1. ARCHITECT
LOUIS HENRY
SULLIVAN

2. ARCHITECT LOUIS SULLIVAN
 Louis Henry Sullivan (September
3, 1856 – April 14, 1924)
 An American architect
 Called the ―FATHER OF
SKYSCRAPERS‖
 An influential architect and
critic of the Chicago School
 A mentor to Frank Lloyd Wright,
and an inspiration to the
Chicago group of architects
who have come to be known
as the Prairie School.
 Sullivan is one of "the
recognized trinity of American
architecture―
 He posthumously received
the AIA Gold Medal in 1944.

3.  born to Irish and Swedish immigrants in 1856
 grew up at grandparent’s farm learning things about
nature
 spent a lot of time around Boston
 exploring and looking at buildings
 studied architecture at Massachusetts Institute of
Technology
 entered at the age of 16
 he left MIT in a year to live in Pennsylvania
 then he went to Chicago, where he worked with the father
of the skyscraper, William Le Baron
 went to Paris in 1874
 studied at Ecole des Beaux-Arts
 returned to Chicago in 1875 got a job as a draftsman in the
office of Joseph S. Johnson & John Edelman
 left Johnson in 1879
 worked in the office of Dankmar Adler
 the firm of Adler & Sullivan designed over 180 buildings
during its existence

4. Sullivan and the steel high-rise
 The taller the building, the more strain this placed on
the lower sections of the building; since there were
clear engineering limits to the weight such "load-
bearing" walls could sustain, large designs meant
massively thick walls on the ground floors, and
definite limits on the building's height.
 The development of cheap, versatile steel in the
second half of the 19th century changed those rules.
 A much more urbanized society was forming and the
society called out for new, larger buildings.
 The mass production of steel was the main driving
force behind the ability to build skyscrapers during
the mid-1880s.
 Louis Sullivan coined the phrase "form ever follows
function", which, shortened to "form follows function,"
would become the great battle-cry of modernist
architects.

5. Philosophy
 Louis Sullivan coined the phrase "form ever follows
function",
 This credo, which placed the demands of practical use
above aesthetics, would later be taken by influential
designers to imply that decorative elements, which
architects call "ornament," were superfluous in modern
buildings.
 But Sullivan himself neither thought nor designed along
such dogmatic lines during the peak of his career.
 Indeed, while his buildings could be spare and crisp in their
principal masses, he often punctuated their plain surfaces
with eruptions of lush Art Nouveau and something like
Celtic Revival decorations, usually cast in iron or terra
cotta, and ranging from organic forms like vines and ivy, to
more geometric designs, and interlace, inspired by his Irish
design heritage.
 Terra cotta is lighter and easier to work with than stone
masonry. Sullivan used it in his architecture because it had
a malleability that was appropriate for his ornament.

6.  Probably the most famous example is the writhing green
ironwork that covers the entrance canopies of the Carson
Pirie Scott store on South State Street. These ornaments,
often executed by the talented younger draftsman in
Sullivan's employ, would eventually become Sullivan's
trademark; to students of architecture, they are his
instantly-recognizable signature.
 Another signature element of Sullivan's work is the massive,
semi-circular arch. Sullivan employed such arches
throughout his career—in shaping entrances, in framing
windows, or as interior design.
 All of these elements can be found in Sullivan's widely-
admired Guaranty Building, which he designed while
partnered with Adler.
 this office building in Buffalo, New York is in the Palazzo
style, visibly divided into three "zones" of design: a plain,
wide-windowed base for the ground-level shops; the main
office block, with vertical ribbons of masonry rising
unimpeded across nine upper floors to emphasize the
building's height; and an ornamented cornice perforated
by round windows at the roof level, where the building's
mechanical units (like the elevator motors) were housed.

7. Louis Sullivan’s
Buildings

9. Auditorium Building
 Location: 430 S. Michigan
Avenue
Chicago Illinois 60605
United States
 Coordinates:
41°52′34″N 87°37′31″WCo
ordinates: 41°52′34″N 87°
37′31″W
 Built: 1889
 Architect: Dankmar
Adler; Louis Sullivan
 Architectural style: Late
19th and Early 20th
Century American
Movements
 Governing body: Private
Significant dates
 Added to NRHP: April 17,
1970
 Designated NHL: May 15,
1975[
 Designated CL:
September 15, 1976

10.  The Auditorium Building in Chicago is one of
the best-known designs of Dankmar
Adler and Louis Sullivan.
 It was added to the National Register of Historic
Places on April 17, 1970. It was declared
aNational Historic Landmark in 1975, and was
designated a Chicago Landmark on
September 15, 1976.
 In addition, it is a historic district contributing
property for the Chicago Landmark Historic
Michigan Boulevard District.
 Since 1947, the Auditorium Building has been
the home of Roosevelt University.
 The Auditorium Theatre is part of the Auditorium
Building and is located at 50 East Congress
Parkway. The theater was the first home of
the Chicago Civic Opera and theChicago
Symphony Orchestra.

