The Complete Architecture of Adler and Sullivan, Richard Nickel, Aaron Siskind, Richard Nickel Committee, 2010, 0966027329, 9780966027327, 461 pages. В (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 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 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. This rich, incomparable reference will be treasured by readers interested in architecture, photography, and Chicago’s rich history as an architectural mecca.В .

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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 buildings—many of which have since been demolished—including images by Nickel, Siskind, and other noted photographers.

“The Complete Architecture of Adler & Sullivan is a work that will quickly become an essential resource for every architectural scholar. . . . [It] is a profoundly moving portrait . . . . For Louis Sullivan, this book, better than any biography, is an epic journey of the progress of a soul.”

“One of the big architectural events in Chicago this fall is a book, not a building. Because a number of Adler & Sullivan’s buildings have been senselessly demolished, the book is, in a sense a work of preservation, its photographs documenting the life of buildings we can no longer experience.”

"The [Richard Nickel] committee has identified and analyzed about 250 buildings for The Complete Architecture of Adler & Sullivan,which the committee has published in conjunction with the University of Chicago Press. With text by Nickel and three other scholars (and more than 800 photos), the book explains how the architects built a reputation in the 1880s for draping tendril ornament on masonry office towers."

"The photos of buildings, those still standing and those later destroyed, reveal that the seductive power of Sullivan’s work lies largely in the tension between form and function—some might say in the tension between the buildings’ masculine and feminine elements—and in the ways Sullivan balanced the severe, massive elegance of his facades with the rhythmic grace of his exuberant, often whimsical ornament. . . . Although the book contains work by a host of photographers, Nickel’s photographs are of course preponderant. They’re both arresting and angry, and in their depictions of decrepit urban cores and of Sullivan’s soot-stained masterpieces festooned with anachronistically garish lighted signs and cheapjack advertisements, they illuminate their time and place as much as they do Sullivan’s work."--Atlantic (Ben Schwarz)

Richard Nickel (1928–72), attended the Institute of Design, where he studied with the photographers Harry Callahan and Aaron Siskind. His master’s thesis was a continuation of the Sullivan project conceived by Siskind. Aaron Siskind (1903–91) taught photography at the Institute of Design at the Illinois Institute of Technology in Chicago and later at the Rhode Island School of Design. is currently principal of Vinci/Hamp architects. Ward Miller is the executive director of the Richard Nickel Committee.

Richard Nickel gave his life to creating a photographic legacy of the magnificent buildings by Louis Sullivan and Dankmar Adler. While shooting inside the Chicago Stock Exchange building as it was being demolished, he fell to his death. No one was as committed as Richard Nickel to the preservation of Chicago's greatest buildings, and no one captured images of such exquisite beauty and telling detail.

The "Complete Architecture of Adler and Sullivan" provides a thoughtful and beautiful catalogue of the work of Adler and Sullivan. As a compilation of their complete work, it includes many small and obscure projects alongside the great works. The last 180 pages or so is a chronological list of the firms work. Many of the photographs in the book were taken by Richard Nickel, some in color. The images pop off the page and are very high quality. Many were dug out of archives and have not been seen by the general public for a long time, if ever. A must have for any collector of books on Chicago architecture, or any Louis Sullivan enthusiast.

This illuminating work written by Miller and Vinci belongs in every architectural historians library. It is the most revealing composite of photos and catalogue raisonne yet assembled to date. The powerful photos by Nickel and Siskind are worth the price of purchase, but the catalogue rasonne compiled by Miller and Vinci provide additional value to the those interested in further researching the work of Adler and Sullivan. It is here the reader finds detailed information on each of the building commisions and unbuilt projects. This is a must have for anyone interested in architecture and the built environment.

I live in Chicago and am grateful to live among treasures from a pantheon of legendary architects: Adler & Sullivan, Wright, Burnham, Root, Richardson and more. One of the tragedies of Chicago is that many of its masterpieces have been senselessly destroyed. Unscrupulous developers and politicians have done away with countless significant structures. The Complete Architecture of Adler & Sullivan provides a glimpse into long-gone buildings upon whose big shoulders modern architecture rests. Richard Nickel's poignant photos give a pre-1972 look not only at demolished buildings, but also at structures that still exist. As with Sullivan, no details escaped Nickel. The most minute components of architectural design are captured in Nickel's exquisite photography.

While the book is a gorgeous compilation of Sullivan's works, it is also a most fitting tribute to Richard Nickel. He was a preservationist when others scoffed at the value of old buildings. He risked his life on many occasions during his photographic pursuits. He was obsessed with preventing the demolition of the Chicago Stock Exchange Building. When he lost that battle, he took it upon himself to document every possible detail of the masterful structure, even as the building was gradually lost to the wrecking ball. Although he was theoretically banned from the dangerous property, he continued to take photos until the end; he was killed instantly when part of the building collapsed on him.

This was really the life work of Richard Nickel, starting as a college project in 1952. Nickel was able to identify and document many previously unknown works of Adler/Sullivan. His death in 1972 made the book's completion seem unlikely. His friends and literary heirs have completed the work wonderfully. The book shows many buildings long since demolished and, without trying, gives a good look at Chicago when the photos were taken (my youth). In my opinion, the book is the best reference on perhaps Chicago's most important architects. It's also sobering in that it so well reveals how many great buildings we've lost.

