Adler and Sullivan Initially Achieved Fame As Theater Architects

Total Page:16

File Type:pdf, Size:1020Kb

Adler and Sullivan Initially Achieved Fame As Theater Architects Adler and Sullivan initially achieved fame as theater architects. While most of their theaters were in Chicago, their fame won commissions as far west as Pueblo, Colorado, and Seattle, Washington (unbuilt). The culminating project of this phase of the firm's history was the 1889 Auditorium Building in Chicago, an extraordinary mixed-use building which included not only a 3000-seat theater, but also a hotel and office building. Adler and Sullivan reserved the top floor of the tower for their own office. After 1889 the firm became known for their office buildings, particularly the 1891 Wainwright Building in St. Louis and the 1899 Carson Pirie Scott Department Store on State Street in Chicago, Louis Sullivan is considered by many to be the first architect to fully imagine and realize a rich architectural vocabulary for a revolutionary new kind of building: the steel high-rise. [edit] Sullivan and the steel high-rise Prior to the late 19th century, the weight of a multistory building had to be supported principally by the strength of its walls. 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. America was in the midst of rapid social and economic growth that made for great opportunities in architectural design. 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. As seen with the data below the prices dropped significantly during this period. Price of Steel at Bessemer Steel Rails from 1867-1895 ($/ton) 1867- $166; 1870- $107; 1875- $69; 1880- $68; 1885- $29; 1890- $32; 1895- $32 The people in Midwestern America felt less social pressure to conform to the ways and styles of the architectural past. By assembling a framework of steel girders, architects and builders could suddenly create tall, slender buildings with a strong and relatively delicate steel skeleton. The rest of the building's elements — the walls, floors, ceilings, and windows — were suspended from the steel, which carried the weight. This new way of constructing buildings, so-called "column-frame" construction, pushed them up rather than out. The steel weight-bearing frame allowed not just taller buildings, but permitted much larger windows, which meant more daylight reaching interior spaces. Interior walls became thinner, which created more usable floor space. Chicago's Monadnock Building (which was not designed by Sullivan) straddles this remarkable moment of transition: the northern half of the building, finished in 1891, is of load-bearing construction, while the southern half, finished only two years later, is column- frame. (While experiments in this new technology were taking place in many cities, Chicago was the crucial laboratory. Industrial capital and civic pride drove a surge of new construction throughout the city's downtown in the wake of the 1871 fire.) The technical limits of weight-bearing masonry had always imposed formal as well as structural constraints; those constraints were suddenly gone. None of the historical precedents were any help, and this new freedom created a kind of technical and stylistic crisis. Sullivan was the first to cope with that crisis. He addressed it by embracing the changes that came with the steel frame, creating a grammar of form for the high rise (base, shaft, and pediment), simplifying the appearance of the building by breaking away from historical styles, using his own intricate flora designs, in vertical bands, to draw the eye upwards and emphasize the building's vertical form, and relating the shape of the building to its specific purpose. All this was revolutionary, appealingly honest, and commercially successful. Louis Sullivan coined the phrase "form ever follows function", which, shortened to "form follows function," would become the great battle-cry of modernist architects. This credo, which placed the demands of practical use above aesthetics, would later be taken by influential designers to imply that decorative elements, which architects call "ornament," were superfluous in modern buildings. But Sullivan himself neither thought nor designed along such dogmatic lines during the peak of his career. Indeed, while his buildings could be spare and crisp in their principal masses, he often punctuated their plain surfaces with eruptions of lush Art Nouveau and something like Celtic Revival decorations, usually cast in iron or terra cotta, and ranging from organic forms like vines and ivy, to more geometric designs, and interlace, inspired by his Irish design heritage. Terra cotta is lighter and easier to work with than stone masonry. Sullivan used it in his architecture because it had a