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    The Chicago School

    Uploaded by

    Onyango Okelo

    Copyright:

    Attribution Non-Commercial (BY-NC)
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    The Chicago School

    Uploaded by

    Onyango Okelo
    431 views47 pages

    Copyright

    © Attribution Non-Commercial (BY-NC)

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    Copyright:

    Attribution Non-Commercial (BY-NC)
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    Download as pptx, pdf, or txt
    431 views47 pages

    The Chicago School

    Uploaded by

    Onyango Okelo

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PPTX, PDF, TXT or read online from Scribd
    Download as pptx, pdf, or txt
    of 47

    m 

    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.

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