Early modern architecture : Chicago, 1870-1910

Date 1940

Publisher The Museum of Modern Art

Exhibition URL www.moma.org/calendar/exhibitions/2050

The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists.

MoMA © 2017 The Museum of Modern Art THEMUSEUM OF MOOERN ART

EARLYMODEM HITE UR CHICAGO870-1 91910

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EARLY MODERN ARCHITECTURE

CHICAGO 1870 - 1910

CONTENTS

BIOGRAPHIESof the leadingarchitects page 2 CHRONOLOGYof the technicaldevelopment of the skyscraperwith an introduction page 7 CHRONOLOGYof the aestheticdevelopment of the skyscraperwith an introduction page 13 LIST OF PHOTOGRAPHSin the exhihitionwith commentson each page 17

Catalogof an exhibitionheld at The Museum of ModernArt, New York, from January18 to February23, 1933 Second edition,revised, March 1940 AAUaNt tloOft 7-1

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BIOGRAPHIES

JENNEY Major WilliamLeBaron Jenney. Born Fairhaven, Mass., 1832. Died Chicago,1907. Studiedat LawrenceScientific School. Gradu ated from Ecole Centraledes Arts et Manufac tures in Paris, 1856, as engineerand archi ^5 V vx tect. Engineeron Sherman'sand Grant'sstaffs X in the Civil War. Settledas architectin Chicago. Built Grace EpiscopalChurch, Union League Club, etc. but chieflyknown ior his commercialbuildings. Generallyconsidered the first to use steel skeletonconstruction. A technicianrather than a designer.

5 Bibliography: "WilliamLeBaron Jenney". eV ArchitecturalRecord, Vol. 22, August 1907, pp 155-57.New York

Photographs : //4 ,5 ,14

RICHARDSON Henry HobsonRichardson. Born St. James Parish, La., 1838. Died Brookline, Mass. 1886 A.B. Harvard1859. Worked and studiedin Paris at the Ecole des Beaux Arts in the atelier of J. L. Andre and with Labrouste. Established himselfafter the Civil War as an architect .

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first*in New York and then in Brookline. His reputationwas establishedby his design for TrinityChurch, built in Boston 1872-77,based on Romanesqueprecedent. In his later work the importanceof reminiscentelements of de sign grew less and less, but his originalityas an architectwas based on the integrityof his use of traditionalconstruction rather than on technicalinnovations. To the new nationalar chitecturehe contributednot methoasof build ing but a formativespirit. is Bibliography: IlenryHobs on Richardson& H — Monks, MarianaGriswold Van Rensselaer. Boston,1838 The Architectureof H.H.Richardsonand his Times. Henry-RusselHitchcock, Jr. New York, The Museum of Modern Art, 1936

Photographs: #7,8,9.

ADLER & Louis Henry Sullivan. Born Boston,1856. Died SULLIVAN Chicago,1924. StudiedM.I.T., 1873. Vorkedfor a short while in the office of Furnessand Hewitt in Phila delphia,and of Vm. LeBaronJenney in Chicago. Studiedfrom 1874 to 1876 at the Ecole des Beaux Arts in Paris, in the atelier of Vaudremer.Re turningto Chicagohe joinedAdder's staff in 1

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1879 and was a full partnerwith Adler from 1381 to 1895. Sullivan'slater associate,Elmslie, was never a partnerand eventuallyleft to work as an independentarchitect. Applyingthe basic stylisticdiscipline of Richardson'sMarshall Field WholesaleStore (#7) to the new skeleton construction,Sullivan first found a dignified clothingfor the skyscraper. In his work of the late eightiesand early ninetieshis de signs emphasizedthe vertical (#20). Soon, however,he found a more logicalexpression of the underlyingconstruction with a scheme of wide windowedhorizontality (#21,22). Sullivan led for two decadesa considerablegroup of ar chitectsknown as the ChicagoSchool, but he alone made of the early skyscraperan aesthetic invention. / Bibliography:Louis Sullivan1rophet of Modern rchitectureA . Hugh Morrison. New York, The Museum of ModernArt and W.W.Norton& Company, 1935. This work containsfull bibliographyon writings by or about Sullivan. KindergartenChats. Louis Henry Sullivan. InterstateArchitect and Builder, 52 issues, Feb. 16, 1901 - Feb. 8, 1902. J

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rten Kinderga Chats. Louis H. Sullivan, edited and introduced by Claude Bragdon. Scarab Fra ternity Press, 1924. phy. Autobiogra of an Idea Louis Henry Sullivan. New York, Press of the American Institute of Architects, 1924. "A Critique of the Works of Adler & Sullivan." Great American Architects Series. No. 2. Ar chitectural Record. Dec. 1895.