malleability that was appropriate for his ornament. Probably the most famous example is the writhing green ironwork that covers the entrance canopies of the Carson Pirie Scott store on South State Street. These ornaments, often executed by the talented younger draftsman in Sullivan's employ, would eventually become Sullivan's trademark; to students of architecture, they are his instantly-recognizable signature. Another 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. All of these elements can be found in Sullivan's widely-admired Guaranty Building, which he designed while partnered with Adler. Completed in 1895, this office building in Buffalo, New York was visibly divided into three "zones" of design: a plain, wide-windowed base for the ground-level shops; the main office block, with vertical ribbons of masonry rising unimpeded across nine upper floors to emphasize the building's height; and an ornamented cornice perforated by round windows at the roof level, where the building's mechanical units (like the elevator motors) were housed. The cornice crawls with Sullivan's trademark Art Nouveau vines; each ground-floor entrance is topped by a semi-circular arch. Because of Sullivan's remarkable accomplishments in design and construction at such a critical point in architectural history, he has sometimes been described as the "father" of the American skyscraper. In truth, many architects had been building skyscrapers before or contemporarily with Sullivan. Chicago itself was replete with extraordinary designers and builders in the late years of the 19th century, including Sullivan's partner Dankmar Adler, as well as Daniel Burnham, and John Wellborn Root. Root was one of the builders of the Monadnock Building (see above). That and another Root design, the Masonic Temple Tower (both in Chicago), are cited by many as the originators of skyscraper aesthetics of bearing wall and column-frame construction respectively. It may be that Sullivan's prominence in skyscraper history can be credited not only to his brilliance, but in some degree to the myth-making skills of his disciple, Frank Lloyd Wright, and to the impact of Sullivan's own book, The Autobiography of an Idea. He may also owe some of his legend to the tragic tint of his later years, which lend this great innovator's story a poignancy which has captured the imagination of student and historian alike. [edit] Later career and decline In 1890 Sullivan was one of the ten architects, five from the Eastern U.S. and five from the Western U.S., chosen to build a major structure for the "White City", the World's Columbian Exposition, held in Chicago in 1893. Sullivan's massive Transportation Building and huge arched "Golden Door" stood out as the only forward-looking design in a sea of Beaux-Arts historical copies, and the only multicolored facade in the White City. Sullivan and fair director Daniel Burnham were vocal about their displeasure with each other. Sullivan was later (1922) to claim that the fair set the course of American architecture back "for half a century from its date, if not longer."[4] His was the only building to receive extensive recognition outside America, receiving three medals from the Union Centrale des Arts Decoratifs the following year. Graceland Cemetery, Chicago, Illinois Like all American architects, Adler and Sullivan saw a precipitous decline in their practice with the onset of the Panic of 1893. According to Charles Bebb, who was working in the office at that time, Adler borrowed money to try to keep employees on the payroll.[5] By 1894, however, in the face of continuing financial distress with no relief in sight, Adler and Sullivan dissolved their partnership. The Guaranty Building was considered the last major project of the firm. By both temperament and connections, Adler had always been the one who brought in new business to the partnership, and after the rupture Sullivan received few large commissions after the Carson Pirie Scott Department Store. He went into a twenty-year-long financial and emotional decline, beset by a shortage of commissions, chronic financial problems and alcoholism. He obtained a few commissions for small-town Midwestern banks (see below), wrote books, and in 1922 appeared as a critic of Raymond Hood's winning entry for the Tribune Tower competition, a steel-frame tower dressed in Gothic stonework that Sullivan found a shameful piece of historicism. He and his former understudy Frank Lloyd Wright reconciled in time for Wright to help fund Sullivan's funeral after he died, poor and alone, in a Chicago hotel room on April 14, 1924. He left a wife and four children. A modest headstone marks his final resting spot in Graceland Cemetery in Chicago's Uptown neighborhood.
