Acknowledgments Fellows of the Program (h Architecture Society 1oiLl13l I /113'1 l~~g

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This exhibition of drawings by European and American archi­ Darcy Bonner Exhibition tects of the Modern Movement is the fifth in The Art Institute of Laurence Booth The Modern Movement: Selections from the Chicago's Architecture in Context series. The theme of Modern­ William Drake, Jr. Permanent Collection April 9 - November 20, 1988 ism became a viable exhibition topic as the Department of Archi­ Lonn Frye Galleries 9 and 10, The Art Institute of Chicago tecture steadily strengthened over the past five years its collection Michael Glass Lectures of drawings dating from the first four decades of this century. In Joseph Gonzales Dennis P. Doordan, Assistant Professor of Architec­ the case of some architects, such as Ludwig Mies van der Rohe, Bruce Gregga tural History, University of Illinois at Chicago, "The Ludwig Hilberseimer, Paul Schweikher, William Deknatel, and Marilyn and Modern Movement in Architectural Drawin gs," James Edwin Quinn, the drawings represented in this exhibition Wilbert Hasbrouck Wednesday, April 27, 1988,at 2:30 p.m. , at The Art are only a small selection culled from the large archives of their Scott Himmel Institute of Chicago. Admission by ticket only. For reservations, telephone 443-3915. drawings that have been donated to the Art Institute. In the case Helmut Jahn of European Modernists whose drawings rarely come on the mar­ James L. Nagle Steven Mansbach, Acting Associate Dean of the ket, such as Eric Mendelsohn, J. J. P. Oud, and Le Corbusier, the Gordon Lee Pollock Center for Advanced Study in the Visual Arts, Na­ Art Institute has acquired drawings on an individual basis as John Schlossman tional Gallery of Art, Washington, D.C., "Reflections works by these renowned architects have become available. The Kenneth Schroeder on a Lost Revolution: An Overview of the Hungarian Avant-Garde of the Early Twentieth Century ," Tues­ point that these varied drawings underscore is that even though Patrick Shaw day, July 19, 1988, at 6:00 p.m., in Price Auditorium Modernism as an international architectural movement was con­ Stanley Tigerman at The Art Institute of Chicago. This lecture is spon­ cerned with structure , function, and utility, the individual archi­ Robert Weinberg sored by the Architecture Society of the Art Institute tects nonetheless retained great latitude in their design choices. Martin Zimmerman and is open to the public. On behalf of the Department of Architecture , I would like to Related Exhibition thank the following people for their role in realizing the produc­ Drawings by Le Corbusier tion of this booklet: Dennis P. Doordan, Assistant Professor at the May 2 - August 21, 1988 University of Illinois at Chicago, for his insightful essay; Robert V. Gallery 108A Sharp, Associate Editor, and Peter Junker, Editorial Assistant, in the Art Institute's Publications Department for editing and over­ In addition to being one of the most influential archi­ tects of the twentieth century, Le Corbusier had an seeing production; and graphic designer Michael Glass , of Chi­ abiding interest in the fine arts and produced more cago, for his fine handling of this publication. I would also like to than 300 paintings and 7,000 drawings of still lifes, thank the following individuals who helped to prepare the exhibi ­ landscapes, and other subjects. "Drawings by Le tion: Robert Weinberg, of Graphic Conservation , for conserving Corbusier" will include approximately a dozen wa­ many of the works on exhibition; Luigi Mumford, for preparing tercolor, graphite, and silverpoint drawings, dating from Corbusier's early school years of1902-08 . All the works for exhibition; the Art Institute's Department of Graphic drawings in the exhibition are from the permanent Services, for designing the graphics and labels; and the Art collection of nearly three dozen Corbusier prints and Installation crew for the handsome installation. Finally, I express drawings held by the Art Institute's Department of my sincere appreciation to the Architecture Society Fellows who Prints and Drawings. provided funding for the Modern Movement exhibition and for this publication . Front cover: Henry Harringer , Perspective rendering Pauline Saliga of the proposed Ziegfield Fashion Theatre for the Assistant Curator of Architecture Century of Progress Exposition, Chicago , 1930 The Art Institute of Chicago (cat. no. 10). Back cover: ).J.P.Oud , Perspective drawing of the Ryerson Library Stock Exchange, Rotterdam, The Netherlands , 1925/26 [cat. no. 5).

THE ART INST ITUTE OF CH ICAGO ©1988 The Art Institute of Chicago. All rights reserved.

Designed by Michael Glass Design , Chicago. Printed by Rohner Printing, Chicago. Dennis P. Doordan

Aspects of Architectural Drawings in the Modern Era

The histor y of the twentieth century is filled with examples of cover) and Ludwig Karl Hilberseimer to the romanticism of Elie! fundamental changes in every field of endeavor, and architecture Saarinen. Also included are examp les of the Art Deco work of is no exception. Despite dramatic changes in archi tectural styles Paul Cret, Ralph Walker, and Henry Harringer (see front cover), and building technologies, it is possible to identify at least one the unique personal visions of Le Corbusier and Ludwig Mies van constan t in the history of mod ern architecture, namely , the impor­ der Rohe, and the competent professionalism of renderers like tan ce of architectural drawings as a fundamental form of dis­ John Wenrich and George Hossack . course. The exhibition "The Modern Movement: Selections from Rather than attempt to recount the varied history of modern the Permanent Collection" spans the decades of the 1920s, 1930s , architecture, this essay will address three aspects of architectural and 1940s , and it presents a broad spectrum of responses to the drawings as illustrated in this exhi bition . Architectural drawings cha llenge of articulating an architectural expression of modern­ offer the thoughtful observer aes thetic enjoyment; they serve ity. The work on display ranges from the refined Secessionist architec ts as basic design tools; and they provide critics and sensibility of Josef Hoffmann to the expressionist verve of Eric historians with important insights into the development of archi­ Mendelsohn, and from the cool rationalism of ].J.P.Oud (see back tectural theory and practice.