Fhotographs: #16, 17, 18, 19, 20, 21, 22, 23.

ADLER Dankmar Adler, Born in Langsfeld, Sachsen-Weimar, in 1844. Died in Chicago, 1900. Came to America in 1854. Studied in Detroit with Julius Melchers, John Schaefer and Willard Smith, and in Chicago, 1857-62. First partnership with Kinney, 1869-71, with Burling, 1871-78. Adler, during his partnershipwith Sullivan was

never a designer. f Bibliography: Louis Sullivan Prophet o Modern Architecture. Hugh Morrison. New York, The Museum of Modern Art and W.W. Norton & Company,

1935.

WRIGHT Frank Lloyd Wright. Born Richland Center, Wis consin, 1869, now living at Taliesin, Spring ' ..... -,«.«»., -«'- —

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Green,Wisconsin. Studiedengineering at the Universityof Wis consin,1885-88. Worked in Chicagowith Silsbee and then with Adler & Sullivan,1889-94. His independentpractice began with the Winslow House (#33)in River Forest, 111., 1892-93. By 1900 his new type of domesticdesign had develop ed far beyond that of the rest of the Chicago School.In his early work only shouldhe be con sidereda discipleof Sullivan.His great inno vationslie outsidethe field of this exhibition.

A bibliographyof Frank Lloyd Wright can be found in Modern Architecture, a catalogpub lishedby the Museum of Modern Art in 1932.

Photograph:#33.

BURNHAM& DanielHudson Burnham.Born Henderson,N. Y., ROOT 1846. Died Evanston,111., 1912. Studiedin Chicagoarchitects 1 officesinclud ing that of PeterWright where he met Root.

John WellbornRoot, born Lumpkin,Ga., 1850. Died Chicago,1891. GraduatedNew York University, 1869. Worked in Renwick'soffice in New York, then went to Chicagoafter the fire of 1871, where in 1872 he met Burnhamin Wright'soffice, -32 ' %' . in ' 1 Y : .

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and formed a partnershipwith him the next year. This firm was responsible for the development of the highly organized and specialized Ameri can architecturaloffice and methods of prac tice. Until Root's early death he was one of the more original Chicago Richardsonians. The prolific work of the firm beginning with the general supervision of the World's Fair was rarely original or distinguished in design. tect Bibliography: Daniel H.Burnham, Archi _Flan~ ner of Cities. Charles Moore. Boston, 1921.

John Wellborn Root. Harriet Monroe. Boston,1896.

Photographs: #10, 11, 12.

HOLABIRD & William Holabird. Born Amenia Union,N.Y., 1854. ROCHE Died Evanston, 111., 1923. Resigned from West Point and worked with Jenney as engineer after 1875. Formed partnershipwith C. C. Simonds in 1880.

Martin Roche. Born Cleveland, Ohio, 1855. Died Chicago, 1927. Brought to Chicago 1857. Entered Jenney's of fice in 1872. Joined Holabird & Simonds in 1881. After Simonds left in 1883, the firm became Holabird & Roche. ' . cHiixnOiih*izno.1H ogsolri:. I'-rr^ic ei:om srfct -* - V ; §0d an\i.x edt x Jlf V on :linq

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Bibliography:Architectural Record, Vol 31, April 1912, pp 313-387.New Yorh.

Photographs:#6, 24.

CHRON0LOGY OF THE TECHNICALDEVELOPMENT C? ^jE__SKfSC_RAFER

The tall commercialbuilding, early labelledthe sky scraper,was the most conspicuousachievement of American architecturein the secondhalf of the nineteenthcentury. In the creationof the skyscraperseveral compli mentarylines of technicaldevelopment joined. First, in the fifties, iron skeletonconstruction was often used to replace masonrybearing walls, sometimesin the interiorof the build ing, sometimesas an ornamentalcast iron facade. Then, with the introductionof the elevator,buildings higher than six storiesbecame convenientand acceptable. At the same time, methodsof fireproofingthe metal skeletonwere inventedin New York, and effectivepier foundationsdeveloped in Chicago. Finally,in Chicago,by the late eighties,the protective masonryshell came to be carriedby the metal frameworkin which Bessemersteel replacedcast and wroughtiron. The skyscraper,imminent for more than a generation,thus became an actuality.

