Louis Henry Sullivan's architectural adornment has yet to be known by individuals simply because of the adept evolution from forms from nature, and the penetrating geometric structures and connections found through every one of his works, yet more importantly the humanistic condition of consciousness that has been proposed. Sullivan recommends that in construction design, works of art should not stand on their own as an accessory, but instead be produced by the standards of building proposals, design, objective, and form. Sullivan's various structures were principally borrowed from natural forms, and their application gained from geometric understanding; they were then transformed and modified to the steel sections and curves, and enlivened …show more content…
around the wide openings of entryways and windows. Louis Sullivan separates his outline from his peers who may concern adornment as a vital piece of building design not by taking after the evidence of the past, rather by identifying and creating a frame that uncovers the individual. “All things in nature have a shape, that is to say, a form, an outward semblance, that tells us what they are, that distinguishes them from ourselves and from each other.” By the mid-1890s, Sullivan sought to individually compose his treatise on high rise structural engineering, "The Tall Office Building Artistically Considered," in 1896. In it, Sullivan considers the issue with architectural structure planning, contending with his popular expression "form ever follows function" that a building's composition must reflect the social comprehension for a defined space. Sullivan presents this theory by illustrating a perfect tripartite high rise. Initially, there should be a level below ground to accommodate power sources and a ground floor devoted to various establishments which require public accessibility, ample lighting, and open space. Additionally, a second story should be easily accessible by stairways. These floors should then be followed by a limitless number of stories for workplaces, arranged to appear identical on the grounds that they serve the same purpose. Lastly, the building should be finished with a loft story and recognizable cornice line to symbolize its endpoint and reserve it independently from other structures inside of the cityscape. For Sullivan, the distinctive feature of a high rise was its elevation, therefore the building's outline should serve that objective by accentuating its upward strength. By the turn of the century, Sullivan adjusted these ideas to a new environment, a retail establishment for the Schlesinger & Mayer organization that was soon acquired by Carson, Pirie, Scott.
In comparison to Sullivan's preceding office structures, like the 1891 Wainwright Building in St. Louis, Carson, Pirie, Scott in Chicago was expected to address its contributor’s demands in a very different manner. As opposed to accentuating the beehive of exact windows proposed to reflect the exact work occurring in each individual office, in the Carson Pirie Scott building, Sullivan displayed instead the secondary street level section and passage to persuade customers into the store. This was executed in various ways. The windows on the ground floor, exhibiting the store's merchandise, are much bigger than those above. The three entryways of the primary access were fixed within a rotunda on the corner of the building, so they are noticeable from all directions drawing nearer the building. The three primary entrances and the integrated base section are separated from the additional stories above by an undivided arrangement of elaborately baroque adornment. The cast-iron adornment incorporates the same exceptionally perplexing, fragile, natural, and floral motif that had become trademarks of Sullivan's pleasing
configuration. For Sullivan, the ornamental plan provided a useful project as well, to characterize the building from those encompassing it, and to create an appealing store for future customers. The upper portion of the Carson, Pirie, Scott building also reflects Sullivan's adaptation of his high rise hypothesis to a retail chain. With its embellished decorative project and consideration paid to the practical concern of retail architecture, Sullivan's outline was an astoundingly effective showcase for the retail establishment's merchandise, regardless of the fact that it wandered from the entirely vertical effect of his previous high rises. As Sullivan makes clear in the title, the issue of the tall building is not a specialized one, but a creative one. The main sections of his article set out the bare realities of the innovative office assembly and depict the specialized implications that have been offered by the building industry. Sullivan's account is saturated with an American introspective philosophy, full with the complications of nature and its ability to be at the foundation of new structures. Sullivan divides his outline from his peers who may concern ornamentation as a crucial piece of building planning, not by taking after the evidence of the past, rather by recognizing and creating a frame that reveals the individual.
Jordy, William H. "PSFS: Its Development, and Its Significance in Modern Architecture". Journal of the Society of Architectural Historians, 1962. Print. 14 October 2013.
