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Õ Chicago school is a style of Chicago

Architecture which is famous throughout
the world.
Õ school in this case means a school of
thought An acronym of the Chicago Style
is the Commercial Style.
Õ Úhe Chicago School was a school of
architects active in Chicago at the turn of
the 20th century.
Õ Úhey were among the first to promote the
new technologies of steel-frame
construction in commercial buildings,
and developed a spatial aesthetic which
co-evolved with, and then came to
influence, parallel developments in
European Modernism.
Õ A "Second Chicago School" later
emerged in the 1940s and 1970s.
 ©irst Chicago School
Õ Úhe term is widely used to describe
buildings in the city during the 1880s and
1890s.
Õ One of the keys to this development was
the invention of the elevator.
Õ Chicago had a special problem, however:
it stood upon a swamp.
Õ Úhey thus had to come up with solutions
for the region·s development.
Õ As early as 1873, ©rederick Baumann had
proposed that each vertical element of a
building should have a separate foundation
ending in a broad pad that would distribute
its weight over the marshy ground.
Õ It was this type of foundation that Burnham
& Root used for the Montauk Block (1882) on
West Monroe Street.
Õ But Baumann's foundation occupied
valuable basement space and could support
only 10 stories.
Õ Adler & Sullivan developed a far better
solution.
Õ Dankmar Adler's experience as an engineer
with the Union army during the Civil War
helped him devise a vast raft of timbers,
steel beams, and iron I-beams to float the
Auditorium Building (1889).
Õ In 1894 Adler & Sullivan developed a type of
caisson construction for the Chicago Stock
Exchange which quickly became routine for
tall buildings across the United States.
Õ Itemerged from the work of Ludwig Mies
van Der Rohe and his efforts of education at
the Illinois school of Chicago.
Õ which pioneered new building technologies
and structural systems such as the tube-
frame structure.
Õ Úhe tube system concept states that a
building can be designed to resist lateral
loads (winds, seismic, etc) by designing it
as a hollow tube (cantilever) perpendicular
to the ground.
Õ Steel frames: steel-frame buildings with masonry
cladding (usually terra cotta) allowing large
plate-glass window areas and limiting the
amount of exterior ornamentation.
Õ Úhree Parts of a Classical Column: Úhe first floor
functions as the base, the middle stories, usually
with little ornamental detail, act as the shaft of the
column, and the last floor or so represent the
capital, with more ornamental detail and capped
with a cornice.
Õ Chicago Window: It is a three-part window
consisting of a large fixed centre panel flanked
by two smaller double-hung sash windows.
Õ Úall Buildings: the buildings laid
emphasis on a vertical nature, ie, they
were mostly sky scrapers.
Õ Little ornamentation
large plate glass windows. (Bay windows

steel frame structure, terra cotta

cladding
Õ £lass
Õ Steel
Õ Úerracotta
Õ concrete
Õ ºenry ºobson
Õ Dankman Adler
Õ Daniel Burnham
Õ William ºolabird
Õ Martin Roche
Õ ©rank Lloyd Wright
Õ Loius Sullivan
Õ William Le Baron
born in Boston, Massachusetts, on September 3,
1856
Õ With architects in demand after the
devastating 1871 Chicago fire, Sullivan
quickly found work with William LeBaron
Jenney, considered the father of the modern
skyscraper.
Õ By the summer of 1874, Sullivan, following
the lead of other young architects of the
time, enrolled at the Ecole des B.
Õ In 1879, Sullivan entered the Chicago office
of architect and engineer Dankmar Adler,
becoming his full partner in 1883.
Õ Úogether, Adler and Sullivan designed
nearly two hundred residential,
commercial, religious, and mixed-use
buildings, primarily in the Midwest
Õ Adler and Sullivan were highly regarded
not only for their robustly modern and
iconoclastic architecture³which
illustrated Sullivan's dictum [



 

³but for
Sullivan's complex
ÕA signature element of Sullivan's work is
the massive, semi-circular arch. Sullivan
employed such arches throughout his
career ³ in shaping entrances, in
framing windows, or as interior design.
 Auditorium ºotel ³ dining
hall from the South

Úhe x

 Exterior detail of the
x, Auditorium Úheatre from
Congress Parkway
 m 
Õ Adler and Sullivan designed a tall structure
with load-bearing outer walls, and based
the exterior appearance partly on the
design of º.º. Richardson's Marshall ©ield
Warehouse, another Chicago landmark.Úhe
Auditorium is a heavy, impressive structure
externally, and was more striking in its day
when buildings of its scale were less
common. When completed, it was the tallest
building in the city and largest building in
the United States
Õ One of the most innovative features of the
building was its P

