CHICAGO SCHOOL OF ARCHITECTURE 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.[1] In the history of architecture, the 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. A "Second Chicago School" later emerged in the 1940s and 1970s which pioneered new building technologies and structural systems such as the tube-frame structure.[2] The Chicago Building by Holabird & Roche(1904-1905) is a prime example of the Chicago School, displaying both variations of the Chicago window Historians such as H. Allen Brooks, Winston Weisman andDaniel Bluestone have pointed out that the phrase suggests a unified set of aesthetic or conceptual precepts, when, in fact, Chicago buildings of the era displayed a wide variety of styles and techniques. Contemporary publications used the phrase "Commercial Style" to describe the innovative tall buildings of the era rather than proposing any sort of unified "school". Chicago School window grid Some of the distinguishing features of the Chicago School are the use of : steel-frame buildings with masonry cladding (usually terra cotta), allowing large plate-glass window areas and limiting the amount of exterior ornamentation. Sometimes elements of neoclassical architecture are used in Chicago School skyscrapers. COLUMN: Many Chicago School skyscrapers contain the 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. WINDOW: 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. The Chicago window combined the functions of light-gathering and natural ventilation; a single central pane was usually fixed, while the two surrounding panes were operable. ARCHITECTS: Architects whose names are associated with the Chicago School include Henry Hobson Richardson, Dankmar Adler, Daniel Burnham, William Holabird,William LeBaron Jenney, Martin Roche, John Root, Solon S. Beman, and Louis Sullivan. Frank Lloyd Wright started in the firm of Adler and Sullivan but created his own Prairie Style of architecture. [edit]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. Peck persuaded many Chicago business tycoons to go on board with him, including Marshall Field, Edson Keith, Martin Ryerson, and George Pullman. The association hired the renowned architectural firm of Dankmar Adlerand Louis Sullivan to design the building. At the time, a young Frank Lloyd Wright was employed at the firm as draftsman, and he may have contributed to the design.[5] "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. Hence Adler & Sullivan had to plan a complex multiple-use building. Fronting on Michigan Avenue, overlooking the lake, was the hotel (now Roosevelt University) while the offices were placed to the west on Wabash Avenue. 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 Nouveauarchitecture." —Leland M. Roth. A Concise History of American Architecture. p. 179-80. [edit]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.[6] 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 theUnited States.[7] 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. Adler and Mueller designed a floating mat of crisscrossed railroad ties, topped with a double layer of steel rails embedded in concrete, the whole assemblage coated with pitch. The resulting raft distributed the weight of the massive outer walls over a large area. However, the weight of the masonry outer walls in relation to the relatively lightweight interior deformed the raft during the course of a century, and today portions of the building have settled as much as 29 inches. This deflection is clearly visible in the theater lobby, where the mosaic floor takes on a distinct slope as it nears the outer walls. This settlement is not because of poor engineering but the fact the design was changed during construction. The original plan had the exterior covered in lightweight terra-cotta, but this was changed to stone after the foundations were under construction. Most of the settlement occurred within a decade after construction, and at one time a plan existed to shorten the interior supports to level the floors but this was never carried out. In the center of the building was a 4,300 seat auditorium, originally intended primarily for production ofGrand Opera. In keeping with Peck's democratic ideals, the auditorium was designed so that all seats would have good views and acoustics. The original plans had no box seats and when these were added to the plans they did not receive prime locations. Housed in the building around the central space were an 1890 addition of 136 offices and a 400- room hotel,[7][8] whose purpose was to generate much of the revenue to support the opera. While the Auditorium Building was not intended as a commercial building, Peck wanted it to be self-sufficient. Revenue from the offices and hotel was meant to allow ticket prices to remain reasonable. In reality, both the hotel and office block became unprofitable within a few years. The Sullivan Center, formerly known as the Carson, Pirie, Scott and Company Building or Carson, Pirie, Scott and Company Store,[4] is a commercial building at 1 South State Street at the corner of East Madison Street in Chicago, Illinois. It was designed by Louis Sullivan for the retail firm Schlesinger & Mayer in 1899, and expanded and sold to Carson Pirie Scott in 1904. Subsequent additions were completed by Daniel Burnhamin 1906 and Holabird & Root in 1961.[5] The building was used for retail purposes from 1899, and has been a Chicago Landmark since 1975. It is part of the Loop Retail Historic District. Contents [hide] 1 Architecture 2 See also 3 References 4 External links [edit]Architecture Decorations to celebrate Abraham Lincoln's 100th Birthday in 1909 The Sullivan Center was initially developed because of the Chicago Great Fire of 1871. In 1872, the partnership of Leopold Schlesinger and David Mayer began after their immigration from Bavaria. In 1881 Schlesinger and Mayer had moved their dry-goods store into the Bowen Building that was on the corner of State and Madison. In 1890, Schlesinger and Mayer hired Adler and Sullivan to prepare plans for the removal of the Bowen Building’s attic story and the addition of two stories across the Bowen Building and the adjacent four-story structure to the south. The facades were added to match the bottom stories of the building and the building was painted white. In 1892, Schlesinger and Mayer hired Adler and Sullivan to do further remodeling and add a new entrance to the corner of State and Madison. In 1886, Sullivan, no longer working with Adler, was asked back by Schlesinger and Mayer to redesign the façade and add two stories to the newly leased four-story building on Wabash avenue, as well as connecting it to the State Street store. That never happened because Schlesinger and Mayer changed their minds to make it a ten-story building, which also never happened. It eventually got painted white and then a bridge was added that connected the second story of the building to the elevated railroad. In 1898, Schlesinger and Mayer decided to remove the original building located on State and Madison replace it with a new building designed by Sullivan. Sullivan had both a nine and twelve-story proposal made up for this new building. They eventually started with a nine-story portion of the building that was made on the Madison Street side next to the original portion of the Adler and Sullivan renovations. In 1902 Schlesinger and Mayer came back to Sullivan wanting a twenty-story building on State and Madison, eventually settling for the final twelve stories.