LOUIS HENRY SULLIVAN

A PRESENTATION ON A FAMOUS ARCHITECT L

OUIS

HENRY

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.

LOUIS HENRY SULLIVAN

LIFE HISTORYLOUIS

HENRY

SULLIVAN

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

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• Louis Sullivan was born to an Irish-born father • A Swiss-born mother, • Both parents migrated to the UNITED STATES in the late 1840s. • He grew up living with his grandparents in MASSACHUSETTS. • Louis spent most of his childhood learning about nature while on his

grandparent’s farm.

IN THE LATER YEARS OF HIS PRIMARY EDUCATION• his experiences varied quite a bit. • He spent a lot of time wandering around boston. • He explored every street looking at the surrounding buildings. This was

around the time when he developed his fascination with buildings • he decided he would one day become a structural engineer/architect.

BIOGRAPHY LOUIS

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SULLIVAN

WHILE ATTENDING HIGH SCHOOL• Sullivan met MOSES WOOLSON, whose teachings made a lasting

impression on him

AFTER GRADUATING FROM HIGH SCHOOL• Sullivan studied architecture briefly at the MASSACHUSETTS INSTITUTE OF TECHNOLOGY. • Learning that he could both graduate from high school a year early and

pass up the first two years at the Massachusetts Institute of Technology by passing a series of examinations,

• Sullivan entered MIT at the age of sixteen. • After one year of study, he moved to PHILADELPHIA • Talked himself into a job with architect FRANK FURNESS.

BIOGRAPHY

FRANK FURNESS

M.I.T

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• “FORM FOLLOWS FUNCTION” was his famous datum.

PHILOSPHIES

Is a principle associated with MODERN ARCHITECTURE and INDUSTRIAL DESIGN in the 20th century. The principle is that the shape of a building or object should be primarily based upon its intended function or purpose.

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•Sullivan designed with the Principle of RECONCILING THE WORLD OF NATURE WITH SCIENCE AND TECHNOLOGY.

PRINCIPLES

N A T U R ES C I E N C E A N D T E C H N O L O G Y

GUARANTY BUILDING IN AANBOUW

“ H E U S E T O B L E N D N AT U R E W I T H T H E M O D E R N S C I E N C E A N D T E C H N O L O G Y ”

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PRINCIPLES He uses simple Geometric forms but highly ornamental.

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•His building were detailed with LUST, yet tastefully subdued ORGANIC ORNAMENTATION.

PRINCIPLES

Sullivan Krause Ornament

•UNITY, as Sullivan understood it, and presumed it as a split between the structural system and the formalistic exterior shell

•He laid FOCUS on the relationshipbetween STRUCTURE AND ORNAMENT.

•THE IDEA WAS THAT ORNAMENTATION SHOULD BE AN INTEGRAL PART TO THE BUILDING ITSELF, RATHER THAN JUST APPLIED.

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PRINCIPLES

•SULLIVAN DID NOT VIEW THE DEVELOPMENT OF ARCHITECTURE AS ‘SYNONYMOUS WITH THE REMOVAL STYLE. OF ORNAMENT’,BUT RATHER IN THE POSSIBILITY OF GUESTION OF HISTORICAL

•THE FOCUS WILL BE PRIMARLY ON THE INNER RELATIONSHIP BETWEEN STRUCTURE AND ORNAMENT.

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PRINCIPLES•HE MASTERED THE ART OF DRAWING EXPERTLY THE ORDERS OF CLASSICAL COLUMNS.

•ACCORDING TO HIM, NO ONE WOULD EVER ASK WHICH IS MORE ESSENTIAL ON A TREE,BRANCH OR LEAF . WHO THEN WOULD BE CAPABLE OF SAYING, WHICH IS MORE ESSENTIAL ON BUILDING STRUCTURE OR DECORATION

•SULLIVAN PROPOSED A NEW TYPE OF INTERDEPENDENCE BETWEEN ORNAMENT AND STEEL FRAME CONSTRUCTION WHICH HE VIEWED AS EQUALY FOR ARCHITECTURE

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DESIGNS LOUIS

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Sullivan developed a style of ornamentation reflected nature through symmetrical use of stylized foliage & weaving geometric forms

Sullivan employed such arches throughout his career—in shaping entrances, in framing windows, or as interior design.

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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.