  
  
designed by Adler in conjunction with
engineer Paul Mueller.
Õ Úhe soil beneath the Auditorium consists
of soft  
to a depth of over 100
feet, which made conventional
foundations impossible.
Õ Úhex

 x,
originally known simply as the x

x, is the only work of
architect Louis Sullivan in New York City.
Úhe building is located at 65 Bleecker
Street, in the Noºo neighbourhood
of New York City and built in association
with architect
Lyndon between 1897 and 1899 in
the %    
.
Õ Úhis commercial office building is clad in
white terra cotta over a masonry wall.
Õ . Úhe Bayard Building was one of the first
steel skeleton frame skyscrapers in New
York City .
Õ Sullivan's signature ornate floral designs
decorate the base and top of the facade
across the spandrels below the window
openings.
ÕA Chicago Landmark

corner entry
Õ Úhe building is remarkable for its steel
structure, which allowed a dramatic
increase in window area,
Õ Úhis allowed more daylight into the
building interiors, and provided larger
displays of merchandise to outside
pedestrian traffic.
Õ Sullivan designed the corner entry to be
seen from both State and Madison
Õ , Wright's distinctively personal style was
evolving, and his work in these years
foreshadowed his so-called "prairie
style,´
Õ Prairie houses were characterized by low,
horizontal lines that were meant to blend
with the flat landscape around them.
Õ these structures were built around a
central chimney.
Õ Notall architects used the term "prairie"
to describe this style, Marion Mahony
used "Úhe Chicago £roup" or Chicago
Style.
Õ Open floor plan
Õ Central chimney
Õ Clerestory windows (windows grouped
in horizontal bands)
Õ ©unctional
Õ ºorizontal Lines (relating to prairie
landscape)
Õ Intragration with surroundings /
landscaping
Õ Indigenous Materials
Õ Large (Broad) overhanging eaves
Õ Low hipped or flat pitched roof
Õ Simplicity
Õ Solid construction
Õ Craftmanship
Õ Discipline in the use of ornament
Clerestory windows.
Overhanging eaves
Õ Úhe Robie ºouse gracefully receeds from
the street in a series of horizontal
overlapping planes;
Õ the exterior spatial overlap is
complemented by an interior that is open
to the outside, yet sheltered.
Interior of the robie house.
Õ Space is defined not by walls, in the
conventional sense, but by a series of
horizontal planes intercepted by vertical
wall fragments and rectangular piers.
also known as the Edgar J. Kaufmann Sr.
Residence

Úhe house was built partly over a

waterfall in Bear Run at Rural Route 1 in
the Mill Run section of Stewart Úownship
Õ Úhe view of the building is such that the
falls can be heard when inside the
building, but the falls are visible only
when standing on the balcony on the
topmost floor.
Úhe interior of the building
Õ Wright's passion for Japanese architecture was
strongly reflected in the design of ©allingwater,
particularly in the importance of interpenetrating
exterior and interior spaces and the strong emphasis
placed on harmony between man and nature.
Õ Úhe fireplace hearth in the living room is composed
of boulders found on the site and upon which the
house was built ³ one set of boulders which was left
in place protrudes slightly through the living
room floor
Õ Úhe stone floors are waxed, while the hearth is left
plain, giving the impression of dry rocks protruding
from a stream.
ÕÚ
Ú   P   which dominated
the central living spaceof the ºo-o-den
may have provided the inspiration for(the
integral fire place) which lay both
figuratively and literally at the core of the
Preirie house. Úhe freestanding chimney
in New home is another e.g. Úhe free
standing chimney itself had of course
been a common feature in traditional
timber dwelling in north America.
Õ    P )the influence of the ºo-o-
den could not be clearly seen in Wrights
work at a glance except for £oodrich house
of the 1896 in which Wright appears to have
reproduced the Irrimoya roof forms of the
central hall and one of the side wings of the
Japanese pavilion,Úhe roofs of the
subsequent ©oster house and the ºeurtley
Summer ºouse having apparently stemmed
from the same source.
Õ £oodrich house.
Õ ºuertley house.
Õ A home in prairie house project.
Õ Cheney house
Õ Unity church
Õ Imperial hotel in Úokyo Japan
etc
Õ Úhe clerestory windows are borrowed
from £othic style.
Õ Úhe use of organic architecture
influenced the likes of Walter £ropius
and Mies Van Der Rohe
Õ Úhe floral ornamentation by Louis
Sullivan is borrowed from art nouveau.
Õ Úhe use of steel structures and the
skyscrapers is a modern characteristic
Õ During the post-war era of urban
renewal, Sullivan's works fell into
disfavour, and many were demolished.
Õ ©.L.W received a lot of criticisms from
Dimitri Úselos and £rant Manson, who
argued that he copied Japanese
Architecture.
Õ ©.L.W·s ideas were complex and left no
major influence on those who admired
him in America.