Recommended publications
  • Chicago Neighborhood Resource Directory Contents Hgi
    CHICAGO NEIGHBORHOOD [ RESOURCE DIRECTORY san serif is Univers light 45 serif is adobe garamond pro CHICAGO NEIGHBORHOOD RESOURCE DIRECTORY CONTENTS hgi 97 • CHICAGO RESOURCES 139 • GAGE PARK 184 • NORTH PARK 106 • ALBANY PARK 140 • GARFIELD RIDGE 185 • NORWOOD PARK 107 • ARCHER HEIGHTS 141 • GRAND BOULEVARD 186 • OAKLAND 108 • ARMOUR SQUARE 143 • GREATER GRAND CROSSING 187 • O’HARE 109 • ASHBURN 145 • HEGEWISCH 188 • PORTAGE PARK 110 • AUBURN GRESHAM 146 • HERMOSA 189 • PULLMAN 112 • AUSTIN 147 • HUMBOLDT PARK 190 • RIVERDALE 115 • AVALON PARK 149 • HYDE PARK 191 • ROGERS PARK 116 • AVONDALE 150 • IRVING PARK 192 • ROSELAND 117 • BELMONT CRAGIN 152 • JEFFERSON PARK 194 • SOUTH CHICAGO 118 • BEVERLY 153 • KENWOOD 196 • SOUTH DEERING 119 • BRIDGEPORT 154 • LAKE VIEW 197 • SOUTH LAWNDALE 120 • BRIGHTON PARK 156 • LINCOLN PARK 199 • SOUTH SHORE 121 • BURNSIDE 158 • LINCOLN SQUARE 201 • UPTOWN 122 • CALUMET HEIGHTS 160 • LOGAN SQUARE 204 • WASHINGTON HEIGHTS 123 • CHATHAM 162 • LOOP 205 • WASHINGTON PARK 124 • CHICAGO LAWN 165 • LOWER WEST SIDE 206 • WEST ELSDON 125 • CLEARING 167 • MCKINLEY PARK 207 • WEST ENGLEWOOD 126 • DOUGLAS PARK 168 • MONTCLARE 208 • WEST GARFIELD PARK 128 • DUNNING 169 • MORGAN PARK 210 • WEST LAWN 129 • EAST GARFIELD PARK 170 • MOUNT GREENWOOD 211 • WEST PULLMAN 131 • EAST SIDE 171 • NEAR NORTH SIDE 212 • WEST RIDGE 132 • EDGEWATER 173 • NEAR SOUTH SIDE 214 • WEST TOWN 134 • EDISON PARK 174 • NEAR WEST SIDE 217 • WOODLAWN 135 • ENGLEWOOD 178 • NEW CITY 219 • SOURCE LIST 137 • FOREST GLEN 180 • NORTH CENTER 138 • FULLER PARK 181 • NORTH LAWNDALE DEPARTMENT OF FAMILY & SUPPORT SERVICES NEIGHBORHOOD RESOURCE DIRECTORY WELCOME (eU& ...TO THE NEIGHBORHOOD RESOURCE DIRECTORY! This Directory has been compiled by the Chicago Department of Family and Support Services and Chapin Hall to assist Chicago families in connecting to available resources in their communities.
    [Show full text]
  • Chicago from 1871-1893 Is the Focus of This Lecture
    Chicago from 1871-1893 is the focus of this lecture. [19 Nov 2013 - abridged in part from the course Perspectives on the Evolution of Structures which introduces the principles of Structural Art and the lecture Root, Khan, and the Rise of the Skyscraper (Chicago). A lecture based in part on David Billington’s Princeton course and by scholarship from B. Schafer on Chicago. Carl Condit’s work on Chicago history and Daniel Hoffman’s books on Root provide the most important sources for this work. Also Leslie’s recent work on Chicago has become an important source. Significant new notes and themes have been added to this version after new reading in 2013] [24 Feb 2014, added Sullivan in for the Perspectives course version of this lecture, added more signposts etc. w.r.t to what the students need and some active exercises.] image: http://www.richard- seaman.com/USA/Cities/Chicago/Landmarks/index.ht ml Chicago today demonstrates the allure and power of the skyscraper, and here on these very same blocks is where the skyscraper was born. image: 7-33 chicago fire ruins_150dpi.jpg, replaced with same picture from wikimedia commons 2013 Here we see the result of the great Chicago fire of 1871, shown from corner of Dearborn and Monroe Streets. This is the most obvious social condition to give birth to the skyscraper, but other forces were at work too. Social conditions in Chicago were unique in 1871. Of course the fire destroyed the CBD. The CBD is unique being hemmed in by the Lakes and the railroads.