Bibliography:"Buffington and the Skyscraper".E. M. Upjohn_ &Bulletin5 iu-LJ.g p y ^ Art Vol> XVn , No. 1, March 1935, pp 48-70. "Was the Home InsuranceBuilding in Chicagothe First Skyscraperof SkeletonConstruction; ThomasE. Tallmadge. The ArchitecturalRecord, Vol. 76, No. 2, August 1934, pp 113-118. .

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1848 Bogardus Building, Duane Street, New York, by Bogardus. Now demolished First use of cast iron facade.

1851 Crystal Palace, Hyde Park, London, by Faxton Destroyed by fire, 1936 First structure entirely of iron and glass.

1851-65 Dome of Capitol, Washington, D.C., by Thomas U, Walter Built of cast iron.

1853 New York Crystal Falace (in imitation of Faxton s) Now demolished First passenger elevator in America.

1854 Harper's Building, Franklin Square, New York Now demolished Introduction of wrought iron girders.

1855 Invention in England of Bessemer's converter for producing superior wrought iron known as "Steel .

1859 Fifth Avenue Hotel, New York Now demolished Passenger elevator first used in a permanent building.

1862 Siemens' invention in Germany of the Open Hearth Process for steel.

1868 Equitable Life Assurance Society Building, Broad way, New York. Now demolished First office building with elevator. 1 1 ; ' ' ' - ' " . ' T-: . Do

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1871 Fire-resistanthollow-tile floor for use with wrought iron "beamspatented by Balthasar Kreiscner.

1873 Introduction into America of Bessemer steel by Carnegie.

1880 Price of land in Chicago Loop district reaches $130,000. per quarter acre, thus encouraging higher buildings. Compare 1890.

1881 Buffington's dreams of metal "cloud-scrapers11 based on Viollet-le-Duc1s ideas.

1881 Montauk Building, Chicago, by Burnham & Root Introduction of separate spread foundations for separate piers.

1884-85 Home Insurance Building, Chicago, by Jenney Demolished, 1931 Usually considered the first skyscraper. /eight carried largely by framework of cast and wrought iron concealed inside the masonry. Bessemer steel beams first used here above the sixth floor.

1886 Rookery Building, Chicago, by Burnham & Root Same constructionas Home Insurance Building. New type of foundation of railroad steel in concrete.

1887-88 Tacoma Building, Chicago, by Holabird & Roche Demolished, 1929 Often considered the first skyscraper. All the structural potentialitiesof metal frame con- _ struction are implicit, but the iron skeleton is called upon to carry less than half the weight of the building.

1888-89 Pulitzer Building, New York, by George B. Post At the time of its erection, the highest ouild- ing in the world (349 feet). Masonry walls, interior piers of cast iron. '

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1889 Tower Building,New York, by BradfordLee Gilbert Now demolished First use of metal skeletonof true skyscraper type in New York.

1889 Rand-McNallyBuilding, Chicago, by Burnham& Root Rolled steel beams and columnsof standardbridge shapesriveted together as still used today.

1889-90 Second LeiterBuilding, Chicago, by Jenney First buildingin which all the walls are sup portedby the internalmetal skeleton.

1890 MonadnockBlock, Chicago,by Burnham& Root Last tall buildingwith solid masonrybearing walls. Sixteenstories .

1890 Frice of land in ChicagoLoop district$90C,000 per quarteracre. Compare1880 High buildingsencouraged by high land values force land values ever higher.

