Downtown Nashville Architecture Walking Tour (Self-Guided)

2. Hume-Fogg High School

700 Broadway, Nashville, TN 37203

Just a few blocks from Broadway, Hume-Fogg High School reflects a different phase of Nashville’s development, when education began to take on a more formal civic presence within the city. Completed in 1912, the building was designed by William B. Ittner, a St. Louis architect known for designing hundreds of schools across the Midwest and South. His work helped define how educational buildings could balance function, durability, and architectural identity.

Hume-Fogg is designed in the Norman Gothic style, with elements of Tudor Gothic ornament. That influence is visible in the building’s vertical emphasis, pointed arches, and restrained decorative detailing. Compared to the Classical symmetry often used for civic institutions, this approach feels slightly more expressive, while still maintaining a sense of order and permanence.

The Hume-Fogg High School history is closely tied to Nashville’s growth in the early twentieth century. As the city expanded, schools like this were designed not only to serve practical needs, but to reflect a broader investment in public life. The building’s facade communicates that intention through repetition and proportion rather than excess detail.

What makes Hume-Fogg particularly notable is that it continues to function as a school today. Many buildings from this period have been adapted to new uses, but this one remains aligned with its original purpose. That continuity reinforces the relationship between architecture and use. More than 100 years later, the building still does what it was designed to do.

As you continue through downtown, you will see buildings that rely on different strategies to create identity. Hume-Fogg stands apart because it does not depend on scale or ornament to establish presence. Its strength comes from consistency, proportion, and clarity of purpose.

What to Notice 

• The pointed arches and vertical lines typical of Gothic-inspired design
• Subtle Tudor Gothic detailing in the stonework and window framing
• The consistency of the facade and how repetition creates rhythm

3. U.S. Customs House

701 Broadway, Nashville, TN 37203

Across Broadway from Hume-Fogg, the U.S. Customs House introduces a different, yet complementary, architectural language. Built between 1876 and 1882, the building reflects a period when federal architecture was used to project authority, permanence, and national presence in growing cities like Nashville.

Designed under the Office of the Supervising Architect of the Treasury, the project began during the tenure of William Appleton Potter and was completed by James G. Hill. The design was selected for display at the 1876 Centennial Exposition in Philadelphia, which gives some sense of how ambitious the building was for its time.

The Customs House Nashville is an example of Gothic Revival architecture, expressed through its vertical emphasis, irregular roofline, and intricate stone detailing. Unlike the more restrained Hume-Fogg, this building is intentionally expressive. It was meant to be seen and recognized as a federal presence.

The structure is built from limestone quarried in Bowling Green, Kentucky, and much of the exterior ornament was hand-carved. That level of craftsmanship would have been both time-consuming and expensive. The total cost exceeded $368,000, an enormous public investment in the late nineteenth century.

The cornerstone was laid in 1877 by President Rutherford B. Hayes, tying the building to a broader political moment. At the time, federal construction projects like this were part of an effort to reinvest in the South following Reconstruction. In that sense, the building is not only architectural, but also political in its significance.

Originally conceived as a combined customs house, courthouse, and post office, the building has taken on different roles over time. Additions in the early twentieth century and later expansions reflect those changing needs, but the central tower and primary massing remain intact.

Today, the Nashville Customs House stands as one of the most visually distinct buildings downtown. It contrasts sharply with the structures around it, which makes it easier to understand how architecture was once used as a form of civic messaging.

What to Notice

• The vertical emphasis of the tower and how it draws the eye upward
• The carved limestone detailing and variation across the facade
• The asymmetry of the massing compared to nearby buildings

4. First Lutheran Church

113 8th Avenue South, Nashville, TN 37203

Around the corner from the Customs House, First Lutheran Church introduces a more intimate scale of architecture while still reflecting broader patterns in Nashville’s growth. Established in 1859, First Lutheran Church Nashville is the oldest Lutheran congregation in the city, founded by German immigrants who had been settling in the region since the early nineteenth century.

In its early years, the church functioned as both a religious and cultural anchor for that community. Services were conducted entirely in German until 1878, and the congregation maintained strong ties to its origins even as Nashville expanded around it. During the Civil War, the church’s pastor publicly opposed secession, urging members not to enlist. That position came with personal and social consequences, but it reflects how institutions like this were embedded in larger national debates.

The congregation has occupied multiple sites over time, including a long period on Fifth Avenue before relocating to its current home in 1951. The present building, designed by the Nashville firm Marr and Holman, reflects a Neo-Gothic approach expressed through pointed arches, vertical lines, and a restrained use of ornament. The use of bluish stone with white limestone trim gives the building a distinct presence without relying on scale.