Fig. 1 Elie! Saarinen , Perspec tive rendering, night view, of a proposed Alexander Hamilton Memor ial, Chicago, 1932 (cat. no. 23). Architectural Drawings as Objects of Aesthetic Contemplation

Architectural drawings possess the same potential to appeal to our visual imagination as other types of drawings. They may illuminate moments in the creative process or engage us in dif­ ferent aspects of the experience of architecture. Eliel Saarinen's 1932 renderings for the Alexander Hamilton Memorial in Chicago , for examp le, clearly present the major elements of his proposed design . Yet these pencil and watercolor studies are more than simple statements of the objective facts of the design. They evoke the sensory experience of encountering the memorial in its park setting. In one sketch (fig. 1), a touch of light low on the horizon suggests a twilight time, when the fading sunlight lingers on the upper portions of the memorial and the cool dampness of early evening begins to settle. Saarinen succeeds in engaging the viewer in a sensual experience of form and light and color. The two renderings are the products of the deliberate and painstaking process of creation, and Saarinen's patient skill as an artist is as evident as his talent as an architect. We are privy to a very different kind of creative exper ience when we focus on a sheet of small sketches by Eric Mendelsohn (fig. 2). The spontaneity of thes e sketches captures for us the genesis of form , that intuitive moment when ideas first assume shape. Early in his career , Mendelsohn began to produce draw­ ings that had no direct connection with specific commissions or building programs. He wrote to a friend: "My sketches are data, the contour lines of an instantaneous vision," and he apparently continued thi s habit of recording such "data" for the rest of his life .1 Some idea of the intensity with which he drew can be gleaned from a series of letters written to his wife in 1917 . I live among incessant visions. Their transcendence is such that it often carries me away. [June 17, 1917] .. .. After an hour of sleep I suddenly got a bout of drawing fever with a whole mass of sketches , which will perhaps remain spon­ taneously as they are, or perhaps I will go over them again . [June 24 , 1917] . ... I cannot confine myself to ink . Some­ times even fluid is too unyielding , The pencil line appeals more to the imagination because it leaves gaps and room for Fig. 2 Eric Mende lsohn, Four sketches, c. 1914-34(?) variation. [June 26, 1917] . ... Early this morning already (cat. no. 1). at my papers . The visions are once more behind every ring of light and every corpuscle in my closed eye ... I lament the fact that the hand and vision are not linked together mechanically. z The sheet of sketches in the collection of the Art Institute is a typical example of Mendelsohn's drawing style, both in the ener­ getic character of the line and in the absence of any indication of function or building type . Architects develop their own distinctive styles of drawing just as they develop their own architectural styles. In preliminary sketches , Mies van der Rohe, for example, used a rapid back and forth stroke that he manipulated in a variety of ways. Often he Dennis P. Doordan

Aspects of Architectural Drawings in the Modern Era

The hi story of the twenti eth century is filled with examples of cover) and Ludwig Karl Hilberseimer to the romanticism of Elie! fundamental changes in every field of endeavor, and architecture Saarinen. Also included are examp les of the Art Deco work of is no exception. Despite dramatic changes in architectural styles Paul Cret, Ralph Walker, and Henry Barringer (see front cover), and building technologies, it is possib le to identify at least one the unique personal visions of Le Corbusier and Ludwig Mies van cons tant in the history of mod ern architecture, namely , the impor­ der Rohe, and the competent professionalism of renderers like tance of architec tural drawin gs as a fundamen tal form of dis­ John Wenrich and George Hossack. course. The exhibition "The Modern Movement: Selections from Rather than attempt to recount the varied history of modern the Permanent Collection" spa ns the decades of the 1920s, 1930s, architecture, this essay will address three aspects of archite ctural and 1940s, and it presents a broad spectrum of responses to the drawings as illustrated in this exhi bition. Architectural drawings cha llenge of articulatin g an architectura l express ion of modern­ offer the thou ghtful observer aes th etic enjoyment; they serve ity. The work on displa y ranges from the refined Secessionist architects as basic design tools; and the y provide critics and sensibility of Josef Hoffmann to the expressionist verve of Eric histor ians with important insights into the development of archi­ Mendelsohn , and from the cool rationalism of ].J.P. Oud (see back tect ural theory and practice.

Fig. 1 Elie! Saar inen , Perspective rendering, night view, of a proposed Alexander Hamilton Memorial, Chicago, 1932 [cat. no. 23). Architectural Drawings as Objects of Aesthetic Contemplation

