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new, larger buildings. The mass production of steel was the main driving force behind the ability to build skyscrapers during the mid-1880s. By assembling a framework of steel girders, architects and builders could create tall, slender buildings with a strong and relatively lightweight steel skeleton. The rest of the building elements—walls, floors, ceilings, and windows—were suspended from the skeleton, which carried the weight. This new way of constructing buildings, so-called "column-frame" construction, pushed them up rather than out. The steel weight-bearing frame allowed not just taller buildings, but permitted much larger windows, which meant more daylight reaching interior spaces. Interior walls became thinner, which created more usable (and rentable) floor space.
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Wright continued to call
Sullivan "lieber Meister" ("beloved Master") for the rest of his life. After decades of estrangement, Wright would again become close to the now-destitute Sullivan in the early 1920s, the time when Roark first comes under the likewise impoverished Cameron's tutelage in the novel. Wright, however, was now in his fifties. Nevertheless, both the young Roark and middle-aged Wright had in common at that time that they both faced a decade of struggle ahead. After the triumphs earlier in his career, Wright came increasingly to be viewed as a has-been, until he experienced a renaissance in the latter half of the 1930s with such projects as
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365:, visibly divided into three "zones" of design: a plain, wide-windowed base for the ground-level shops; the main office block, with vertical ribbons of masonry rising unimpeded across nine upper floors to emphasize the building's height; and an ornamented cornice perforated by round windows at the roof level, where the building's mechanical units (such as the elevator motors) were housed. The cornice is covered by Sullivan's trademark Art Nouveau vines and each ground-floor entrance is topped by a semi-circular arch.
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265:(not designed by Sullivan) straddles this remarkable moment of transition: the northern half of the building, finished in 1891, is of load-bearing construction, while the southern half, finished only two years later, is of column-frame construction. While experiments in this new technology were taking place in many cities, Chicago was the crucial laboratory. Industrial capital and civic pride drove a surge of new construction throughout the city's downtown in the wake of the 1871 fire.
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embracing the changes that came with the steel frame, creating a grammar of form for the high rise (base, shaft, and cornice), simplifying the appearance of the building by breaking away from historical styles, using his own intricate floral designs, in vertical bands, to draw the eye upward and to emphasize the vertical form of the building, and relating the shape of the building to its specific purpose. All this was revolutionary, appealingly honest, and commercially successful.
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563:, who organized protests against the demolition of architecturally significant buildings. Nickel and others sometimes rescued decorative elements from condemned buildings, sneaking in during demolition. Nickel died inside Sullivan's Stock Exchange building while trying to retrieve some elements, when a floor above him collapsed. Nickel had compiled extensive research on Adler and Sullivan and their many architectural commissions, which he intended to publish in book form.
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335:, and ranging from organic forms, such as vines and ivy, to more geometric designs and interlace, inspired by his Irish design heritage. Terra cotta is lighter and easier to work with than stone masonry. Sullivan used it in his architecture because it had a malleability that was appropriate for his ornament. Probably the most famous example of ornament used by Sullivan is the writhing green ironwork that covers the entrance canopies of the
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323:, later would be taken by influential designers to imply that decorative elements, which architects call "ornament", were superfluous in modern buildings, but Sullivan neither thought nor designed along such dogmatic lines during the peak of his career and this credo never put one concept above another. While his buildings could be spare and crisp in their principal masses, he often punctuated their plain surfaces with eruptions of lush
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205:(1886–90, opened in stages) in Chicago, an extraordinary mixed-use building that included not only a 4,200-seat theater, but also a hotel and an office building with a 17-story tower and commercial storefronts at the ground level of the building, fronting Congress and Wabash Avenues. After 1889 the firm became known for their office buildings, particularly the 1891
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684:(first published in 1936, and unrelated to architecture) that she was intimately familiar with his life and career. The term "the Fountainhead," which appears nowhere in Rand's novel proper, is found twice (as "the fountainhead" and later as "the fountain head") in Sullivan's autobiography, both times used metaphorically.
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429:, who was working in the office at that time, Adler borrowed money to try to keep employees on the payroll. By 1894, however, in the face of continuing financial distress with no relief in sight, Adler and Sullivan dissolved their partnership. The Guaranty Building was considered the last major project of the firm.
1512:, which he wrote at the end of his life, at a time when professional failure and alcohol may have clouded his judgment, that he had been named Louis Henri after his grandfather Henri List (see footnote below). The latter spelling was in turn enshrined by the designers of his funerary monument (see picture in text).
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The development of cheap, versatile steel in the second half of the nineteenth century changed those rules. America was in the midst of rapid social and economic growth that made for great opportunities in architectural design. A much more urbanized society was forming and the society called out for
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Sullivan's legacy is contradictory. Some consider him the first modernist. His forward-looking designs clearly anticipate some issues and solutions of
Modernism; however, his embrace of ornament makes his contribution distinct from the Modern Movement that coalesced in the 1920s and became known as
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were vocal about their displeasure with each other. Sullivan later claimed (1922) that the fair set the course of
American architecture back "for half a century from its date, if not longer." His was the only building to receive extensive recognition outside America, receiving three medals from the
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Because
Sullivan's remarkable accomplishments in design and construction occurred at such a critical time in architectural history, he often has been described as the "father" of the American skyscraper. But many architects had been building skyscrapers before or as contemporaries of Sullivan; they
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It is the pervading law of all things organic and inorganic, of all things physical and metaphysical, of all things human, and all things super-human, of all true manifestations of the head, of the heart, of the soul, that the life is recognizable in its expression, that form ever follows function.