What makes First Lutheran Nashville particularly interesting is how it carries continuity forward. Elements from the earlier church designed by Adolphus Heiman including stained glass windows, the pulpit, and the lectern, were incorporated into the new structure. This creates a physical link between past and present, even as the building itself reflects mid-twentieth-century design priorities.

Over time, the church has also adapted in ways that are less visible but equally significant. Its leadership and community role have evolved alongside the city, reflecting broader social changes while maintaining a consistent identity.

As you move through the rest of the tour, this building offers a useful shift in perspective. Not every important structure is monumental. Some of the most enduring ones operate at a smaller scale, shaped by continuity rather than reinvention.

What to Notice 

• The pointed arches and vertical emphasis typical of Neo-Gothic design
• The contrast between bluish stone and white limestone trim
• The way the building fits into the street rather than dominating it

5. Frist Art Museum

919 Broadway, Nashville, TN 37203

The Frist Art Museum marks a shift in both architecture and intent. Completed in 1934 as Nashville’s main post office, the building reflects a moment when federal investment, design, and public confidence were closely linked. Today, it stands as one of the most complete examples of Art Deco architecture in the city and one of the most recognizable art museums in Nashville.

Designed by the Nashville firm Marr & Holman, the structure was built during the Great Depression under federal direction. At a time when economic uncertainty was widespread, buildings like this were meant to project stability and optimism. That purpose is reflected in the architecture. The building stretches across an entire city block, with a long, horizontal form balanced by strong vertical elements like fluted pilasters and tall window bays.

The exterior is restrained but deliberate. Marble detailing, stylized eagles, and geometric patterns signal the influence of Art Deco architecture without overwhelming the facade. Inside, the effect becomes more pronounced. The main lobby, originally designed as a postal hall, is one of the most elaborate interior spaces in any Nashville art museum. Marble walls, terrazzo floors, aluminum grilles, and decorative plasterwork combine into a highly controlled composition of materials and geometry.

What makes the building particularly interesting is that it was not originally built out of necessity. Early reports suggested that existing postal facilities were adequate, but as the Depression deepened, federal construction projects became a way to support local economies. The result is a building that exists as much for economic and political reasons as for functional ones.

By the late twentieth century, the need for a central post office had diminished, and the building was repurposed through a public-private partnership into what was first known as the Frist Center. A massive renovation was overseen by Tuck-Hinton Architects (Seab A. Tuck III, FAIA and Kem G. Hinton, FAIA). It opened as an art institution in 2001 and later became the Frist Art Museum Nashville. The structure itself remained largely intact, allowing the original design to shape how the space is experienced today.

That continuity is part of what makes this building significant. It is not just one of the most intact Art Deco buildings in Nashville, but also a clear example of how architecture can adapt without losing its identity.

What to Notice

• The contrast between the building’s horizontal mass and vertical detailing
• The fluted pilasters and stylized eagles at the entrances
• The scale and material richness of the interior lobby if you step inside

6. Union Station

1001 Broadway, Nashville, TN 37203

Just west of the Frist, Union Station Hotel stands as one of the most visually distinctive buildings in downtown Nashville. Completed in 1900, the structure was built for the Louisville and Nashville Railroad and reflects a period when rail travel shaped both the physical and economic development of the city.

Union Station Nashville was designed in the Richardsonian Romanesque style, a form of architecture associated with heavy stone construction, rounded arches, and a strong sense of mass. The design was influenced by the work of Henry Hobson Richardson, particularly the Allegheny County Courthouse in Pittsburgh, and that influence is visible in the building’s scale and composition.

The structure rises dramatically, with a central tower reaching over 200 feet, making it one of the most prominent elements of the Nashville skyline at the time of its construction. Built from gray limestone and Tennessee marble, the building was designed to communicate durability and importance. This was not just a transportation hub. It was a statement about Nashville’s connection to a broader national network.

Inside, the original design centered around a large interior hall, where passengers would move through waiting rooms, ticketing areas, and offices arranged around a central space. Trains once passed beneath the building on multiple tracks, with a system designed to manage smoke and ventilation through a large chimney structure supported by exterior elements that resemble flying buttresses.

The Union Station history reflects both growth and transition. As rail travel declined in the mid-twentieth century, the building lost its original function and faced an uncertain future. Like many historic structures in Nashville, its survival depended on adaptation. Today, it has been repurposed as a hotel, often referred to as the train station hotel Nashville visitors recognize, while still retaining much of its original architectural character.

What remains most striking is how clearly the building expresses its original purpose. Even without trains, the scale, materials, and layout still communicate movement, connection, and ambition.

As you continue the tour, this building marks a shift in how Nashville expanded. Rail infrastructure did not just move people. It shaped how the city grew.