Architectural drawings possess the same potential to appeal to our visual imagination as other types of drawings. They may illuminate moments in the creative process or engag e us in dif­ ferent aspects of the experience of architecture . Elie! Saarinen's 1932 renderings for the Alexander Hamilton Memorial in Chicago , for example, clearly present the major elements of his proposed design . Yet these pencil and watercolor studies are more than simple statements of the objective facts of the design . They evoke the sensory experience of encountering the memorial in its park setting. In one sketch (fig. 1), a touch of light low on the horizon suggests a twilight time, when the fading sunlight lingers on the upper portions of the memorial and the cool dampness of early evening begins to sett le. Saarinen succeeds in engaging the viewer in a sensual experience of form and light and color. The two renderings are the products of the deliberate and painstaking process of creation, and Saarinen's patient skill as an artist is as evident as his talent as an architect. We are privy to a very different kind of creative experience when we focus on a sheet of small sketches by Eric Mendelsohn (fig. 2). The spontaneity of these sketches captures for us the genesis of form, that intuitive moment when ideas first assume shape . Early in his career , Mendelsohn began to produce draw­ ings that had no direct connection with specific commissions or building programs . He wrote to a friend: "My sketches are data, the contour lines of an instantaneous vision," and he apparently continued this hab it of recording such "data" for the rest of his life .1 Some idea of the intensity with which he drew can be gleaned from a series of letters written to his wife in 1917. I live among incessant visions. Their transcendence is such that it often carries me away. [June 17, 1917] .... After an hour of sleep I suddenly got a bout of drawing fever with a whole mass of sketches, which will perhaps remain spon ­ taneously as they are, or perhaps I will go over them again. [June 24, 1917] . . .. I cannot confine myself to ink. Some­ times even fluid is too unyielding, The pencil line appeals more to the imagination because it leaves gaps and room for Fig. 2 Eric Mend elsohn, Four sketches, c. 1914-34(?) variation . [June 26, 1917] . ... Early this morning already (cat. no. 1). at my papers. The visions are once more behind every ring of light and every corpuscle in my closed eye . .. I lament the fact that the hand and vision are not linked together mechanically.z The sheet of sketches in the collection of the Art Institute is a typical example of Mendelsohn's drawing style, both in the ener­ getic character of the line and in the absence of any indication of function or building type. Architects develop their own distinctive styles of drawing just as they develop their own architectural styles. In preliminary sketches, Mies van der Rohe, for example, used a rapid back and forth stroke that he manipulated in a variety of ways . Often he Fig. 3 Ludwig Mies van der Rohe, Preliminary study of a proposed library or administration building, Illinois Institute of Technology, Chicago, c. 1944 (cat. no. 53).

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O IIOGO WORID5 f,l,litt PIAN SCHifME'C .

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Fig. 4 Voorhees, Gmelin & Walker, Architects, Plan scheme "C" for the Century of Progress Exposition, Chicago, c. 1933 (cat. no. 28). Fig. 5 Ab e 1 Fa,dy. s·d chair, 1934 ( cal · no.' I 34e ).e levation of a tub u 1a r steel

Fi g. 6 Ludwig Mies v conc hoida l ch a1rs,. c. 19 an 37der ( Rohe,. Stud· ,es f or cat. no. 44). would vary the direction of his strokes in order to identify dif­ emphasize the sculpturesque quality of the designs . Over and ferent planes within the composition. In a preliminary study for a over again , he sketched different profiles for the structural frame proposed library at IIT (fig. 3). subtle gradations in shading indi­ of chairs and studied various configurations for resolving the dif­ cate the different degrees of materiality ranging from the dense ficult juncture of chair backs and sides. Designers like Schweik­ solidity of mural surfaces, through the finer, almost diaphanous her, Faidy, and Mies van der Rohe explored, with pencil in hand, rendering of natural forms of trees and lawns, to the single flow­ the aesthetic and mechanical possibilities of furniture design , ing line that renders the internal volume. refining their solutions, step by step, drawing by drawing. Architectural drawings can also serve as tools of persuasion . Handsome perspectives, prepared by professional renderers , assist patrons, investors, or potential tenants in visualizing the designer 's intentions. The American renderer Hugh Ferriss once defined architectural rendering as "an attempt to state the Truth Architectural Drawings as Design Tools about a Building. " The truth, according to Ferriss, was not limited to the literal physical facts about a building but included "the nature of the architectural idea ... the trend of thought that the architect has expressed ."3 Professional renderers , like Ferriss, Architects use drawings as tools to define a problem, develop a John Wenrich, and George Hossack (fig. 7), played a creative role solution, and then persuasively present the results. The particular in the refinement and elaboration of the preliminary sketches sup­ character of this type of drawing varies with the intended plied by their architect-clients. audience. Included in this exhibition is a set of studies for the A comparison of John Wenrich 's perspective rendering of the general site plan of the 1933 Chicago Century of Progress Exposi­ proposed Tower of Water and Light for the Century of Progress tion (fig. 4; cat. nos. 15, 26-28). The architects responsible for Exposition with Ralph Walker's preliminary study of the same planning the fairgrounds used these drawings to develop their monument illustrates the contribution a talented renderer could ideas and explore various options; considered together, rather make. The complex faceting of the tower's form, notable in than as isolated artifacts, these drawings constitute a veritable Walker's preliminary study (fig. 8), is simplified in Wenrich's ren­ catalogue of the issues related to the exposition's site plan: access dering (fig. 9). But Wenrich does more than depict the shape of routes, centralized versus linear layouts, the number and configu­ Walker's Tower: he evokes the sense of excitement surrounding ration of lagoons on the fairgrounds, and the articulation of the the exposition through the addition of color and anecdotal details. fairgrounds' edges parallel to the city and the lake. Strokes of color capture the scintillating quality of the sky and the A large site plan produced by the office of Paul Cret (cat. no . shimmery reflections of the tower in the lagoon. The fairgrounds 15) shows a plan with entrances on 16th, 23rd , and 31st streets; bustle with activity, while overhead a flight of aircraft and a the fairgrounds are raised over a huge parking area along the city dirigible - popular icons of modernity - complete the image of the edge , while a "softer," landscaped edge appears along the tower as the centerpiece of a dynamic celebration of a century of lakefront. Another site plan (cat. no. 27), one of a series produced progress. by the office of Voorhees, Gmelin & Walker, describes a scheme Once a project moves beyond the initial stage of design and is with bold diagonal avenues that culminate in an enormous cen­ accepted by the client or patron, architectural drawings become tral plaza . Notations describing separate access routes for street­ important tools for communicating information to everyone in­ cars and buses and the soft-pencil scribblings visible on this volved in realizing the scheme . Working drawings, such as the sheet are the graphic evidence of the planners ' deliberations. Each sheet of elevations by Ernest Grunsfeld, Jr., for the Lumber Indus­ separate drawing reveals a slightly different statement of the tries House at the 1933 Century of Progress Exposition (cat. no . design problem and offers its own solution. 31), are developed according to graphic conventions that stress A similar process of visual exploration and definition is evi­ clarity and conciseness . The title block, which appears in the dent in a series of drawings for chairs included in this exhibition. lower corner of the sheet, is one such convention. The block rec­ Paul Schweikher's furniture studies (cat. nos. 8, 9) articulate ords the scale used for the drawing, includes a record of revisions, clearly the distinction between supporting and supported ele­ and warns the contractor that he must verify all actual dimen­ ments of the frame and seat, as do several of Abel Faidy's furniture sions on the building site. The note to the contractor is such a studies from the mid-1930s (fig. 5; cat. nos. 34, 37). Faidy's presen­ standard feature of this type of drawing that a rubber stamp is tation of his designs in side elevations conveys the linear quality used to record it. Working drawings often lack the visual appeal and the tensile strength of the tubular steel frames. For the most of other types of drawings; they deal not with the art of design, part, the distinctive curved and pleated forms of Ludwig Mies van but the business of building. With their wealth of detailed infor­ der Ro he's conchoidal chair designs (fig. 6; cat. nos. 17, 41, 44) do mation concerning materials, dimensions, and structural and not lend themselves to two-dimensional representation in eleva­ mechanical systems , working drawings are invaluable records of tion. Mies , no doubt recognizing this, favored presentations that an architect's design . Fig. 7 McNally and Quinn, Architects and Engineers, Perspe ctive rendering , night view, of an apartment building project, 1930 ; drawn by George A. Hossack [cat. no. 12). Fig. 8 Ralph Walkerof Voorhees, Gmelin & Walker, Fig. 9 Ralph Walker of Voorhees, Gmelin & Walker, Architect s, Preliminar y study for a proposed Tower of Architects, Perspectiv e rendering of the final design Water and Light for the Centur y of Progress Exposi­ for a proposed Tower of Water and Light, 1930; drawn tion , Chicago, c. 1929 (cat. no . 6). by John Wenr ich [cat. no. 7) Architectural Drawings as Statements of Design Principles