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The young Wright, by contrast, was
Sullivan's protégé for seven years, beginning in 1887, when Sullivan was at the height of his fame and power. The two architects would sever their ties in 1894 due to Sullivan's angry reaction to Wright's moonlighting in breach of his contract with Sullivan, but
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The major difference between novel and real life was in the chronology of
Cameron's relation with his protégé Howard Roark, the novel's hero, who eventually goes on to redeem his vision. That Roark's uncompromising individualism and his innovative organic style in architecture were drawn from the
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By both temperament and connections, Adler had been the one who brought in new business to the partnership, and following the rupture
Sullivan received few large commissions after the Carson Pirie Scott Department Store. He went into a twenty-year-long financial and emotional decline, beset by a
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Interpretive Center in
Buffalo, on the first floor of the building now owned and occupied by the law firm Hodgson Russ, LLP, opened in 2017. The exhibit space was financed by Hodgson Russ, LLP, and co-designed by Flynn Battaglia Architects and Hadley Exhibits. It features a scale model of the
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The technical limits of weight-bearing masonry had imposed formal as well as structural constraints; suddenly, those constraints were gone. None of the historical precedents needed to be applied and this new freedom resulted in a technical and stylistic crisis of sorts. Sullivan addressed it by
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After Nickel's death, in 1972 the
Richard Nickel Committee was formed, to arrange for completion of his book, which was published in 2010. The book features all 256 commissions of Adler and Sullivan. The extensive archive of photographs and research that underpinned the book was donated to the
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The fictional
Cameron is, like Sullivan – whose physical description he matches – a great innovative skyscraper pioneer late in the nineteenth century who dies impoverished and embittered in the mid-1920s. Cameron's rapid decline is explicitly attributed to the wave of classical Greco-Roman
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Prior to the late nineteenth century, the weight of a multi-story building had to be supported principally by the strength of its walls. 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
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with her parents and two siblings, Jenny, b. 1836, and Jules, b. 1841) and an Irish-born father, Patrick Sullivan. Both had immigrated to the United States in the late 1840s. He learned that he could both graduate from high school a year early and bypass the first two years at the
586:(1907–1991), of Crombie Taylor Associates. After working in Chicago, where he had headed the famous "Institute of Design", later known as the Illinois Institute of Technology (IIT), in the 1950s and early 1960s, he had moved to Southern California. He led the effort to save the
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is clear from Rand's journal notes, her correspondence, and various contemporary accounts. In the novel, however, the 23-year-old Roark, a generation younger than the real-life Wright, becomes Cameron's protégé in the early 1920s, when Sullivan was long in decline.
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Ryerson and Burnham Libraries at The Art Institute of Chicago. More than 1,300 photographs may be viewed on their website and more than 15,000 photographs are part of the collection at The Art Institute of Chicago. As finally published, the book,
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After his death Sullivan was referred to as a bold architect: "Boldly he challenged the whole theory of copying and imitating, and the catchword of "precedent," declaring that architecture was naturally a living and creative art."
787:, St. Louis (1892), listed on the National Register of Historic Places (shown at right), is considered a major American architectural triumph, a model for ecclesiastical architecture, a "masterpiece", and has been called "the
1508:(Elizabeth Sifton Books, New York City, 1986), his birth certificate read Henry Louis Sullivan, although he was called Louis Henry. Sullivan helped propagate confusion over his middle name as well by announcing, in his book
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By the end of the first decade of the twentieth century, Sullivan's star was well on the descent and, for the remainder of his life, his output consisted primarily of a series of small bank and commercial buildings in the
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Such ornaments, often executed by the talented younger draftsmen in Sullivan's employ, eventually would become Sullivan's trademark; to students of architecture, they are instantly recognizable as his signature.
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When he read an article about the planned demolition in Clinton, he uprooted his family from their home in southern California and moved them to Iowa. With the vision of a destination neighborhood comparable to
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in St. Louis has a large collection of Sullivan ornamentation on display, including a cornice from the demolished Chicago Stock Exchange, 29 feet long on one side, 13 feet on another, and nine feet high.
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Another signature element of Sullivan's work is the massive, semi-circular arch. Sullivan employed such arches throughout his career—in shaping entrances, in framing windows, or as interior design.
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shortage of commissions, chronic financial problems, and alcoholism. He obtained a few commissions for small-town Midwestern banks (see below), wrote books, and in 1922 appeared as a critic of
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were designed as an expression of new technology. Chicago was replete with extraordinary designers and builders in the late years of the nineteenth century, including Sullivan's partner,
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559:, Sullivan's works fell into disfavor, and many were demolished. In the 1970s, growing public concern for these buildings finally resulted in many being saved. The most vocal voice was
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93:(September 3, 1856 – April 14, 1924) was an American architect, and has been called a "father of skyscrapers" and "father of modernism." He was an influential architect of the
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who considered that structure and function in architecture should be the sole determinants of form. In 1944, Sullivan was the second architect to posthumously receive the
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He died in a Chicago hotel room on April 14, 1924. He left a wife, Mary Azona Hattabaugh, from whom he was separated. A modest headstone marks his final resting spot in
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In 1890, Sullivan was one of the ten U.S. architects, five from the east and five from the west, chosen to build a major structure for the "White City", the
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by passing a series of examinations. Entering MIT at the age of sixteen, Sullivan studied architecture there briefly. After one year of study, he moved to
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838:(also known as the Charnley–Persky House Museum Foundation and the National Headquarters of the Society of Architectural Historians), Chicago (1891–1892)
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dried up much of Furness's work, and he was forced to let Sullivan go. Sullivan moved to Chicago in 1873 to take part in the building boom following the
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2319:"1875 Coliseum/ 1878 Hamlin's Theatre/ 1880 Grand Opera House / 1912 George M. Cohan's Grand Opera /House / 1926 Four Cohans / 1942 RKO Grand Theatre"
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405:, held in Chicago in 1893. Sullivan's massive Transportation Building and huge arched "Golden Door" stood out as the only building not of the current
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179:. Johnston & Edleman were commissioned for the design of the Moody Tabernacle, and tasked Sullivan with the design of the interior decorative
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646:. The center's exhibits were donated to Preservation Buffalo Niagara. The center, the only museum dedicated to Sullivan, is open to the public.
