MODERN ARCHITECTS

SUBMITTED BY
ESHNA SINGH
ISHIKA AGARWAL
LEENA SONI
NIDHI JAIN
RISHI VIJAY
LOUIS HENRY
SULLIVAN
FATHER OF MODERN ARCHITECTURE
OVERVIEW
• Louis Henry Sullivan (September 3, 1856 –
April 14, 1924) was an American architect, and
has been called the "father of skyscrapers” and
"father of modernism".
• He is considered by many as the creator of the modern skyscraper, was
an influential architect and critic of the Chicago School, was 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.
• The phrase "Form follows function" is attributed to him, although he
credited the origin of the concept to an ancient architect whose origins
were allegedly Italian.
• In 1944 , Sullivan was the second architect to posthumously receive
the AIA Gold Medal.
EARLY LIFE
• He learned that he could both graduate from high school a year early
and bypass the first two years at the
Massachusetts Institute of Technology 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
Philadelphia and took a job with architect Frank Furness.
• Sullivan moved to Chicago in 1873 to take part in the building boom
following the Great Chicago Fire of 1871. He worked for William
LeBaron Jenney, the architect often credited with erecting the first
steel frame building.
• In 1879 Dankmar Adler hired Sullivan. A year later, Sullivan became a
partner in that firm. This marked the beginning of Sullivan's most
productive years.
EARLY CAREER
• The culminating project of this phase of the firm's history was the 1889
Auditorium Building (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 Wainwright Building in St. Louis and the Schiller (later Garrick) Building
and theater (1890) in Chicago.
• Other buildings often noted include the Chicago Stock Exchange Building
(1894), the Guaranty Building (also known as the Prudential Building) of
1895–96 in Buffalo, New York, and the 1899–1904
Carson Pirie Scott Department Store by Sullivan on State Street in Chicago.
KEY IDEAS
• Sullivan's work was guided by the adage that "form follows function," a phrase for
which he became known. He believed in looking at the purpose of a building
before devising an architectural form for it and in ensuring that usage was
reflected in both the structure and the decoration.
• Sullivan was known for the high quality of his decoration, which he used to
emphasize the structure of buildings and unify disparate components rather than
to distract from structure. He regularly repeated motifs, particularly semi-circular
arches, and used materials that could serve as decoration rather than requiring
additional ornamentation. He used twisting, organic motifs on terracotta facades
and in ironwork, pioneering Art Nouveau in the United States.
• Sullivan drew from earlier precedents. He reconceived the classical column as a
basis for a skyscraper and created Romanesque portals that elevated commercial
buildings. This innovation had a significant impact on American architecture; his
vertical designs created the form from which most skyscrapers evolved, while his
buildings with horizontal emphasizes created a distinctive architecture suited to
the flat American Midwest. This introduction of classical elements into the
modern architectural vocabulary was continued, later, through the
Interwar Classicism movement.
CHICAGO SCHOOL OF
ARCHITECTURE
• The Chicago School was a school of architects active in Chicago at the
turn of the 20th century. They were among the first to promote the
new technologies of steel-frame construction in commercial buildings,
and developed a spatial aesthetic which co-evolved with, and then
came to influence, parallel developments in European Modernism.
• One of the distinguishing features of the Chicago School is the use of
steel-frame buildings with masonry cladding (usually terra cotta),
allowing large plate-glass window areas and limiting the amount of
exterior ornamentation. Sometimes elements of neoclassical
architecture are used in Chicago School
skyscrapers. Many Chicago School skyscrapers
contain the three parts of a classical column. The first
floor functions as the base, the middle stories, usually
with little ornamental detail, act as the shaft of the
column, and the last floor or so represent the capital,
with more ornamental detail and capped with a cornice.
CHICAGO SCHOOL OF
ARCHITECTURE
• The "Chicago window" originated in this school . It is a three-part
window consisting of a large fixed center panel flanked by two smaller
double-hung sash windows. The arrangement of windows on the facade
typically creates a grid pattern, with some projecting out from the facade
forming bay windows. The Chicago window combined the functions of
light-gathering and natural ventilation; a single central pane was usually
fixed, while the two surrounding panes were operable. These windows
were often deployed in bays, known as oriel windows, that projected out
over the street.
• Architects whose names are associated with the Chicago School
including Louis Sullivan. Henry Hobson Richardson, Dankmar Adler
Daniel Burnham Solon S. Beman
AUDITORIUM BUILDING
• PERIOD OF CONSTRUCTION: 1886-1890