Architectural drawings often serve as concise declarations of Drawings, therefore, provide a continuous record of the twentieth­ complex design philosophies and are created to communicate century debate regarding the appropriate architectural expression with an audience that extends far beyond the circle of those of modernity in a way that buildings themselves sometimes do involved in the actual construction of a building. This exhibition not. Henry Harringer 's charcoal and pencil rendering of Graham, includes drawings by Robert Mallet-Stevens (fig. 10), Ludwig Anderson, Probst and White's Field Building (135 South LaSalle Hilberseimer, and Le Corbusier that reached large and diverse Street; cat. no. 16) conveys the essential elements of the Art Deco audiences thanks to their publication in books by these architects. style: emphatic verticality, dramatic lighting, distinctive deco­ Two drawings by Le Corbusier, for example, "The module of the rative patterns (such as fluted piers and zig-zag moldings) , grand city determines the built volumes" (cat. no. 50) and "An apart­ portals, and a theatrical presence at street level. ment of forty square meters for a family of eight" (fig. 11), Drawings can also document the evolution and refinement of appeared originally as illustrations in his 1946 book La Maison architectural ideas as well as building forms. In a 1944 publica­ des Hommes. 4 When giving a lecture, Le Corbusier often illus­ tion entitled The New City, Ludwig Hilberseimer wrote: trated his discussion with freehand sketches that he drew on long It has taken time to arrive at the basic principles of City Plan­ rolls of paper pinned to the wall. 5 Like these illustrated lecture ning, and many years of thought and work to evolve a solu­ notes, the drawings for La Maison des Hammes illuminate ideas tion in accordance with them. The first diagrams I made , described in the text; they depict general principles of modern some 20 years ago, dealt overmuch with the metropolis and planning rather than particular details of architectural form. its traffic problems. In those days I made plans for skyscraper This exhibition includes a number of drawings that explore cities . Later I became interested in the considerably more various aspects of progressive design in the field of domestic ar­ important problems of sunlight, prevailing winds, small chitecture. Drawings by Henry Dubin, George Fred Keck , Richard houses and gardens, and the human aspects of planning. I Neutra (fig. 12), Ludwig Mies van der Rohe, and Paul Schweikher studied all the different problems involved ... and arrived at represent attempts to develop a modern version of the deta ched, the solution presented in this book.6 single-family house. The absence of period revival motifs , a glazed corner, and a flat roof establish the modernity of Keck 's In the sequence of drawings by Hilberseimer included m this 1933 project (cat. no. 29). In Keck's watercolor rendering , the exhibition we can follow his steps from the chilling anonymity of house nestles into its landscape setting; there is a harmony estab­ his metropolitan scheme of the early 1920s (fig. 14) to the subur­ lished between the building and the landscape suggesting that ban vision of The New City (cat. no. 55). Without abandoning his the advent of modernism need not disrupt cherished American commitment to standardized typologies as the basis of architec­ ideals regarding domestic design. tural design, Hilberseimer attempted to alleviate the monotonous In contrast to the reassuring image Keck offers, the exposed regularity of his early rational designs through the introduction of roof trusses, I-beam columns, and tubular metal chairs of Paul lush plantings, varied textures, and - by implication in this draw­ Schweikher's 1932 design for the Eliason House (fig. 13) are ing - the colors of the natural world. indicative of his uncompromising modernity. The wall units, visi­ The diversity of the material in this exhibition serves as a ble on the left in Schweikher and Gerhardt Kaufmann's rendering warning against facile generalizations concerning Modernism of the interior, are mounted on casters, as is the coffee table. A and architecture, and it challenges the observer to explore the reading lamp is attached to the wall with an accordion mount, complex and multifaceted nature of modern architecture. and a hinged room divider can be extended to subdivide the interior space. An armillary sphere serves as a celestial model for Notes this new domestic universe of infinite flexibility. Like planets circling the sun, their positions constantly shifting yet governed 1. Mendelsohn's wife discussed his passion for drawing in an int erview published by the force of gravity, the elements of the Eliason House can be in Susan King, The Drawings of Eric Mendelsohn (Berkeley, 1969). rearranged and new relationships can be created within the con­ 2. Oskar Beyer, ed., Eric Mendelsohn: Letters of an Architect (London , 1967), trolling order established by the structural frame. pp. 40-43. Architecture begins as a process of design, involving a wide 3. Quoted by Carol Willis in her essay "Drawing Towards Metropoli s," in Hugh range of aesthetic and cultural issues, and concludes as a process Ferriss, The Metropolis of Tomorrow (New York, 1929; rpt. Prin ceton , 1986), p. 150. of construction, intimately connected with economic and material 4. Le Corbusier and Fran~ois de Pierrefeu, La Maison des Hamm es (Paris, 1946). considerations. The Great Depression and the outbreak of the Sec­ 5. Examples drawn from lectures delivered at Columbia University are illustrat ed in ond World War disrupted normal building activity during the George R. Collins, Visionary Drawings of Architecture and Planning 20th Century 1930s and 1940s. Even when they could not build, however, archi­ through the 1960s (Cambridge, Mass. , 1979). tects continued to learn, to experiment , to debate, and to draw. 6. Ludwig Hilberseimer, The New City: Principles of Planning (Chicago, 1944), p. 192. ~------~