254:"load-bearing" walls could sustain, tall designs meant massively thick walls on the ground floors, and definite limits on the building's height.
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496:". Sullivan's built work expresses the appeal of his incredible designs: the vertical bands on the Wainwright Building, the burst of welcoming
385:(both in Chicago), are cited by many as the originators of skyscraper aesthetics of bearing wall and column-frame construction, respectively.
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hired Sullivan. A year later, Sullivan became a partner in Adler's firm. This marked the beginning of Sullivan's most productive years.
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initially achieved fame as theater architects. While most of their theaters were in Chicago, their fame won commissions as far west as
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This is the total mention by Rand; she does not bother to tell the reader that Sullivan was an architect or anything else about him.
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2002:"My view of what a good autobiography should be is contained in the title that Louis H. Sullivan gave to the story of his life:
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217:) Building and theater (1890) in Chicago. Other buildings often noted include the Chicago Stock Exchange Building (1894), the
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ironwork on the corner entrance of the Carson Pirie Scott store, the (lost) terra cotta griffins and porthole windows on the
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and Ernst Wasmuth Verlag (Germany); distributed by Rizzoli International (U.S.), Wasmuth (Germany), Mardaga (France), 1990.
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was similar to the real-life Sullivan was noted, if only in passing, by at least one journalist contemporary to the book.
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In 1922, Sullivan was paid $ 100 a month to write an autobiography in installments to be published in the journal for the
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from the Stock Exchange was removed intact prior to the building being demolished and subsequently, was restored in the
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Like all American architects, Adler and Sullivan suffered a precipitous decline in their practice with the onset of the
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Book: "The Complete Architecture of Adler & Sullivan" by Richard Nickel, Aaron Siskind, John Vinci and Ward Miller
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This reference illustrates Sullivan's adoption of the "Henri" spelling of his middle name towards the end of his life.
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1938:"The City Museum in Saint Louis will do anything—even risk eternal damnation—to build its Louis Sullivan collection"
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The spelling of Sullivan's middle name (whether Henry or Henri) has caused confusion. According to Robert Twombly,
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and Lake View neighborhood. Later, a monument was erected in Sullivan's honor, a few feet from his headstone.
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Engelbrecht, Lloyd C., "Adler and Sullivan's Pueblo Opera House: City Status for a New Town in the Rockies",
877:, (originally known as the Schlesinger & Mayer Store, now known as "Sullivan Center") Chicago (1899–1904)
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for a year. He returned to Chicago and began work for the firm of Joseph S. Johnston & John Edelman as a
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Atlantic.com slideshow, "The Architecture of Louis Sullivan," with photographs by Richard Nickel and others
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381:. Root was one of the builders of the Monadnock Building (see above). That and another Root design, the
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Springer Block (later Bay State Building and Burnham Building) and Kranz Buildings, Chicago (1885–1887)
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Washington Elementary School, Marengo, Illinois, Adler & Sullivan, 1883, demolished by early 1990s
547:. Fragments of Sullivan buildings also are held in many fine art and design museums around the world.
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Abbott, J. (2000). "Louis Sullivan, Architectural Modernism, and the Creation of Democratic Space".
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style, and with the only multicolored facade in the entire White City. Sullivan and fair director
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in 1977; the entryway arch (seen at right) stands outside on the northeast corner of the AIC site
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201:, Washington (unbuilt). The culminating project of this phase of the firm's history was the 1889
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from demolition. Taylor, acting as an aesthetic consultant, had worked on the renovation of the
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Chambers Biographical Dictionary. London: Chambers Harrap, 2007. s.v. "Sullivan, Louis Henry,"
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only some 50 lines directly referring to Sullivan, it is clear from her mention of Sullivan's
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854:), 65–69 Bleecker Street, New York City (1898). Sullivan's only building in New York, with a
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George Harvey House, Chicago, Adler & Sullivan, 1888 destroyed by fire November 4, 2006
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Thirty-Ninth Street Passenger Station, Chicago, Adler & Sullivan, 1886, demolished 1934
508:, Sullivan's only work in New York City. Except for some designs by his longtime draftsman
357:, which he designed while partnered with Adler. Completed in 1895, this office building in
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as lead architect and Sullivan as assistant; later remodeled and reconstructed in 1926 by
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building. After less than a year with Jenney, Sullivan moved to Paris and studied at the
101:, and an inspiration to the Chicago group of architects who have come to be known as the
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Entrance from Sullivan's 1893 Chicago Stock Exchange building, saved and reinstalled at
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A collection of architectural ornaments designed by Sullivan is on permanent display at
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692:, just as Sullivan in his autobiography attributed his own downfall to the same event.
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2286:"Why a Minnesota bank building ranks among the nation’s most significant architecture"
1118:, Chicago, Adler & Sullivan, 1893–94, an exposition building built to last a year
482:, Chicago, Illinois - note the alternative spelling of his middle name on the memorial
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from possible demolition. His efforts were successful in both St. Louis and Buffalo.
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109:, Sullivan is one of "the recognized trinity of American architecture." The phrase "
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629:. The St. Louis Art Museum also has Sullivan architectural elements displayed. The
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2160:"Wainwright Tomb - St. Louis, Missouri - American Guide Series on Waymarking.com"
1696:. New York City: Press of the American institute of Architects, Inc. p. 325.
1681:. New York City: Press of the American institute of Architects, Inc. p. 108.
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The Chicago Auditorium Building - Adler and Sullivan's Architecture and the City
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They All Fall Down - Richard Nickel's Struggle to Save American's Architecture
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Mineola, New York: Dover Publications, 2009 (reprint of 1924 edition), p. 31.