• LOCATION : CHICAGO
• CHIEF ARCHITECTS: LOUIS SULLIVAN DANKMAR ADLER
• ASSISTANT ARCHITECT : FRANK LLOYD WRIGHT
• CLIMATE: TEMPERATE
• STYLE: ROMANESQUE REVIVAL
• The auditorium building is a complex multiple use building .It was built for a
syndicate of businessmen to house: 1) a large opera house 2)To provide an
economic base , hotels and offices were included
• The auditorium is a 10 storey building with a 17 storey tower . It was
originally a three part structure comprising of: 1) A 400 room L shaped
hotel . 2)An office building of 136 individual offices .
3) A theatre .
Features
• The theatre was spanned by great arches overhead almost every inch
of them covered with floral ornament bathed in gold leaf and brilliant
in the steady golden glow of thousands of electric lights.
• The auditorium building has an upward slope from front to back. The
seats rise 15 inches for every two rows.
• The progressively widening arches shaped like a cone or speaking
trumpet helped in maximizing amplification and minimizing echoes.
• The auditorium is filled with art as well as it being incased in it .Lavish
mosaics , murals ,plaster castes , stencils , art glass and iron casts are
among the art elements housed in the theatre.
• It has a capacity of 4237
TIMELINE
• The auditorium played an important role in Chicago`s cultural life and
helped change the image of the city from an isolated prairie town to a
center of American culture.
• 1905 :Sullivan himself presented a plan to eliminate the theatre and
construct an entirely separate building inside the present one, but the
plan was rejected.
• During the second world war , it was used as a servicemen`s centre.
• 1908:The building was on the verge of bankruptcy.
• 1928:The auditorium finally went bankrupt.
• 1946: After years of neglect and progressive deterioration the building
was purchased by Roosevelt University .
• 1947: Hotel rooms were converted into classrooms , faculty offices ,
and various other University facilities.
• 1953: The University undertook the restoration and renovation of
many of the auditorium`s most important spaces including the
banquet hall and the ball room which were converted into Ganz
memorial recital hall.
• 1960: The auditorium theatre council was established to restore the
theatre and operate it .
• 1967: By this time , the theatre was brought back to full splendor .
Over the years the University has tried to restore the building
although it has repurposed the rooms. The former dining hall on the
10th floor is a prime example. In today's date it serves as the
building`s library. THE LIBRARY WHICH WAS PREVIOUSLY A DINING
HALL.
• TODAY’S SCENARIO THE AUDITORIUM BUILDING TODAY IS BEING
USED BY ROOSEVELT UNIVERSITY
NATIONAL FARMER’S BANK
• LOCATION : OWATONA
• BUILT 1908
• ARCHITEACT: LOUIS H SULLIVAN
• 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 STIIL MOMUMENTAL FORM.
• THE BUILDING IS BATHED IN A SYMPHONY OF COLOUR AS SULLIVAN
DESCRIBED IT.
Features
• 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 ARIST OSKAR 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
TELLESR’S WINDOW GRILLS.
LATER CAREER & DECLINE
• 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 World's Columbian Exposition, 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
Beaux-Arts style, and with the only multicolored facade in the entire
White City.
• Like all American architects, Adler and Sullivan suffered a precipitous
decline in their practice with the onset of the Panic of 1893.
• 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.
• 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 shortage of commissions, chronic financial
problems, and alcoholism.
• 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 Graceland Cemetery in Chicago's Uptown
and Lake View neighborhood. Later, a monument was erected in
Sullivan's honor, a few feet from his headstone.
LEGACY
• 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
the "International Style".
• Sullivan's built work expresses the appeal of his incredible designs: the vertical
bands on the Wainwright Building, the burst of welcoming Art Nouveau ironwork
on the corner entrance of the Carson Pirie Scott store, the (lost) terra cotta griffins
and porthole windows on the Union Trust building, and the white angels of the
Bayard Building.
• Except for some designs such as Schmidt, Garden & Martin's First National Bank
in Pueblo, Colorado (built across the street from Adler and Sullivan's Pueblo
Opera House), his style is unique.
• Original drawings and other archival materials from Sullivan are held by the
Ryerson & Burnham Libraries in the Art Institute of Chicago and by the drawings
and archives department in the Avery Architectural and Fine Arts Library at
Columbia University. Fragments of Sullivan buildings also are held in many fine art
and design museums around the world.
- FRANK
LLYOD
WRIGHT
About Frank Llyod
Wright…
•Born (Frank Lincoln Wright) in Wisconsin on June 8, 1867 – April 9, 1959, was
an American architect, interior designer, writer, and educator, who designed
more than 1,000 structures, 532 of which were completed.