Fig. 10 Robert Mallet-Stevens , Perspective drawing of the Ecole Primaire , 1921 (cat. no . 2).

Fig. 11 Le Corbusier, ''An apartm ent of forty sq uar e meters for a famil y of eight ," c. 1938 (cat. no. 45). . eutra, Perspective study of the Fig. 12 Richard N A les 1933 (cat. no. 32). Galka Scheyer House, Los nge ,

. ers ective drawing of the Fig. 13 Paul Schw~i~h;~a:les :. Eliason, Jr.,1932 interior of a house o [cat. no. 25). • • • Ill Ill • Ill Ill • • 1111 Iii Ill -l llil • II Ill II II II .... Ii ..Bl • • II II • • • • • II II II II Ill ..•'" .. • .." • • a • • • • • • • • • II • • • • • • • • • • • • • • • • 11!1• Ill• • • • • • • • • • • • • • • • II • • • • • ... .. • • • • • • • • • • • B • II ..• •• • • •Ill .. • ... . . • • • • Ill '"II • ..• ..• •••• • • ...... • II • Ill • • • •••• • II • • ••••,. • II •••••...... • • • •• •••

Fig. 14 Ludwi g Karl Hilb erseimer, Per spe ctive rend er­ ing of the "Hochh auss tadt " (Highri se City], east-wes t street, 1924 (cat. no. 4). Catalogue