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Third McVickers Theater, Chicago, Adler & Sullivan, 1883? demolished 1922
1138:(later Garrick Theater), Chicago, Adler & Sullivan, 1891, demolished 1961
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Original drawings and other archival materials from Sullivan are held by the
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Chicago Stock Exchange Building, Adler & Sullivan, 1893, demolished 1972
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2537:, Press of the American institute of Architects, Inc., New York City, 1924.
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Ornamentation on the World's Fair Transportation Building, Chicago, 1893–94
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Ed. Robert Twombly, Chicago University Press, Chicago & London, 1988
1153:, Chicago, Adler & Sullivan, 1891, destroyed by fire January 6, 2006
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Columbian Gallery – A Portfolio of Photographs of the World's Fair
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St. Louis' Historic Cemeteries Offer Final Rest for the Rich and Famous
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Gebhard, David (May 1960). "Louis Sullivan and George Grant Elmslie".
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Three American Architects: Richardson, Sullivan, and Wright, 1865-1915
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Standard Club, Chicago, Adler & Sullivan, 1887–88, demolished 1931
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magazine; September 2, 1946; reply by editor to reader's letter, p.22
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1898:. Chicago: The University of Chicago Press. pp. 318, 398, 411.
1708:
Distant Corner: Seattle Architects and the Legacy of H.H. Richardson
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2194:"On the Road: St. Louis: The River Runs by It, History Through It"
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Dewidar, Khaled (2017). "Violet Le Duc theories of Architecture".
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James H. Walker Warehouse & Company Store, Chicago (1886–1889)
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297:" would become one of the prevailing tenets of modern architects.
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Louis Sullivan "The tall office building artistically considered"
797:, St. Louis (1893; street-level ornament heavily altered in 1924)
678:(1924) in her 25th-anniversary introduction to her earlier novel
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architect, engineer, and author, who first asserted in his book,
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Nickel, Richard; Siskind, Aaron; Vinci, John; and Miller, Ward.
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Louis Sullivan as He Lived: The Shaping of American Architecture
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http://www.credoreference.com/entry/chambbd/sullivan_louis_henry
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Article on fragments of Adler and Sullivan Buildings in Chicago
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The Art Institute of Chicago: The Stock Exchange Trading Room,
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Historic Americal Buildings Survey, MO-1637A, Wainwright Tomb.
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Architectural Plans for Wainwright tomb, The Steedman Exhibit.
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Thomas, George E.; Cohen, Jeffrey A.; and Lewis, Michael J.;
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All of these elements are found in Sullivan's widely admired
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stencils (stencil technique applied on dry plaster). In 1879
3209:
642:
building by David J. Carli, Professor of Engineering at the
791:
of St. Louis." The family name appears nowhere on the tomb.
113:" is attributed to him, although the idea was theorised by
582:
Another champion of Sullivan's legacy was the architect
2241:
Lapham Maryland: University Press of America, 1988, at
1028:(1919–1920), a remodeling of an existing bank building
823:
Selz, Schwab & Company Factory, Chicago (1886–1887)
456:
began its publication in the June 1922 Journal for the
315:, that a structure must exhibit the three qualities of
167:, the architect often credited with erecting the first
2495:
Frank Lloyd Wright, Louis Sullivan, and the skyscraper
1826:
The Story of Architecture: from Rameses to Rockefeller
858:
curtain wall expressing the steel structure behind it.
221:(also known as the Prudential Building) of 1895–96 in
2637:– Transcribed from Lippincott's Magazine (March 1896)
2581:
Louis H. Sullivan: A System of Architectural Ornament
2562:, Princeton Architectural Press, New York City, 1991.
1523:
Father of Skyscrapers: A Biography of Louis Sullivan.
578:
Detail of the ornamentation of the Van Allen Building
452:, who advised he "plot out the material by periods."
2530:, Richard Nickel Committee, Chicago, Illinois, 2010.
2521:
Louis Sullivan – Prophet of Modern Architecture
2351:"OFFICIALS AT ODDS OVER FUTURE OF HISTORIC BUILDING"
1964:"Visitors now welcome at landmark Guaranty Building"
1558:. Chicago: University of Chicago Press. p. xv.
914:, Chicago (final commission 1922; front façade only)
448:. Sullivan worked on the series with Journal editor
3519:
3454:
3320:
3263:
3220:
3169:
3049:
3024:
2965:
2802:
2693:
869:
Holy Trinity Russian Orthodox Cathedral and Rectory
539:and by the drawings and archives department in the
80:
64:
49:
30:
2523:, W.W. Norton & Co., Inc. New York City, 1963.
2465:Journal of the Society of Architectural Historians
1871:. Chicago: Richard Nickel Committee. p. 428.
1661:"The Tall Office Building Artistically Considered"
1551:
1111:Troescher Building, Chicago, 1884, demolished 1978
826:Hebrew Manual Training School, Chicago (1889–1890)
2528:The Complete Architecture of Adler & Sullivan
2239:Journal of the Association for Gravestone Studies
1867:; Aaron Siskind; John Vinci; Ward Miller (2010).
1336:Holy Trinity Russian Orthodox Cathedral, interior
657:That the fictional character of Henry Cameron in
569:The Complete Architecture of Adler & Sullivan
460:and upon its conclusion was published as a book.
135:Andrienne List (who had emigrated to Boston from
3066:Tall: The American Skyscraper and Louis Sullivan
2624:"Sullivan's Banks" documentary by Heinz Emigholz
2459:, College Art Association of America, June 1985.
2307:, Elisabeth Sifton Books, New York, 1986 p. 458
1480:Tall: The American Skyscraper and Louis Sullivan
1058:, Pueblo, Colorado, 1890, destroyed by fire 1922
3642:Fellows of the American Institute of Architects
1869:The Complete Architecture of Adler and Sullivan
1706:Jeffrey Karl Ochsner and Dennis Alan Andersen,
2569:, Elizabeth Sifton Books, New York City, 1986.
