Louis Henry Sullivan

LOUIS HENRYSULLIVAN
A PRESENTATIONON A FAMOUS ARCHITECT L
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•Louis Henry Sullivan (September 3, 1856 –
April 14, 1924)
•An American architect
•Called the “FATHER OF SKYSCRAPERS”
•An influential architect and critic of
the Chicago school
•A mentor to Frank Lloyd Wright, and an
inspiration to the Chicago group of architects
who have come to be known as the Prairie
School.
•Sullivan is one of "the recognized trinity of
American architecture“
•He posthumously received the AIA Gold
Medal in 1944.
LOUIS HENRYSULLIVAN
LIFE HISTORY
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 born to Irish and Swedish immigrants in 1856
 grew up at grandparent’s farm learning things about nature
 spent a lot of time around Boston
 exploring and looking at buildings
 studied architecture at Massachusetts Institute of Technology
 entered at the age of 16
 he left MIT in a year to live in Pennsylvania
 then he went to Chicago, where he worked with the father of the
skyscraper, William Le Baron
 went to Paris in 1874
 studied at Ecole des Beaux-Arts
 returned to Chicago in 1875 got a job as a draftsman in the office of
Joseph S. Johnson & John Edelman
 left Johnson in 1879
 worked in the office of Dankmar Adler
 the firm of Adler & Sullivan designed over 180 buildings during its
existence
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• Louis Sullivan was born to an Irish-born father
• A Swiss-born mother,
• Both parents migrated to the UNITED STATES in the late 1840s.
• He grew up living with his grandparents in MASSACHUSETTS.
• Louis spent most of his childhood learning about nature while on his
grandparent’s farm.
IN THE LATER YEARS OF HIS PRIMARY EDUCATION
• his experiences varied quite a bit.
• He spent a lot of time wandering around boston.
• He explored every street looking at the surrounding buildings. This was
around the time when he developed his fascination with buildings
• he decided he would one day become a structural engineer/architect.
BIOGRAPHY L
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WHILE ATTENDING HIGH SCHOOL
• Sullivan met MOSES WOOLSON, whose teachings made a lasting
impression on him
AFTER GRADUATING FROM HIGH SCHOOL
• Sullivan studied architecture briefly at the
MASSACHUSETTS INSTITUTE OF TECHNOLOGY.
• Learning that he could both graduate from high school a year early and
pass up the first two years at the Massachusetts Institute of Technology by
passing a series of examinations,
• Sullivan entered MIT at the age of sixteen.
• After one year of study, he moved to PHILADELPHIA
• Talked himself into a job with architect FRANK FURNESS.
BIOGRAPHY
FRANK FURNESS
M.I.T
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• “FORM FOLLOWS FUNCTION” was his famous datum.
PHILOSPHIES
Is a principle associated with MODERN ARCHITECTURE
and INDUSTRIAL DESIGN in the 20th century.
The principle is that the shape of a building or object
should be primarily based upon its intended function or
purpose.
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•Sullivan designed with the Principle of
RECONCILING THE WORLD OF NATURE WITH SCIENCE AND TECHNOLOGY.
PRINCIPLES
N A T U R E
S C I E N C E A N D
T E C H N O L O G Y
GUARANTY BUILDING IN AANBOUW
“ H E U S E T O B L E N D N AT U R E W I T H T H E
M O D E R N S C I E N C E A N D T E C H N O L O G Y ”
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PRINCIPLES
He uses simple Geometric forms but highly
ornamental.
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•His building were detailed with LUST, yet tastefully subdued ORGANIC
ORNAMENTATION.
PRINCIPLES
Sullivan Krause
Ornament
•UNITY, as Sullivan understood it,
and presumed it as a split between
the structural system and
the formalistic exterior shell
•He laid FOCUS on the relationship
between STRUCTURE AND ORNAMENT.
•THE IDEA WAS THAT
ORNAMENTATION
SHOULD BE AN INTEGRAL
PART TO THE BUILDING
ITSELF, RATHER THAN
JUST APPLIED.
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PRINCIPLES
•SULLIVAN DID NOT VIEW THE DEVELOPMENT OF ARCHITECTURE AS
‘SYNONYMOUS WITH THE REMOVAL STYLE. OF ORNAMENT’,BUT RATHER IN
THE POSSIBILITY OF GUESTION OF HISTORICAL
•THE FOCUS WILL BE PRIMARLY ON THE INNER RELATIONSHIP BETWEEN
STRUCTURE AND ORNAMENT.
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PRINCIPLES
•HE MASTERED THE ART OF DRAWING EXPERTLY THE ORDERS OF
CLASSICAL COLUMNS.
•ACCORDING TO HIM, NO ONE WOULD EVER ASK WHICH IS MORE ESSENTIAL
ON A TREE,BRANCH OR LEAF . WHO THEN WOULD BE CAPABLE OF SAYING,
WHICH IS MORE ESSENTIAL ON BUILDING STRUCTURE OR DECORATION
•SULLIVAN PROPOSED A NEW TYPE OF INTERDEPENDENCE BETWEEN
ORNAMENT AND STEEL FRAME CONSTRUCTION WHICH HE VIEWED AS
EQUALY FOR ARCHITECTURE
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DESIGNS
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Sullivan developed a style of ornamentation
reflected nature through symmetrical use of stylized foliage & weaving geometric forms
Sullivan employed such arches throughout his career—in shaping entrances, in framing
windows, or as interior design.

