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SCHOOLS of THOUGHT 1. Chicago School of Thought 2. Chicago- II 3

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SCHOOLS of THOUGHT 1. Chicago School of Thought 2. Chicago- II 3 SCHOOLS OF THOUGHT 1. Chicago School of Thought 2. Chicago- II 3. Prairie School of Thought 4. Bauhaus Chicago-I Chicago's architecture is famous throughout the world and one style is referred to as the Chicago School. The style is also known as Commercial style. The Chicago School was a school of architects active in Chicago at the turn of the 20th century. A "Second Chicago School" later emerged in the 1940s and 1970s which pioneered new building technologies and structural systems The Chicago School was a style that developed as a result of the Great Fire of Chicago in 1871. Before the fire, buildings were built of huge amounts of stone, and could not be very high. With the growing use of the elevator, and the steel skeleton, the buildings grew taller and taller. The steel structure also allowed windows to be made bigger. The Chicago certainly contributed much to Illinois architecture. The great ideas and strong personalities of 1. Dankmar Adler and Louis Sullivan, 2. Daniel Burnham and John Root, 3. William Holabird and Martin Roche, 4. William Le Baron Jenney. It flourished chiefly over the 30 years from 1880 to 1910 Produced an original, indigenous, unified, yet highly diversified architecture for every kind of building. Most of which prefigured the modernist works of Frank Lloyd Wright, Mies van der Rohe, Helmut Jahn and others. Chicago presented a clean slate for new ideas Examples: 1. Louis Sullivan, the Guaranty (Prudential Building), Buffalo, NY, 1894. 1. 2. 2. The Chicago Building by Holabird & Roche(1904-1905) is a prime example of the Chicago School, displaying both variations of the Chicago window The whole city seemed to be designed and based on making money. To wealthy Chicagoans, however, the relationship between money and art was significant and seen without prejudice. It is true that the greatest clients of Chicago architects were businessmen and their wives, and their buildings were mostly built for profit. This is what became known as 'functionalism'. Chicago School = expression of the social purpose of the building = in its structure. It had to be admitted that this was to be considered a new order of architecture, not simply a style. It was intended to be the expression of the community, a way of life, not simply that of a class or an individual. Chicago group principle - architecture=the democratic community+democratic architecture What is the proper form for a democratic architecture, and what kinds of human relationships will be possible in this new architecture? Sullivan answered the first by proposing that whatever the use of a building, its form must follow its function - a human function. What he meant by stating that 'A building is an act' was the architectural answer to the question 'How can I enhance the human satisfaction of acting within my building or the communities I design?‘ If he designed a house of prayer, he tried to make prayer become more significant, if he designed a department store, he tried to make shopping more pleasurable, and if he designed a factory, he tried to enhance the working conditions in order to make work as healthy as possible. Distinguishing features of the Chicago School are 1. The use of steel-frame buildings with masonry cladding (usually terra cotta), 2. Large plate-glass window areas and 3. Limiting the amount of exterior ornamentation. 4. Elements of neoclassical architecture are used in skyscrapers. 5. The skyscrapers contain the three parts of a classical column. 6. 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. 7. The "Chicago window" originated in this school. It is a three-part window consisting of a large fixed center panel flanked by two smaller double-hung sash windows. The arrangement of windows on the facade typically creates a grid pattern, with some projecting out from the facade forming bay windows Function = Light gathering + Natural ventilation Buildings in Chicago: 1. Auditorium Building 2. Sullivan Center 3. Reliance Building 4. Gage Group Buildings 5. Chicago Building 6. Brooks Building 7. Fisher Building 8. Heyworth Building 9. Leiter I Building 10. Leiter II Building 11. Marquette Building 12. Monadnock Building 13. Montauk Building 14. Rookery Building 15. Wainwright Building CHICAGO SCHOOL-II In the 1940s, a "Second Chicago School" emerged from the work of Ludwig Mies van der Rohe and his efforts of education at the Illinois Institute of Technology in Chicago. Its first and purest expression was the 860-880 Lake Shore Drive Apartments (1951) and their technological achievements. This was supported and enlarged in the 1960s due to the ideas of structural engineer Fazlur Khan. He introduced a new structural system of framed tubes in skyscraper design and construction. Framed tube structure as "a three dimensional space structure composed of three, four, or possibly more frames, braced frames, or shear walls, joined at or near their edges to