1891 "Skyscraper- a very tall buildingsuch as now are being built in Chicago" - Maitland'sAmerican Slang Dictionary ' "I- . cr- .. : . . r

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GY CKRQNCLO OF THE AESTHETICDEVELOPMENT OF THE SKYSCRAPER

Originaldesign in the skyscraperdid not keep pace with new developmentsin construction.The facadesof the early experimentalbuildings in the late seventiesand eighties(#4 especially),although often more honest in the expressionof skeletonconstruction than many more modern buildings, were appallinglycrude. Yet it was their frank emphasison wide-windowedhorizontality that fore-shadowed such developedskyscraper design as in the Schlesinger-Mayer Building(#22) and Gage Building(#23). But the buildingwhich initiateda new spiritin com mercialdesign was Richardson'smasonry Marshall Field /hole- sale Store (#7). Derivingat first his inspirationfrom the Romanesque,Richardson in his later work reacheda highly originaland pure expressionof masonryconstruction adapted eitherto residenceor commercialdesign. The MarshallField WholesaleStore providedfor the young Chicagoarchitects an aestheticdiscipline of regularityand simplicityfrom which Sullivanrapidly created a new personalstyle. The influenceof Sullivan'sstyle was so great that it attracteda group of young architectswho formedunder his leadershipthe ChicagoSchool. The free non-traditionalarchitecture of the Chicago . '

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Schoolretained its vigor until about 1910 when the stylistic revivalismwhich had made its first strikingappearance in Chicagowith the World'sFair of 1893, vitiatedits force. ' " ' > V

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1874-75 Cheney Building (now Brown-Thompson Co.), Hart ford, Conn., "byRichardson. A personal interpretationof Romanesque design applied to commercial architecture.

1879 Leiter Building I, Chicago, by Jenney. Non-stylisticexpression of mixed masonry and cast iron construction.

1882 Ames Building, Kingston and Bedford Sts ., Boston, by Richardson. Replaced in 1892. Further simplificationof the Richardsonian Romanesque.

1885-86 Marshall Field 'VholesaleStore, Chicago, by Richardson. Demolished 1930. The masterpiece of early commercial architecture in masonry.

1886 The Rookery, Chicago, by Burnham & Root. Unintelligentapplication of Richardsonian Romanesque. Uninfluenced by Marshall Field Mhole sale Store.

1886 Fray Building, Boston, by Richardson. Furthest development of Richardson's commercial style. Shallow reveals and light spandrels at story levels.

1887-88 Tacoma Building, Chicago, by Holabird & Roche. Demolished, 1929. General scheme uninfluenced by masonry design, though detail is slightly Richardsonian. ; I- 3 . hi 0' 1-' aaXat b© . oH 'II ^fatqie :,.t Xanoaneq a nrJo--> 5 Jfcote...:oo ad- MtLqqa

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1887-89 AuditoriumBuilding, Chicago, by Adler & Sullivan. Stronglyunder the influenceof Richardson's masonryMarshall Field WholesaleStore. In the tower appear the beginningsof Sullivan'smore personalexpression. CompareWalker Ware house (#18).

1889-90 LeiterBuilding II, Chicago,by Jenney. A direct developmentfrom Jenney's^first Leiter Building (#4) in its clear expressionof structure. Influencedin detail and generalsense of iorm y the MarshallField WholesaleStore.

1890-91 MonadnockBlock, Chicago, by Burnham& Root. Rigidlysimplified masonry design with Richard- sonian sense of form.

1891-92 WainwrightBuilding, St.Louis, by Adler & Sullivan. Sullivan'svertical type of skyscraperdesign here fully developedfor the first time. Compare SchillerBuilding (#20).

1893 Meyer Building,Chicago, by Adler & Sullivan. Sullivan'smore logicalhorizontal type of sky scraperdesign preservingwide fenestrationoi Jenney's LeiterBuilding I (#4).

1899 Schlesinger-MayerBuilding (now Carson Firie Scott & Co.), Chicago,by Sullivan. Furtherdevelopment of wide-windoweddesign, with narrow supportsand spandrelsveneered with terra cotta.

1900-10 The heyday of the ChicagoSchool under the in spirationof Sullivan'swork of the previous decade. -v". LIST OF PHOTOGRAPHSWITH COMMENTS

1. 33 SOUTH FRANKLINSTREET (cornerof MonroeStreet), Chicago. c. 1872. This buildingretains the dignityand good proportionsof the ClassicalRevival. The simplemasonry post and lintel constructionis clearlyexpressed in the design.Cast iron posts are used only in certainbays on the groundfloor.

2. 221-227WEST RANDOLPHSTREET, Chicago. 1880. Unusuallylarge window area for masonryconstruction. Cast iron posts on the ground floor only. The elegance of extremesimplicity is still reminiscentof the Greek Revival.