1843:. Hoboken: John Wiley & Sons. p. 90.
841:Albert Sullivan Residence, Chicago (1891–1892)
832:Warehouse for E. W. Blatchford, Chicago (1889)
688:revivalism in architecture in the wake of the
3147:
2923:People's Federal Savings and Loan Association
2671:
1349:People's Federal Savings and Loan Association
1070:, Salt Lake City, Utah, 1891, demolished 1965
1005:People's Federal Savings and Loan Association
289:Sullivan in 1919, painting by Frank A. Werner
8:
3647:Modernist architects from the United States
3607:American alumni of the École des Beaux-Arts
2115:. Duell Sloan & Pearce. pp. 71–76.
2100:. Duell Sloan & Pearce. pp. 66–67.
1124:, Ocean Springs, Mississippi, destroyed in
1108:Zion Temple, Chicago, 1884, demolished 1954
19:For other people named Louis Sullivan, see
3182:St. Peter's Episcopal Church of Germantown
3154:
3140:
3132:
2678:
2664:
2656:
2323:Downtown Chicago's Historic Movie Theatres
129:Sullivan was born to a Swiss-born mother,
38:
27:
3299:St. Michael's Episcopal Church, Birdsboro
2783:Carson, Pirie, Scott and Company Building
627:Southern Illinois University Edwardsville
541:Avery Architectural and Fine Arts Library
2434:, The Werner Company, Chicago, IL, 1894.
1920:"Sullivan Collection in Lovejoy Library"
1073:
847:, second remodeling, Chicago (1890–1891)
573:
236:
229:by Sullivan on State Street in Chicago.
3632:Burials at Graceland Cemetery (Chicago)
2567:Louis Sullivan – His Life and Work
2560:Frank Furness – The Complete Works
2028:. Dover Publications. pp. 20, 213.
1828:. New York: Halycon House. p. 242.
1497:
1322:Holy Trinity Russian Orthodox Cathedral
1170:
1041:, 1880 remodel and reconstruction with
241:Prudential Building, also known as the
3311:First Unitarian Church of Philadelphia
3115:
2012:. New American Library. pp. xiii.
927:A portion of the western elevation of
813:Buildings 1887–1922 by Louis Sullivan:
670:Although Rand's journal notes contain
644:State University of New York at Alfred
3200:Pennsylvania Academy of the Fine Arts
2542:Kindergarten Chats and Other Writings
2492:Hoffmann, Donald (January 13, 1998).
816:(256 total commissions and projects)
331:decorations, usually cast in iron or
142:Massachusetts Institute of Technology
130:
7:
3672:English High School of Boston alumni
3568:
3103:
1607:The American Institute of Architects
1122:Louis Sullivan and Charnley Cottages
758:, Graceland Cemetery, Chicago (1890)
2576:The Art Institute of Chicago, 1977.
300:Sullivan attributed the concept to
227:Carson Pirie Scott Department Store
3468:Provident Life & Trust Company
3379:University of Pennsylvania Library
2915:National Farmer's Bank of Owatonna
2439:The Chicago School of Architecture
2130:. Alfred A. Knopf. pp. 14–15.
1525:Boston: Little, Brown and Company.
1506:Louis Sullivan – His Life and Work
1377:National Farmer's Bank of Owatonna
1132:also claimed credit for the design
416:Union Centrale des Arts Decoratifs
14:
3662:Western Association of Architects
2553:Louis Sullivan: The Public Papers
2305:Louis Sullivan: His life and work
2086:New York: Dutton, 1995. Section 3
985:Home Building Association Company
781:Charlotte Dickson Wainwright Tomb
723:Category:Louis Sullivan buildings
690:1893 World's Columbian Exposition
3677:Recipients of the AIA Gold Medal
3617:American people of Swiss descent
3612:American people of Irish descent
3567:
3114:
3102:
3091:
3090:
2947:St. Paul United Methodist Church
2835:Farmers and Merchants Union Bank
2793:
2648:
2452:, Horizon Press, Inc., NY, 1960.
2046:. Bobbs-Merrill. pp. 34–35.
1764:American Institute of Architects
1453:
1436:Farmers and Merchants Union Bank
1428:
1416:
1398:
1383:
1369:
1355:
1341:
1329:
1314:
1299:
1284:
1270:
1256:
1242:
1227:
1213:
1201:
1187:
1173:
902:St. Paul United Methodist Church
803:(formerly Prudential Building),
649:
458:American Institute of Architects
446:American Institute of Architects
233:Sullivan and the steel high-rise
2867:Holy Trinity Orthodox Cathedral
2767:Chicago Stock Exchange Building
1730:. New York: Horizon Press Inc.
1583:. British University in Egypt.
1469:American Prize for Architecture
272:In 1896, Louis Sullivan wrote:
21:Louis Sullivan (disambiguation)
2875:Home Building Association Bank
2759:Prudential (Guaranty) Building
2498:. Courier Dover Publications.
2381:Stories, Structures, and Songs
2008:Rand, Ayn (2009) . "Forward".
1760:"The Autobiography of an Idea"
1712:University of Washington Press
504:, and the white angels of the
148:and took a job with architect
1:
3557:Wilson Brothers & Company
3492:B&O Station, Philadelphia
3433:Girard Trust Company Building
3427:St. Luke's Church, Kensington
3324:
1758:Sullivan, Louis (June 1922).
1665:Lippincott's Monthly Magazine
1603:"Gold Medal Award Recipients"
3391:Princeton Club, Philadelphia
3321:Furness, Evans & Company
2710:Auditorium Building, Chicago
2592:Louis H. Sullivan: The Banks
2548:, Inc., New York City, 1979.