Many of Frank Gehry’s early works reflect a refined manipulation of shapes and structures, whereby many of his buildings present distorted shapes or apparent structures. From the Guggenheim museum to the Walt Disney concert hall, Frank Gehry’s architecture is close to none. He cleverly plays with shapes and geometries. In this essay, I shall start with a brief analysis of Gehry’s house and the influences in the design of the house. I shall then analyze the extent to which Frank Lloyd Wright has inspired and influenced Gehry in the design of his house through a comparison with Frank Lloyd Wright’s Jacob’s house.
Palace of Versailles is a symbol of the system of absolute monarchy during the reign of Louis XIV. It had raised France to supreme power and has made France a richest country in Europe. The palace and the gardens of Versailles are recorded into World Heritage by ICOMOS (International Council on Monuments and Sites) in 1979 and had become the ideal royal residence and government in Europe for over a century. The palace is significantly influenced by classical ancient Greek and Roman architectures and mythologies, particularly the surrounding gardens and decorative features including the sculptures and fountains. This essay aims to explore the garden designs and decorative features under the influences of Louis XIV, and how they are used to glorify the king and demonstrate the wealth and power of Versailles. Firstly, this paper will talk about the history of Louis XIV and how he has developed into an absolute monarch. Secondly, the essay will analyse how the site layout of Versailles and gardens are formed in relation to Louis as the Sun King. Lastly, within historical context, certain important features of the gardens will be discussed mainly on their purposes and how they are influenced by the mythology, politics and cultures.
She redecorated the once cluttered dining room of her apartment in the 1890’s, stripping away the heavy Victorian decoration and replacing it with furniture and accessories to lighten the room. “Eleanor Brown’s style was based on French classicism, the prevailing taste in American society that had been established by Elsie De Wolfe twenty years before” (Smith, 100). Contrary to many of the decorators of her time, she also designed in the Directoire and English Regency style (Smith, 100), as French and English interiors were where she drew a lot of her inspiration from. In 1928, Brown designed an apartment for herself that included many styles, including Greek revival, Classical Revival, and even some late-Art Deco design. Dorothy Draper designed in the “classical late-Art Deco, Greek-Egyptian” (Smith, 105) style.
Nearly sixty years of architecture (Pei Cobb Freed & Partners) and about the same number of projects over his lifetime is what architect Ieoh Ming Pei (most known by his initials I.M.) can boast today (PBS). He became known for his use of concrete, glass, stone, and steel and the geometric style he adopted in the buildings he designed (John F. Kennedy Presidential Library and Museum). This Chinese-American architect rose from little known to in high demand as he pleased clients with his character as well as his work (Encyclopedia of World Biography 186). Numerous awards and breathtaking structures both lend to the interest in how I.M. Pei became the architectural legend he is today.
S.H. Kress achieved a unique architectural distinction in both defining a brand identity while simultaneously fitting in with the five-and-dime market and the local main street character of each town. He was a pioneer in creating company brand identity through a “signature storefront”. He viewed his buildings as an advertisement and each store had some components that were standardized, reflecting the popular assembly line approach at that time, while other components varied based on the location to fit within each town culture.
The unity, lines, and emphasis help identify this architectural style. The Carson, Pirie, Scott and Company Building includes a rounded corner entryway covered with lavish decorations and a bronze-colored ground floor. The unity of the identical windows above the bottom floor contributes to the uniqueness of this style as they serve a purpose to stress the similar function throughout the building. This building connects
He created a style of architecture to reflect America’s character. The central themes of his style were the landscape, people, and democracy in America. His style was heavily influenced by the midwest, the region where he grew up. His houses aimed to encourage the inhabitants to connect and communicate with one another. The hearth, dining room, and terrace all exemplify this, creating, and open, warm and welcoming space.
It will discuss the different types of dwellings throughout recorded human history from the perspective of how art and culture influences building design. This will fulfill my own curiosity to understand the different influences on homebuilding and design over the years and how people have dealt with these changes.