3. WILLOUGHBYBUILDING, Jackson and Monroe Streets (north east corner)Chicago. 1884. Structurallya great advance: the use of wroughtand cast iron insteadof masonrywalls permitsbuilding higher withoutsacrificing light on the lower stories. ihe pe culiar ornamentis ambitiousin its originality, but no more appropriateto the new materialthan traditional forms.

4. WILLIAMLE BARON JENNEY . _Qr?0 LEITERBUILDING I, 200 West Monroe Street,Chicago. 18/y. Two storiesadded later. An importantstep towardthe skyscraper:the use of cast iron posts betweenthe masonrypiers introducesmore light. The design is crude, but the generalhorizontal Ism- cJt to ct:;-oqrxaoeea slqnUr exit laviveH £*ojt8*s£0 i&

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orderingforeshadows the more finisheddesigns of the later steel skyscrapers.Compare with the Schlesinger- Meyer Building(#22).

5. WILLIAMLE BARON JENNEY HOME INSURANCEBUILDING, Chicago. 1884-85. Two stories added, 1890. Demolished,1931. The crucialstep in the creationof the skyscraper.The metal skeletonsupports all the weight of the "building except the exteriormasonry walls which are partially self supporting.Above the secondfloor in the masonry piers betweenthe windowsare iron columnswhich strengthenthe piers.This added strengthmakes it pos sible to diminishthe width of the piers and increasethe width of the windows. Part of the weight of the exterior masonry is carriedby the metal frame. In principlethe buildinghas ceasedto be a crustacean(chief support by masonry shell)and is alreadyimplicitly a vertebrate (chiefsupport by skeleton,including support of exterior walls). Jenneydid not yet realizethe revolutionary qualityof the device he had employedabove the second floor. For the first time in America,Bessemer steel is intro duced in place of wrought iron above the sixth floor. The importanceof the buildinglies entirelyin the construc tion, not in the design.

6. HOLABIRD& ROCHE TACOMA BUILDING,Chicago. 1887-88. Demolished 1929. Often consideredthe first true skyscraper. The outer walls,instead of supportingthe building,were designed YBvtmxmu€ 3J -.auiw . i l ty'l ' , = v.- . "?:" : .

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from the first to he supported"by the skeleton.But there are still importantmasonry hearing walls. The skeleton, thoughmore developedthan that of the Home Insurance Building,is calledupon to carry less than half the actualweight of the building.

The ornamentis reminiscentof Richardson,hut the gen eral design,unlike that of the Home InsuranceBuilding is light and does not give the impressionof masonry hearingwalls. Like the first LeiterBuilding this rep resentsa straight-forwardif undistinguishedexpression of a new type of construction.

7. H. H. RICHARDSON MARSHALLFIELD WHOLESALESTORE, Chicago. 1885-86. Demolished1930. The masterpieceof commercialarchitecture in masonry,and the strongestsingle influence on the design of Chicago commercialarchitecture of the next generation.Even when this influencewas no longerdirect, the aestheticdisci pline of regularand simpledesign continued.

8. H. H. RICHARDSON , . GLESSNERHOUSE, 1800 South FrairieAvenue, Chicago. 188b. Here,as in the MarshallField WholesaleStore,Richardson generalizedand recreatedthe traditionalelements of designwhich he had earlierborrowed directly from the Romanesque. The dispositionof the plan with the main rooms openingtoward the court rather than towardthe street is unusualin America. " . no U I . bii i id .be: n 3 3 1 1 ' .

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9. H. H. RICHARDSON McVEAGHHOUSE, Chicago.1885. Demolished. Less originalthan the GlessnerHouse, this house by Richardsonis neverthelesssuperior to most work of the Richardsonians of the eighties. CompareArt Institute (#10).

QQ_ 10. BURNHAM& ROOT _ ART INSTITUTE(Later THE CHICAGOCLUB), Chicago.1886-87. Root here attainedsome of the regularityand dignityof Richardson'swork. The dormers,banded archesand profu sion of ornamentderive from Richardson'smore archaeo logicalwork of the seventiesrather than from the MarshallField WholesaleStore (#7) and the Glessner House (#8). r 11. BURNHAM& ROOT _ FIRST INFANTRYARMORY (Now 131st INFANTRYARMORY), South MichiganAve. at SixteenthStreet,Chicago. 18^0. Rebuilt after fire, 1894. The contrastof tiny windowsand colossalportal, the avoidanceof fussy detail,and the fortress-likescale of the whole illustratethe possibilitiesof the free traditionaldesign which existedin Chicagobefore the World'sFair. The medievalismis hardly Richardsonian but rather that of the projectsof the early nineteenth centuryin France.