All dimensions are incentimeters,h eight preced ing 10. Henr y Harrin ger (American, born in German y, 20. Ralph Walker of Voorhees, Gmelin & Walker width. All drawing s are in the collection ofThe Art 1892-1980) Perspective rendering of a proposed Chicago War Institut e of Chicago. Perspectiv e rend erin g of the proposed Ziegfie ld Fash­ Memorial, 1931. Drawn by John Wenrich. Pencil and ion Theat re for the Century of Progress Exposition, watercolor on paper laid down on illu stration board , Chicago, 1930. Charcoal and pencil on tracing paper, 68.5 x 47 cm. Gift of Haines, Lundb erg, Waehler in 1. Eric Mendelsohn [German, 1887-1953) 37.5 x 51.9 cm. Gift of Olaf Harringer , 1982.1280. honor of their centennial, 1983.223. Four sketches: top , Fantasy project - Architecture of 11. McNally and Quinn, Arch itects and Engineers 21. Ralph Walker of Voorhees, Gmelin & Walker the Dunes, 1920; middle , Two unidentifi ed projects, Perspectiv e rendering of a building with a 44-stor y Perspective rendering of a proposed Rhode Island c. 1934[?); bottom , Fantasy proje ct - Foundr y, 1914. tower flanked by two 26-story towers , possibl y 1350 War Memorial , 1931. Drawn by John Wenrich. Ink and Pencil and crayon on paper , 27.7 x 21.5 cm. By Lake Shore Driv e, 1930 . Draw n by George A. Hossack. watercolor on illustration board , 73 x 47.8 cm. De­ exc hange from Three Oaks Wrecking , 1987.344. Pencil and pastel on pape r, 41.5 x 23.3 cm. Gift of partm ent of Architecture Benefit Fund, 1982.1290. 2. Robert Mallet-Stevens [Frenc h , 1886-1945) James Edwin Quinn , 1979. 22. Elie! Saarinen (Finnish, 1873-1940) Perspective draw ing of the Ecole Primaire , 1921. 12. McNall y and Quinn, Architects and Engin eers Perspective rendering of a proposed Alexander Drawn for Une Cite Moderne. Ink and pencil on Perspective rend ering , night v iew , of an apartment Hamilton Memorial , Chicago, 1931. Pencil and water­ paper, approx. 28 x 41 cm. Restricted gift of Harold building project, pos sibly 1350 Lake Shore Drive, color on beige paper, 27.5 x 39 cm. Gift of the Kate S. Schiff, Benefacto r of Architectur e, 1987.238. 1930. Drawn by George A. Hossack. Pencil and pastel Buckingham Fund , 1988 .013.5. 3. Alfonso Iannelli [American, born in Italy, on paper, 61.2 x 37 cm. Gift of James Edwin Quinn, 23. Elie! Saarinen 1888-1965) 1979. Perspective rendering , night view, of a proposed Perspective rendering of the interior of a theater, 13. The Office of Paul Cret (American, born in France, Alexander Hamilton Memorial , Chicago , 1932. Pencil 1920/30. Gouac he and metallic gold paint on illu stra­ 1876-1945) and waterco lor on paper, 45.7 x 55.8 cm. Gift of the tion board , 51.2 x 46 cm. Restricted gift of the Thomas Plan for the Century of Progress Exposition showing Kate S. Buckingham Fund , 1988.01 3.6. J.an d Mary E. Eyerman Foundation , 1984.1296 . 16th Stree t and Lief Ericson Drive, Chicago , c. 1930. 24. Henry Harringer of Harringer , Jacobson, Colvin 4. Ludwi g Karl Hilberseimer (German , 1885-1967) Pencil and colored pencil on tracing paper , 57 x 61 Perspective stud y of the "Store of Tomorrow," c. 1932. Perspec tive rendering of th e "Hochh auss tadt" (High­ cm. Restri cted gift of Charles R. Gardne r and Sandra Publish ed in Apparel Arts I, no. 2 (1932), p. 44. Pencil rise City), eas t-west street , 1924. Published in L. Miller, Benefactors of Arc hitecture , 1987.237.1. and gouache on illustration board, 19.8 x 31.9 cm. Gift Groszs tadtarchitek tur, p. 19, ill. 24. Ink and water ­ 14. The Office of Paul Cret of Olaf Harringer , 1982.1282. color on pap er, 96.5 x 148. The Hilb erseimer Collec­ East and west elevat ions for the Hall of Science, tion, Gift of George Danforth, 1983.991. 25. Paul Schweikher Century of Progress Expos ition, Chicago, 1930. Pencil Perspective drawing of the inter ior of a hou se for 5. J. J.P. Oud (Dutch , 1890-1963) and colored pencil on tracing paper, 50 x 98.3 cm. Charles W. Eliason, Jr., 1932 (unexecu ted). Drawn by Perspect ive draw ing of the Stock Exchan ge, Rotter­ Restrict ed gift of Mr. and Mrs. David C. Hilliard, Gerhardt Kaufman. Ink and pen cil on buff illustration dam , The Netherlands, 1925/26. Ink and pencil on BalcorCompan y,a nd Mr. William B. Alter, 1987.237.3. board , 39.5 x 47.4 cm. Gift of Doroth y and Paul tracing paper , 33 x 75.5 cm. Restricted gift of J. Paul 15. The Office of Paul Cret Schweikher, 1984.794. Beitler, and the Benefactors of Architectur e, 1986.99. Site plan for the Cent ur y of Progress Exposition show­ 26. Voorhees, Gmelin & Walker, Architects 6. Ralph Walker [American, 1889-19 73) of Voorhees, ing entran ces on 16th , 23rd, and 31st stree ts, Chicago , Plan for the Centur y of Progres s Exposition, Chicago , Gmelin & Walker, Arch itects c. 1930. Penc il and colored pencil on tracing paper , c. 1933. Pencil on tracin g paper , 47.7 x 93 .4 cm. Gift Prelimin ary study for a proposed Tower of Water and 68 x 127 cm. Restrict ed gift of Richard Stein, Benefac­ of the Aux iliar y Board of The Art Institute of Chicago, Light for the Centu ry of Progress Expos ition. Chicago, tor of Architectur e, 1987.237.2. 