What to Notice

• The heavy stone construction and rounded Romanesque arches
• The vertical emphasis of the central tower
• The relationship between the building and the rail lines that once ran beneath it

7. Christ Church Cathedral

900 Broadway, Nashville, TN 37203

A few blocks from Union Station, Christ Church Cathedral introduces a different kind of presence. Completed in 1894 and designed by New York architect Francis H. Kimball, the building reflects the Gothic Revival tradition through its vertical lines, pointed arches, and emphasis on material expression. The tower, added later in 1947 and designed by Russell E. Hart, completes the composition and reinforces the building’s visibility within the downtown fabric.

Christ Church Cathedral Nashville was constructed during a period of rapid growth in the city. As Nashville expanded in the late nineteenth century, institutions like this sought to establish a stronger and more permanent identity. The decision to relocate and build a larger structure reflects that shift. What had once been a more modest parish became a more prominent civic and spiritual landmark.

The building is composed primarily of rough-hewn sandstone from Sewanee, TN, with limestone detailing and marble accents framing entrances and windows. Inside, the structure continues that material clarity with granite columns and carved stone elements that emphasize craftsmanship and variation. Like many Gothic Revival buildings, the design allows small differences in detail to remain visible, giving the building a sense of texture and human involvement rather than uniformity.

At the same time, the construction of Christ Church cannot be separated from the realities of its time. Building trades in Nashville during this period were segregated, and much of the labor involved in quarrying and foundational work was performed by Black workers who were excluded from the skilled and visible aspects of the craft. The finished building reflects both the artistry of its design and the unequal conditions under which it was constructed.

Today, Christ Church Nashville remains an active Episcopal church and continues to play a role in the life of the city. Its presence is quieter than some of the buildings you have passed, but no less significant.

As you continue the tour, this stop offers a moment to consider how architecture reflects not only design intent, but also the social and economic structures that shaped its creation.

What to Notice

• The vertical emphasis and pointed arches typical of Gothic Revival design
• The variation in stone texture between sandstone, limestone, and marble
• Subtle differences in carved details that reflect individual craftsmanship

700 Church Street, Nashville, TN 37203

At the corner of Church Street and Seventh Avenue, the Bennie-Dillon Building represents Nashville’s move into early high-rise construction during the 1920s. Built between 1925 and 1927, the Bennie Dillon Building Nashville reflects a period when the city was expanding rapidly and demand for professional office space was growing alongside it.

Designed by the Nashville firm Asmus and Clark, the building follows a classic early skyscraper composition. It is organized into a base, shaft, and capital, a structure that allowed taller buildings to maintain a sense of proportion at street level while still rising vertically. The underlying frame is steel and concrete, with a masonry exterior that is both structural and decorative.

What sets the Bennie-Dillon Building apart is its use of architectural terra cotta. The upper facade is one of the most intricate in downtown Nashville, with multi-colored glazed terra cotta forming pilasters, decorative panels, and a distinctive roofline. These vertical elements guide the eye upward, while the detailing at the top creates a defined visual finish to the building.

The ornament draws from Renaissance and Gothic influences, but it is applied in a way that feels specific to its time. This was not an attempt to replicate older styles exactly, but to reinterpret them through modern materials and construction methods. The result is a building that feels both historic and forward-looking.

Originally developed by local businessmen George Bennie and William Dillon, the building quickly became home to a range of professionals, including doctors, dentists, and financial offices. Its location and scale made it a central part of Nashville’s commercial life during the late 1920s. Like many buildings of that era, it was affected by the economic downturn of the Great Depression but remained in continuous use as an office building.

Today, the building has been adapted into loft-style condominiums, reflecting a broader trend of reusing historic structures while maintaining their architectural identity.

As you continue the tour, this building marks a shift toward vertical density and decorative expression, showing how Nashville began to build upward while still emphasizing craftsmanship.

9. Downtown Nashville Library

615 Church Street, Nashville, TN 37219

Diagonally across Church Street from the Bennie-Dillon Building, the Nashville Public Library represents a more recent chapter in the city’s architectural story. Designed by Robert A. M. Stern and opened on June 9, 2001, the 300,000-square-foot building reflects a deliberate return to classical architectural language within a modern civic context.

The Downtown Nashville Library was conceived at a time when many public buildings leaned toward abstract or purely functional design. Instead, this project embraces a more traditional approach. Built primarily of limestone, the structure uses symmetry, proportion, and formal organization to create a sense of permanence. The goal was not to replicate historic architecture, but to extend Nashville’s long-standing identity as the “Athens of the South.”

That influence is visible in both the exterior and interior. The building is organized along a clear central axis that aligns visually with the Tennessee State Capitol, reinforcing its role within the broader civic landscape. Major public spaces, including the entry lobby, grand reading room, and the Nashville Room, are arranged along this axis, creating a sequence that feels both intuitive and intentional.