    [Show full text]
  • Evergreen Park Local History Collection
    Evergreen Park Public Library Evergreen Park Local History Collection Descriptive Summary Level of Description: Item Repository: Evergreen Park Public Library, Reference Department Identifier: TO5 Title: Evergreen Park Local History Collection Dates of Material: 1917-2001 Extent: 7 boxes, 89 folders Creator: Members of the Evergreen Park Public Library staff Abstract: The Evergreen Park local history collection contains publications and newspaper sections celebrating the village‘s various anniversaries and various formats and items documenting Evergreen Park‘s prominent people and places. The collection also contains information on local communities, especially Chicago landmarks and Oak Lawn Formats: Publications, pamphlets, newspaper sections, newspaper clippings, surveys, financial reports, cassette recordings, video home system (VHS) recordings. Scope and Content: This collection includes items related to Evergreen Park and its surrounding communities. Its strength lays in the amount of historical information pertaining to the settlement and growth of Evergreen Park as well as prominent Chicago buildings and landmarks. The collection primarily consists of many publications and newspaper sections celebrating Evergreen Park‘s 75th and 100th anniversaries. Also included are numerous community guides that provide general and specific community information about Evergreen Park and its local communities. The majority of the newspaper sections are from the Evergreen Park Courier and the community awareness sections from the Chicago Tribune and Chicago Sun-Times. Also contained in this collection are items about prominent people and places in Evergreen Park, such as items from former E.P. mayor, Anthony Vacco, retirement party including a VHS tribute, a cassette recording of an interview with the matriarch of the E.P. Library, Aimee Martin, the Little Company of Mary Hospital, Most Holy Redeemer Church, the Christian Reformed Church, and numerous newspaper clippings documenting the accomplishments of Evergreen Park residents.
    [Show full text]
  • QUES in ARCH HIST I Jump to Today Questions in Architectural History 1
    [email protected] - QUES IN ARCH HIST I Jump to Today Questions in Architectural History 1 Faculty: Zeynep Çelik Alexander, Reinhold Martin, Mabel O. Wilson Teaching Fellows: Oskar Arnorsson, Benedict Clouette, Eva Schreiner Thurs 11am-1pm Fall 2016 This two-semester introductory course is organized around selected questions and problems that have, over the course of the past two centuries, helped to define architecture’s modernity. The course treats the history of architectural modernity as a contested, geographically and culturally uncertain category, for which periodization is both necessary and contingent. The fall semester begins with the apotheosis of the European Enlightenment and the early phases of the industrial revolution in the late eighteenth century. From there, it proceeds in a rough chronology through the “long” nineteenth century. Developments in Europe and North America are situated in relation to worldwide processes including trade, imperialism, nationalism, and industrialization. Sequentially, the course considers specific questions and problems that form around differences that are also connections, antitheses that are also interdependencies, and conflicts that are also alliances. The resulting tensions animated architectural discourse and practice throughout the period, and continue to shape our present. Each week, objects, ideas, and events will move in and out of the European and North American frame, with a strong emphasis on relational thinking and contextualization. This includes a historical, relational understanding of architecture itself. Although the Western tradition had recognized diverse building practices as “architecture” for some time, an understanding of architecture as an academic discipline and as a profession, which still prevails today, was only institutionalized in the European nineteenth century.
