JUAN ANTONIO FELIX CHAVEZ VANESA GUTIÉRREZ LEÓN JORGE ARA GAXIOLA PEREZ CASTAÑON VANESSA GRUPO:06 SEMESTRE:04
The Chicago School comprises an intellectually elite group of progressive architects in late-19thcentury Chicago, Illinois. They introduce the skyscraper, a new building type for the new 20th century. This multistory structure establishes a new design language for commercial buildings and comes to dominate the urban landscape. Various factors in the Untied States facilitate the expansion of skyscraper construction
HISTORICAL AND SOCIAL Following the Civil War, a second wave of the Industrial Revolution arises with America at its forefront. New technology, improvements in communication and transportation,
and new or improved manufacturing processes usher in a period of extraordinary growth in industry and commerce
New technologies, many from before the Civil War, also contribute to this development. Until the invention of the passenger elevator in 1857 by Elisha Graves Otis, buildings are seldom more than four or five stories high. The elevator’s appearance and popularity in the Eiffel Tower sets the stage for its use in skyscrapers. Tall office buildings or skyscrapers reaching to at least 10 stories begin to dominate the urban skyline. In the 1840s and 1850s, cast and wrought iron are used for façades and some structural elements
CONCEPTS
Need drives the development of the tall commercial structure, which has no precedent in architecture. Once the technology and construction methods are in place and prototypes appear, the architect’s dilemma becomes how to articulate a multistory building to reflect a human scale.
CONCEPTS
American architects have increased training at home and abroad in architectural theory. They are more keenly aware of a need for design theory based on function, construction, and scale and are better able to develop their own ideas
CONCEPTS
Changes in how businesses do business also affect the development of the skyscraper and its interior planning and furnishing.
Before the Civil War, most businesses are small with only a few male employees. Relatively simple office tasks are easily handled individually by hand.
CONCEPTS IMPORTANT TREATISES ■ The Autobiography of an Idea, 1924; Louis Sullivan. ■ Kindergarten Chats and Other Writings, 1901; Louis Sullivan. ■ The Modern Office Building, 1896; Barr Ferree. ■ A System of Architectural Ornament According to a Philosophy of Man’s Powers, 1924; Louis Sullivan. ■ The Tall Office Building Artistically Considered, 1896; Louis Sullivan. Periodicals: Architectural Record, Engineering Magazine, Engineering Record, and the Journal of the Franklin Institute.
DESIGN CHARACTERISTICS
Early skyscrapers have grid-patterned faรงades, large windows for light, and little ornament. Verticality is emphasized as faรงades rise relatively unhindered by horizontals. Land size and the need for light in interior spaces drive overall shape and configuration
DESIGN CHARACTERISTICS
street level, shops, architectura l features, and details provide a human scale. Louis Sullivan uses stringcourse s, projecting cornices, richness of detail and decoration as a part of the structure
DESIGN CHARACTERISTICS
second half of the 19th century. Steel skeletons to replace masonry bearing walls or piers, foundations that can support tall buildings, and elevators to access upper floors come together to create the first skyscrapers, or buildings 16 to 20 stories high.
ARCHITECTURE
ARCHITEC TURE Significant advances in constructi on technolog y affect the structure, form, and compositi on of buildings in Chicago, New York City
Architecture
Significant advances in construction technology affect the structure, form, and composition of buildings in Chicago, New York City, and other metropolitan areas during the second half of the 19th century Steel skeletons replace the masonry bearing walls or piers, foundations that can support tall buildings, and elevators to access upper floors come together to create the first skyscraper, or buildings 16 to 20 stories high
ARCHITECTURE
Steel frame construction leads to the introduction of curtain or non-load-bearing exterior walls that hang from the metal frame.
Curtain walls permit large windows for more light, a design characteri stic exploited by members of the Chicago school
ARCHITECTURE
In 1916, new York city passes a setback ordinance mandating that new buildings in selected zoned districts can raise upward two and a half times the street width and then must have a setback.
In 1918, a Chicago architectural committee proposes that buildings heights be limited to 260 feet above grade and that architectural standards be introduced. Consequently, architects design buildings with tall, slender towers for space and height while permitting light and air to filter to the streets below
Public buildings Commercial office buildings dominate steel frame construction throughout Chicago and New York City during the late 19th century
Monadnock building Chicago Illinois
Public buildings Other types of structures include auditoriums department stores, hotels, banks, and libraries
Chicago department store
Floor plants are generally rectangular or square, so the building forms a rectangular box or sometimes a U shape. Plans often have a central corridor with shallow rectangular rooms on both sides
reliance building, Chicago
Materials: exterior walls Facades: may be of brick, buildings faรงades terra-cotta, exhibit large granite, or other scale, verticality, types of stone, giving no hint of repetition, order, and simplicity the interior metal skeleton.
guaranty trust building: Buffalo, New York
The Marquette building Chicago
Office building Speculative buildings, built by developers for rentals, have plain, unadorned exteriors. Corporate headquarters, in contrast, are more lavishly embellished. Sullivan, who is widely copied, incorporates an aesthetically pleasing faรงade composition in his office buildings that represents the base, shaft, and capital of a classical column and distinguishes the various functions within the building The profuse decoration, a trademark of Sullivan's work, features richly carved geometric and organic motifs Flower and plant forms are particularly important.
Exteriors Windows ď‚› The
windows form walls, often referred to as curtain walls, a term reflecting a steel and glass construction system.
Roofts . Roofs are not visually apparent because heavy or projecting cornices often hide them
Exteriors â– Later Interpretations : variations of the high-rise commercial office building proliferate in large urban cities across North America and in other parts of the world. Initially, buildings are often a box shape, which becomes extremely common in the mid-20th century through the influence of Bauhaus ď‚›
Doors Monumental entries, often with large arches surrounded by heavy architectural features or stonework, lead.
Entries and lobbie are lavishly decorated with rich materials. Impressive iron or marble staircases lead to upper floors.
Interiors:Main lobby, Rookery Building, 1885– 1888, 1905 Chicago, Illinois; Daniel H. Burnham and John W. Root with Frank Lloyd Wright as architect of the lobby renovtion in 1905.
Frank Lloyd Wright gives the space a more modern appearance without altering its essence by replacing the cast iron with white and gold geometric details.
Elevators often appear in open cages, at least on the ground floors, with elaborate cast metal doors. larger offices , which are planned by managers, are plain and utilitarian with little color and decoration. Furniture defines the spaces.