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PROJECTSPublic buildings

Auditorium Building,1989Chicago, Illinois

office buildings

Wainwright Building St. Louis

(1890)

Guaranty Building (formerly Prudential

Building) Buffalo,NY (1894)

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Bank buildings

National Farmer's Bank , Owatonna, Minnesota(1908)

People's Federal Savings and Loan Association,  Sidney, Ohio(1917)

Farmers and Merchants Union Bank, Columbus, Wisconsin(1919 )

Merchants' National Bank,Grinnell, Iowa(1914)

PROJECTS

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churches

Holy Trinity Russian Orthodox Cathedral and Rectory,

Chicago (1900–1903)

Pilgrim Baptist Church(1890),

Chicago, Illinois

PROJECTSTombs

Martin Ryerson Tomb 1889Chicago, Illinois

Wainwright Tomb 1892St. Louis, Missouri

AUDITORIUM BUILDING CHICAGO (1889)

AUDITORIUM BUILDING CHICAGO (1889)

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• Location: 430 S. Michigan AvenueChicago Illinois 60605 United States

• Coordinates: 41°52 34″N 87°37 31″W′ ′Coordinates: 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: PrivateSignificant dates • Added to NRHP: April 17, 1970• Designated NHL: May 15, 1975[

• Designated CL: September 15, 1976

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• 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.

FLOOR PLAN

auditorium was designed so that all seats would have good views and acoustics

AUDITORIUM BUILDING CHICAGO (1889)

•FRANK LLOYD WAS EMPLOYED BY ALDER AND SULLIVAN AT THIS TIME.•COVERING THE AUDITORIUM FROM THE EARLY DESIGN TO ITS OPENING,ITS LATER RENOVATIONS,ITS LINKS TO CULTURE AND POLITICS IN CHICAGO AND ITS INFLUENCE ON LATER SULLIVAN’S WORK.•THE CHICAGO AUDITORIUM BUILDING RECOUNTS THE FASCINATING TALE OF A BUILDING THAT HELPED TO DEFINE A CITY AND AN ERA.

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AUDITORIUM BUILDING CHICAGO (1889)

LONGITUDINAL SECTION

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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."

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AUDITORIUM BUILDING CHICAGO (1889)

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WAIN WRIGHT BUILDING(1890-1892)

Location: St.Louis, Missouri

Date: 1890 to 1891 Building Type: early

skyscraper, commercial office tower

Construction System: 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.

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• "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 faade 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."

WAIN WRIGHT BUILDING(1890-1892)

WAIN WRIGHT BUILDING(1890-1892)

FRANK LYOD WRIGHT DESCRIBES THE DESIGN THAT SULLIVAN HAD SKETCHED IN THREE MINUTES WAIN WRIGHT BUILDING WAS BREAK THROUGH IN THE DESIGN OF MULTI-STOREY BUILDINGS WITH LOAD BEARING STEEL FRAME THE DESIGN OF FAÇADE CAN NOT BE IMIGIATELY DERIVED FROM THE METHOD OF CONSTRUCTION NEITHER THE EMPHASIS ON THE VOLUME AS A WHOLE , NOR ON THE CORNER PIERS REVEAL THE ACTUAL STRUCTURAL FACT S OF THE BUILDING •BUILDING CREATE A UNIFORM GRID THAT EXPRESSES THE CELL STRUCTURE OF INDIVISUAL OFFICES.

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WAIN WRIGHT BUILDING(1890-1892)

WAIN WRIGHT BUILDING(1890-1892)

•ADLER AND SULLIVAN BUILT THE FIRST TRUE SKY SCAPER :- ITS LOAD BEARING CONSTRUCTION ENTIRELY CONSISTS OF STEEL FRAME INCASED IN FIRE PROOF TILE.

•THE CENTRAL SECTION OF FAÇADE OF THE LEITER BUILDING WAS SUB DIVIDED FURTHER BY A HIERARCHICAL ARRANGMENT OF PIERS AND BEAMS ,THE HORIZONTAL AND VERTICAL LINES.

•IN ADDITION ALL VERTICAL PIERS ARE TREATED WITH EQUAL EMPHSIS. •THERE IS STEEL COLOUMN BEHIND EACH SECOND PIER •BASE SHAFT AND CAPITAL WERE THERE WITH NO DIRECT AND APPARENT TO ACTUAL CONST . •THE OUT LINE OF BUILDING IS EMPHASISED.

PLAN

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WAIN WRIGHT BUILDING(1890-1892)

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WAIN WRIGHT BUILDING(1890-1892)

NATIONAL FARMER’S BANK

NATIONAL FARMER’S BANK

•ONE OF THE 1st TO BREAK FREE FROM THE INFLUENCE OF CLASSICAL REVIVAL STYLE.

•Louis Sullivan completed a series of eight banks in small Midwest towns during the last year of his career. •The national farmers bank is the best Sullivan known for a form follows functions, philosophy in his proto type skyscraper design.

•Applied these principles to the smaller scale of the prairie school banks still monumental form.

1908

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NATIONAL FARMER’S BANK – EXTERIOR VIEWS OF THE DESIGN FEATURES THAT THE ARCHITECT USED IN HIS DESIGN.

NATIONAL FARMER’S BANKLOUIS

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SULLIVAN

NATIONAL FARMER’S BANK – INTERIOR VIEWS OF THE DESIGN FEATURES THAT THE ARCHITECT USED IN HIS DESIGN.