2535:The Autobiography of an Idea
2111:Wright, Frank Lloyd (1949).
2096:Wright, Frank Lloyd (1949).
2052:The Autobiography of an Idea
2024:Sullivan, Louis H. (2009) .
2004:The Autobiography of an Idea
1116:World's Columbian Exposition
1080:The Art Institute of Chicago
931:, Owatonna, Minnesota (1908)
522:The Art Institute of Chicago
454:The Autobiography of an Idea
403:World's Columbian Exposition
317:firmitas, utilitas, venustas
3486:B&O Station, Pittsburgh
2647:(public domain audiobooks)
2629:Louis H. Sullivan Ornaments
2443:University of Chicago Press
2050:Sullivan, Louis H. (1924).
1589:10.13140/RG.2.2.36647.04006
1550:O'Gorman, James F. (1991).
1521:Kaufman, Mervyn D. (1969).
1208:Wainwright Building cornice
863:Gage Brothers & Company
3693:
3504:Jersey City Ferry Terminal
3016:(1887–2006, A&S)
3008:(1891–2006, A&S)
3000:(1891–1961, A&S)
2694:Adler & Sullivan works
2450:Louis Sullivan as He Lived
2273:December 13, 2009, at the
1824:Whitaker, Charles (1934).
1039:Grand Opera House, Chicago
1015:Farmers and Merchants Bank
720:
555:During the postwar era of
18:
3637:Chicago school architects
3565:
3498:Buckingham Valley station
3355:Brooke Mansion, Birdsboro
3207:
3085:
2974:New Orleans Union Station
2791:
1803:10.1007/s12108-000-1005-0
1724:Connely, Willard (1960).
1634:Autobiography of an Idea.
1114:Transportation Building,
1062:New Orleans Union Station
478:Monument for Sullivan in
437:'s winning entry for the
37:
3592:Louis Sullivan buildings
3537:G. W. & W. D. Hewitt
3230:Centennial National Bank
3221:Frank Furness, Architect
2907:Merchants' National Bank
2585:Art Institute of Chicago
2317:Konrad Schiecke (2011).
2069:The Journals of Ayn Rand
2026:Autobiography of an Idea
1892:Siry, Joseph M. (2002).
1791:The American Sociologist
1694:Autobiography of an Idea
1692:Sullivan, Louis (1924).
1679:Autobiography of an Idea
1677:Sullivan, Louis (1924).
1650:at www.prairiestyles.com
1510:Autobiography of an Idea
1406:Merchants' National Bank
1278:Carson Pirie Scott store
1099:Art Institute of Chicago
975:Merchants' National Bank
875:Carson Pirie Scott store
711:Johnson Wax Headquarters
676:Autobiography of an Idea
537:Art Institute of Chicago
389:Later career and decline
337:Carson Pirie Scott store
213:and the Schiller (later
105:. Along with Wright and
3627:Architects from Chicago
3547:William Lightfoot Price
2990:Louis Sullivan Bungalow
2775:Bayard–Condict Building
2727:Carrie Eliza Getty Tomb
2641:Works by Louis Sullivan
2327:McFarland & Company
2232:Chase, Theodore. (ed.)
2084:The Letters of Ayn Rand
1839:Cahan, Richard (1994).
1539:(subscription required)
1391:Harold C. Bradley House
1264:Bayard-Condict Building
1064:, 1892, demolished 1954
852:Bayard-Condict Building
756:Carrie Eliza Getty Tomb
729:Buildings 1887–1895 by
650:Sullivan in Ayn Rand's
450:Charles Harris Whitaker
302:Marcus Vitruvius Pollio
163:of 1871. He worked for
107:Henry Hobson Richardson
75:Chicago, Illinois, U.S.
3657:Architects from Boston
3622:Art Nouveau architects
3373:Williamson Free School
3337:Lotta Crabtree Cottage
3214:
3188:Trinity Church, Oxford
3006:Pilgrim Baptist Church
2827:Pilgrim Baptist Church
2751:Bellefontaine Cemetery
2590:Weingarden, Lauren S.
2579:Weingarden, Lauren S.
2146:July 20, 2011, at the
2071:Plume, 1999. Section 5
1235:Chicago Stock Exchange
1151:Pilgrim Baptist Church
1082:
945:National Farmer's Bank
932:
929:National Farmer's Bank
886:Greeneville, Tennessee
850:Bayard Building, (now
785:Bellefontaine Cemetery
776:
579:
520:trading floor, now at
518:Chicago Stock Exchange
483:
398:
290:
283:
250:
165:William LeBaron Jenney
3667:Skyscraper architects
3213:
3075:Form follows function
2377:"Louis Sullivan More"
1710:(Seattle and London:
1077:
1049:; demolished May 1962
1024:First National Bank,
926:
871:, Chicago (1900–1903)
865:, Chicago (1898–1900)
771:
577:
533:Ryerson & Burnham
477:
396:
295:Form follows function
288:
281:(italics in original)
274:
240:
125:Early life and career
111:form follows function
59:, Massachusetts, U.S.
3652:Organic architecture
3510:Broad Street Station
3455:Demolished buildings
3349:Water Street station
3281:Gravers Lane station
3236:Emlen Physick Estate
3194:Thomas Hockley House
3033:Adler & Sullivan
2931:Peoples Savings Bank
2843:Gage Group Buildings
2594:. Cambridge, Mass.:
2445:, Chicago, IL, 1964.
2409:on February 22, 2012
2113:Genius and Mobocracy
2098:Genius and Mobocracy
1926:on October 27, 2013.
1363:Peoples Savings Bank
1181:Union Trust Building
1157:Wirt Dexter Building
1026:Manistique, Michigan
965:Henry Adams Building
955:Peoples Savings Bank
836:James Charnley House
795:Union Trust Building
731:Adler & Sullivan
600:Roosevelt University
510:George Grant Elmslie
502:Union Trust building
418:the following year.