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Sullivan and the steel high-rise
• The taller the building, the more strain this placed on the
lower sections of the building; since there were clear
engineering limits to the weight such "load-bearing" walls
could sustain, large designs meant massively thick walls on
the ground floors, and definite limits on the building's
height.
• The development of cheap, versatile steel in the second
half of the 19th century changed those rules.
• A much more urbanized society was forming and the
society called out for new, larger buildings.
• The mass production of steel was the main driving force
behind the ability to build skyscrapers during the mid-
1880s.
• Louis Sullivan coined the phrase "form ever follows
function", which, shortened to "form follows function,"
would become the great battle-cry of modernist architects.

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PROJECTS
Public buildings
Auditorium Building,1989
Chicago, Illinois
office buildings
Wainwright
Building
St. Louis
(1890)
Guaranty Building
(formerly Prudential Building)
Buffalo,NY (1894)

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Bank buildings
National Farmer's Bank ,
Owatonna, Minnesota(1908)
People's Federal Savings and Loan Association, Sidney,
Ohio(1917)
Farmers and Merchants Union Bank,
Columbus, Wisconsin(1919 )
Merchants' National Bank,
Grinnell, Iowa(1914)
PROJECTS

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churches
Holy Trinity Russian Orthodox Cathedral
and Rectory,
Chicago (1900–1903)
Pilgrim Baptist Church(1890),
Chicago, Illinois
PROJECTS
Tombs
Martin Ryerson Tomb
1889
Chicago, Illinois
Wainwright Tomb
1892
St. Louis, Missouri

AUDITORIUMBUILDINGCHICAGO(1889)
AUDITORIUM BUILDING
CHICAGO (1889)
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• Location: 430 S. Michigan
Avenue
Chicago Illinois 60605 United
States
• Coordinates:
41°52′34″N 87°37′31″WCoordin
ates: 41°52′34″N 87°37′31″W
• Built: 1889
• Architect: Dankmar Adler; Louis
Sullivan
• Architectural style: Late 19th
and Early 20th Century
American Movements
• Governing body: Private
Significant dates
• Added to NRHP: April 17, 1970
• Designated NHL: May 15, 1975[
• Designated CL: September 15,
1976

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• The Auditorium Building in Chicago is one of the best-known designs of Dankmar
Adler and Louis Sullivan.
• It was added to the National Register of Historic Places on April 17, 1970. It was declared
aNational Historic Landmark in 1975, and was designated a Chicago Landmark on
September 15, 1976.
• In addition, it is a historic district contributing property for the Chicago Landmark Historic
Michigan Boulevard District.
• Since 1947, the Auditorium Building has been the home of Roosevelt University.
• The Auditorium Theatre is part of the Auditorium Building and is located at 50 East Congress
Parkway. The theater was the first home of the Chicago Civic Opera and theChicago
Symphony Orchestra.
FLOOR PLAN
auditorium was
designed so that all
seats would have
good views and
acoustics

•FRANK LLOYD WAS
EMPLOYED BY ALDER AND
SULLIVAN AT THIS TIME.
•COVERING THE
AUDITORIUM FROM THE
EARLY DESIGN TO ITS
OPENING,ITS LATER
RENOVATIONS,ITS LINKS
TO CULTURE AND
POLITICS IN CHICAGO AND
ITS INFLUENCE ON LATER
SULLIVAN’S WORK.
•THE CHICAGO
AUDITORIUM BUILDING
RECOUNTS THE
FASCINATING TALE OF A
BUILDING THAT HELPED
TO DEFINE A CITY AND AN
ERA.
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LONGITUDINAL SECTION

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Origin and purpose
• Ferdinand Peck, a Chicago businessman, incorporated the Chicago
Auditorium Association in December 1886 to develop what he wanted to
be the world's largest, grandest, most expensive theater that would rival
such institutions as the Metropolitan Opera House in New York City. He
was said to have wanted to make high culture accessible to the working
classes of Chicago.
• The building was to include an office block and a first class hotel.
• "The Auditorium was built for a syndicate of businessmen to house a large
civic opera house; to provide an economic base it was decided to wrap the
auditorium with a hotel and office block.
• The entrance to the auditorium is on the south side beneath the tall
blocky eighteen-story tower.
• The rest of the building is a uniform ten stories, organized in the same way
as Richardson's Marshall Field Wholesale Store. The interior
embellishment, however, is wholly Sullivan's, and some of the details,
because of their continuous curvilinear foliate motifs, are among the
nearest equivalents to European Art Nouveau architecture."