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 America—and continue to be admired today. Among their iconic designs ar...more Â

Decades in the making, this is an essential reference and at times a heartbreaking book: so many of the Sullivan’s buildings have been destroyed. The photos here show the great workmanship of the craft trades that built these beautiful, powerful buildings. We have nothing like them today. If all you know about Louis Sullivan’s Chicago buildings are the same handful of dark, shadowy photos, this book will really let you see Sullivan’s genius for the first time.

In a letter dated November 19, 1959, the ardent preservationist Richard Nickel explained to his New York–based publisher why he had so blatantly whiffed his deadline. Nickel had been documenting the architecture of Dankmar Adler and Louis Sullivan—a book project thrust upon him by his influential teacher Aaron Siskind. The photography, some by Nickel, some by Siskind and his Institute of Design students, was coming along. But the herculean amount of research—and Nickel’s perfectionism—got in the way. “The writing became a real obstacle,” he typed in the letter. “The library work became complex and more and more I felt greater responsibility for the completeness, accuracy, and perfection . . . then there was the matter of understanding. How was I to write about Sullivan with only a meagerly art history and architecture training and no writing experience?” The word “understanding” was underlined in frustration.

The proposed book was a labor of love—but the project didn’t pay the bills, nor did it guard against the wrecking balls that threatened the very structures Nickel was trying to record. Thirteen years later, after he tragically died while salvaging ornament in the Chicago Stock Exchange, his friend and occasional employer, the architect John Vinci, hauled notes and 10,000 negatives from the basement of the Nickel family home. But, in time, the historians hired to complete the book became bogged down, too. Meanwhile, more examples of the pair’s brilliance were being reduced to rubble. “It was a series of tragedies—from the breakup of the partnership of Adler & Sullivan, to Sullivan’s own tragic life, to the loss of the buildings, to Nickel’s own life lost within,” says Ward Miller, an architect to whom the task of completing the project was handed in 2003. “It was haunting.”

Now, at last, a happy ending: The Complete Architecture of Adler & Sullivan (Richard Nickel Committee, $95), an eight-pound volume that features 815 photos and catalogs all the 256 known Adler and Sullivan commissions. Remarkably, the only existing color pictures of the Gage & Company Store, the Hammond Library, and others appear here—one benefit of the 50-year delay was that recent technology allowed faded negatives to be patched. The first name on the book is Nickel’s, naturally. But the effort likely would have fizzled without Vinci, who invested 38 years and his own savings in it. “I’m 73—I can’t take it with me,” he says prosaically. Vinci and Miller discuss the project on February 2nd at the Chicago Architecture Foundation. For info, visit explorechicago.org. Sokol, D. M. (2011), The Complete Architecture of Adler and Sullivan Nickel Richard, Siskind Aaron, Vinci John and Miller Ward. Chicago: The Richard Nickel Committee [Distributed by the University of Chicago Press], 2010. . The Journal of American Culture, 34: 317–318. doi: 10.1111/j.1542-734X.2011.00782_16.x

Richard Nickel was born in the Chicago neighborhood of Humboldt Park in a two-flat located at 4327 W. Haddon.[1] He was raised by first-generation Polish-Americans with his grandfather John Nikiel, born in Posen, Germany in 1880.[2] Richard's father, John, a driver for the Polish Daily News, Americanized the surname to Nickel in the face of Anti-Polish sentiment.[3] The family soon moved to 4329 W. Crystal where a young Richard attended grammar school at St. Cyril and Methodius.[4] It was here that Richard first became fascinated by light as he stared at the saintly figures drawn in stained glass. Nickel would tell a reporter in 1969 "That makes an impression on you that you never completely forget. It might be subconscious and, at some point, something triggers it".[5]

The family moved to a second floor apartment at 2457 N. Rockwell in the Logan Square community, while Nickel was in fifth grade and enrolled at St. John Berchman's School.[6] At the time the neighborhood was predominately Polish, and years later Nickel described it as the "Polish neighborhood where I became happily abnormal".[7] The family lived near Logan Boulevard, an area lined with historic mansions and wide parkways that would later become recognized as a Chicago Landmark. More importantly was his father Stanley's acute interest in photography which Richard would take up as well.[8]

In 1948 after leaving the Army, Nickel was given a victory medal and subsequently enrolled at the Institute of Design, which became part of IIT- The Illinois Institute of Technology. The school was housed in the former Chicago Historical Society building, located at 632 N. Dearborn Street(Northwest corner of Dearborn and Ontario Streets, now called the Excaliber nightclub).[9]

Nickel married Adrienne Dembo, a young Polish-American girl at St. Wenceslaus in Chicago, an Art Deco church noted for its design on June 10, 1950.[10] Shortly after Richard was recalled to serve in the Korean War.[11] After Richard's return a few years later, he was a changed man, with recurring nightmares he was still in Korea, and his mother-in law commenting that she saw him as a "casualty of war", and the marriage ultimately ended in divorce.[12]

During the urban regeneration of the 1960s and 1970s, scores of 19th century buildings in Chicago were being demolished. Among these were the works of Louis Sullivan and members of the . By this time many of the buildings were neglected, with little public interest in their retention. Nickel encountered Sullivan's work while photographing the architect's buildings for a school project at the IIT Institute of Design in Chicago under Aaron Siskind. Studying and photographing Sullivan's buildings quickly became an obsession for him. Ultimately, he devoted much of his life to photographing them, hoping to produce a comprehensive photographic compendium. http://kgarch.org/in4.pdf http://kgarch.org/bdk.pdf http://kgarch.org/i4e.pdf http://kgarch.org/10i8.pdf http://kgarch.org/5cb.pdf http://kgarch.org/h3b.pdf