724 S. Ashland
Avenue Store Flats 1894 NA Vac. Lusk Contributing
1723-1725 S. Ashland
Avenue Store Flats circa 1885 NA NA Contributing
1800 S. Ashland Avenue Store Flats circa 1920s NA NA Contributing
1801-1803 S. Ashland
Avenue Store Flats circa 1920s NA NA Contributing
1804 S. Ashland Avenue Store Flats 1891 NA V. Enda Contributing
1805 S. Ashland Avenue Store Flats 1914 NA NA Contributing
1807 S. Ashland Avenue Store Flats circa 1885 NA NA Contributing
front facade
1808 S. Ashland Avenue Store Flats circa 1930s NA NA Potentially Contributing
1811 S. Ashland Avenue Store Flats circa 1890 NA NA Contributing

 

Building is Contributing due to mural.

103

 

 

Contributing
Non?Contributing

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Address Building Type Date Architect Original Owner Potentially Contributing

1892, one story

hall

1895, three

Ethnic Athletic Club additional
1812 S. Ashland Avenue (Plzensky Sokol) ?oors NA Plzensky Sokol Contributing
1813 S. Ashland Avenue Store Flats circa 1890 NA NA Contributing
1815 S. Ashland Avenue Three Flat 1883 NA Frank Halas Contributing
1817 S. Ashland Avenue Two Flat 1883 NA NA Contributing
1818 S. Ashland Avenue Store Flats 1895 NA NA Contributing
1819 S. Ashland Avenue Three Flat 1904 NA NA Contributing
1820 S. Ashland Avenue Store Flats 1896 NA Joseph Tlapa Contributing
1822 S. Ashland Avenue Store Flats 1911 NA NA Contributing
1823 S. Ashland Avenue Three Flat 1888 NA NA Contributing
1824 S. Ashland Avenue Store Flats 1905 NA NA Contributing
1825 S. Ashland Avenue Store circa 1970s NA NA Non-Contributing
1827 S. Ashland Avenue Vacant Lot NA NA NA Non-Contributing
1859 S. Ashland Avenue US. Post Of?ce 1935 John Bollenbacher US. Post Of?ce Contributing
1901-1907 S. Ashland St. Pius Roman Archdiocese of
Avenue Catholic Church 1892 Burling Whitehouse Chicago Contributing
Midwestern Province
of the Dominican

1909 S. Ashland Avenue St. Pius Rectory 1947 NA Order Contributing
1919 S. Ashland Avenue St. Pius School circa 1990 NA NA Contributing?
2003-2005 S. Ashland
Avenue Flats circa 1883 NA NA Contributing
2007 S. Ashland Avenue Three Flat 1892 NA NA Contributing
2011 S. Ashland Avenue Two Flat circa 1880 NA NA Contributing
2013-2017 S. Ashland
Avenue Flats 1 886 NA NA ontributing
2019 S. Ashland Avenue Two Flat circa 1880 NA NA Contributing
2021 S. Ashland Avenue Two Flat circa 1880 NA NA Contributing
2023 S. Ashland Avenue Vacant Lot NA NA NA Non-Contributing
1812 S. Bishop Street Cottage Circa 1875 NA NA Contributing

circa 1920s;
1813-1817 S. Bishop Street Garage 1937 NA NA Contributing*
1814 S. Bishop Street Cottage Circa 1875 NA NA Contributing
1816 S. Bishop Street Cottage circa 1875 NA NA Contributing
1818 S. Bishop Street Cottage circa 1875 NA NA Contributing
1820 S. Bishop Street Garage circa 1950 NA NA Potentially Contributing
1822-24 S. Bishop Street Manufacturing circa 1900 NA NA Contributing

Garage (F uhr?rnan 

1647 S. Blue Island Avenue Foster Co.) 1924 W. Sevis Fuhrrnan Foster Co. Contributing

circa 19 10;

facade

alterations circa
1657 S. Blue Island Avenue 1950 NA NA Potentially Contributing
1663 S. Blue Island Avenue Store Flats 1893 NA W. Menge Contributing
1806 S. Blue Island Avenue Commercial circa 1890 NA NA Contributing

 

Building is Contributing due to mural.

104

 

 

