Leon B. Senter: Shaping the Modern Midwest
When Oklahoma set out to define its architectural identity in the early 20th century, Leon B. Senter answered the call with clarity, ambition, and style. He wasn’t just one of the state’s most prolific architects—he was the first to hold the official title of State Architect. But Senter’s legacy isn’t built on titles. It’s built in stone, steel, and terracotta across cities like Tulsa, Muskogee, and Oklahoma City, where his buildings helped transition Oklahoma from frontier sensibility to modern metropolis.
Born in 1889 in Missouri, Senter studied at the Chicago Technical College and came to Oklahoma in 1910. He quickly made a name for himself with a series of prominent commissions that showcased both classical training and a willingness to evolve with the times. His early work included the Severs Hotel in Muskogee and the Aldridge Hotel in McAlester—both elegant, traditional in form, and designed to serve booming oil towns hungry for sophistication.
By the late 1920s, Senter’s architectural style evolved to reflect the growing influence of Art Deco, and his career intersected with one of Tulsa’s most powerful oil magnates: Waite Phillips. The two shared a mutual interest in architectural excellence, and Phillips commissioned Senter to design the Philcade Building, which opened in 1931. Designed as a complement to the adjacent Philtower, the Philcade reflected a more modern Deco sensibility—with stepped setbacks, decorative terra cotta panels, and lavish interiors that balanced luxury with forward-thinking design.
The building also included an interior arcade of high-end shops and offices, creating one of Tulsa’s earliest mixed-use concepts. Its combination of commercial pragmatism and Deco elegance mirrored Phillips’ ambitions and Senter’s ability to bring those visions to life.
Around the same time, Senter also completed another of his signature commissions: Tulsa’s Union Depot, designed in collaboration with Frederick V. Kershner. Completed in 1931, the building showcased PWA Moderne styling—clean lines, limestone cladding, and a towering vertical rhythm that hinted at Deco without the excessive ornament. The structure was a symbol of progress and a vital transportation hub for the growing city.
Senter’s contribution to educational architecture is equally significant. He collaborated with Joseph R. Koberling Jr. and Arthur M. Atkinson on the design of Will Rogers High School, widely regarded as one of the best examples of Art Deco school architecture in the nation. Its brick towers, decorative panels, and stylized motifs made it a model of civic investment and modern design.
What made Senter’s work stand out was not just his aesthetic range, but his ability to navigate different architectural languages—moving between Beaux-Arts, Spanish Revival, and Art Deco with fluency. His buildings were designed for longevity, both structurally and culturally, and many still serve their original purposes today.
As Oklahoma’s first State Architect, Senter also played a leadership role in shaping public projects throughout the state, promoting a unified vision for design excellence in courthouses, schools, and civic centers. He mentored younger architects, advocated for professional standards, and remained active well into the mid-20th century.
Leon B. Senter passed away in 1965, but his work continues to define some of the most visited and admired corners of Oklahoma. From the Deco lobbies of the Philcade to the limestone walls of Union Depot, his legacy is stitched into the state’s architectural fabric—enduring, expressive, and deeply modern.