11. Origin and purpose Ferdinand Peck, a Chicago businessman, incorporated the
Chicago Auditorium Association in December 1886 to develop
what he wanted to be the world's largest, grandest, most
expensive theater that would rival such institutions as
the Metropolitan Opera House in New York City. He was said to
have wanted to make high culture accessible to the working
classes of Chicago.
 The building was to include an office block and a first class hotel.
 "The Auditorium was built for a syndicate of businessmen to
house a large civic opera house; to provide an economic base it
was decided to wrap the auditorium with a hotel and office
block.
 The entrance to the auditorium is on the south side beneath the
tall blocky eighteen-story tower.
 The rest of the building is a uniform ten stories, organized in the
same way as Richardson's Marshall Field Wholesale Store. The
interior embellishment, however, is wholly Sullivan's, and some of
the details, because of their continuous curvilinear foliate motifs,
are among the nearest equivalents to European Art
Nouveau architecture."

18. WAINWRIGHT BUILDING
 Location:
St.Louis, Missouri
 Date: 1890 to
1891
 Building Type:
early skyscraper,
commercial
office tower
 Construction Syste
m: steel frame
clad in masonry
 Climate:
temperate
 Context: urban
 Style: Early
Modern
 Notes: An early
tall building (10
stories) with an all
steel frame. The
Chicago School.

21.  "The eleven-storey Wainwright
Building represents Sullivan's first
attempt at a truly multi-storey
format, in which the device of the
suppressed transom taken from
the fa•ade of Richardson's
Marshall Field Store, Chicago of
1888, is used to impart a decidedly
vertical emphasis to the building's
overall form.
 The two-storey base of the
classical tripartite composition is
faced in fine red sandstone set on
a two-foot-high string course of red
Missouri granite.
 While the middle section consists
of red brick pilasters with
decorated terra cotta spandrels,
the top is rendered as a deep
overhanging cornice faced in an
ornamented terra cotta skin to
match the enrichment of the
spandrels and the pilasters below."

23. GUARANTY BUILDING
 Year(s) of
construction:1895-
1896
 Height:46 m
 Floors:13
 Location:28 Church
Street, Buffalo, New
York, United States
 Coordinates:42° 52'
59" N, 78° 52' 36" W

26. NATIONAL FARMER’S BANK
 Location:Owatonn
a, Minnesota
 Date :1907 to
1908 timeline
 Building Type :bank
 Construction Syste
m: bearing
masonry
 Climate:
temperate
 Context: urban,
small city
 Style :Early Modern
 Notes: large arch in
main facade
Corner view, from southwestMain facade, from west

27. Interior, east wall Interior, east entrance wall South windows
Interior, ceiling/northwest
corner
Interior, ceiling/southeast corner Ceiling
Photo, exterior overview, historical

29. The Carson Pirie Scott Building
 Location:Chicago, Illinois
 Coordinates:41°52′54.16″N87°
37′39.18″W
 Built:1899
 Architect:Louis Sullivan;
Burnham, Daniel H., & Co.
 Architectural style:Late 19th
and Early 20th Century
American Movements
 Governing body:Private
 NRHP Reference#:70000231
 Significant datesAdded to
NRHP:April 17, 1970
 Designated NHL:May 15,
1975
 Designated CL:November 5,
1970

30.  mahogany and marble fixtures .
 new combination arc and incandescent lights
 the] largest and finest display windows in the world
 reading, writing and rest rooms . . . telephone booths . . .
[an] emergency medical aid room . . . [an] exposition of
oriental rugs . . . and 10,000 chrysanthemums
 The Carson Pirie Scott building had the most clearly
expressed steel frame of any building in Chicago.
 The frame, sheathed in glazed white terra cotta, allowed
for some of the largest windows ever seen and flexible,
wide-open spaces.
 Both of these features were key to a successful
department store and examples of Sullivan’s famous
design philosophy, ―Form follows Function.‖
 But what really makes Sullivan’s design stand out is the
building’s lavish foliate ornamentation. Every inch of the
framework surrounding Carson’s bottom story windows is
covered in entirely original cast-iron, nature-inspired
embellishments