Inside, the building balances scale with usability. A large central stair, open reading areas, and skylit spaces create moments of openness, while smaller seating areas provide quieter places to gather or work. The design avoids feeling overly institutional by allowing movement through the building to feel natural rather than forced.

The library also serves as a platform for public art in Nashville. Works by local and nationally recognized artists are integrated throughout the building, from sculptural elements to large-scale installations. These pieces are not separate from the architecture but are part of how the space is experienced.

Within the Nashville Room, the library’s local history collection offers insight into the city’s development, including materials related to civil rights Nashville and broader cultural history. This reinforces the building’s role not just as a place for books, but as a civic resource tied to the identity of the city.

As you move through the tour, this building offers a useful contrast. While earlier stops reflect how Nashville was built, this one shows how the city continues to define itself through architecture that is both functional and symbolic.

What to Notice

• The symmetry of the facade and its relationship to the Capitol
• The use of limestone and classical detailing in a modern building
• The transition from large, open spaces to smaller, more intimate areas inside

10. Castner-Knott Building

616 Church Street, Nashville, TN 37219

The Castner-Knott Building marks an important chapter in the commercial growth of historic downtown Nashville. Located along Church Street, it is actually made up of two adjacent early twentieth-century buildings, one completed in 1906 and the other in 1911, that were gradually joined together as the Castner Knott department store expanded. What began as separate structures eventually became one of the city’s most recognizable retail complexes.

The earlier building at 618 Church Street opened when Castner-Knott moved west from its original location, a decision that helped push Nashville’s shopping district farther along Church Street. At the time, that move was seen as bold. The company was stepping away from the established retail core, but the gamble paid off. As downtown commerce continued to shift westward, the store became one of the anchors of the emerging department store Nashville landscape.

The two buildings reflect different moments in the city’s commercial development. Their original designs used the scale and rhythm typical of early mid-rise retail buildings, with large storefront windows at street level and open upper floors for sales, offices, and storage. Over time, the company leased and then fully incorporated the neighboring building at 616 Church Street, allowing the store to grow with demand.

What makes the Castner Knott complex especially interesting is that its architectural significance comes not from a single moment, but from layers of change. In the late 1950s, the buildings were modernized to respond to growing suburban competition and changing expectations around retail. A new corner entrance was created, storefronts were redesigned, and interiors were updated in a style influenced by Art Moderne architecture. Those changes reflected a larger effort by downtown stores to remain competitive as shopping centers opened beyond the urban core.

Later alterations covered much of the earlier exterior, but subsequent restoration uncovered many original features, including brickwork, terra cotta, and structural details that help explain how the building evolved. Today, the Castner-Knott Building remains one of the best surviving examples of the kind of mid-rise department store architecture that once defined this part of downtown.

As you continue the tour, this stop helps explain how Nashville grew not only through civic ambition and institutional architecture, but through everyday commerce. Buildings like this shaped how people moved through the city, where they shopped, and how downtown functioned as a shared public center.

What to Notice

• The way the building reads as a joined composition rather than a single original structure
• Differences between the older upper facade and the later retail-level interventions
• How the corner entrance reflects mid-century modernization and changing shopping habits

11. The Hermitage Hotel

231 6th Avenue North, Nashville, TN 37219

Located just steps from the State Capitol, the The Hermitage Hotel stands as one of the most architecturally refined buildings in downtown Nashville. Opened in 1910 and designed by architect J. Edwin Carpenter, the Hermitage Hotel Nashville is the city’s most complete example of Beaux-Arts style architecture, a design approach rooted in classical composition, symmetry, and elaborate ornament.

The building rises ten stories and is organized using a traditional base, middle, and top composition. Its exterior combines brick with polychrome terra cotta detailing, creating a layered facade that becomes more expressive at the lower levels. The main entrance along Sixth Avenue is framed by large Ionic columns, arched openings, and a dense arrangement of classical ornament, including garlands, acanthus leaves, and sculpted figures. These elements reflect the influence of French Renaissance design, which often informed Beaux-Arts style buildings in the United States.

Above the lobby level, the building takes on a more regular rhythm, with repeating window patterns and subtle variations in detail across each floor. The plan is arranged in a U-shape, allowing natural light to reach interior rooms, an important consideration for hotel architecture at the time.

Inside, the design becomes even more elaborate. A large stained glass skylight anchors the lobby, filtering light into a space defined by marble columns, vaulted ceilings, and intricate plasterwork. The detailing is consistent with the exterior, reinforcing a sense of continuity throughout the building. Adjacent spaces, including the grand ballroom, continue this approach with rich materials and carefully scaled proportions.

Beyond its architecture, the Hermitage has played a central role in Nashville’s civic life. Its proximity to the Capitol made it a hub for political activity, most notably during the 1920 ratification of the Nineteenth Amendment, when it served as a gathering place for both supporters and opponents of women’s suffrage. It has also hosted major public events and national figures, functioning as more than just a downtown Nashville hotel.