Contributing
Non?Contributing

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Address Building Type Date Architect Original Owner Potentially Contributing
1808-1824 S. Blue Island
Avenue Commercial circa 1925 NA NA Contributing
1825 S. Blue Island Avenue Store circa 1990 NA NA Non-Contributing
1828-1832 S. Blue Island
Avenue Vacant Lot NA NA NA Non-Contributing
1834 S. Blue Island Avenue Store Flats 1887 NA Louis Sinck Contributing
1835 S. Blue Island Avenue Vacant Lot NA NA NA Non-Contributing
1836 S. Blue Island Avenue Store Flats circa 1887 NA NA Contributing
1840 S. Blue Island Avenue Store Flats 1887 NA A. Williamsoki Contributing
1842 S. Blue Island Avenue Store Flats circa 1887 NA NA Contributing
front facade
1844 S. Blue Island Avenue Store Flats circa 19805 NA NA Non-Contributing
1847 S. Blue Island Avenue Restaurant circa 19705 NA NA Non-Contributing
1848 S. Blue Island Avenue Store Flats circa 1885 NA NA Contributing
front facade
1850 S. Blue Island Avenue Commercial circa 19905 NA NA Non-Contributing
1852 S. Blue Island Avenue Store Flats 1894 NA Thos. Polte Contributing
1854 S. Blue Island Avenue Store Flats 1890 NA John Richak Contributing
1855-1859 S. Blue Island
Avenue Store circa 19905 NA NA Non-Contributing
1856 S. Blue Island Avenue Store Flats 1890 NA Louis Nathan Contributing
1860 S. Blue Island Avenue store circa 18905 NA NA Contributing
1862 S. Blue Island Avenue Store Flats 1888 NA Geo. Rappes Contributing
1864 S. Blue Island Avenue Store Flats 1888 NA Erniva S. Wendel Contributing
1868 S. Blue Island Avenue Store Flats 1889 NA Hamie Gilman Contributing
1 8 9 9
Schlitz Brewery-Tied (19 09 1-story
1870 S. Blue Island Avenue House hall addition) Frommann ebsen E. G. Uihlein Contributing
1900-1910 S. Blue Island
Avenue Vacant Lot NA NA NA Non-Contributing
1901 S. Blue Island Avenue Commercial circa 19705 NA NA Non-Contributing
1903 S. Blue Island Avenue Store Flats 1884 NA S. Henby Contributing
front facade
1907 S. Blue Island Avenue Store Flats 1928 NA NA Contributing
1911 S. Blue Island Avenue Store Flats circa 1885 NA NA Contributing
1912-1916 S. Blue Island
Avenue Vacant Lot NA NA NA Non-Contributing
1915 S. Blue Island Avenue Store Flats 1892 NA Solomon Loeb Contributing
1918 S. Blue Island Avenue Commercial circa 19205 NA NA Contributing
1919 S. Blue Island Avenue Store Flats circa 1885 NA NA Contributing
circa 18805
1 -story
1920 S. Blue Island Avenue Store Flats addition 1904) NA NA Contributing
1923-1929 S. Blue Island
Avenue Store Flats 1886 NA 05. Krolovec Contributing
2001 S. Blue Island Avenue Commercial circa 19705 NA NA Non-Contributing
2002 S. Blue Island Avenue Vacant Lot NA NA NA Non-Contributing
2005 S. Blue Island Avenue Store Flats circa 1885 NA NA Contributing

 

 

 

 

 

 

Building is Contributing due to mural.

105

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Contributing
Non?Contributing
Address Building Type Date Architect Original Owner Potentially Contributing
Industrial Bank
2007 S. Blue Island Avenue Building 1891 NA Industrial Bank Contributing
2008-2010 S. Blue Island
Avenue Store Flats 1879 NA C. Vandoler Contributing
2012 S. Blue Island Avenue Flats circa 1875 NA NA Potentially Contributing
2014 S. Blue Island Avenue Cottage circa 1875 NA NA Potentially Contributing
2018 S. Blue Island Avenue Store circa 1875 NA NA Contributing
2020 S. Blue Island Avenue Commercial circa 1941 NA NA Contributing
2024 S. Blue Island Avenue Vacant Lot NA NA NA Non-C ontributing
facade circa
2026 S. Blue Island Avenue Flats 1930s NA NA Potentially Contributing
2027 S. Blue Island Avenue Commercial circa 1950s NA NA Potentially Contributing
2030 S. Blue Island Avenue Vacant Lot NA NA NA Non-C ontributing
1714 S. Carpenter Street Store Flats 1879 NA NA Contributing
1800 S. Carpenter Street Store Flats 1879 NA no. Hoverka Contributing
1801 S. Carpenter Street Commercial circa 1960s NA NA Potentially Contributing
1312 W. Cullerton Street Store Flats 1892 NA Martin Beick Contributing
Single Family
1313 W. Cullerton Street Residence circa 1890s NA NA Non-Contributing
1316 W. Cullerton Street Two Flat circa 1880 NA NA Contributing
1317 W. Cullerton Street
(Parking Lot) Vacant Lot NA NA NA Non-C ontributing
Single Family
1318 W. Cullerton Street Residence circa 2000 NA NA Non-Contributing
1319 W. Cullerton Street Three Flat 1892 NA Frank Vosta Contributing
Single Family
1320 W. Cullerton Street Residence circa 2000 NA NA Non-Contributing
1321 W. Cullerton Street Two Flat circa 1880 NA NA Contributing
1322 W. Cullerton Street Two Flat 1896 NA NA Contributing
Single Family
1323 W. Cullerton Street Residence circa 1875 NA NA Contributing
facade circa
1326 W. Cullerton Street Cottage 1920s NA NA Contributing
1327 W. Cullerton Street Cottage circa 1875 NA NA Contributing
1328 W. Cullerton Street Store Flats circa 1888 NA NA Contributing
1329 W. Cullerton Street Flats circa 1875 NA NA Contributing
1330 W. Cullerton Street Cottage circa 1881 NA NA Contributing
facade circa
1331 W. Cullerton Street Cottage 1920s NA NA Contributing
1332 W. Cullerton Street Cottage circa 1875 NA NA Contributing
1335 W. Cullerton Street Cottage circa 1880 NA NA Contributing
circa 1875-
1336 W. Cullerton Street Cottage 1880 NA NA Contributing
1337 W. Cullerton Street Cottage circa 1875 NA NA Contributing
1338 -1340 W. Cullerton Multi-Family
Street Residential circa 2016 NA NA Non-C ontributing
Single Family
1339 W. Cullerton Street Residence circa 1880s NA NA Contributing
1341 W. Cullerton Street Cottage circa 1883 NA NA Contributing
1342 W. Cullerton Street Vacant Lot NA NA NA Non-Contributing