1980. c. 1929. Pencil on paper , 73.7 x 71 cm. Res tricted gift 16. Graham , Anderson, Probst and White of Edward H. Benne tt , Jr., Mrs. Michael Goodkin, 2 7. Voorhees, Gmelin & Walker, Architects Perspective rendering of the entrance to the Field Andrew McNa lly III, Mrs. C. Phillip Mill er, Mrs. Plan scheme "B" for the Century of Progress Exposi­ Bui ldin g, 135 Sout h LaSall e Street, Ch icago, Roderick Webster , James M. Wells, and the Aux iliary tion , Chicago, c. 1933. Pencil on tracing paper, c. 1930-31. Drawn by Henry Harringer for a publicit y Board of The Art Institute of Chicago , 1988. 32. 44.9 x 77.8 cm. Gift of the Auxiliar y Board of The book on the buildin g. Charcoa l and pencil on tracing Art Institut e of Chicago , 1980 . 7. Ralph Walker of Voorhees, Gmelin & Walker, paper , 40.6 x 31.9 cm. Gift of Olaf Harringer, Architects 1982.1281. 28. Voorhees, Gmelin & Walker, Architec ts Perspective rendering of the final design for a pro­ Plan scheme "C" for the Century of Progress Expos i­ 17. Lud wig Mies van der Rohe (German , 1886-1969) posed Tower of Water and Light for the Centur y of tion , Chicago, c. 1933. Pencil on tracing paper, Study of a chair and tractor stool, c. 1930-35. Ink on Progress Expos ition , Chicago, 1930. Drawn by John 44.9 x 78 cm. Gift of the Auxiliary Board of The paper , 19 x 28.6 cm. Gift of A. James Speye r, 1985.832. Wenrich. Penci l and watercolor on illu stration boar d , Art Institute of Chicago, 1980. 66.5 x 44.6 cm. Gift of Haines , Lundb erg, Waehler in 18. Henry Dubin (American , 1892-1963) 29. George Fred Keck [American, 1895-1980) honor of their centennial, 1983.222. Perspectiv e drawin g of the "Batt ledec k House" for Perspec tive study of a small house, exhibit ed in the Henr y Dubin , Highland Park , lllinois , c. 1931. Ink and 8. Pau l Schweikhe r [American, born 1903) Chicago Architectural Exhibition League in the pencil on tracin g pap er, 25 x 37 cm. Gift of Arthur Furniture studie s for Chicago Workshops. 1930. Penci l Genera l Exhibits Building at the Cen tur y of Progress Dubin of Dubin , Dubin and Moutous samy, 1980. an d colored penci l on buff paper , 27.8 x 21.8 cm. Gift Exposition, Chicago, 1933. Watercolor on paper, of Dorothy and Paul Schweikher , 1984.800a. 19. Henr y Dubin 33 x 39.5 cm. Gift of William Keck, 1983.915. Firs t- and seco nd-flo or plan s of the "Battledeck 9. Pau l Schweikher 30. Ludwig Karl Hilbers eimer House" for Henr y Dubin , Highland Park , Illinois , Furni tur e studies for Chicago Workshop s, 1930. Pencil Perspective drawing of the Busine ss Adm ini stration c. 1931. Ink on tracing paper, 30.7 x 46.9 cm. Gift of and colored pencil on buff pap er, 27.8 x 21.7 cm. Gift Zone of the Decentralized City, c. 1933- 35. Publi shed Arthur Dubin of Dubin , Dubin and Moutou ssamy , of Dorothy and Paul Schweikher, 1984.800b. in Entfaltung einer Planungsid ee, p. 552, ill. 41. Ink 1980. on heavy paper with pencil notes , 36.2 x 50.8 cm. The Hilb erseimer Collection, Gift of George Danforth. 31. Ernest A. Grunsfeld, Jr. (American, 1897-1970) 41. Ludwig Mies van der Rohe 51. Le Corbusier Four elevations of the Lumber Industries Hous e for the Two sheets: both with studies for conc hoidal chairs, Perspective drawing of Club de centre rural, 1943. Century of Progress Exposition, Chicago, 1933. Pencil one with German annotation "Doppelfahne" (double­ Pencil on paper, 26.9 x 21 cm. Restricted gift of the on tracing paper, 60 x 94 cm . Gift of Mr. and Mrs. curved slat], c. 1935-37. Pencil on cream paper, Architecture Society Fellows , 1985.218. Ernest Grunsfeld III, 1981. 21 x 29.6 and 21.2 x 30 cm. Gift of A. James Speyer, 52. Abel Faidy 1985.828-29. 32. Richard Neutra (American, 1892-1970) Perspective drawing of a leather-covered, wood-frame Perspective study of the Galka Scheyer Hous e, 1880 42. Childs and Smith and Frank D. Chase, Associated armchair, 1943. Pencil on tracing paper, 25 x 23.2 cm. Blue Heights Road, Los Angeles, California, 1933. Architects Gift of Diana Faidy, 1981. Pencil on tracing paper , 25.4 x 40.6 cm. Restricted gift Preliminary rendering of the east facade of the Cam­ 53. Ludwig Mies van der Rohe of the Auxiliary Board of The Art Institut e of Chicago, pana Sales Company Factory, Batavia, Illinois , 1937. Preliminary study of a proposed library or admin­ 1987.45. Pencil and colored pencil on tracing paper, 30 x 79 cm. istration building, Illinois Institute of Technology , Architecture Purchase Account, 1984.41. 