•His mother was a teacher and she encouraged him to learn about art, music,
and nature.
When Wright was nine, his mother gave him a set of blocks, a children's
learning toy. Consisted of various geometrically shaped blocks that could be
assembled in various combination to form 3D composition.

•Started formal education in University of Winsconsin- Madison School of

Engeneering.
•Left the college after 2 years and moved to Chicago, Illinois; to join the
firm of
J.L. Silsbee.
•Year later he moved to join Adler and Sulivan’s firm as a chief assistant.
•By 1893, Wright established his own practice and home in the Chicago suburb
of Oak Park, Illinois.
His
Philosophy…
•Born just two years after the end of the American Civil War, he witnessd to the
extraordinary changes that swept the world from the leisurely pace of the 19th
century to the remarkable speed of the 20th century .

•Wright welcomed and embraced the social and technological changes made
possible by the Industrial Revolution and enthusiastically initiated his own
architectural revolution.

•He took full advantage of the material opportunities presented by the scientific
and technological advances of the 20th century without losing the 19th century
spiritual and romantic values with which he had grown up.

“Nature is my manifestation of God. I go to nature every day for inspiration in

the day's work. I follow in building the principles which nature has used in its
domain.”
His integrate the spaces into a coherent whole: a
marriage between the site and the structure and a
Philosophy… union between the context and the structure.

•his goal was to create an architecture that addressed the individual physical,
social, and spiritual needs of the modern American citizen. Each home was
uniquely fashioned to meet the needs of its owners and the particular qualities
of its location.

•He called his architecture “organic” and described it as that “great living
creative spirit which from generation to generation, from age to age, proceeds,
persists, creates, according to the nature of man and his circumstances as they
both change.”

•Wright changed (Louis Sullivan’s Form follows Functions) phrase to “form

and function are one,” using nature as the best example of this integration.

•Organic architecture involves a respect for the properties of the materials—you

don’t twist steel into a flower(for example, Wright rejected the idea of making a
bank look like a Greek temple).
1. Prairie
Style…
•Wright's residential designs were known as "prairie houses" because the designs
complemented the land around Chicago. These houses featured
 extended low buildings with shallow, sloping roofs
 clean sky lines
 suppressed chimneys
 overhangs
 terraces all using unfinished materials.
 The houses are credited with being the first examples of the "open plan".
Windows are long and low, allowing a connection between the interior and
nature, outside, that was new to western architecture and reflected the influence
of Japanese architecture on Wright. The manipulation of interior space in
residential and public buildings are hallmarks of his style.

•Examples are Robie House, Larkin Building, Darwin Martin House, etc.
1. Prairie
Style…
PLANNING CONCEPT
• Cruciform plan with wings radiating from a central space
• Bringing house and landscape into a more intimate relationship was a
favorite device of Wright
• A central fireplace provided a visual pivot

3 1 – Verandah
2– Reception Hall

1 2 5 6 3 – Dining Hall
4 – Living Room
5 – Kitchen
4
6 – Rear Verandah
2. Organic
Style…
•The Prairie Houses reflect an all-encompassing philosophy that Wright termed
“Organic Architecture.” By this Wright meant that buildings should be suited
to their environment and a product of their place, purpose and time.