 

Building is Contributing due to mural.

106

 

 

Contributing
Non?Contributing

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Address Building Type Date Architect Original Owner Potentially Contributing
1343 W. Cullerton Street Flats 2018 NA NA Non-Contributing
1347 W. Cullerton Street Two Flat Circa 1880 NA NA Contributing
1414 W. Cullerton Street Store Flats 1890 no. Schnoor os. Moudry Contributing
1415 W. Cullerton Street Cottage circa 1875 NA NA Contributing
1416 W. Cullerton Street Store Flats circa1880 NA NA Contributing
1417 W. Cullerton Street Store Flats 1889 NA Joseph Rund Contributing
1418 W. Cullerton Street Vacant Lot NA NA NA Non-Contributing
1419 W. Cullerton Street Store 1889 NA Joseph Stefniek Contributing
1422 W. Cu?erton Street Store Flats 1887 NA M. Ralenic Contributing
1423 W. Cullerton Street Store Flats circa 1880s NA NA Contributing
1424 W. Cullerton Street Cottage 1883 NA F. Robinson Contributing
1425 W. Cullerton Street Two Flat circa 1885 NA NA Contributing
1426 W. Cullerton Street Cottage 1883 NA William Schwartz Contributing
1427 W. Cullerton Street Two Flat circa 1885 NA NA Contributing
1428 W. Cullerton Street Eight Flat circa 1885 NA NA Contributing
wood-frame
portion circa
1875, ?rst ?oor
1429 W. Cullerton Street Cottage possibly 1883 NA NA Contributing
Single Family
1433 W. Cullerton Street Residence circa 2000 NA NA Non-Contributing
1435 W. Cullerton Street Two Flat circa 1880 NA NA Contributing
1437 W. Cullerton Street Three Flat 1888 NA A. Kremil Contributing
1441 W. Cullerton Street Two Flat circa 1880 NA NA Contributing
1443 W. Cullerton Street Vacant Lot NA NA NA Non-Contributing
1504 W. Cullerton Street Store Flats 1896 NA Hugh Murray Contributing
wood-frame
portion circa
1878; ?rst ?oor
1508 W. Cu?erton Street Cottage probably 1887 NA NA Contributing
1510 W. Cullerton Street Store Flats circa 1875 NA NA Contributing
Single Family
1514 W. Cullerton Street Residence circa 1950s NA NA Potentially Contributing
Single Family
1516 W. Cullerton Street Residence circa 19505 NA NA Potentially Contributing
1518 W. Cullerton Street Three Flat 1893 NA John Hantak Contributing
1520 W. Cullerton Street Two Flat 1886 NA NA Contributing
1522 W. Cullerton Street Three Flat 1892 NA Jacob Cemanka Contributing
1523 W. Cullerton Street Vacant Lot NA NA NA Non-Contributing
1526 W. Cullerton Street Two Flat 1886 NA John Forest Contributing

 

 

 

 

 

 

Building is Contributing due to mural.

107

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Contributing
Non?Contributing
Address Building Type Date Architect Original Owner Potentially Contributing
1527 W. CulleIton Street Two Flat 1888 NA John T. Schaar Contributing
1528 W. Cullerton Street Three Flat 1888 NA J. Dirmiski Contributing
1529 W. CulleIton Street Two Flat 1886 NA G. Deiner Contributing
1530 W. CqueIton Street Two Flat 1887 NA Frank Smith Contributing
1531 W. CulleIton Street Two Flat 1886 NA Fred Buck Contributing
1532 W. Cullenon Street Four Flat 1889 NA no. Cervanska Contributing
1535 W. Cullerton Street Vacant Lot NA NA NA Non-Contributing
1536 W. CulleIton Street Two Flat 1886 NA John Vacha Contributing
1537 W. Cullenon Street Two Flat 1883 NA William Schroeder Contributing
1538 W. Cullerton Street Store Flats circa 1880s NA os. Marz Contributing
1539 W. Cullenon Street Two Flat circa 1890 NA NA Contributing
1715 S. La?in Street Store Flats circa 1880s NA NA Contributing
1801 S. La?in Street Store Flats circa 1885 NA NA Contributing
1803-1807 S. La?in Street Vacant Lot NA NA NA Non-Contributing
1809 S. La?in Street Cottage circa 1875 NA NA Contributing
1811 S. La?in Street Store Flats 1889 NA NA Non-Contributing
1814 S. La?in Street Store Flats 1892 NA os. Plachetka Contributing
1815 S. La?in Street Three Flat 1908 NA Jos. Kolar Contributing
facade circa