    [Show full text]
  • View PDF Datastream
    Society of Architectural Historians University of California Press "The Century's Triumph in Lighting": The Luxfer Prism Companies and Their Contribution to Early Modern Architecture Author(s): Dietrich Neumann Source: Journal of the Society of Architectural Historians, Vol. 54, No. 1 (Mar., 1995), pp. 24-53 Published by: University of California Press on behalf of the Society of Architectural Historians Stable URL: http://www.jstor.org/stable/991024 Accessed: 25-10-2015 18:45 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Society of Architectural Historians and University of California Press are collaborating with JSTOR to digitize, preserve and extend access to Journal of the Society of Architectural Historians. http://www.jstor.org This content downloaded from 128.148.252.35 on Sun, 25 Oct 2015 18:45:40 UTC All use subject to JSTOR Terms and Conditions "The Century'sTriumph in Lighting": The Luxfer Prism Companies and their Contributionto Early Modem Architecture medium to another, as from air to water or, in this case, glass. DIETRICH NEUMANN, BrownUniversity Throughoutthe eighteenth and nineteenth centuriesconically characterize this new prism as one of the most shaped glassesalready had been used to redirectlight into dark .L remarkable improvements of the century in its bearing rooms in basementsor in ships.5Thaddeus Hyatt, one of the on practical architecture, is to speak but mildly.
    [Show full text]
  • Washington Park Cemetery: the History and Legacies of a Sacred Space
    Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Winter 12-2018 Washington Park Cemetery: The History and Legacies of a Sacred Space Terri Williams Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the Other American Studies Commons, and the Other History Commons Recommended Citation Williams, Terri, "Washington Park Cemetery: The History and Legacies of a Sacred Space" (2018). Arts & Sciences Electronic Theses and Dissertations. 1678. https://openscholarship.wustl.edu/art_sci_etds/1678 This Thesis is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of American Cultural Studies Washington Park Cemetery: The History and Legacies of a Sacred Space By Terri Williams A thesis presented to The Graduate School of Washington University in partial fulfillment of the requirements for the degree of Master of Arts December 2018 St. Louis, Missouri © 2018, Terri Williams Table of Contents List of Figures ................................................................................................................................. iii Acknowledgments..........................................................................................................................
    [Show full text]
  • Christie's to Auction Architectural Elements Of
    For Immediate Release May 8, 2009 Contact: Milena Sales 212.636.2680 [email protected] CHRISTIE’S TO AUCTION ARCHITECTURAL ELEMENTS OF THE DANKMAR ADLER & LOUIS SULLIVAN’S CHICAGO STOCK EXCHANGE BUILDING IN EXCEPTIONAL SALE THIS JUNE 20th Century Decorative Art & Design June 2, 2009 New York – Christie’s New York’s Spring 20th Century Decorative Art & Design sale takes place June 2 and will provide an exciting array of engaging and appealing works from all the major movements of the 20th century, exemplifying the most creative and captivating designs that spanned the century. A separate release is available. A highlight of this sale is the superb group of 7 lots featuring architectural elements from Dankmar Adler and Louis Sullivan’s Chicago Stock Exchange Building. Jeni Sandberg, Christie's Specialist, 20th Century Decorative Art & Design says, “Christie’s prides itself on bringing works of historical importance and cultural relevance to the international art market. We are therefore delighted to offer these remarkable lots, which were designed by Louis Sullivan, one the great creative geniuses of American Architectural history, in our upcoming 20th Century Decorative Art and Design Sale June 2, 2009.” Louis Sullivan and the Chicago Stock Exchange Building Widely acknowledged as one of the 20th century’s most important and influential American architects, Louis Sullivan is considered by many as “the father of modern architecture.” Espousing the influential notion that “form ever follows function,’ Sullivan redefined the architectural mindset of subsequent generations. Despite this seemingly stark dictum, Sullivan is perhaps best known for his use of lush ornament. Natural forms were abstracted and multiplied into until recognizable only as swirling linear elements.
