Title: History Class 6 Mackintosh / Glasgow School; Adler and Sullivan; Chicago School; Frank Lloyd Wright. Part 1
1History Class 6 Mackintosh / Glasgow
SchoolAdler and SullivanChicago SchoolFrank
Lloyd Wright. Part 1
2Class Logistics
Midterm in 2 weeks Lecture Week 6
3Charles Rennie Mackintosh
4House for an Art Lover (1901)
5House for an Art Lover. (1901) built 1996
6Hill House (1903)
7Hill House Interior
8Daily Record Building. Glasgow (1901)
9Mackintosh Chair (1904)
10Glasgow School of Art. Model (1909)
11Glasgow School of Art. Library
12Glasgow School of Art (1909)
13Glasgow School of Art. 1909
14Mackintosh Illustration Work
15Macintosh Jewelry
16Three Studios in Chelsea. (1920)
17William Le Baron Jenney
Chicago establishment architect. Pioneer of
steel frame construction in his Fair Store of
1892.
18William Lebaron Jenney. First Leiter Building.
Chicago. 1879
19William Lebaron Jenney. Home Insurance Building.
1883
20The Rookery. 1886. Chicago. John Wellborn Root.
(Burnham and Root)
A transitional structure in the evolution of
modern architecture, the Rookery Building employs
both masonry wall-bearing and skeletal frame
construction techniques. It takes its name from a
temporary City Hall and water tank that stood on
the site following the Fire of 1871. A favorite
roost for pigeons, these structures were referred
to as "the rookery."
21The Rookery. 1886. Chicago. John Wellborn Root.
Interior
22William Lebaron Jenney. Manhattan Building.
Chicago. 1891
23Fair Building. 1891. William Lebaron Jenney
24Fair Building. 1891. Structural Systems
25Otis Elevator. 1853
26Louis Sullivan
27Louis Sullivan
I should say that it would bee greatly for our
aesthetic good if we should refrain entirely from
the use of ornament for a period of years in
order that our thought might concentrate acutely
upon the production of buildings well formed and
comely in the nude. We should thus perforce
eschew many undesirable things, and learn by
contrast how effective it is to think in a
natural, favorous and wholesome way. We shall
have learned however, that ornament is mentally a
luxury, not a necessity, for we shall have
discerned the limitations as well as the great
value of unadorned masses. We have in us
romanticism, and feel a craving to express it.
We feel intuitively that our strong, athletic,
and simple forms will carry with natural ease the
raiment of which we dream - Louis Sullivan.
Ornament in Architecture. 1892
28Chicago Fire, etc.
Chicago downtown destroyed by fire in 1871.
Olearys cow. Adler and Sullivan preoccupied
with rebuilding chicago.
29Babson House (1907)
30Chicago Auditorium 1887-89
31Chicago Auditorium. Adler and Sullivan.
32Floating Foundation System
33Walt Whitman
34Bradley House
35Wainwright Mausoleum. 1892.
36Wainwright Building. 1891. St. Louis.
37Wainwright Building (Detail)
38Wainwright Building - Detail
39Guaranty Building. 1895
40Carson Pirie Scott Building. 1889-94
41Carson Pirie Scott Building
42Columbian Exposition Burnham and Root. 1893.
43Columbian Exposition
44Columbian Exposition
45Daniel Burnham. Proposed Civic Center.
46Flatiron Building. NY. Daniel Burnham. 1902
47Monadnock Building. 1884-92. Chicago. Burnham
and Root
48Ansonia Hotel. New York. 1904.Graves and Doboy.
49Old Colony Building.1893-94. Holabird and Roche
50Old Colony Building.1893-94. Holabird and Roche
51Marquette Building. 1894. Holabird and Roche
52Reliance Building. 1894. Chicago
53Reliance Building. 1894. Chicago
54Union Station. Washington DC. Burnham. 1903-07
55Frank Lloyd Wright Part 1
When in early years I looked south from the
massive stone tower of the Auditorium Building, a
pencil in the hand of a master, the red glare of
the Bessemer steel converters to the south of
Chicago would thrill me as pages of the Arabian
Nights used to with a sense of terror and
romance.
56Wrights Vision the transformation of
industrial technique through art.
Throughout his career , he OSCILLATED between
the AUTHORITY of Classical order and the VITALITY
of asymmetrical form. Frampton For Sullivan
and Wright, the young egalitarian culture of the
New World could not be based on something so
ponderous and conventionally Catholic as
Richardsons Romanesque. Owen Jones Grammar of
Ornament. 1856. Examples were Indian, Chinese,
Egyptian, Celtic.
57Frank Lloyd Wright Wrights House. Oak Park.
1889
58Froebel Blocks
59Wright. Winslow House. 1893
60Wright. Winslow House. 1893
Insert house plan here
61Wright. Rollin Furbeck House. 1897
62Influence of japanese architecture on Wright.
Wright was influenced by japanese architecture
since 1890. He would have seen the
reconstruction of the ho-o-den temple exhibited
at the Chicago Columbian Exhibition of 1893.
63Translation of tokonama into hearth
Defined as the use of a permanent element in the
home as a focus for contemplation and ceremony,
tokonama can be seen in Wright's use of the
hearth as the vertical axis from which the
horizontal floors radiate.
64Wright Lecture of 1901
The Art and Craft of the Machine Lecture
given in 1901 at Jane Addamss Hull House in
Chicago. Wright stated that the machine could
be intelligently used, in accordance with its own
laws, as an agent for abstraction and
purification processes by which architecture
may be redeemed from the ravages of
industrialization
65Victorian Houses of the Time
66Frank Lloyd Wright Willits House. 1901
67Wright. Willits House. 1901
68Wright. Willits House. 1901
69Wright. Willits House. 1901
70Wright. Prairie House. Ladies Home Journal. 1901
71Frank Lloyd Wright Brigham House. 1915
72Dana House. 1902
73Frank Lloyd Wright Fricke House. 1902
74Wright. Heurtley House. 1902
75Wright. Martin House. 1904
76Frank Lloyd Wright Unity Temple
77Wright. Unity Temple. 1904
78Wright. Unity Temple. 1904
79Wright. Unity Temple. 1904
80Wright. Unity Temple. 1904
81Wright. Robie House. 1904
82Wright. Robie House. 1904
83Frank Lloyd Wright E.Z. Polish Factory. 1905
84Thomas Hardy House. 1905
85Larkin Building. Exterior. 1904.
86Larkin Building. Plan
87Larkin Building.
88Richard Bock SculptureLarkin Building.
89Larkin Sidechair
90Wright Atelier
In these fertile years, Wright carefully
assembled an atelier of technicians and
artist-craftsmen to design and realize his vision
of a Gestamkunstwerk a TOTAL WORK OFART. This
team included engineer Paul Mueller, the
landscape architect Wilhelm Miller, the
cabinetmaker George Niedecken, the mosaic
designer Catherine Ostertag, the sculptors
Richard Bock and Alfonso Ianelli, and Orlando
Giannini, who served as Wrights fabricator of
glass and textiles from 1892.
91Wright. Taliesin. Wisconsin. 1911-1938
92Wright. Taliesin. Wisconsin.
93Wright. Fricke House. 1908
94Wright. H. Adams. 1913
95Wright. Imperial Hotel. Tokyo. 1916
96Wright. Imperial Hotel. Tokyo.
97Wright. Imperial Hotel. Tokyo. 1916
98Wright. Imperial Hotel. Tokyo. 1916-23
99Wright. Imperial Hotel. Tokyo. 1916-23
100Wright. Imperial Hotel. Tokyo. 1916-23
101The End