1816 S. La?in Street Two Flat 19208 NA NA Contributing
1817 S. La?in Street Cottage 1884 NA E. Van Heerikhuizen Contributing
1819 S. La?in Street Cottage circa 1880 NA NA Contributing
1820 S. La?in Street Two Flat circa 1881 NA Jos. Horacek Contributing
1821 S. La?in Street Cottage 2018 NA NA Non-Contributing
1822 S. La?in Street Two Flat circa 1880 NA NA Contributing

Single Family
1823 S. La?in Street Residence circa 2017 NA NA Non-Contributing
1824 S. La?in Street Store Flats circa 1880 NA NA Contributing

Single Family
1825 S. La?in Street Residence circa 2017 NA NA Non-Contributing
1827 S. La?in Street Cottage NA NA NA Contributing
1831 S. La?in Street Store Flats facade 1937 NA NA Contributing
1833 S. La?in Street Cottage circa 1875 NA NA Contributing

Single Family
1834 S. La?in Street Residence circa 2000 NA NA Non-Contributing
1836 S. La?in Street Two Flat circa 1875 NA NA Contributing
1837 S. La?in Street Cottage circa 1875 NA NA Potentially Contributing

 

Building is Contributing due to mural.

108

 

 

Contributing
Non?Contributing

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Address Building Type Date Architect Original Owner Potentially Contributing
1838 S. La?jn Street Cottage circa 1880 NA NA Contributing
1839 S. La?in Street Vacant Lot NA NA NA Non-Contributing
Single Family
1840 S. La?in Street Residence 1892 NA E. D. Seator Contributing
facade circa
1841 S. La?in Street Cottage 19305 NA NA Potentially Contributing
1842 S. La?in Street Three Flat 1891 NA Albert anda Contributing
1843 S. La?in Street Three Flat circa 1890 NA NA Contributing
1847 S. La?in Street Vacant Lot NA NA NA Non-Contributing
1849 S. La?in Street Cottage circa 1875 NA NA Contributing
1851-1853 S. La?in Street Vacant Lot NA NA NA Non-Contributing
1910 S. La?in Street Store Flats circa 1890 NA NA Contributing
1914 S. La?jn Street Vacant Lot NA NA NA Non-Contributing
Multi-Family
1920-1924 S. La?in Street Residential circa 1990s NA NA Non-Contributing
2009 S. La?jn Street Store Flats 1891 NA F. Panch Contributing
2011 S. La?in Street Store Flats circa 2000 NA NA Non-Contributing
2019-2021 S. La?in Street Commercial 1932 NA NA Contributing
2025 S. La?in Street Commercial circa 1960s NA NA Potentially Contributing
1719 S. Leavitt Street Store F1at circa 1890 NA NA Contributing
Lozano Branch,
1803-1805 S. Loomis Street Chicago Public Library 1989 NA Chicago Public Library Non-Contributing
1803-1805 S. Loomis Street Skala National Bank circa 19205 NA Frank J. Skala Contributing
1821 S. Loomis Street Vacant Lot NA NA NA Non-Contributing
1835 S. Loomis Street Cottage circa 1875 NA NA Contributing
1837 S. Loomis Street Three Flat 1888 NA J. Chleboure Contributing
1839 S. Loomis Street Cottage 1880 NA J. Fuery Contributing
1840 S. Loomis Street Vacant Lot NA NA NA Non-Contributing
1841 S. Loomis Street Two Flat 1886 NA Thos. Voscifrka Contributing
1845 S. Loomis Street Two Flat 1881 NA Frank Mottec Contributing
1846 S. Loomis Street Manufacturing circa 1910 NA NA Contributing
1847 S. Loomis Street Two Flat 1884 NA Frank Klima Contributing
1851 S. Loomis Street Vacant Lot NA NA NA Non-Contributing
original cottage
1879; ?rst ?oor
1856 S. Loomis Street Cottage circa 1885 NA NA Contributing
1857 S. Loomis Street Cottage circa 1885 NA NA Contributing
Single Family
1859 S. Loomis Street Residence circa 2000 NA NA Non-Contributing
1901 S. Loomis Street Store Flats circa 1880 NA NA Contributing

 

Building is Contributing due to mural.

