The architects of Chicago were encouraged to build higher structures because of escalating land prices and the introduction of elevators. New construction materials and techniques such as steel framing and reinforced concrete allowed for more open walls, which accentuated the new materials.
Metal could support such structures, and the tall building was finally developed by William Le Baron Jenney in the Home Insurance Company office building (photo) in Chicago (1883-1885). Here, for the first time, conscious use was made of novel structural possibilities. Isolated footings supported a skeleton of wrought and cast iron encased in masonry, with fireproof floors, numerous fast elevators, and gas light. The traditional masonry-bearing walls now became weather curtains or "skins," largely of glass, supported by the metal skeleton. The American skyscraper was born, although it was only with rare exceptions, as in the work of Louis Sullivan, that this original type of building was treated successfully.
Louis Sullivan (1856-1924), a notable Chicago architect, developed a more detailed and influential high-rise vocabulary with classical overtones, called Sullivanesque, coinciding with his "form follows function" aesthetic.
An intricate weaving of linear and geometric forms with stylized foliage in a symmetrical pattern is the unique element of the Sullivanesque style The decorative ornamentation devised by Sullivan and used on some of his office buildings is based on floral motifs but organized in a manner closely resembling the Irish interlace of the early Middle Ages.
Stock replicas of Sullivan's designs manufactured by the Midland Terra Cotta Company and others gave distinction and focus to utilitarian buildings in Chicago's commercial strips and other confined areas, such as the downtown districts of smaller towns
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Metal could support such structures, and the tall building was finally developed by William Le Baron Jenney in the Home Insurance Company office building (photo) in Chicago (1883-1885). Here, for the first time, conscious use was made of novel structural possibilities. Isolated footings supported a skeleton of wrought and cast iron encased in masonry, with fireproof floors, numerous fast elevators, and gas light. The traditional masonry-bearing walls now became weather curtains or "skins," largely of glass, supported by the metal skeleton. The American skyscraper was born, although it was only with rare exceptions, as in the work of Louis Sullivan, that this original type of building was treated successfully.
Louis Sullivan (1856-1924), a notable Chicago architect, developed a more detailed and influential high-rise vocabulary with classical overtones, called Sullivanesque, coinciding with his "form follows function" aesthetic.
An intricate weaving of linear and geometric forms with stylized foliage in a symmetrical pattern is the unique element of the Sullivanesque style The decorative ornamentation devised by Sullivan and used on some of his office buildings is based on floral motifs but organized in a manner closely resembling the Irish interlace of the early Middle Ages.
Stock replicas of Sullivan's designs manufactured by the Midland Terra Cotta Company and others gave distinction and focus to utilitarian buildings in Chicago's commercial strips and other confined areas, such as the downtown districts of smaller towns
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