•key principles of Wright’s philosophy listed below:

Unity: Each building Wright designed was conceived as an integral whole - from
site to structure, interior and exterior, furniture, ornament and architecture, each
element was connected.
Nature: a building should relate harmoniously to its environment. The
architecture of the Robie House is defined by dramatic horizontal lines and
masses that evoke the landscape of the prairie. They give the appearance of a
lower profile which reinforces the unity between the house and its site.
stone, brick, and wood had traditionally been covered, painted and plastered
Ornamentation: In his Prairie Houses Wright typically avoided. Wright
understood that there was an aesthetic appeal in architecture beyond the appeal
of applied ornamentation. Planes and volumes, solids and voids, all combine to
create interesting visual symmetries, juxtapositions, and rhythms, both outside
and inside.
Interior of Oak Park
2. Organic
Style…
Art glass: Wright redefined the nature and role of decorative stained glass. Prior
to Wright’s innovations stained glass windows were treated much like
paintings, rather than an integral part of the design of the house……translucent
bands of windows called “Light-screens”.
planters: In tandem with the long planters that run the length of the main floor,
balcony, bedroom level, and west porch, provided decorative accents, reinforcing
the integral relationship between the structure and nature.
Cornice: The copper “cornice” encircles the roof of the building. It is an elaborate
gutter: instead of simply adding a gutter or concealing it within the soffit, Wright
creates a copper cornice which houses the gutter and covers a portion of the
soffit as well, becomes a striking visual element on the exterior and, at the same
time, serves a functional purpose.
Interior window detail Site & its context

second stairway
Stained Glass Openings Planters

Nature

Unity
3. Usonian
Style…
• Another major achievement of Wright in the 1930s – design of a low-cost
house prototype called the ‘Usonian’ home (from William Butler’s term of
the USA in his Utopian novel Erewhom of 1872)

• Logical evolution from the Prairie house design.

• Designed a kit of parts including:

A concrete slab foundation floated on a drained bed of cinders and sand

Into this slab, radiating hot-water inserted

3. Usonian
Style…
Usonian houses represented a modernization of the Prairie house concept,
both in their greater simplicity and in their plan:

• Floor slab with integral radiant heating

• Built in furniture, Open kitchen

• Utility core

• Modular plan

• Pinwheel growth out of a central fire place and the two-level roof.

• All functions simplified, modernized, made more economical

in construction.

•Bedrooms were typically isolated and relatively small,

encouraging the family
to gather in the main living areas.
Fallingwater
•Fallingwater or Kaufmann
Residence is a house designed in 1935
in Pennsylvania. The home was built
partly over a waterfall on Bear Run in
the Laurel Highlands of the Allegheny
Mountains. The house was designed as
a weekend home for the family
of Edgar J. Kaufmann.

Site Layout
Fallingwater
•Considered by some as the most
famous private house ever built,
epitomizes man living in harmony
with nature. Wright designed the
house so that the whole building
rests on top of the waterfall,
appearing as naturally formed as the
rocks, trees and rhododendrons
which embrace it.

•The house is constructed of local

sandstone, reinforced concrete, steel
and glass. The construction is a series
of cantilevered balconies and
terraces, using stone for all verticals
and concrete for the horizontal.
Fallingwater
•All the stone at Fallingwater was
quarried about 500 feet west of the
waterfalls. Workers put up the stone in
a rough, shifting manner so it would
look like rock coming right from the
ground.

•The strong horizontal and vertical lines

are a distinctive feature of Fallingwater.

•Spaces are designed to bring nature

inside the 4 walls.
Fallingwater
•The most striking element of the
design—and the biggest
engineering challenge—is the
series of reinforced concrete
terraces cantilevered above the
rocky ledges and parallel to the
natural lines of the site.

•The house’s terraces echo the

pattern of the rock ledges below.

•Wright and his team used upside

down T-shaped beams integrated
into a monolithic concrete slab
which both formed the ceiling of
the space below and provided
resistance against compression.
Fallingwater
• Interiors are simple though
vibrant,
of use of color
because a
• monochromatic
scheme scheme of brown
triadic for andfor
• walls, ceiling and furnishings
floors.

• Staircase leading to the waterfall adds as an element of interest and

is a fascinating feature of the house.

• Rock outcroppings as structural feature and walls built directly out

of rock bed of rushing stream
• Deep toned polished walnut fashioned into book shelves, ledges, low
and wide tables
• Stone paved interiors.
•Bear Run and the sound of its water
permeate the house, especially during
the spring when the snow is melting,
and locally quarried stone walls and
cantilevered terraces resembling the
nearby rock formations are meant to
be in harmony.