109

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Contributing
Non?Contributing
Address Building Type Date Architect Original Owner Potentially Contributing
1904 S. Loomis Street Three Flat 1886 NA John Tomasek Contributing
1905 S. Loomis Street Store Flats 1892 NA John Firsa Contributing
facade circa
1906 S. Loomis Street Flats 1960 NA NA Potentially Contributing
1907 S. Loomis Street Vacant Lot NA NA NA Non-Contributing
1908 S. Loomis Street Two Flat 1890 NA Jos. Honesh Contributing
1910 S. Loomis Street Two Flat circa 1885 NA NA Contributing
1911 S. Loomis Street Three Flat circa 1885 NA NA Contributing
1913 S. Loomis Street Flats 1882 NA NA Contributing
1914 S. Loomis Street Cottage circa 1882 NA F. Moreck Contributing
1915 S. Loomis Street Two Flat 1883 NA Frank Hawat Contributing
1916 S. Loomis Street Two Flat circa 1885 NA NA Contributing
Single Family
1917 S. Loomis Street Residence 1883 NA A. Chernelch Contributing
1918 S. Loomis Street Cottage circa 1875 NA NA Contributing
1921 S. Loomis Street Two Flat 1883 NA F. Jabareck Contributing
Single Family
1922 S. Loomis Street Residence circa 1880 NA NA Contributing
Single Family
1923 S. Loomis Street Residence circa 2000 NA NA Non-Contributing
1924 S. Loomis Street Store Flats 1888 NA NA Contributing
Single Family
1925 S. Loomis Street Residence circa 2000 NA NA Non-Contributing
2000 S. Loomis Street Two Flat 1882 na F. Waucura Contributing
2001 S. Loomis Street Store Flats circa 1885 NA NA Contributing
2003 S. Loomis Street Two Flat circa 1880 NA NA Contributing
2004 S. Loomis Street Two Flat circa 1885 NA NA Contributing
2005 S. Loomis Street Two Flat circa 1885 NA NA Contributing
2006 S. Loomis Street Two Flat 1888 NA V. Hastaba Contributing
2008 S. Loomis Street Cottage circa 1875 NA NA Contributing
2009 S. Loomis Street Cottage circa 1875 NA NA Contributing
2010 S. Loomis Street Cottage circa 1875 NA NA Contributing
2011 S. Loomis Street Cottage circa 1875 NA NA Contributing
2013 S. Loomis Street Three Flat circa 1890 NA NA Contributing
2014 S. Loomis Street Cottage circa 1875 NA NA Contributing
2015 S. Loomis Street Vacant Lot NA NA NA Non-Contributing
2016 S. Loomis Street Cottage circa 1875 NA NA Contributing
Multi-Family
2018 S. Loomis Street Residential circa 2005 NA NA Non-Contributing
2022 S. Loomis Street Store Flats circa 1880 NA NA Contributing
facade circa
2024 S. Loomis Street Store Flats 1930s NA NA Potentially Contributing
1902
(1913 W.B.Mundie
Joseph ungrnan Public Audotriurn (D. H. Perkins, 1913 Chicago oard of
1632 S. Miller Street School Addn.) Addn.) Education Contributing
1800 S. Morgan Street Store Flats 1901 NA John Klaus Contributing

 

 

 

 

 

 

Building is Contributing due to mural.

110

 

 

Contributing
Non?Contributing

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Address Building Type Date Architect Original Owner Potentially Contributing
1723-1725 S. Racine Avenue Store Flat circa 1880 NA NA Contributing
1726 S. Racine Avenue Store Flat 1876 NA Frank Fauk Contributing
1800-1804 S. Racine Avenue Store Flat 1883 NA Frank Novotnery Contributing
1801 S. Racine Avenue Store Flat circa 1883 NA J. Sokup Contributing
1805 S. Racine Avenue Store Flat circa 1870 NA NA Contributing
1806 S. Racine Avenue Store Flat circa 1890 NA NA Contributing
1807 S. Racine Avenue Vacant Lot NA NA NA Non-Contributing
1808 S. Racine Avenue Store Flat circa 1885 NA NA Contributing
1809 S. Racine Avenue Commercial circa 1910 NA NA Contributing
Multi-Family
1810 S. Racine Avenue Residential 2018 NA NA Non-Contributing
1812 S. Racine Avenue Two Flat circa 1875 NA NA Contributing
1813 S. Racine Avenue Cottage circa 1875 NA NA Contributing
Single Family
1815 S. Racine Avenue Residence circa 2000 NA NA Non-Contributing
1816 S. Racine Avenue Store Flat 1888 NA L. Fosluovsey Contributing
1817 S. Racine Avenue Two Flat circa 1875 NA NA Contributing
1818 S. Racine Avenue Store Flat 1886 NA Annie Pecivac Contributing
1819 S. Racine Avenue Cottage circa 1875 NA NA Contributing
1820 S. Racine Avenue Cottage circa 1875 NA NA Contributing
1821 S. Racine Avenue Ethnic Athletic Club 1906 NA National Athletic Club Contributing
1822 S. Racine Avenue Store Flat circa 1875 NA NA Contributing
1824 S. Racine Avenue Cottage circa 1875 NA NA Contributing
1825 S. Racine Avenue Cottage circa 1875 NA NA Contributing
1827 S. Racine Avenue Saloon Flat 1888 NA NA Contributing
1828 S. Racine Avenue Cottage circa 1875 NA NA Potentially Contributing
Multi-Family facade circa
1830 S. Racine Avenue Residential 2015 NA NA Non-Contributing
Casa Aztlan Bohemian 1912; addition Bohemian Settlement
1831 S. Racine Avenue Settlement House 1939 NA House Contributing
1832 S. Racine Avenue Store Flat circa 1885 NA NA Contributing
1834 S. Racine Avenue Store Flat circa 1880 NA NA Contributing
1838 S. Racine Avenue Cottage circa 1875 NA NA Contributing
1840 S. Racine Avenue Store Flat circa 1895 NA Valean Hodek Contributing
1842 S. Racine Avenue Store Flat circa 1875 NA NA Contributing
1844 S. Racine Avenue Store Flat 1897 NA Frank Smolik Contributing
1850 S. Racine Avenue Vacant Lot NA NA NA Non-Contributing
1854 S. Racine Avenue School circa 1960 NA NA Potentially Contributing
1916 S. Racine Avenue Store Flat circa 1875 NA NA Contributing
1918 S. Racine Avenue Vacant Lot NA NA NA Non-Contributing
1920 S. Racine Avenue Store Flat 1895 NA Jos. Dennemark Contributing
Single Family
1924 S. Racine Avenue Residence circa 2000 NA NA Non-Contributing