, 12. BURNHAM& ROOT _ Q MONADNOCKBLOCK, 53 West JacksonStreet, Chicago. 1891. This entirelyunornamented building is the last tall structurewith masonrybearing walls. In spite of its . mmnrmn .h .h

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great originality,this design could hardly have been evolvedwithout the precedentof the MarshallField WholesaleStore (#7).

13. BURLING& WHITEHOUSE 200 WEST ADAMS STREET,Chicago, c. 1892. Althoughthis buildingis Richardsonianin generalde sign, the absenceof arches,the unusual corniceand the curvedbrick cornersgive it originalcharacter.

QO-t- 14. WILLIAMLE BARON JENNEY ^ LEITERBUILDING IT (Nov/SEARS ROEBUCK& CO., southeast corner of State and Van Buren Streets,Chicago.188^-90. A direct developmentfrom Jenney'sfirst LeiterBuilding (#4) in its clear expressionof structure. The detail, however, and the generalproportioning show the influ ence of the MarshallField WholesaleStore (#7).

15. GEORGEB. POST PULITZERBUILDING, Park Row, New York. 1889-90. Althoughat its completionthe tallestbuilding in the world (349 feet), this New York tower is progressive neitherin structurenor design.It has masonrybearing walls on the exterior,12 feet thick at the base, and only the interioris supportedon wrought iron columns. Yet the Home Insuranceand TacomaBuildings had been completedseveral years earlier.

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this period,and is inappropriateand devoid of scale. Comparethe second LeiterBuilding (#14) built in the same year in Chicago.

16. ABLER & SULLIVAN AUDITORIUMBUILDING, Michigan Avenue at Van Buren Street, Chicago.1887-89. The treatmenthere of the masonrybearing walls shows stronglythe direct influenceof the MarshallField WholesaleStore (#7).The lower portionshave been in fluencedby the Marquisde Vogue's publicationson early Syrian architecture. Only in the tower appearsthe be ginningof Sullivan'smore personalstyle.

17. ADLER & SULLIVAN BALLROOM,AUDITORIUM BUILDING, Michigan Avenue at Van Buren Street,Chicago. 1889. A monumentalinterior which revealsSullivan's power of originaldesign in a field totallydifferent from the officebuildings which made his fame.

18. ADLER & SULLIVAN WALKER WAREHOUSE,Market Street betweenAdams and Quincy Streets,Chicago. 1888-89. Here the flatter surfacesand the more verticalgroup ing indicatethe directionSullivan's manner was to take as it freed itself from the influenceof Richardson. oisoirD m %&s%

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19. ADLER & SULLIVAN ANSHE MARIV SYNAGOGUE(Now PILGRIMBAPTIST CHURCH), southeastcorner of IndianaAvenue and 33rd Street, Chicago.1890-91. An interior,simple in generaldesign, but lavishlyorna mentedwith the delicategeometric and foliatepatterns so characteristicof Sullivan'slater v/ork. In this in teriorthe ornamentis a graciouselement in the design; on his officebuildings, on the otherhand, it is often incidentaland redundant.

20. ADLER & SULLIVAN SCHILLERBUILDING, (ftarrick Theatre) 64 Vest Randolph Street,Chicago. 1891-92. An exampleof Sullivan'svertical skyscraper design. The schemedeveloped in the WainwrightBuilding of the pre vious year in St. Louis is appliedto the shell of a metal skeletonbuilding. The prominentcornice is a feature which appearsin many of Sullivan's buildings.

Note: In the foregroundis the Borden Block, 1880, de signedby Sullivanwhen he was a juniorpartner in D. Adler & Company.

21. ADLER & SULLIVAN MEYER BUILDING,southwest corner of Van Buren and FranklinStreets, Chicago. 1893. Corniceremoved.

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LOUIS SULLIVAN ^ „ , SCHLESINGER-MEYER BUILDING(Now CARSON PIRIE SCOTT & CO.) State and MadisonStreets, Chicago. First section1899. Second section1903-04. A furtherdevelopment of the horizontalwindow treatment. The sense of an exteriorwall has disappeared.There re mains only a grille of verticalcolumns and horizontal beams, sheathedin terra cotta for fireproofing. The or namentalincrustation on the lower storiesis typicalof Sullivan.