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WAINWRIGHT BUILDING(1890-1892)
 Location:
St.Louis, Missouri
 Date: 1890 to 1891
 Building Type: early
skyscraper, commercial
office tower
 Construction System:
steel frame clad in
masonry
 Climate: temperate
 Context: urban
 Style: Early Modern
 Notes: An early tall
building (10 stories)
with an all steel frame.
The Chicago School.

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• "The eleven-storey Wainwright Building
represents Sullivan's first attempt at a
truly multi-storey format, in which the
device of the suppressed transom taken
from the fa•ade of Richardson's Marshall
Field Store, Chicago of 1888, is used to
impart a decidedly vertical emphasis to
the building's overall form.
• The two-storey base of the classical
tripartite composition is faced in fine
red sandstone set on a two-foot-high
string course of red Missouri granite.
• While the middle section consists of red
brick pilasters with decorated terra
cotta spandrels, the top is rendered as a
deep overhanging cornice faced in an
ornamented terra cotta skin to match
the enrichment of the spandrels and
the pilasters below."

WAIN WRIGHT BUILDING
(1890-1892)
FRANK LYOD WRIGHT DESCRIBES THE DESIGN THAT
SULLIVAN HAD SKETCHED IN THREE MINUTES
WAIN WRIGHT BUILDING WAS BREAK THROUGH IN THE
DESIGN OF MULTI-STOREY BUILDINGS WITH LOAD
BEARING STEEL FRAME
THE DESIGN OF FAÇADE CAN NOT BE IMIGIATELY
DERIVED FROM THE METHOD OF CONSTRUCTION
NEITHER THE EMPHASIS ON THE VOLUME AS A
WHOLE , NOR ON THE CORNER PIERS REVEAL THE
ACTUAL STRUCTURAL FACT S OF THE BUILDING
•BUILDING CREATE A UNIFORM GRID THAT
EXPRESSES THE CELL STRUCTURE OF
INDIVISUAL OFFICES.
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WAIN WRIGHT BUILDING
(1890-1892)
•ADLER AND SULLIVAN BUILT THE FIRST TRUE SKY SCAPER :-
ITS LOAD BEARING CONSTRUCTION ENTIRELY CONSISTS OF
STEEL FRAME INCASED IN FIRE PROOF TILE.
•THE CENTRAL SECTION OF FAÇADE OF THE LEITER BUILDING
WAS SUB DIVIDED FURTHER BY A HIERARCHICAL ARRANGMENT
OF PIERS AND BEAMS ,THE HORIZONTAL AND VERTICAL LINES.
•IN ADDITION ALL VERTICAL PIERS ARE TREATED WITH
EQUAL EMPHSIS.
•THERE IS STEEL COLOUMN BEHIND EACH SECOND PIER
•BASE SHAFT AND CAPITAL WERE THERE WITH NO
DIRECT AND APPARENT TO ACTUAL CONST .
•THE OUT LINE OF BUILDING IS EMPHASISED.
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NATIONAL FARMER’S BANK
NATIONALFARMER’SBANK
•ONE OF THE 1st TO BREAK FREE
FROM THE INFLUENCE OF CLASSICAL
REVIVAL STYLE.
•Louis Sullivan completed a series of eight
banks in small Midwest towns during the
last year of his career.
•The national farmers bank is the best
Sullivan known for a form follows
functions, philosophy in his proto type
skyscraper design.
•Applied these principles to the smaller
scale of the prairie school banks still
monumental form.
1908
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NATIONAL FARMER’S BANK – EXTERIOR VIEWS OF THE DESIGN FEATURES THAT THE
ARCHITECT USED IN HIS DESIGN.
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NATIONAL FARMER’S BANK – INTERIOR VIEWS OF THE DESIGN FEATURES THAT THE
ARCHITECT USED IN HIS DESIGN.
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•The building is BATHED IN A SYMPHONY OF COLOUR
as sullivan described it.
•Green and brown TERRACOTTA PANELS and blue and
gold glass mosaic bands contrast with the reddish brick and
red sand stone base that anchors the bank to its site.
•Arched stained glass windows are mirrored on the interior
by murals of dairy and harvest scenes painted by Chicago
artist Oscar gross.
•The LAVISH ORAGANIC ORNMENTATION designed
largely by Sullivan's partner George, carries through all
interior elements from 18 foot tall high fixture down to the
teller's window grills.
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•THESE ARE THE SUN CUTTERS IN THE CEILING OF THE BUILDING WHICH OPEN AND CLOSE AS
REQUIRED TO CUT THE AMOUNT OF SUNLIGHT COMING THROUGH.
THE CUTTERS ARE MADE OF TRANSCLUCENT MATERIAL WHICH ARE CLUTTERED IN SHAPE OF
LOTUS .
S U N C U T T E R S I N T H E
C E I L I N G .
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ST.PAUL’SCHURCH
• Location: Cedar
Rapids, Iowa
• Date:1910 to 1914
• Building Type: church
• Construction System:
brick bearing masonry
• Climate: temperate
• Context: suburban
• Style: Early Modern