 

 

 

 

 

 

Building is Contributing due to mural.

111

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Contributing
Non?Contributing
Address Building Type Date Architect Original Owner Potentially Contributing
front facade
1926 S. Racine Avenue Three Flat 1896 NA NA Contributing
1928 S. Racine Avenue Cottage 1883 NA NA Contributing
1930 S. Racine Avenue Vacant Lot NA NA NA Non-Contributing
1934 S. Racine Avenue Store Flat circa 1880 NA NA Contributing
1936 S. Racine Avenue Three Flat 1889 NA C. J. Hanka Contributing
1938 S. Racine Avenue Cottage circa 1875 NA NA Contributing
1940 S. Racine Avenue Cottage circa 1875 NA NA Contributing
1942-1944 S. Racine Avenue Store Flat 1896 NA A. Nabusky Contributing
1946 S. Racine Avenue Store Flat 1896 NA Frank Rupert Contributing
2000 S. Racine Avenue Flats circa 1875 NA NA Contributing
2002 S. Racine Avenue Vacant Lot NA NA NA Non-Contributing
2014-2022 S. Racine Avenue Burton Manufacturing circa 1910 NA NA Contributing
1657-1659 S. Throop Street Store Flats circa 1880 NA NA Contributing
1658 S. Throop Street Store Flats 1883 NA James Wittans Contributing
1800 S. Throop Street Store Flats 1882 NA John Novotne Contributing
1801-1803 S. Throop Street Store Flats 1886 NA Vulcav Lala Contributing
1802 S. Throop Street Two Flat 1882 NA S. Bastik Contributing
1806 S. Throop Street Two Flat 2018 NA NA Non-Contributing
1807 S. Throop Street Throop Park NA NA NA Non-Contributing
Single Family
1808 S. Throop Street Residence 1880 NA J. Dusek Contributing
1810 S. Throop Street Cottage circa 1880 NA NA Contributing
1812 S. Throop Street Store Flats circa 1885 NA NA Contributing
1814 S. Throop Street Store Flats circa 1920s NA NA Contributing
1818 S. Throop Street Cottage circa 1875 NA NA Contributing
1820 S. Throop Street Two Flat 1881 NA NA Contributing
1822 S. Throop Street Cottage circa 1880 NA NA Contributing
1824 S. Throop Street Store Flats 1880 NA J. Navara Contributing
Single Family
1829 S. Throop Street Residence circa 1920s NA NA Contributing
1831 S. Throop Street Store Flats 1889 NA V. Motycka Contributing
1833 S. Throop Street Flats circa 18805 NA NA Contributing
1834 S. Throop Street Store Flats 1890 NA Thos. Havlatka Contributing
1835 S. Throop Street Cottage circa 1875 NA NA Contributing
Single Family
1836 S. Throop Street Residence 1880 NA A. Bartos Contributing
Single Family
1838 S. Throop Street Residence 1880 NA J. Kolka Contributing
1839 S. Throop Street Cottage 2018 NA NA Contributing
1841 S. Throop Street Three Flat 1878 NA L. P. Ruehbdanz Contributing
1843-1851 S. Throop Street Vacant Lot NA NA NA Non-Contributing
1848 S. Throop Street School circa 1910 NA NA Contributing
1881, rebuilt
1850 S. Throop Street Of?ce circa 1910 NA H. Halpunck Contributing

 

 

 

 

 

 

Building is Contributing due to mural.