383:Masonic Temple Tower
225:, and the 1899–1904
173:École des Beaux-Arts
91:Louis Henry Sullivan
32:Louis Henry Sullivan
3421:Merion Cricket Club
3265:Furness & Evans
3248:Wallingford station
2735:Wainwright Building
2702:Martin Ryerson Tomb
2357:. December 28, 1988
2211:Abeln, Mark Scott.
2128:Fallingwater Rising
2054:. pp. 324–327.
1632:Sullivan, Louis H.
1440:Columbus, Wisconsin
1221:Auditorium Building
1195:Wainwright Building
861:Commercial Loft of
762:Wainwright Building
750:Auditorium Building
740:Martin Ryerson Tomb
616:Darwin Martin House
596:Auditorium Building
545:Columbia University
494:International Style
207:Wainwright Building
203:Auditorium Building
3439:Wilmington Station
3415:Horace Jayne House
3385:The Baldwin School
3287:Mount Airy station
3215:
2992:(1890s–2005)
2955:Van Allen Building
2899:McVicker's Theater
2891:Krause Music Store
2718:Auditorium Theatre
2546:Dover Publications
2448:Connely, Willard,
2329:. pp. 50–56.
2198:The New York Times
1970:. January 26, 2017
1423:Krause Music Store
1293:Van Allen Building
1130:Frank Lloyd Wright
1083:
1056:Pueblo Opera House
1021:, Wisconsin (1919)
951:, Minnesota (1908)
933:
912:Krause Music Store
906:Cedar Rapids, Iowa
892:Van Allen Building
856:glazed terra cotta
845:McVicker's Theater
777:
764:, St. Louis (1890)
744:Graceland Cemetery
698:Frank Lloyd Wright
612:Frank Lloyd Wright
608:Oak Park, Illinois
588:Van Allen Building
580:
484:
480:Graceland Cemetery
465:Graceland Cemetery
399:
379:John Wellborn Root
291:
263:Monadnock Building
251:
191:Adler and Sullivan
161:Great Chicago Fire
157:Depression of 1873
99:Frank Lloyd Wright
16:American architect
3579:
3578:
3520:Associated people
3293:Undine Barge Club
3268:(1881–1886)
3223:(1875–1881)
3175:(1871–1875)
3129:
3128:
2984:(1891–1965)
2976:(1892–1954)
2939:Purdue State Bank
2883:Jewelers Building
2565:Twombly, Robert,
2551:Sullivan, Louis,
2540:Sullivan, Louis,
2533:Sullivan, Louis,
2505:978-0-486-40209-3
2437:Condit, Carl W.,
2336:978-0-7864-8865-0
2303:Twombly. Robert,
2213:"Two by Sullivan"
2126:Toker, Franklin.
1878:978-0-9660273-2-7
1737:978-1-258-15389-2
1714:, 2003), 287-288.
1659:Sullivan, Louis.
1613:on March 13, 2016
1565:978-0-226-62071-8
1136:Schiller Building
1126:Hurricane Katrina
995:Purdue State Bank
880:Virginia Hall of
801:Guaranty Building
717:Selected projects
696:life and work of
639:Guaranty Building
535:Libraries in the
359:Buffalo, New York
355:Guaranty Building
313:(On architecture)
243:Guaranty Building
223:Buffalo, New York
219:Guaranty Building
88:
87:
53:September 3, 1856
3684:
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3474:Sedgwick station
3445:Zurbrugg Mansion
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2519:Morrison, Hugh,
2516:
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2488:
2457:The Art Bulletin
2419:
2418:
2416:
2414:
2405:. Archived from
2399:
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2383:. April 13, 2013
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2243:Internet Archive
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2201:(April 16, 1999)
2191:Apple, R. W. Jr.
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1461:Biography portal
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882:Tusculum College
752:, Chicago (1889)
746:, Chicago (1887)
664:The Fountainhead
652:The Fountainhead
279:This is the law.
249:, New York, 1894
195:Pueblo, Colorado
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1035:
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773:Wainwright Tomb
725:
719:
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623:Lovejoy Library
553:
506:Bayard Building
489:
425:. According to
391:
311:De architectura
235:
127:
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60:
54:
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33:
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3170:Furness &
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3058:Prairie School
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2603:External links
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1944:. May 30, 2018
1942:Chicago Reader
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661:'s 1943 novel
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602:) in Chicago.
584:Crombie Taylor
561:Richard Nickel
552:
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485:
411:Daniel Burnham
390:
387:
375:Daniel Burnham
329:Celtic Revival
234:
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119:AIA Gold Medal
115:Viollet le Duc
103:Prairie School
97:, a mentor to
95:Chicago School
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72:(aged 67)
68:April 14, 1924
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2811:Bradley House
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2010:We the Living
2005:
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1948:September 15,
1943:
1939:
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1307:Gage Building
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1051:
1048:
1047:Andrew Rebori
1044:
1043:Dankmar Adler
1040:
1037:
1036:
1032:
1027:
1023:
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1016:
1013:
1010:
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1003:
1000:
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993:
991:, Ohio (1914)
990:
986:
983:
980:
976:
973:
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966:
963:
961:, Iowa (1912)
960:
956:
953:
950:
946:
943:
942:
941:
939:
930:
925:
918:
913:
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896:Clinton, Iowa
893:
890:
887:
883:
879:
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873:
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849:
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724:
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714:
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691:
685:
683:
682:
681:We the Living
677:
673:
668:
666:
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660:
653:
647:
645:
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635:
632:
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624:
619:
617:
613:
609:
603:
601:
597:
593:
592:Clinton, Iowa
589:
585:
576:
572:
570:
564:
562:
558:
557:urban renewal
550:
548:
546:
542:
538:
534:
529:
525:
523:
519:
515:
511:
507:
503:
499:
495:
486:
481:
476:
472:
470:
467:in Chicago's
466:
461:
459:
455:
451:
447:
442:
441:competition.