Today, the Hermitage remains one of the few surviving early twentieth-century hotels in the city. While much of downtown has been reshaped by newer construction, this building continues to reflect an earlier vision of how architecture could express permanence, civic identity, and social life all at once.

What to Notice

• The arched openings and paired columns at the main entrance
• The layered ornament, including garlands, faces, and classical detailing
• The stained glass skylight and how it defines the lobby space

12. War Memorial Auditorium and Legislative Plaza

301 6th Avenue North, Nashville, TN 37243

Rising above Legislative Plaza, the War Memorial Auditorium is one of the clearest expressions of Classical Revival architecture in Nashville. Completed in 1925 and designed by architect Edward E. Dougherty with McKim, Mead & White as associate architects, the building reflects a moment when civic architecture was intended to communicate permanence, order, and collective memory.

Constructed of Indiana limestone with granite at its base, the structure is carefully symmetrical. What appears from the plaza as a single monumental building is actually two wings connected by an open, colonnaded courtyard. This layout creates a transition from the city into a more contemplative space, reinforcing the building’s purpose as both a memorial and a public gathering place.

The main facade is defined by a restrained but powerful Doric composition. Broad steps lead upward to a portico supported by heavy columns, with classical detailing including triglyphs, metopes, and carved ornament drawn from ancient Greek precedents. Inscribed across the entablature is a quote from Woodrow Wilson, reinforcing the building’s role as a memorial to those who served in World War I.

At the center of the courtyard stands a bronze statue of Victory, surrounded by plaques honoring more than 3,400 Tennesseans who lost their lives in the war. The sculpture, along with the architecture, is intentionally symbolic. Every element, from the laurel wreaths to the classical proportions, is meant to connect modern sacrifice to ancient ideas of honor and remembrance.

Inside, the War Memorial Auditorium continues this language. Designed to seat approximately 2,500 people, the space blends civic function with classical detailing. Coffered ceilings, Greek key patterns, and ornamental plasterwork echo the exterior, creating a sense of continuity between outside and inside. While the office portions of the building are more restrained, the auditorium itself remains one of the most refined public interiors in the city.

Over time, the surrounding landscape has changed significantly. What was once a more traditional civic setting is now Legislative Plaza, a mid-20th-century intervention that altered how the building is approached and experienced. Even so, the War Memorial Nashville retains its architectural clarity and symbolic intent.

Today, the building continues to function as both a performance venue and a place of remembrance. Whether visitors arrive for an event or simply pass through the plaza, the structure quietly reinforces a central idea: that architecture can serve not just practical needs, but collective memory.

What to Notice

• The Doric columns and restrained classical detailing
• The transition from plaza into the colonnaded courtyard
• The Victory statue and memorial plaques

312 Rosa L. Parks Avenue, Nashville, TN 37203

Rising directly behind the War Memorial, the William R. Snodgrass Tennessee Tower represents a completely different vision of what civic architecture could be. Completed in 1970, the tower reflects the principles of the Modern International style, where clarity, efficiency, and structural innovation replaced historical ornament.

Designed by Skidmore, Owings & Merrill, with architect Bruce Graham leading the design, the building was originally constructed as the headquarters for the National Life and Accident Insurance Company. At 31 stories and 452 feet tall, the Tennessee Tower immediately reshaped the Nashville skyline and remained the tallest building in the city for more than a decade.

Its design is defined by a strict grid. The exterior is clad in travertine marble panels, with windows set into a repetitive structural pattern that expresses the building’s internal logic. Unlike earlier buildings on this tour, where ornament carries meaning, here the structure itself becomes the architecture.

One of the most important innovations in the building is its use of “tube-in-tube” construction, an advanced structural system at the time and a first in Nashville. This allowed for large, open floor plates without interior columns, making the space far more flexible and efficient. In practical terms, it meant that a much higher percentage of each floor (82%) could actually be used, a major advantage for a modern office building.

The tower’s placement also contributes to its presence. Built on elevated ground near the State Capitol, it held the distinction of being the highest point in Nashville even after taller buildings were constructed elsewhere. From a distance, it still reads as a defining vertical marker within the city.

In 1994, the building was acquired by the State of Tennessee and later renamed for William R. Snodgrass, who served as Tennessee’s Comptroller of the Treasury for over four decades. Today, the Snodgrass Tower continues to house state offices, reinforcing its role as a center of government activity.

What makes this building particularly interesting in the context of the tour is how clearly it reflects a shift in priorities. Where earlier structures emphasized symbolism, craft, and historical reference, the Tennessee Tower prioritizes performance, efficiency, and scale. It is less about storytelling and more about capability.