112

 

 

Contributing
Non?Contributing

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Address Building Type Date Architect Original Owner Potentially Contributing
1853 S. Throop Street Vacant Lot NA NA NA Non-Contributing
1856 S. Throop Street Store Flats circa 1890 NA W. Manzarek Contributing
1858 S. Throop Street Store Flats 1885 NA Joseph Babka Contributing
1900-1902 S. Throop Street Store Flats circa 1890 NA NA Contributing
1904 S. Throop Street Two Flat circa 1880 NA NA Contributing
1906 S. Throop Street Store Flats circa 1886 NA NA Contributing
1910 S. Throop Street Store Flats 1889 NA J. Schracta Contributing
1912 S. Throop Street Two Flat circa 1880 NA NA Contributing
1914 S. Throop Street Store Flats 1886 NA Frank Hernka Contributing
1916 S. Throop Street Two Flat circa 1881 NA C. Grim Contributing
1920 S. Throop Street Two Flat circa 1885 NA NA Contributing
1922 S. Throop Street Three Flat 1889 NA Frank ansky Contributing
1924 S. Throop Street Store Flats circa 1895 NA NA Contributing
2000 S. Throop Street Three Flat circa 1885 NA NA Contributing
Chicago oard of
2001 S. Throop Street Komensky School 1890 August Fiedler Education Contributing
2002 S. Throop Street Vacant Lot NA NA NA Non-Contributing
2004 S. Throop Street Cottage 1887 NA C. V. Kanlarrneck Contributing
2006 S. Throop Street Cottage circa 1880 NA NA Contributing
2010 S. Throop Street Three Flat 1888 J. Reid Vacler Rund Contributing
2011 S. Throop Street Two Flat 1886 NA J. erfra Contributing
Single Family
2012 S. Throop Street Residence circa 2000 NA NA Non-Contributing
2013 S. Throop Street Three Flat 1888 NA Frank Ceck Contributing
2014 S. Throop Street Three Flat circa 1887 NA no. elinek Contributing
2015 S. Throop Street Vacant Lot NA NA NA Non-Contributing
2017 S. Throop Street Three Flat 1893 NA M. Polence Contributing
2018 S. Throop Street Store Flats 1889 NA John Hagda Contributing
2019 S. Throop Street Vacant Lot NA NA NA Non-Contributing
Single Family

2020 S. Throop Street Residence circa 2017 NA NA Non-Contributing
2021 S. Throop Street Store 1917 J. Kouda A. Malcak Contributing
2022 S. Throop Street Store Flats 1889 NA L. Kucera Contributing
2023 S. Throop Street Store Flats circa 1902 NA NA Contributing

 

 

 

 

 

 

Building is Contributing due to mural.

113

 

MURAL INVENTORY

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

TITLE ADDRESS ARTIST YEAR
917-925 W. 18th Street
939 W. 18th Street Green Star Movement
From Matter to i nd,
From Mind to Matter 960-62 W. 18th Street Ruben Aguirre 2016
lyboy 972 W. 18th Street Hebru Brantley 2013
1004 W. 18th Street TMIKEKUH
1013 W. 18th Street
Virgen de Guadalupe 1214-18 W. 18th Street 1966
Casa Indigo and No Me
agas enos 1314 W. 18th Street
Fozzi Bear, and Others 1315 W. 18th Street
1317 W. 18th Street Amias or Ani or Ana Kroul 2018
El usico 1323 W. 18th Street Thethirdman
1324 W. 18th Street
Virgen de Guadalupe/St
Jude 1333 W. 18th Street
La Sirena 1335 W. 18th Street fed
Sacred Heart ofMary 1337 W. 18th Street
Harbee 1345 W. 18th Street
(4 Panels) 1415-21 W. 18th Street Yollocalli Arts Reach
1418 W. 18th Street Action Street Art
Avengers 1420 W. 18th Street
Bless the Children of 2008-
Pilsen 1423 W. 18th Street Salavin 2017
Friends of James Wright Foley
including Suree Tow?ghnia,
April Goble, Rosy Campanita,
James Wright Foley 1430-34 W. 18th Street Rudy Avina and Antonio Ancona 2014
Greed 1430-34 W. 18th Street Pablo Machioli 2016
Taming The Bull 1430-34 W. 18th Street Nether 410 2016
Jo Dufo
Pilsen Heart and Others 1436-40 W. 18th Street Def Peace Project 2016
El Melon, Las strellas,
El Sol, El Catrin, La
Botella (Partial), La Luna
(Partial) 1443 W. 18th Street
Manuel Macias/
La Dama 1447 W. 18th Street Brenda Macias-Lopez 2016
Pilsen 1447 W. 18th Street Raul "Rawooh" Ramirez 2016
Manuel Macias/
El Corazon 1448 W. 18th Street Brenda Macias-Lopez 2016

 