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ST.PAUL’SCHURCH
• A building quite devoid of ornament
may convey a noble and dignified
sentiment by virtue of mass and
proportion
• That which exists in spirit ever seeks
and finds its visible counterpart in
form, its visible image...a living
thought, a living form
• "...the architect who combines in his
being the powers of vision , of
imagination, of intellect, of sympathy
with human need and the power to
interpret them in a language
vernacular and true—is he who shall
create poems in stone...

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ST.PAUL’SCHURCH

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ST.PAUL’SCHURCH
FRONTELEVATION

SCHILLAR BUILDING,
CHICAGO
SCHILLAR BUILDING, CHICAGO
•IT WAS ONE OF THE 1ST DESIGNS TO EXPLOIT THE POTENTIAL OF NEWLY
AVAILABLE STELL, PUTTING ASIDE THE HISTORIC FORMS WHICH ARCHITECTS
HAD STRUGGLED TO BLEND TO TALLER BUILDINGS.
•THE SCHILLER THEATRE BUILDING WAS DESIGNED BY LOUIS SULLIVAN FOR
THE GERMAN OPERA COMPANY. AT THE TIME OF ITS CONSTRUCTION, IT WAS
ONE AMONG THE TALLEST BUILDINGS IN CHICAGO.
•SOME OF THE UNIQUE ORNAMENTATION WAS REMOVED FROM THE BUILDING
AND IS ON DISPLAY AT THE CHICAGO ART INSTITUTE.
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ORNAMENT
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SCHILLAR BUILDING,
CHICAGO
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SCHILLAR BUILDING,
CHICAGO
•SCHILLER BUILDING LATER KNOWN AS GARRICK THEATER STOOD IN
CENTRAL CHICAGO.
•THE BUILDING WAS DESIGNED BY SULLIVAN AND
IN TERMS OF ARCHITECTURAL SIGNIFICANCE,
WAS COMPARED BY SOME TO THE PARTHEON.
•UNFOTUNATELY,THE BUILDING WAS TORN DOMN
AND REPLACED BY THE PARKING LOT IN 1961.
SECTION
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BRADLEY HOUSE, (1910)
•LOUIS SULLIVAN WAS ALSO A SUPERB RESIDENTIAL
ARCHITECT,MASTER OF THE STYLE LATER DEVELOPED
FURTHER BY FRANK LLOYD.
•ONE OF THE SULLIVAN FINEST EXAMPLE IS THE BRADLEY
HOUSE. 1910.
•ONE QUALITY CONSISTENT IN THE SPACES OF SULLIVAN
HOUSES FROM THE CHARNLEY HOUSE TO THE BABSON
HOUSE IS THEIR INSERTION IN AN EMBRACING RECTANGULAR
PRISM THROUGH WHICH THE MAJOR AND MINOR AXES
STRUGGLE.
FROM THE FRONT
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•SULLIVAN LIFTED THE SECOND STORY OF HIS HOUSE ONTO
PIERS HOLDING IT OVER THE ENFILADE OF THE 1ST FLOOR
AND ITS HIGH BRICK BASEMENT.
•THESE COMPOSITIONS ARE NO LESS
PROCESSIONAL,CENTRING ON A SPACE JUST BEYOND THE
ENTRANCE POINT,ENCLOSED IN THICKENED POCHED WALLS,
PROJECTING DRAMATIC AXES FORWARD AND TO EACH
SIDE,MANIFESTED EXTERNALLY AS JUXTAPOSED VOLUMES.
B R A D L E Y H O U S E , ( 1 9 1 0 )
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HARMONIOUS AND IDENTICAL GEOMETRY YET
FUNCTIONALLY ADAPTED IN FINALLY FREED THEMSELVES
FROM THIS RESTRAINING CARAPACE,EMERGING IN A
SERIES OF CROSS SHAPED PLANS.
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THANK YOU
SUBMITTEDTO:
AR.ROOPALI BANSAL
SUBMITTEDBY:
AKANSHA BATRA
DARISHTI RAI JINDAL
DIKSHA
HARSIMRAN KAUR
JYOTI
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Louis Henry Sullivan

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