401 7th Avenue North, Nashville, TN 37219

Just a short walk from the tower, the Tennessee Supreme Court Building reflects a quieter, more restrained interpretation of classical architecture. Completed in 1937 and designed by the Nashville firm Marr and Holman, the building was created to give the Tennessee State Supreme Court a dedicated home after decades inside the State Capitol.

The design is said to be a copy of the Hartford, Connecticut County Courthouse, and an example of Stripped Classical architecture, a style that simplifies traditional classical forms while retaining their underlying structure and symbolism. Instead of elaborate ornament, the focus here is on proportion, materials, and subtle detailing.

The façade along Seventh Avenue is organized by a series of square limestone piers with simplified Doric capitals. These vertical elements create a steady rhythm across the building, reinforcing a sense of order and stability. Above the third floor, a restrained classical cornice introduces details like triglyphs and metopes, but without the heavy decoration seen in earlier buildings on this tour.

The building is constructed with a steel and concrete frame, clad in limestone sourced from East Tennessee, often referred to as Tennessee marble. At the base, granite anchors the structure to the ground, giving it a sense of weight and permanence. Even the entry sequence reflects careful planning. A patterned plaza of granite and stone leads to bronze doors with decorative grilles, subtly reinforcing the importance of the institution.

Inside, the tone shifts. While the exterior is intentionally restrained, the interior spaces, especially on the first floor, are far more expressive. The main lobby, often called the Hall of Justice, is finished in richly colored marble with geometric floor patterns and bronze detailing. At its center is a large medallion bearing the seal of the Tennessee State Supreme Court, surrounded by the phrase “Fiat Justitia Ruat Caelum” or “Let justice be done though the heavens fall.”

The courtroom, library, and public spaces continue this material richness, using marble, walnut, bronze, and plaster to create an environment that feels both formal and enduring. This contrast between exterior restraint and interior detail is intentional. It reflects a broader architectural idea of the time: that civic buildings should project stability outwardly while expressing dignity and importance within.

Today, the Nashville Supreme Court building remains largely unchanged, continuing to serve its original function. In contrast to the nearby Tennessee Tower, which emphasizes efficiency and scale, this building is about clarity, order, and institutional presence.

600 Dr. Martin Luther King Jr. Blvd., Nashville, TN 37243

Set on one of the most commanding sites in the city, the Tennessee State Capitol stands as a defining example of Greek Revival architecture and remains one of the most important civic structures in Tennessee. Designed by William Strickland, the building reflects both architectural ambition and technical achievement during the Romantic era in the United States.

Strickland, one of the most accomplished architects of his time, also designed the tower of Independence Hall in Philadelphia, both the Second Bank of the United States and the Merchants’ Exchange in Philadelphia, and the United States Mints in Charlotte and New Orleans. The Tennessee State Capitol is the culmination of his work in monumental civic design.

The building itself is conceived as a Greek Ionic temple set upon a rusticated basement and elevated on terraced pavements. Its form is a parallelogram measuring approximately 109 by 228 feet, rising to a height of 206 feet to the top of its tower. Four porticoes define the structure: the north and south elevations each feature eight Ionic columns, while the east and west elevations have six. In total, twenty-eight columns, each four feet in diameter and thirty-three feet tall, establish the building’s strong classical presence.

Above the main structure rises a slender central tower, inspired by the Choragic Monument of Lysicrates in Athens. This tower, combined with its lantern and ornamental detailing, introduces a Corinthian element to the otherwise Ionic composition. Decorative features include lotus and acanthus leaf capitals, ornamental scrollwork, and a cast iron cornice with a Vitruvian scroll pattern, all contributing to a carefully ordered but expressive composition.

The interior follows a clear and efficient plan. Two main floors are organized around central and longitudinal halls that connect offices, chambers, and stairways. The first floor houses the offices of the governor and other officials, while the second floor contains the House of Representatives and Senate Chamber. The library, located across from the Senate, serves as a focal point of the interior.

One of the most remarkable features is the principal stairway, constructed of stone and cantilevered from the walls. This “hanging” stair represents a significant engineering achievement, as do the massive limestone blocks used throughout the structure, many weighing between six and ten tons. The building’s materials were largely sourced locally, including fossil-bearing limestone, while interior elements such as marble, ironwork, and chandeliers were specially commissioned.

Construction began with the laying of the cornerstone in 1845, and the building was completed in the 1850s. Much of the skilled labor, particularly in stonework, was carried out under challenging conditions, reflecting the realities of construction practices of the time. During the Civil War, the Capitol was used as a federal fortress, known as Fort Johnson, before returning to its role as the seat of government.

Over the years, the building has undergone restoration, most notably in the mid-20th century, when extensive exterior work was completed to preserve its original design. Today, the Tennessee State Capitol continues to serve its original function and remains a central part of Tennessee’s civic identity.