LOUIS SULLIVAN _ .QOC GAGE BUILDING,18 South MichiganAvenue, Chicago. 189... Note: Only the facade on the right (GageBuilding) is by Sullivan. The two facadeson the left as well as the structureof all three buildingsare by HOLABIRD& ROCHE. The structureof all three buildingsis clearlyrevealed in the facades.The differencebetween Sullivan's facade and the other two is that betweenthe studiedproportions of fine architectureand ordinarystructural honesty.

HOLABIRD& ROCHE ^ , , ..., . CABLE BUILDING,southeast corner of Jacksonand waoasn Streets, Chicago. 1899. The Chicagoformula of skyscraperdesign used without great distinction.But even such ordinaryChicago work is more significantthan the architecturalrevivalism then currentin the easternUnited States. 1 : ' zzrv: ' . .

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25. FLANDERS& ZIMMERMAN MALLERSWAREHOUSE, 225 South MarketStreet, Chicago. 1893. Corniceremoved. A furtherdevelopment from the TacomaBuilding (# 6) to ward the clear expressionof new skeletonconstruction, "butwithout the influenceof Sullivan.All ornamentis eliminatedwith the exceptionof incongruousdetail on the doorway.

26. D. H. BURNHAM& CCMFANY RELIANCEBUILDING, southwest corner of State and Wash ington Streets,Chicago. 1894. The last buildingof the type of the TacomaBuilding (#6).The wide fenestrationprovides better lighting than the great majorityof presentday officebuildings.

_ 27. RICHARDE. SCHMIDT nr NEPEENAUKBUILDING, 63 East Adams Street,Chicago. 1J03. A fine exampleof the work done by the youngermen who, under Sullivan'sinfluence, constituted the Chicago School.

28. ADLER & SULLIVAN CHARNLEYHOUSE, 1365 Astor Street,Chicago. 1892. This is the finest of the few houses built by Sullivan. A large part of the design is due to the young Frank Lloyd Wright, then in charge of all the domesticwork done in Sullivan'soffice. Without the stimulusand disciplineof the new skeletonconstruction Sullivan s stylewas characterizedchiefly by simpledignity and a new grammarof ornament.His domesticbuilding was dis tinguished,but not as significantas his skyscrapers. . : -v 9" sol 1*1-3 .3G6X

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29 . GEORGEMAHER FATTENHOUSE, 1426 Ridge Avenue,Evanston, Illinois. 1902. A house by a member of the ChicagoSchool which followed Sullivan'sartistic leadership. The houses of this group, althoughthey introducedfew innovations, establisheda standardin non-traditionaldomestic architecture by their simplicityand dignityand by their carefuluse of materialsand detail.

30. RICHARDE. SCHMIDT,GARDEN & MARTIN SELZ, SCHWAB& CO., northwestcorner of Kingsbury SuperiorStreets, Chicago. 1S07. This factoryhas real architecturalquality based only on the characterof the ferro-concretestructure. At this early date a factoryat once so simpleand so well studiedin its proportionswas a rarity in America.

31. RICHARDE. SCHMIDT,GARDEN & MARTIN HUMBOLDTPARK PAVILION,Chicago. 1908. The use of the style of the ChicagoSchool in a decora tive publicbuilding indicates the extent of the ac ceptanceof non-traditionalarchitecture at the opening of the century.

^P DWTGHT H PERKINS CARL SCHURZHIGH SCHOOL,3601 MilwaukeeAvenue, Chicago.1910. This buildingowes little specificallyto oullivan.But it indicatesthe abilityof the membersof the Chicago School to find a new type of designfor new problems. : ' ' 1 . : '" . .... . .

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Especiallyin such a schoolis the superiorityof their inventionsover the archaeologyof the stylisticre vivalistsclear.

33. FRANK LLOYD WRIGHT WINSLOWHOUSE, Lake Street,River Forest,Illinois, 1892-93. This, Wright'searliest important independent building, showshim still a discipleof Sullivan. Early in the 1900's he set out on new paths independentof the gen eral ChicagoSchool. Leaving the field of commercial building,he createda new domesticstyle which was to affectthe course of modernarchitecture profoundly. i

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