114

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

TITLE ADDRESS ARTIST YEAR
Manuel Macias 
La Valienta 1454 W. 18th Street Brenda Macias-Lopez 2016
Manuel Macias 
El Apache, La Sirena 1458 W. 18th Street Brenda Macias-Lopez 2016
La Dona, El harro, El
Santo 1458 W. 18th Street Thethirdman 2016
Dia de Muertos 1458 W. 18th Street Ashley "Michelle_Slim" Mills 2016
Nuevo Leon 1517 W. 18th Street
Embarrasea? 1519 W. 18th Street
La Escalera 1531 W. 18th Street Thethirdman
Cisco Kid (sponsored by Ava
1537 W. 18th Street Grey Designs) 2018
1540 W. 18th Street
Empathy 1541 W. 18th Street Stef 1
Reach for Peace 1544 W. 18th Street Yollocalli Arts Reach 2011
2014-
Pilsen Wall of onor 1700-04 W. 18th Street J-Def Peace Project 2017
Francisco Mendoza with Joy
Homage to the Women of Anderson, local artists and area
Mexico and Others 1710 W. 18th Street youth 1993-95
ria?a K. 1711-13 W. 18th Street Robert Valadez with Traz Juarez 2018
1721 W. 18th Street
1726 W. 18th Street Kitchito
Franca 1731 W. 18th Street Kitchito
1744 W. 18th Street
AllAbout the Women,
Mariachi 1757 W. 18th Street Alejandro Medina 2006
5 Rabanitos 1758 W. 18th Street Scene BX, Janet Anteguz, Saicker 2016
1858 W. 18th Street
Cruzana?o uros 2002 W. 18th Street
Mis Raices Son Mi
Inspiracion (ll/I Roots Are
My Inspiration) 1241 W. 19th Street Javier Chaviza
Virgen de Guadalupe 1314 W. 19th Street
Woman with Flag 1637 S. Allport Street Alejandro Medina 2013
Hands in Unity 1637 S. Allport Street J-Def Peace Project

 

Popocatepetl and
Iztaccihuatl

1658 S. Allport Street

 

1819 S. Allport Street

 

1712 S. Ashland Avenue

 

 

 

1714 S. Ashland Avenue

 

 

 

115

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

TITLE ADDRESS ARTIST YEAR
1722-24 S. Ashland Sam Kirk with Jenny Q, Eva
MLS Soccer Mural Avenue Gancino and Karla Olvera 2017
Nuestra Sagrada ami lia
(Our Holy Family) 1919 S. Ashland Avenue Aurelio Diaz 1989
Graf?ti Institute/ 3 Arts with
Cecilia Chavez, Michael Chavez,
Alyssa Rivera, Jade Rivera and
#Kiarahfreshwall 1813-17 S. Bishop Street Tailah Lazo 2015
1663 S. Blue Island
Avenue
Declaration Of 1800-08 S. Blue Island Yollocalli Arts Reach with
Immigration Avenue Salvador imenez-Flores 2009
1800-08 S. Blue Island
Avenue Fernando ?Fedz? Caldera
1800-08 S. Blue Island
La Selva (The Jungle) Avenue Yollocalli Arts Reach
1923-29 S. Blue Island
Avenue
2018 S. Blue Island
Avenue
(Sports Panels) 1319 W. Cullerton Street
Sirvales (Serve) 1538 W. Cullerton Street Jeff Zimmerman 2005
1801 S. La?in Street Manuel Macias 2018
Yollocalli Arts Reach with Jesus 2010-
Wall Of ope 1856 S. Loomis Street Chucho Rodriguez 2012
1800 S. Morgan Street Salvador Vega
Gabriel Project 1800 S. Morgan Street Sentrock with Yollocali 2016
A) Salvador Vega
Educacion Para el Pueblo 1800-04 S. Racine Avenue B) Sentrock with Yollocali 1980
1801 S. Racine Avenue
Manuel Macias 
La Rosa 1805 S. Racine Avenue Brenda Macias-Lopez
Ray Patlan, Robert Valdez and
Casa Aztlan 1831 S. Racine Avenue others; design by Salvador Vega 2017
Organicemonos Para Que
Haiga Paz 1657-59 S. Throop Aurelio Diaz 1978

 

 

 

1834 S. Throop

 

Roho Garcia Arte

 

 

116

 

ACKNOWLEDGMENTS
CITY OF CHICAGO
Rahm Emanuel, Mayor
Department of Planning and Development
David Reifman, Commissioner
Eleanor Esser Gorski, Bureau Chief, Planning, Historic Preservation & Sustainability Bureau
Project Staff
Andrea Terry, Bauer Latoza Studio (consultant), research, writing, editing, mapping
Douglas Kaarre, Bauer Latoza Studio (consultant), photography, inventory
Julia Bachrach, Julia Bachrach Consulting (consultant), research, writing, editing
Rita Arias Jiasek (consultant), research, writing
Terry Tatum (consultant), research
Matt Crawford, project manager

The Commission on Chicago Landmarks, whose nine members are appointed by the Mayor and City Council, was
established in 1968 by city ordinance. The Commission is responsible for recommending to the City Council that individual
building, sites, objects, or entire districts be designated as Chicago Landmarks, which protects them by law. The Commission is staffed by the Chicago Department of Planning and Development, Planning, Historic Preservation & Sustainability
Bureau, City Hall, 121 North LaSalle Street, Room 1006, Chicago, IL 60602; (312-744-3200) phone; (312-744-9140) fax,
web site: www.cityofchicago.org/landmarks
This Preliminary Summary of Information is subject to possible revision and amendment during the designation
process. Only language contained within the final landmark designation ordinance as approved by City Council should be
regarded as final.

117