33. Ludwig Mies van der Rohe Chicago, c. 1944. Pencil, colored pencil, and charcoal Two sheets: a) plan and elevation, and b] two plans of 43. Childs and Smith and Frank D. Chase, Associated on tracing paper, 72 x 106.7 cm. Restricted gift of the the proposed Hubbe House, Magdeburg, Germany , Architects Auxiliary Board of The Art Institute of Chicago, 1933. Pencil on paper, 21.4 x 29.9 cm. Gift of A. James Bird's-eye view rendering showing the landscape de­ 1987.46. Speyer, 1985.1016a-b. velopment around the Campana Sales Company Fac­ 54. Ludwig Mies van der Rohe tory, Batavia, Illinois, 1937. Drawn by Swain Nelson 34. Abel Faidy (American, born in Switzerland, Rendered stud y of a proposed administration build­ and Sons Co. Pencil and colored pencil on tracing 1894-1965) ing, Illinoi s Institute of Technolog y, Chicago , paper, 32.5 x 50.5 cm. Architecture Purchase Side elevation of a tubular stee l chair, 1934. Pencil c. 1941-44. Partially delineated by George Danforth. Account, 1984.42. and colored pencil on note paper , 26.5 x 20.4 cm. Pencil and charcoa l on illustration board , 76.4 x 101.8 Gift of Diana Faidy, 1981. 44. Ludwig Mies van der Rohe cm. Gift of A. James Speyer, 1988.31.2. Two sheets: both with studi es for concho idal chairs , 35. Ludwig Mies van der Rohe 55. Ludwig Karl Hilberseimer c. 1937. Pencil on paper, eac h 21.5 x 32 cm. Gift of Two sheets: a] perspective and b] plan and per­ Bird's-eye view of L-shaped houses for 80 peopl e per A. James Speyer, 1984.1406-07. spec tive studie s for a court house or, possib ly, the acre , c. 1943. Published in The New City, p. 95, ill. 69, proposed Hubb e House, Magdeburg, Germany, 45. Le Corbusier (Swiss , 1887-1965) and Ent/a/tung einer Planungsid ee, p. 36, ill. 22. Ink c. 1934-35. Ink on paper, each 21.6 x 30 cm. Gift of Sketch plan of "An apartment of forty square meters on buff paper, 39.5 x 50 cm. The Hilberseimer Collec­ A. James Speyer, 1982.1638-.1639 . for a family of eight" (Appartement de 40m 2 pour tion, Gift of George Danforth, 1983. une famile de huit personn es), c. 1938. Published in 36. Ernest A. Grunsfeld, Jr. 56. Keck and Keck The Home of Man (La Maison des hommes ), p. 81. Four elevations of the Karl Link House , Madison, Perspective rendering of the front elevation of a house Ink and crayon on paper, 15 x 18.2 cm. Restricted gift Wisconsin, 1934. Pencil and colored pencil on tracin g for Mr. and Mrs. Mayer Stern, Flossmoor , Illinois (un­ of the Architecture Society Fellows, 1985.217. paper, 60.5 x 72 cm. Gift of Mr. and Mrs. Ernest executed], c. 1947. Pencil , ink, and watercolor on Grunsfeld lll , 1981. 46. George Fred Keck, Architect illustration board, 38.2 x 51 cm. Gift of Mr. and Mrs. Alexander Archipenko, Glass Muralist Mayer Stern, 1986. 70a. 37. Abel Faidy Perspective study of a proposed exhibition booth for Front and side elevations of an upholster ed chrome 57. Josef Hoffmann (Austrian, 1870-1956) Carrara Glass Display for Libbey, Owens , Ford at the stee l armchair, with miscellaneous sketches for "Warteraum," Elevations of the four walls of a sales New York World's Fair, 1939 (unexecuted]. Pencil, ink , clocks and chair s, c. 1935. Pencil and colored pencil room and office, showing the waiting room and a view and watercolor on illustration board, 37.8 x 53.2 cm. on paper, 21.5 x 28 cm. Gift of Diana Faidy, 1981. of the recep tionist's desk, n.d. Pencil on tracing paper, Gift of William Keck, 1983.916. 47.9 x 68 cm. Gift of Pamela Marie Hoffmann Benson 38. Ludwig Mies van der Rohe 47. James Edwin Quinn (Ameri can, 1895-1987) and Mrs. Wolfgang Hoffmann, 1985.140. Two sheets: both with plan, elevation, and perspective Perspective rendering of a proposed office building at exter ior and int erior sketches for the Hubb e House, 58. Josef Hoffmann 40 N. Dearborn Street, Chicago, 1939 (unexecuted). Magdeburg , Germany , 1935. Pencil on paper, each "Privatburo," Elevations of four walls of a private of­ Drawn by George A. Hossack. Pencil on paper, 21.5 x 29.5 cm. Gift of A. James Speyer, 1985.1015a-b. fice, n.d. Pencil on tracing paper, 48.5 x 60 cm. Gift of 47.3 x 30.5 cm. Gift of James Edwin Quinn, 1979. Pamela Marie Hoffmann Benson and Mrs. Wolfgang 39. Ludwig Mies van der Rohe 48. William F. Deknatel (Ameri can, 1907-1973) Hoffmann , 1985.141. Two sheets: both with perspective studies for the Perspective drawing of the living room of the Dr. John proposed Hubb e House, with a perspective doodle A. Tasche House, Sheboygan, Wisconsin , c. 1940. (bottom, lower right) of an unidentified hous e, 1935. Pencil on tracing paper, 25.8 x 49.5 cm. Gift of Diane Ink on paper, each 21.6 x 30. Gift of A. James Speyer, Deknatel Pierson , 1984.590. 1982.1642-43. 49. Abel Faidy 40. Ludwig Karl Hilberseimer Side elevation of an upholst ere d chair with seated Perspective stud y of a proposed lakefront develop­ male figure, c. 1940-47. Pencil and colored pencil on ment, Zuric h, Switzerland, 1935. Published in Entfal­ tracing paper , 22.8 x 28 cm. Gift of Diana Faidy, 1981. tung eine r Planungsidee, p. 125, ill. 105. Pencil on heavy paper, 60 x 90 cm. The Hilberseimer Collec­ 50. Le Corbusier tion, Gift of George Danforth, 1983.1008. Perspective studies of "The modu le of the city deter­ mines the built volumes" (Le moduleur de ville deter­ mine Jes volumes batis), 1942. Published in The Home of Man (La Maison des hommesj, p. 135. Ink on paper, 27 x 21 cm. Restricted gift of the Architecture Society Fellows, 1985.541.