NATIONAL FARMER’S BANKLOUIS

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SULLIVAN

•The building is BATHED IN A SYMPHONY OF COLOUR as sullivan described it.

•Green and brown TERRACOTTA PANELS and blue and gold glass mosaic bands contrast with the reddish brick and red sand stone base that anchors the bank to its site.

•Arched stained glass windows are mirrored on the interior by murals of dairy and harvest scenes painted by Chicago artist Oscar gross.

•The LAVISH ORAGANIC ORNMENTATION designed largely by Sullivan's partner George, carries through all interior elements from 18 foot tall high fixture down to the teller's window grills.

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NATIONAL FARMER’S BANK

•THESE ARE THE SUN CUTTERS IN THE CEILING OF THE BUILDING WHICH OPEN AND CLOSE AS REQUIRED TO CUT THE AMOUNT OF SUNLIGHT COMING THROUGH.THE CUTTERS ARE MADE OF TRANSCLUCENT MATERIAL WHICH ARE CLUTTERED IN SHAPE OF LOTUS .

S U N C U T T E R S I N T H E C E I L I N G .

NATIONAL FARMER’S BANKLOUIS

HENRY

SULLIVAN

LOUIS

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ST.PAUL’S CHURCH• Location: Cedar

Rapids, Iowa • Date:1910 to 1914   • Building Type: church•  Construction System:

brick bearing masonry• Climate: temperate• Context: suburban• Style: Early Modern

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ST.PAUL’S CHURCH• 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...

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ST.PAUL’S CHURCH

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ST.PAUL’S CHURCH

FRONT ELEVATION

SCHILLAR BUILDING, CHICAGO

SCHILLAR BUILDING, CHICAGO

•IT WAS ONE OF THE 1ST DESIGNS TO EXPLOIT THE POTENTIAL OF NEWLY AVAILABLE STELL, PUTTING ASIDE THE HISTORIC FORMS WHICH ARCHITECTS HAD STRUGGLED TO BLEND TO TALLER BUILDINGS.

•THE SCHILLER THEATRE BUILDING WAS DESIGNED BY LOUIS SULLIVAN FOR THE GERMAN OPERA COMPANY. AT THE TIME OF ITS CONSTRUCTION, IT WAS ONE AMONG THE TALLEST BUILDINGS IN CHICAGO.

•SOME OF THE UNIQUE ORNAMENTATION WAS REMOVED FROM THE BUILDING AND IS ON DISPLAY AT THE CHICAGO ART INSTITUTE.

PLANORNAMENT

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HENRY

SULLIVAN

SCHILLAR BUILDING, CHICAGO

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SCHILLAR BUILDING, CHICAGO

SCHILLAR BUILDING, CHICAGO

•SCHILLER BUILDING LATER KNOWN AS GARRICK THEATER STOOD IN CENTRAL CHICAGO.

•THE BUILDING WAS DESIGNED BY SULLIVAN AND IN TERMS OF ARCHITECTURAL SIGNIFICANCE, WAS COMPARED BY SOME TO THE PARTHEON.

•UNFOTUNATELY,THE BUILDING WAS TORN DOMN AND REPLACED BY THE PARKING LOT IN 1961. SECTION

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SCHILLAR BUILDING, CHICAGO

BRADLEY HOUSE, (1910)

BRADLEY HOUSE, (1910)

•LOUIS SULLIVAN WAS ALSO A SUPERB RESIDENTIAL ARCHITECT,MASTER OF THE STYLE LATER DEVELOPED FURTHER BY FRANK LLOYD. •ONE OF THE SULLIVAN FINEST EXAMPLE IS THE BRADLEY HOUSE. 1910. •ONE QUALITY CONSISTENT IN THE SPACES OF SULLIVAN 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.

FROM THE FRONT

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BRADLEY HOUSE, (1910)

•SULLIVAN LIFTED THE SECOND STORY OF HIS HOUSE ONTO PIERS HOLDING IT OVER THE ENFILADE OF THE 1ST FLOOR AND ITS HIGH BRICK BASEMENT.•THESE COMPOSITIONS ARE NO LESS PROCESSIONAL,CENTRING 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.

B R A D L E Y H O U S E , ( 1 9 1 0 )

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BRADLEY HOUSE, (1910)

BRADLEY HOUSE, (1910)

HARMONIOUS AND IDENTICAL GEOMETRY YET FUNCTIONALLY ADAPTED IN FINALLY FREED THEMSELVES FROM THIS RESTRAINING CARAPACE,EMERGING IN A SERIES OF CROSS SHAPED PLANS.

PLAN

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BRADLEY HOUSE, (1910)

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SULLIVAN

THANK YOU

SUBMITTED TO:AR.ROOPALI BANSAL

SUBMITTED BY:AKANSHA BATRADARISHTI RAI JINDALDIKSHAHARSIMRAN KAURJYOTIB.ARCH(SEM-4)SEC-A