Definition Chicago school is a style of Chicago Architecture which is famous throughout the world. school in this case means a school of thought An acronym of the Chicago Style is the Commercial Style.

Chicago School was a school of architects active in Chicago at the turn of the 20th century. They 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. The

A "Second Chicago School" later emerged in the 1940s and 1970s.

First Chicago School The term is widely used to describe buildings in the city during the 1880s and 1890s. One of the keys to this development was the invention of the elevator. Chicago had a special problem, however: it stood upon a swamp. They thus had to come up with solutions for the regions development.

As

early as 1873, Frederick 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. It was this type of foundation that Burnham & Root used for the Montauk Block (1882) on West Monroe Street. But Baumann's foundation occupied valuable basement space and could support only 10 stories.

Adler

& Sullivan developed a far better solution. 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). 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.

It

emerged from the work of Ludwig Mies van Der Rohe and his efforts of education at the Illinois school of Chicago. which pioneered new building technologies and structural systems such as the tubeframe structure. The 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.

Steel frames: steel-frame buildings with masonry cladding (usually terra cotta) allowing large plate-glass window areas and limiting the amount of exterior ornamentation. Three Parts of a Classical Column: The 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. Chicago Window: It is a three-part window consisting of a large fixed centre panel flanked by two smaller double-hung sash windows.

Buildings: the buildings laid emphasis on a vertical nature, ie, they were mostly sky scrapers. Little ornamentation Tall

large plate glass windows. (Bay windows

steel frame structure, terra cotta cladding

Glass Steel

cotta concrete Terra

Henry

Hobson Dankman Adler Daniel Burnham William Holabird Martin Roche Frank Lloyd Wright Loius Sullivan William Le Baron

born in Boston, Massachusetts, on September 3, 1856

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. By the summer of 1874, Sullivan, following the lead of other young architects of the time, enrolled at the Ecole des B. In 1879, Sullivan entered the Chicago office of architect and engineer Dankmar Adler, becoming his full partner in 1883.

Together, Adler

and Sullivan designed nearly two hundred residential, commercial, religious, and mixed-use buildings, primarily in the Midwest Adler and Sullivan were highly regarded not only for their robustly modern and iconoclastic architecturewhich illustrated Sullivan's dictum FORM FOLLOWS FUNCTIONbut for Sullivan's complex

A

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.

Auditorium Hotel dining hall from the South

The Bayard-Condict Building,

Exterior detail of the Auditorium Theatre from Congress Parkway

Design Adler and Sullivan designed a tall structure with load-bearing outer walls, and based the exterior appearance partly on the design of H.H. Richardson's Marshall Field Warehouse, another Chicago landmark.The 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

One

of the most innovative features of the building was its massive raft foundation designed by Adler in conjunction with engineer Paul Mueller. The soil beneath the Auditorium consists of soft blue clay to a depth of over 100 feet, which made conventional foundations impossible.

The

Bayard-Condict Building, originally known simply as the Bayard Building, is the only work of architect Louis Sullivan in New York City. The building is located at 65 Bleecker Street, in the NoHo neighbourhood of New York City and built in association with architect Lyndon between 1897 and 1899 in the Chicago School style.

commercial office building is clad in white terra cotta over a masonry wall. . The Bayard Building was one of the first steel skeleton frame skyscrapers in New York City . Sullivan's signature ornate floral designs decorate the base and top of the facade across the spandrels below the window openings. This

A

Chicago Landmark

corner entry

building is remarkable for its steel structure, which allowed a dramatic increase in window area, This allowed more daylight into the building interiors, and provided larger displays of merchandise to outside pedestrian traffic. Sullivan designed the corner entry to be seen from both State and Madison The

, Wright's

distinctively personal style was evolving, and his work in these years foreshadowed his so-called "prairie style, Prairie houses were characterized by low, horizontal lines that were meant to blend with the flat landscape around them. these structures were built around a central chimney.

Not

all architects used the term "prairie" to describe this style, Marion Mahony used "The Chicago Group" or Chicago Style.

Open

floor plan Central chimney Clerestory windows (windows grouped in horizontal bands) Functional Horizontal Lines (relating to prairie landscape) Intragration with surroundings / landscaping

Indigenous

Materials Large (Broad) overhanging eaves Low hipped or flat pitched roof Simplicity Solid construction Craftmanship Discipline in the use of ornament

Clerestory windows.

Overhanging eaves

Robie House gracefully receeds from the street in a series of horizontal overlapping planes; the exterior spatial overlap is complemented by an interior that is open to the outside, yet sheltered. The

Interior of the robie house.

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

The house was built partly over a waterfall in Bear Run at Rural Route 1 in the Mill Run section of Stewart Township

The

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.

The interior of the building

Wright's passion for Japanese architecture was strongly reflected in the design of Fallingwater, particularly in the importance of interpenetrating exterior and interior spaces and the strong emphasis placed on harmony between man and nature. The fireplace hearth in the living room is composed of boulders found on the site and upon which the house was built one set of boulders which was left in place protrudes slightly through the living room floor The stone floors are waxed, while the hearth is left plain, giving the impression of dry rocks protruding from a stream.

The

Tokanoma alcore which dominated the central living spaceof the Ho-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. The freestanding chimney in New home is another e.g. The free standing chimney itself had of course been a common feature in traditional timber dwelling in north America.

the

jodannoma)the influence of the Ho-oden could not be clearly seen in Wrights work at a glance except for Goodrich 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,The roofs of the subsequent Foster house and the Heurtley Summer House having apparently stemmed from the same source.

house. Huertley house. A home in prairie house project. Cheney house Unity church Imperial hotel in Tokyo Japan etc Goodrich

clerestory windows are borrowed from Gothic style. The use of organic architecture influenced the likes of Walter Gropius and Mies Van Der Rohe The floral ornamentation by Louis Sullivan is borrowed from art nouveau. The use of steel structures and the skyscrapers is a modern characteristic The

During

the post-war era of urban renewal, Sullivan's works fell into disfavour, and many were demolished. F.L.W received a lot of criticisms from Dimitri Tselos and Grant Manson, who argued that he copied Japanese Architecture. F.L.Ws ideas were complex and left no major influence on those who admired him in America.