•The staircase leading down from the

living room to the stream is accessed
by movable horizontal glass panes. In
conformance with Wright's views, the
main entry door is away from the falls.
 JOHN UTZON

I like to be on the edge of the possible.

 ABOUT JOHN UTZON
Jørn Oberg Utzon, AC, Hon. FAIA (9 April 1918 – 29 November 2008) was a Danish architect, most
notable for designing the Sydney Opera House in Australia. When it was declared a
World Heritage Site on 28 June 2007, Utzon became only the second person to have received such
recognition for one of his works during his lifetime, after Oscar Niemeyer. Other noteworthy works
include Bagsværd Church near Copenhagen and the National Assembly Building in Kuwait. He also
made important contributions to housing design, especially with his Kingo Houses near Helsingør.

Architectural approach
Utzon had a Nordic sense of concern for nature which, in his design, emphasized the synthesis of
form, material and function for social values. His fascination with the architectural legacies of
the ancient Mayas, the Islamic world, China, and Japan also informed his practice . This
developed into what Utzon later referred to as Additive Architecture, comparing his approach to
the growth patterns of nature.[13] A design can grow like a tree, he explained: "If it grows
naturally, the architecture will look after itself.“

In 1957, Utzon unexpectedly won the competition to design the Sydney Opera House. His
submission was one of 233 designs from 32 countries, many of them from the most famous
architects of the time. Although he had won six other architectural competitions previously, the
Opera House was his first non-domestic project. One of the judges, Eero Saarinen, described it
as "genius" and declared he could not endorse any other choice.
Sydney Opera House
OVERVIEW

Status Complete
Type Performing arts centre
Architectural style Expressionist
Location Bennelong Point, SydneyCountry Australia
Coordinates 33°51′31″S 151°12′51″E
Elevation 4 m (13 ft)
Current tenants Opera Australia The Australian Ballet Sydney Theatre Company
Sydney Symphony Orchestra(+ others)
Ground breaking 1 March 1959
Construction started 1 March 1959
Completed 1973
Opened 20 October 1973
Inaugurated 20 October 1973
Cost A$102 million
Height 65 m (213 ft)
Dimensions length 183 m (600 ft) width 120 m (394 ft)
area 1.8 ha (4.4 acres)
Technical details
Structural system Concrete frame & precast concrete ribbed roof Design and
construction
Architect Jørn Utzon
Structural engineer Ove Arup & Partners
Main contractor Civil & Civic (level 1), M.R. Hornibrook (level 2 and 3 and
interiors)Other information
Seating capacity
Concert Hall 2,679
Joan Sutherland Theatre 1,507
Drama Theatre 544
Playhouse 398
The Studio 400
Utzon Room 210

Total 5,738
• The Sydney Opera House is a multi-venue performing arts centre at
Sydney Harbour in Sydney, New South Wales, Australia.
• It is one of the 20th century's most famous and distinctive buildings.
• Designed by Danish architect Jørn Utzon, but completed by an
Australian architectural team headed up by Peter Hall, the building
was formally opened on 20 October 1973 after a gestation
beginning with Utzon's 1957 selection as winner of an international
design competition.
• The building and its surrounds occupy the whole of Bennelong Point
on Sydney Harbour, between Sydney Cove and Farm Cove, adjacent
to the Sydney central business district and the Royal Botanic
Gardens, and close by the Sydney Harbour Bridge.
• The building comprises multiple performance venues, which
together host well over 1,500 performances annually, attended by
more than 1.2 million people.
• As one of the most popular visitor attractions in Australia, the site is
visited by more than eight million people annually, and
approximately 350,000 visitors take a guided tour of the building
each year.
• Performances are presented by numerous performing artists, including
three resident companies: Opera Australia, the Sydney Theatre Company
and the Sydney Symphony Orchestra.
• The building is managed by the Sydney Opera House Trust, an agency of
the New South Wales State Government.
• The Sydney Opera House during sunrise having been listed on the (now
defunct) Register of the National Estate since 1980, the National Trust of
Australia register since 1983, the City of Sydney Heritage Inventory since
2000, the New South Wales State Heritage Register since 2003, and the
Australian National Heritage List since 2005.
• Furthermore, the Opera House was a finalist in the New7Wonders of the
World campaign list.
3D SECTION VIEW
PLAN
ELEVATION
SECTION