In the context of this tour, the Capitol is foundational. Its architectural language, rooted in classical ideals, established a framework that influenced many of the buildings that followed in Nashville.

1 Public Square, Nashville, TN 37201

Occupying the historic Public Square, the Davidson County Courthouse — often referred to today as Nashville City Hall — stands as one of the most significant Art Deco buildings in the city. Completed in 1937, the building was designed by Frederic Charles Hirons of New York and Nashville architect Emmons Woolwine, and represents a careful blend of modern design and traditional governmental symbolism.

The building is constructed with a steel frame set on concrete piers anchored into solid rock, and is clad in pale Indiana limestone with granite detailing at the entrances. Its form is rectangular, rising eight stories with additional mezzanine levels, and organized into a clear, symmetrical composition.

At first glance, the exterior appears restrained, but its design reveals a deliberate balance between modernism and tradition. The most prominent feature is a row of twelve colossal Doric columns rising from the fourth through seventh floors. These columns visually connect the building to earlier civic architecture, particularly the nearby Tennessee State Capitol, while the overall massing and detailing reflect the streamlined qualities of the Art Deco style.

The primary entrance is marked by three recessed doorways fitted with bronze doors, each bearing symbolic figures representing Courage, Loyalty, Law, Justice, Security, and Wisdom. Above these doors are etched glass panels depicting historical lawgivers, including Moses, Justinian, and King John of England. Additional symbolic motifs appear throughout the building, including carved figures representing wisdom, strength, and protection.

While the exterior remains relatively austere, the interior is far more elaborate. The main entrance lobby is a two-story space finished in polished Tennessee marble, terrazzo floors, bronze detailing, and etched glass. Murals by Dean Cornwell line the walls, depicting Industry, Agriculture, Commerce, and Statesmanship, reinforcing the building’s civic identity. The ceiling features a large chandelier with etched glass panels representing the signs of the zodiac, set within a painted sunburst design.

The building’s layout is organized around a central hall, with major spaces such as courtrooms and public areas arranged for clarity and accessibility. Several courtrooms retain their original detailing, including walnut paneling, coffered ceilings, and decorative lighting. These interiors demonstrate a higher level of ornamentation than the exterior, a contrast typical of buildings from this period.

The site itself is equally important. The courthouse stands on ground that has served as Nashville’s civic center since the 1780s, making it the fourth courthouse constructed on this location. Its position on a bluff overlooking the Cumberland River reinforces its role as both a physical and symbolic center of local government.

In architectural terms, the building represents a transitional moment. It incorporates the forward-looking qualities of Art Deco design while maintaining clear references to traditional civic architecture. This balance gives the structure both modern clarity and historical continuity.

Today, the Nashville City Hall building remains largely intact and continues to serve as a center of government, reflecting nearly two centuries of civic life on this site.

1 The Arcade, Nashville, TN 37219

From City Hall, walk toward Fourth Avenue and enter the The Arcade Nashville from the eastern end. Continue straight through the passage toward Rep. John Lewis Way. This path follows the building’s original intent as a connector through the downtown block and gives you the clearest sense of how it functions as space, not just structure.

Stretching between Fourth and Fifth Avenues, the Nashville Arcade is one of the earliest examples of an indoor commercial passage in the city. Built in 1902 at a cost of $200,000, it was developed by Daniel Carter Buntin after being inspired by a similar structure he encountered in Milan. The idea was simple but forward-thinking: create a covered public space where people could shop, gather, and move through the city regardless of weather.

The main corridor extends roughly 367 feet and is about 20 feet wide, lined on both sides by shops and businesses. Above, a steel and glass roof spans the entire length of the space, allowing natural light to filter down while providing protection from the elements. A continuous second-level balcony wraps around the interior, edged with ornate ironwork that adds both structure and decoration.

From the beginning, the Arcade was more than just retail. It functioned as a small city within the city, with its own rhythm of daily life. Early tenants included everything from bakeries and fruit stands to novelty shops, and it was said you could find anything from an inexpensive meal to luxury goods within its walls. For decades, it served as a center of social and recreational activity in downtown Nashville.

What makes the Arcade particularly interesting is how little its core structure has changed. While storefronts have evolved and certain elements have been updated over time, the overall form remains intact. The steel trusses, glass roof, and two-level circulation still define the experience today.

More recent restoration efforts, led by architect Nick Dryden, have taken a layered approach rather than attempting to return the building to a single moment in time. Instead of stripping the structure back to its origins, the work has focused on preserving meaningful elements from different eras. The result is a space that reflects its full history rather than a single version of it, where materials, signage, and storefront details from across decades coexist.