440:
439:Tribune Tower
436:
430:
428:
424:
423:Panic of 1893
419:
417:
414:French-based
412:
408:
404:
395:
388:
386:
384:
380:
376:
373:, as well as
372:
371:Dankmar Adler
366:
364:
363:Palazzo style
360:
356:
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344:
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338:
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318:
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196:
192:
188:
186:
185:Dankmar Adler
182:
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162:
158:
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151:
150:Frank Furness
147:
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133:
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83:
79:
67:
63:
58:
52:
48:
41:
36:
29:
26:
22:
3551:
3542:Daniel Pabst
3323:(1886–
3064:
3025:Affiliations
2686:
2591:
2580:
2573:
2566:
2559:
2552:
2541:
2534:
2527:
2520:
2509:. Retrieved
2494:
2471:(2): 62–68.
2468:
2464:
2456:
2449:
2438:
2431:
2426:Bibliography
2425:
2424:
2411:. Retrieved
2407:the original
2397:
2385:. Retrieved
2380:
2371:
2359:. Retrieved
2354:
2345:
2322:
2312:
2304:
2299:
2291:PBS NewsHour
2289:
2281:
2263:
2254:
2249:
2238:
2234:
2228:
2216:. Retrieved
2206:
2196:
2186:
2175:
2163:. Retrieved
2154:
2136:
2127:
2121:
2112:
2106:
2097:
2091:
2083:
2076:
2068:
2060:
2051:
2043:
2034:
2025:
2019:
2009:
2003:
1998:
1988:
1984:
1972:. Retrieved
1967:
1958:
1946:. Retrieved
1941:
1932:
1924:the original
1914:
1894:
1887:
1868:
1859:
1840:
1834:
1825:
1819:
1797:(1): 62–85.
1794:
1790:
1784:
1772:. Retrieved
1767:
1763:
1753:
1741:. Retrieved
1726:
1719:
1707:
1702:
1693:
1687:
1678:
1672:
1667:(March 1896)
1664:
1655:
1643:
1633:
1627:
1615:. Retrieved
1611:the original
1606:
1597:
1581:ResearchGate
1580:
1574:
1553:
1545:
1530:
1522:
1517:
1509:
1505:
1500:
1491:
1490:
1478:
1474:Richard Bock
1095:trading room
1009:Sidney, Ohio
969:Algona, Iowa
959:Cedar Rapids
934:
812:
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810:
728:
727:
726:
707:Fallingwater
703:
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435:Raymond Hood
431:
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341:State Street
316:
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181:fresco secco
180:
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146:Philadelphia
128:
90:
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70:(1924-04-14)
25:
3602:1924 deaths
3597:1856 births
3532:John Fraser
3527:Allen Evans
3462:Lindenshade
3328: 1931
3305:Hockley Row
2982:Dooly Block
2413:October 28,
2218:October 28,
2165:October 28,
1774:January 22,
1743:January 19,
1393:, Wisconsin
1068:Dooly Block
775:, St. Louis
631:City Museum
498:Art Nouveau
333:terra cotta
325:Art Nouveau
169:steel frame
3586:Categories
1974:August 31,
1487:References
1324:, exterior
1309:(on right)
1250:Getty Tomb
721:See also:
407:Beaux-Arts
361:is in the
321:aesthetics
261:Chicago's
81:Occupation
3120:Wikiquote
2596:MIT Press
2511:March 27,
2235:Markers V
2081:Rand, Ayn
2065:Rand, Ayn
2040:Rand, Ayn
1811:144344744
1617:March 12,
789:Taj Mahal
339:on south
211:St. Louis
177:draftsman
84:Architect
3367:Idlewild
3275:Dolobran
3254:Knowlton
3242:Fairview
3096:Category
2645:LibriVox
2387:July 13,
2361:July 13,
2271:Archived
2144:Archived
2042:(1943).
1770:(6): 178
1447:See also
1237:Building
1019:Columbus
949:Owatonna
709:and the
659:Ayn Rand
3573:Commons
3480:Pencoyd
3361:Ormonde
3108:Commons
2598:, 1987.
1167:Gallery
938:Midwest
805:Buffalo
672:in toto
247:Buffalo
215:Garrick
199:Seattle
44:c. 1895
3512:(1893)
3506:(1892)
3500:(1891)
3494:(1888)
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3476:(1882)
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3238:(1879)
3232:(1876)
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3196:(1875)
3190:(1875)
3184:(1873)
3172:Hewitt
2957:(1913)
2949:(1914)
2941:(1914)
2933:(1911)
2925:(1917)
2917:(1908)
2909:(1914)
2901:(1891)
2893:(1922)
2885:(1882)
2877:(1914)
2869:(1903)
2861:(1913)
2853:(1883)
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2483:
2403:"Home"
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1809:
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1011:(1918)
989:Newark
981:(1914)
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908:(1910)
898:(1914)
888:(1901)
807:(1894)
514:Pueblo
487:Legacy
469:Uptown
304:, the
197:, and
137:Geneva
57:Boston
3050:Other
2481:JSTOR
1807:S2CID
1492:Notes
919:Banks
598:(now
492:the "
306:Roman
2513:2011
2500:ISBN
2415:2016
2389:2023
2363:2023
2331:ISBN
2220:2016
2167:2016
1990:Life
1976:2017
1950:2020
1900:ISBN
1873:ISBN
1845:ISBN
1776:2024
1745:2024
1732:ISBN
1619:2016
1560:ISBN
1291:The
1093:The
637:The
377:and
155:The
65:Died
50:Born
2643:at
2473:doi
2006:."
1799:doi
1585:doi
625:at
614:'s
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543:at
327:or
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132:née
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