33. Schlesinger and Mayer Department Store
 Location:
Chicago, Illinois
 Date:1899 to 1904
 Building Type:
department store
 Construction System
: cast iron ground
floor storefront
 Climate: temperate
 Context: urban
 Style: Early Modern

34. Elevation Drawing
Plan Drawing
Section Drawing

35.  Instead of a stack of undifferentiated office rooms, the
department store required broad horizontal open
spaces where goods could be displayed; at the
ground floor the windows were to be showcases
highlighting selected wares.
 Thus in the finished building, constructed in two phases
in 1899 and 1903-4, the horizontal line, rather than the
vertical, is dominant, with the broad spandrel panels
brought up flush with the narrow vertical piers.
 Nevertheless the tripartite division is present with (a)
ground floor windows richly encrusted with cast iron
frames by Sullivan and his assistant Elmslie, (b)
midsection, and (c) the terminating attic and cornice
slab. As in Burnham and Root's Reliance Building, there
is a change in color, away from the reds and browns,
to glazed white terra cotta.
 "Originally built for the established firm of Schlesinger
and Meyer, the first three-bay, nine-storey phase of this
department store was erected in 1899, and the
second, twelve-storey increment on the corner of
Madison and State Streets between 1903 and 1904

37. ST. PAUL'S CHURCH
•Location: Cedar
Rapids, Iowa
•Date:1910 to 1914
•Building Type:
church
• Construction Syste
m: brick bearing
masonry
•Climate: temperate
•Context: suburban
•Style: Early Modern

38.  A building quite devoid of ornament may
convey a noble and dignified sentiment by
virtue of mass and proportion
 That which exists in spirit ever seeks and finds
its visible counterpart in form, its visible
image...a living thought, a living form
 "...the architect who combines in his being
the powers of vision , of imagination, of
intellect, of sympathy with human need
and the power to interpret them in a
language vernacular and true—is he who
shall create poems in stone...

42. Holy Trinity Orthodox Cathedral
 Holy Trinity
Orthodox
Cathedral ..
Address:
1121 N.
Leavitt St.
Year Built:
1903
Date
Designated
a Chicago
Landmark:
March 21,
1979 ...

43.  The church was commissioned by the growing
Russian congregation of Chicago ... Construction
work, partly financed by Tsar St. Nicholas II of Russia,
lasted from 1899 to 1903.
 The church retains many features of the Russian
provincial architecture, including an octagonal
dome and a frontal bell tower.
 It is believed that the emigrants wished the church
to be "remindful of the small, intimate, rural
buildings they left behind in the Old World .
 The cathedral's interior is based on the St
Volodymyr's Cathedral in Kiev. The church was
elevated to a cathedral in 1923, and stands today
a proud member of the Orthodox community in
Chicago.
 The walls of the church are load-bearing brick
covered with stucco; the detailing of the two-story
rectory repeats the same sinuous curve found in
the roofline of the church.

46. Babson House
 Location:
Riverside, Illinois
 Date:1907
 Building Type:
house
 Construction Syst
em: brick bearing
masonry
 Climate:
temperate
 Context:
suburban
 Style: Eclectic
Romanesque
Revival, Richardso
nian
 Notes: Plan with
main and crossing
axes

47.  One quality consistent in the spaces of Sullivan's
houses from the Charnley House to the Babson House
is their insertion in an embracing rectangular prism
through which the major and minor axes struggle.
 Beginning in 1909, Sullivan's interior spaces finally
freed themselves from this restraining carapace,
emerging in a series of cross-shaped plans in the two
Bradley House projects and the Bennett House
design.
 These compositions are no less processional,
centering on a space just beyond the entrance point,
enclosed in thickened poched walls, projecting
dramatic axes forward and to each side, manifested
externally as juxtaposed volumes.
 Sullivan's walls are thick, the windows deeply inset,
and his masses can be marked with cantilevers like
those over the porches of the erected Bradley House
Ñnot floating in the manner of Wright's Prairie Style but
laboring with elaborate brackets to express the work
of opening the interior space outward."

50. THANKYOU
 Reena Tomar
 Ruchi Chourasia