That continuity is especially visible in long-standing tenants like The Peanut Shop, which first opened here in 1927 and still operates today. Its presence reinforces the idea that the Arcade has never been static, but it has remained consistent in how it functions.

Today, the arcade downtown Nashville continues to work much as it was originally intended: a protected, walkable commercial passage that connects parts of the city while supporting a mix of shops and daily activity. It feels familiar not because it has stayed the same, but because the underlying idea still holds.

401 Church Street, Nashville, TN 37219

Nashville's first skyscraper. Designed by important local architect Edwin A. Keeble and completed in 1957. 

19. The Cohen Building

419 Church Street, Nashville, TN 37219

Next door to the Downtown Presbyterian Church, look for the compact but highly distinctive Cohen Building along Church Street. It’s easy to miss if you’re moving quickly, but it’s one of the most unusual small-scale buildings in downtown.

Built around 1890 by Meyer Cohen, a successful pawnbroker and jeweler, the building reflects the Italian Renaissance Revival architecture that was popular at the time. The ground floor originally housed Cohen’s business, while the upper two floors served as a private residence for him and his wife, Etta Brinkley Cohen.

The building’s design is attributed to local architect James H. Yeaman, working closely with Etta Cohen, who was known not only as a resident but also as an artist, collector, and host. The upper floors functioned as an elegant townhouse, where she entertained guests for decades. The interiors once featured carved oak mantels, stained glass windows, and finely detailed furnishings.

Architecturally, the Cohen Building Nashville stands out for its bold façade. Two large white glazed-brick arches rise from the sidewalk to the second floor, framing a pair of loggias with projecting bay windows. This combination of arches, balconies, and symmetry reflects key elements of Italian Renaissance Revival architecture, adapted to a much narrower urban footprint.

Though relatively small, the building incorporated modern features for its time, including one of the first elevators installed in a Nashville commercial structure, along with a grand staircase connecting the upper floors. While many original stained glass windows have been lost, at least one survives today in the Tennessee State Museum.

After Meyer Cohen’s death, Etta Cohen continued to live here until her death in 1930. In 1925, she arranged for the property and its contents to be transferred to Peabody College, along with a significant gift intended to support the arts. That donation ultimately helped fund the construction of Cohen Memorial Building which was designed by McKim, Mead, and White, on the Peabody campus.

Over time, the building passed through multiple owners and underwent periods of neglect, at one point obscured by storefront alterations and boarded windows. More recent restoration efforts have uncovered and emphasized its original architectural features, while adapting the interior for modern use. Today, the structure includes retail space at street level, offices above, and a residential loft on the top floor featuring a renovation overseen by the Knoxville firm Sanders Pace Architecture.

Despite the scale of surrounding development, the Cohen Building remains a unique survival from an earlier phase of downtown Nashville, where commercial life and private living often occupied the same structure.

What to Notice

• The two-story white glazed-brick arches framing the façade
• The second-floor loggia with projecting bay windows
• The contrast between small scale and surrounding development
• The blend of commercial and residential design in a single structure

154 Rep. John Lewis Way North, Nashville, TN 37219

The Downtown Presbyterian Church is one of the most unusual buildings in the city and a standout example of Egyptian Revival architecture in the United States. Designed by William Strickland and completed in 1851, this downtown Nashville church reflects a period when American architecture was heavily influenced by ancient Egypt, following renewed global interest sparked by Napoleon’s campaigns.

Strickland, one of the leading architects of the 19th century, used Egyptian forms and symbolism throughout the design. The result is a structure that feels more like a temple than a traditional Presbyterian church, with heavy masonry walls, symbolic ornament, and a strong sense of geometric order.

The building is rectangular and two stories tall, constructed of gray-painted brick with stone and metal detailing. Two towers rise 104 feet from the front corners, tapering as they ascend. The entrance sits between lotus-topped columns, and the Egyptian influence is immediately visible in the sloped lines, stylized ornament, and symbolic motifs. Notably, the front façade was never fully completed, which gives it a slightly unfinished appearance.

Inside, the space is even more distinctive. The sanctuary was designed to resemble an Egyptian temple, with lotus-capital columns, symbolic color schemes, and layered decorative meaning. Much of the current interior dates to an 1881–1882 renovation, when the originally plain finishes were replaced with painted ceilings, symbolic patterns, and stained glass windows. The decorative program is rich with meaning, incorporating elements like winged orbs, serpents, and sun imagery to represent themes such as eternity, wisdom, and the soul.

The building retains a bell, installed after the Civil War, which served as the city’s fire alarm until 1897. The church also reflects Nashville’s broader history. During the Civil War, it was used as a Federal hospital, with the sanctuary filled with beds for wounded soldiers. In World War II, its fellowship hall served thousands of servicemen. Today, it remains an active Presbyterian church Nashville and one of the most distinctive historic structures downtown.