    [Show full text]
  • Group Tour Manual
    Group Tour GUIDE 1 5 17 33 36 what's inside 1 WELCOME 13 FUN FACTS – (ESCORT NOTES) 2 WEATHER INFORMATION 17 ATTRACTIONS 3 GROUP TOUR SERVICES 30 SIGHTSEEING 5 TRANSPORTATION INFORMATION 32 TECHNICAL TOURS Airport 35 PARADES Motorcoach Parking – Policies 36 ANNUAL EVENTS Car Rental Metro & Trolley 37 SAMPLE ITINERARIES 7 MAPS Central Corridor Metro Forest Park Downtown welcome St. Louis is a place where history and imagination collide, and the result is a Midwestern destination like no other. In addition to a revitalized downtown, a vibrant, new hospitality district continues to grow in downtown St. Louis. More than $5 billion worth of development has been invested in the region, and more exciting projects are currently underway. The Gateway to the West offers exceptional music, arts and cultural options, as well as such renowned – and free – attractions as the Saint Louis Art Museum, Zoo, Science Center, Missouri History Museum, Citygarden, Grant’s Farm, Laumeier Sculpture Park, and the Anheuser-Busch brewery tours. Plus, St. Louis is easy to get to and even easier to get around in. St. Louis is within approximately 500 miles of one-third of the U.S. population. Each and every new year brings exciting additions to the St. Louis scene – improved attractions, expanded attractions, and new attractions. Must See Attractions There’s so much to see and do in St. Louis, here are a few options to get you started: • Ride to the top of the Gateway Arch, towering 630-feet over the Mississippi River. • Visit an artistic oasis in the heart of downtown.
    [Show full text]
  • Muse2016v50p75-89.Pdf (4.825Mb)
    Fallen Angel A Case Study in Architectural Ornamentation w. arthur mehrhoff According to the late anthropologist James Deetz, we can decode cultural meanings from the past most fully by studying “small things often overlooked and even forgotten.”1 While architectural historians often train their scholarly lenses on landmark buildings and structures, vernacular objects such as doorways, gravestones, and even discarded architectural orna- ments offer students of culture a kind of intellectual “mortar” that can help them fit larger structures to- gether into a conceptual whole.2 The Museum of Art and Archaeology’s winged terracotta figure, a splendid example of architectural ornament and a survivor of urban redevelopment, was one of a series of similar figures that originally graced the elaborate frieze of the 1898 twelve-story Title Guaranty Building, one of the earliest tall office buildings in downtown St. Louis. The building, known at its construction as the Lincoln Trust Building, was destroyed in 1983. The Fallen Angel The figure stands facing to the front with arms crossed at her waist (Fig. 1 and back cover).3 Constructed in three parts–base and lower part of a plinth, upper half of plinth, and upper body–she Fig. 1. Architectural winged figure in high relief, 1898, terra- cotta. H. 2.140 m. From the Title Guaranty Building (originally the Lincoln Trust Building), St. Louis, Missouri. Museum of Art and Archaeology, University of Missouri (84.109a–c), gift of Mr. and Mrs. Mark A. Turken and Mr. and Mrs. Paul L. Miller, Jr. Photo: Jeffrey Wilcox. 75 FALLEN ANGEL Fig. 2.
    [Show full text]
  • Download the Complete Architecture of Adler and Sullivan, Richard
    The Complete Architecture of Adler and Sullivan, Richard Nickel, Aaron Siskind, Richard Nickel Committee, 2010, 0966027329, 9780966027327, 461 pages. В Louis Sullivan (1856–1924) was a giant of architecture, the father of architectural modernism, and one of the earliest builders of the skyscraper. Along with Dankmar Adler (1844–1900) he designed many of the buildings that defined nineteenth-century architecture not only in Chicago but in cities across AmericaвЂ―and continue to be admired today. Among their iconic designs are the former Chicago Stock Exchange, Chicago’s Auditorium Building and Carson Pirie Scott flagship store, the Wainwright Building in St. Louis, and the Guaranty Building in Buffalo. This first-of-its-kind catalogue raisonnГ© of the work of Adler and SullivanвЂ―both as a team and individual architectsвЂ―is a lavish celebration of the designs of these two seminal architects who paved the way for the modern skylines that continue to inspire city dwellers today. The quest to pull together a complete catalogue of their work was first undertaken in 1952 by photographer Aaron Siskind and Richard Nickel, one of his graduate students at what is now the Illinois Institute of Technology in Chicago. This intense, decades-long labor of love has resulted in an extensive and unique resource that includes a complete listing of all of the buildings and projects undertaken by Adler and Sullivan. Each listing contains historic photographs, architectural plans (when available), and a description of each project. Alongside over two and hundred fifty essays are eight hundred photographs of their buildingsвЂ―many of which have since been demolishedвЂ―including images by Nickel, Siskind, and other noted photographers.