form a vertical tube-like structural system capable of resisting lateral forces in any direction by cantilevering from the foundation." Closely spaced interconnected exterior columns form the tube. Horizontal loads, for example wind, are supported by the structure as a whole. About half the exterior surface is available for windows. Framed tubes allow fewer interior columns, and so create more usable floor space. Where larger openings like garage doors are required, the tube frame must be interrupted, with transfer girders used to maintain structural integrity. Framed tube structure as "a three dimensional space structure composed of three, four, or possibly more frames Closely spaced interconnected exterior columns form the tube Horizontal loads taken care by the structure Half the exterior surface is available for larger windows Fewer interior columns PRAIRIE SCHOOL OF THOUGHT Prairie School was a late 19th and early 20th century architectural style, most common to the Midwestern United States. The style is usually marked by horizontal lines, flat or hipped roofs with broad overhanging eaves, windows grouped in horizontal bands, integration with the landscape, solid construction, craftsmanship, and discipline in the use of ornament. Horizontal lines were thought to evoke and relate to the native prairie landscape. It developed in sympathy with the ideals and design aesthetics of the Arts and Crafts Movement. The Prairie School houses (characterized by open plans, horizontal lines, and indigenous materials) were related to the American Arts and Crafts movement (hand craftsmanship, simplicity, function), An alternative to the then-dominant Classical Revival Style (Greek forms with occasional Roman influences). It was also heavily influenced by the Idealistic Romantics (better homes would create better people) and the Transcendentalist philosophy of Ralph Waldo Emerson. It also influenced subsequent architectural idioms, particularly the Minimalists (less is more) and Bauhaus (form follows function), which was a mixture of De Stijl (grid-based design) and Constructivism (which emphasized the structure itself and the building materials). The Prairie School shared an embrace of handcrafting and craftsman guilds as a reaction against the new assembly line, mass production manufacturing techniques, which they felt created inferior products and dehumanized workers. The Prairie School was also an attempt at developing an indigenous North American style of architecture that did not share design elements and aesthetic vocabulary with earlier styles of European classical architecture. The Prairie School were offended by the Greek and Roman classicism of nearly every building erected for the fair. The designation Prairie is due to the dominant horizontality of the majority of Prairie style buildings which echoes the wide, flat, tree-less expanses of the mid-Western United States. The most famous proponent of the style, Frank Lloyd Wright, promoted an idea of "organic architecture", the primary tenet of which was that a structure should look as if it naturally grew from the site. Wright also felt that a horizontal orientation was a distinctly American design motif, in that the younger country had much more open, undeveloped land than found in most older, urbanized European nations. Prairie Style Characteristics 1. 1 - 2 story 2. Open floor plan with free-flowing spaces (sometimes blurring the line between indoor and outdoor spaces) 3. Projecting or cantilevered wings 4. Integrated with landscape and environment 5. Open floor plan 6. Low-pitched hipped or flat roof (less common is gabled) 7. Broad, overhanging eaves (usually boxed) 8. Strong horizontal lines 9. Ribbons of windows, often casements, arranged in horizontal bands 10. Clerestory windows 11. Prominent, central chimney 12. Stylized, built-in cabinetry 13. Wide use of natural materials especially stone and wood 14. Siding often stucco, stone, or brick 15. Restrained ornamentation such as friezes around windows and doors, or as bands under the eaves An alternative to the then-dominant Classical Revival Style (Greek forms with occasional Roman influences). It was also heavily influenced by the Idealistic Romantics (better homes would create better people) and the Transcendentalist philosophy of Ralph Waldo Emerson. It also influenced subsequent architectural idioms, particularly the Minimalists (less is more) and Bauhaus (form follows function), which was a mixture of De Stijl (grid-based design) and Constructivism (which emphasized the structure itself and the building materials). The designation Prairie is due to the dominant horizontality of the majority of Prairie style buildings which echoes the wide, flat, tree-less expanses of the mid-Western United States The most famous proponent of the style, Frank Lloyd Wright, promoted an idea of "organic architecture", the primary tenet of which was that a structure should look as if it naturally grew from the site. Architects 1. FL.Wright BAUHAUS German style movement from 1919-1933 All of the Bauhaus directors were architects.
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