Cincinnati was fortunate.
Unlike many American cities, it has preserved a significant part of its architectural history. This is thanks to urban planners, patrons, and architect Samuel Hannaford, who designed more than 300 buildings, including City Hall, the Music Hall, the Cincinnatian Hotel, and the Phoenix Club.
How it All Began
Samuel Hannafourde arrived in the United States from England when he was nine years old. His family settled in Cheviot, a farming community onthe western outskirts of Cincinnati.
Growing up among cornfields, he seemed destined for a rural future. But at the age of seventeen, he left home after a religious conflict with his father. It was this decision that became a turning point: instead of a life on the farm, the young man chose a craft that would lead him to architecture.
He first became an apprentice to John Hamilton, a local architect. Under his guidance, Hanford mastered drawing, estimates, and construction logic, while also studying at the Ohio Mechanical Institute. Three years later, he opened his own office, but it did not last long. After closing the firm, he began working with William Tinsley, an Irish architect known for his designs of university and religious buildings. Tinsley became a mentor to Hannafourde, opening up the world of mature architectural thought to him.
Hannaford’s interest in architecture was formed at a mature age, through practice and contact with the European school. This made his approach particularly pragmatic, but at the same time expressive.
European influence
In 1869, Hannaford went on a trip to Europe that shaped his visual language for years to come. He visited capitals, checked out old town halls and cathedrals, and compared styles and scale. He was especially impressed by:
- Westminster Abbey in London
- The Town Hall in Brussels
- Cologne Cathedral
- The Old Masters Gallery in Dresden
- The Vienna State Opera and St. Stephen’s Cathedral
- Milan Cathedral and the Victor Emmanuel II Gallery
This trip reinforced his taste for neo-Gothic, Romanesque, and eclectic styles. Upon returning to the US, he became bolder in his use of decorative elements, playing with symmetry and experimenting with stone colors and the dynamics of facades. All of this would become his trademark in the future.
Architectural Legacy
Upon returning from Europe, Samuel Hannaford transformed from a provincial architect into a key figure on the Cincinnati architectural scene. His projects became more ambitious, his clients more influential, and his style more recognizable. Hannaford worked in a genre that today would be called “institutional eclecticism”: he designed concert halls, police stations, and hotels with equal confidence. But behind this professional growth lay personal drama: over the years, he lost two wives and became the father of ten children.
Public projects
One of Hannahford’s early successes was the Cincinnati Observatory project. This Italian Renaissance-style building became a symbol of the city’s scientific ambitions. Other significant buildings followed it. For example, St. George’s Church combines neo-Gothic and Romanesque elements. Or the McMicken College building, where Hannaford worked on the composition of the facade, which he would experiment with many times
These projects launched his reputation as an architect capable of working with important public spaces.
Music Hall
The culmination of this period was the opening of the Music Hall in 1878, a grand project that combined a concert hall, exhibition space, and meeting rooms. The neo-Gothic facade, arches, and hand-molded bricks made the building the city’s main architectural symbol. It was after this commission that Hannaford’s name became established as a master of urban Gothic architecture.
The Emery Family
One of Hannaford’s most important patrons was the Emery family, patrons of the arts, investors, and industrialists. Their trust opened the door to a number of prestigious projects:
- The Palace Hotel, which became the standard of bourgeois elegance
- The campus of the Ohio Mechanical Institute
- Several residential buildings and hotels in downtown Cincinnati
Even after the architect’s death, his sons and grandsons continued to work with Emery, which speaks to the deep trust in the style and professionalism of the Hannaford dynasty.
Architecture for politics
The 1890s marked the beginning of a new phase: Hannaford became the city’s architect. His client and political ally was George Cox, the city’s “boss”
who effectively controlled Cincinnati. Thanks to this connection, the following buildings were constructed:
- The New City Hall, a massive Gothic-style building symbolizing the administration’s ambitions
- The Water Tower in Eden Park, an engineering feat with architectural expressiveness
- Police Station No. 5, functionality combined with decorative brickwork
- A Civil War veterans’ memorial, a solemn monument to a complex memory
- Even Cox’s private residence was designed by Hannafurd, whose authority was unquestionable by that time.
Should Be Remembered
Hannafurd was an architect. But in his spare time, he:
- Taught at the Ohio Mechanical Institute
- Edited the Western Architect and Builder magazine
- Founded the local chapter of the American Institute of Architects
He created the city’s style. His buildings are recognizable, lively, and appropriate. And despite fads and eras, Cincinnati still breathes the spirit of Hannaford.