From the early Greek temples of yesteryear, to the high-tech autonomous buildings of tomorrow, the question of whether the function of a building or its aesthetics qualities are more important has plagued the minds of architects around the world. Webster's II New College Dictionary (Please do not use the encyclopedia or the dictionary to open your essay--way too high school.) defines aesthetics as "The branch of philosophy that provides a theory of the beautiful and of the fine arts" (18). The definition of Functionalism is defined by Webster's as "The doctrine that the function of an object should determine its design and materials" (453). Now, if the function of an object decides the type of design and materials used how does one integrate aesthetics into design, and moreover, how important are aesthetics to an architect? Frank Lloyd Wright was one of the greatest and most renowned architects of the 19th and 20th centuries, and while his buildings where lauded for displaying great artistic design, the issue of function was compromised by the blatant fact that his roofs leaked. This is because he let the aesthetics of his buildings become the focus of the structure, and neglected to adequately address the function of the building allowing for this problem to take root in his designs (Palermo, 4 Mar. 1999). As is apparent from Frank Lloyd Wright, there is a certain balance that has to be attained between aesthetics and functionalism in order for a structure to be appreciated as a successful building.
The strength of a gothic building is made to reside in a finely organized framework rather than in its walls. This framework, which consists of perfectly placed piers, arches and buttresses, frees up any unessential impediment of walls and presents a light feeling. The stability of the building depends only on inert massiveness in its outermost parts, whose opposing forces counteract each other in a perfect stability of thrust and counterthrust. Gothic architecture is an artistic, strategic system of engineering, schemes for building were followed for elevations, termed quadratum (four sided) and triangulorum (three sided). 2 This system allowed them to raise their ideal structures according to symbolic measure and numbers reflecting the geometry of the New Jerusalem and its prototype, the Temple of Solomon. (Figure 1.1)
The essence of modern architecture lays in a remarkable strives to reconcile the core principles of architectural design with rapid technological advancement and the modernization of society. However, it took “the form of numerous movements, schools of design, and architectural styles, some in tension with one another, and often equally defying such classification, to establish modernism as a distinctive architectural movement” (Robinson and Foell). Although, the narrower concept of modernism in architecture is broadly characterized by simplification of form and subtraction of ornament from the structure and theme of the building, meaning that the result of design should derive directly from its purpose; the visual expression of the structure, particularly the visual importance of the horizontal and vertical lines typical for the International Style modernism, the use of industrially-produced materials and adaptation of the machine aesthetic, as well as the truth to materials concept, meaning that the true nat...
Jencks believes “the glass-and-steel box has become the single most used form in Modern Architecture and it signifies throughout the world ‘office building’” (27). Thus, modern architecture is univalent in terms of form, in other words it is designed around one out of a few basic values using a limited number of materials and right angles. In...
Frank Lloyd Wright has been called “one of the greatest American architect as well as an Art dealer that produced a numerous buildings, including houses, resorts, gardens, office buildings, churches, banks and museums. Wright was the first architect that pursues a philosophy of truly organic architecture that responds to the symphonies and harmonies in human habitats to their natural world. He was the apprentice of “father of Modernism” Louis Sullivan, and he was also one of the most influential architects on 20th century in America, Wright is idealist with the use of elemental theme and nature materials (stone, wood, and water), the use of sky and prairie, as well as the use of geometrical lines in his buildings planning. He also defined a building as ‘being appropriate to place’ if it is in harmony with its natural environment, with the landscape (Larkin and Brooks, 1993).
Architecture is the concept of bringing structure, materiality, form and space together as a whole, provide people with enclosed atmosphere to experience. Considering this, it is important to identify that materiality and the purpose of details has been a key methodology to bringing architectural intentions into the design in an affective manner, more over producing an architectural expression. However, this position is rather declining in architecture, reducing tectonics and materiality to being secondary to form and space. With the start of modernism, the attempt to achieve minimalistic style has caused detailing to increasingly develop into a decorative aspect of a building, neglecting its individual contribution to architecture.