    [Show full text]
  • UPTOWN and ANDERSONVILLE Bike Tour, Sunday June Twentynine, Two Thousand Eight
    UPTOWN AND ANDERSONVILLE bike tour, sunday june twentynine, two thousand eight. All Content Copyright © 2007-2008 Big Shoulders Realty, LLC. All Rights Reserved. uptown and andersonville bike tour Our Route, Part One uptown and andersonville bike tour Tour Part One – turn by turn instructions 1. Start at Graceland Cemetery, 4001 N Clark 22. Turn right heading north on Racine 2. Proceed east on Irving Park 23. Take a SHARP right, heading southeast on Broadway 3. Turn left heading north on Sheridan 24. Turn right heading west on Montrose 4. Take a SHARP right heading south on Broadway 25. Turn right heading north on Clifton, which curves to the left 5. Turn left, heading east on Irving Park 26. Turn left heading south on Racine 6. Turn left, heading north on Marine Dr. 27. Turn right heading west on Montrose 7. Turn left, heading west on Hutchinson 28. Turn right heading north on Beacon 8. Turn left, heading south on Hazel 29. Turn left, heading west on Leland 9. Turn left, heading east on Buena 30. Turn left, heading south on Dover 10. Turn left, heading north on Clarendon 31. Turn right, heading west on Wilson 11. Turn right heading east on Montrose 32. Turn right, heading north on Ashland 12. Stay on Montrose until after you cross under Lake Shore Drive. 33. Turn left, heading west on Lawrence 13. Then veer left onto the bike path. 34. Turn left, heading south on Paulina 14. The path will veer northeast up to the Lake 35. Turn right, heading west on Sunnyside 15.
    [Show full text]
  • Mount Vernon Downtown Historic District Posey County, Indiana
    NPS Form 10-900 OMBNo. 10024-0018 (Oct. 1990) RECEIVED 2280 United States Department of the Interior National Park Service MAY - 8 2003 National Register of Historic Places MAT. REGISTER OF HISTORIC PLACES Registration Form NATIONAL PARK SERVICE This form is for use in nominating or requesting determinations for individual properties and districts. See instructions in How to Complete the National Register of Historic Places Registration Form (National Register Bulletin 16A). Complete each item by marking "x" in the appropriate box or by entering the information requested. If an item does not apply to the property being documented, enter "N/A" for "not applicable." For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. Place additional entries and narrative items on continuation sheets (NPS Form 10-900a). Use a typewriter, word processor, or computer, to complete all items. 1. Name of Property historic name Mount Vernon Downtown Historic District other names/site number _______________________ 129-439-36QQQ 2. Location Street & number Roughly bounded by the Ohio River, 6th and Walnut Streets and College Aven not for publication city or town Mount-Veman_____________ __...______________ N/A__n vicinity state Indiana_____ code IN___county Posey._ _.._....______.code 129 zip code 4.762CL___ 3. State/Federal Agency Certification j As the designated authority under the National Historic Preservation Act, as amended, Thereby certify that this 53 nomination j Q request for determination of eligibility meets the documentation standards for registering properties in the National Register of j Historic Places and meets the procedural and professional requirements set forth in 36CFR Part 60.
    [Show full text]