Showing posts with label Louis Sullivan. Show all posts
Showing posts with label Louis Sullivan. Show all posts

Wednesday, 16 July 2025

It wasn't a “Gilded Age” of "Robber Barons." It was The Inventive Period

The so-called “Gilded Age” of "Robber Barons" should be better named, says Andrew Bernstein in this guest post. It should be known as the Inventive Period of Capitalism.

The Inventive Period

by Andrew Bernstein

A recent issue of American Heritage magazine, devoted to analysing important cultural issues in U.S. history, contains an article that provides ample clues to the true nature of late nineteenth-century America. The piece, “People of Progress,” features the greatest innovators of the twentieth century, and takes as its point of departure Christian Schussele’s famed 1862 painting, “Men of Progress,” a depiction of 19 great American inventors and creative thinkers of the first half of the nineteenth century.

Schussele’s painting portrays such men as Cyrus McCormick (1809-1884), the inventor and manufacturer of the reaping machine and other agricultural equipment; Charles Goodyear (1800-1860), who created the vulcanization process that made rubber useful; Samuel Colt (1814-1862), the gun inventor and manufacturer; Peter Cooper (1791-1883), the builder of the first American steam locomotive; Samuel Morse (1791-1872), the innovative thinker responsible for both the electric telegraph and the Morse Code; William Morton (1819-1868), the dentist who co-discovered ether’s use as an anesthetic; and Elias Howe (1819-1867), inventor of the sewing machine. These, as well as 12 other equally accomplished thinkers and inventors, form the subject of Schussele’s masterpiece.

The administrators of the Cooper Union for the Advancement of Science and Art (founded by industrialist and inventor Peter Cooper in 18591) recently commissioned one of its leading graduates, the artist Edward Sorel, to paint a sequel to Schussele’s work—a portrait of 20 innovative Americans who changed the world in the twentieth century. Sorel, with assistance from the editors of American Heritage and American Heritage of Invention & Technology, chose the subjects. And not surprisingly, some of the geniuses depicted started their brilliant careers in the second half of the nineteenth century.

Anti-capitalist historians regularly refer to this late-nineteenth-century era as “the Gilded Age” and deride its great industrialists as “Robber Barons.” They claim that its extensive industrial development was achieved by means essentially tawdry and unprincipled. They are profoundly mistaken and have failed to identify the essence of the era. It must be known as the Inventive Period.

In Schussele’s painting, Benjamin Franklin looks down on those assembled as both inspiration and presiding genius. Sorel grants this honor to Thomas Edison. Edison (1847-1931) is the exemplar of his age. He is widely known as the inventor of the electrical lighting system, the phonograph, the electric generator, and the motion-picture projector. He also later coordinated movies with phonographic sound to create the world’s first multi-media presentation. But Edison is by no means alone in exemplifying the scientific/technological genius of the period. Sorel’s portrait projects numerous other great minds.

Among them are George Washington Carver (1864-1943), the brilliant black American botanist and agronomist, who developed a new type of cotton, Carver’s Hybrid. Born a slave, he is most famous for developing sweet potatoes and peanuts as leading crops, but he also invented hundreds of plant-based products, taught methods of soil improvement and, by means of his discoveries, induced southern farmers to grow crops other than cotton. Also included is Charles Steinmetz (1865-1923), the German immigrant who went to work for General Electric as its first director of research and development and in the 1890s pioneered the understanding of electrical transmission.

Neglected Geniuses


Since Schussele’s portrait concentrates on the early nineteenth century and Sorel’s on the twentieth, there are many great late-nineteenth-century thinkers who are included in neither painting. Here we can cite merely a few. One is George Eastman (1854-1932), who in 1884 patented the first film in roll form to prove practical. In 1888 he revolutionized photography by perfecting his Kodak camera, and in 1892 established the Eastman-Kodak Company, one of the first to mass-produce standardized photographic equipment. Another is Cyrus W. Field (1819-1892), an entrepreneur whose interest in transoceanic telegraphy led to the completion in 1866 of the transatlantic cable. Field later was instrumental in laying the cable that linked the United States to Australia and Asia by way of Hawaii.

The advances in architecture wrought by William Le Baron Jenney (1832-1907) and Louis Sullivan (1856-1924) must not be overlooked. Jenney, an engineer in the Union Army during the Civil War, settled in Chicago and opened an architectural office. He pioneered the use of iron-frame construction for large buildings, which he first employed in the Home Insurance Company Building in 1885. His revolutionary method of curtain-wall construction is still used today and earned him the title of “father of the skyscraper.” Sullivan apprenticed with Jenney early in his career. Later, it was his designs for steel-frame buildings that resulted in the establishment of the skyscraper as a distinctively American type of building.

George Westinghouse (1846-1914) introduced numerous inventions in various fields, but concentrated on the railroad industry. Before the age of 20, he created the “railroad frog,” an invention that permitted trains to switch tracks. His most famous advance was the air brake, invented around 1866, which became a standard feature on all trains. Westinghouse developed hundreds of innovations, acquired more than 400 patents and, together with the Croatian immigrant Nikola Tesla (1856-1943), pioneered the use of alternating current (AC) power in the United States. Tesla invented the AC induction generator in the 1880s, the first practical motor powered by alternating current. He sold the patent to Westinghouse, who put it to commercial use in the Niagara Falls power project. Westinghouse and Tesla demonstrated that alternating current was able to generate electrical power over great distances more economically than the direct current favoured by Edison.

John Roebling (1806-1869), a German immigrant, pioneered the construction of suspension bridges in the United States in the second half of the nineteenth century. He demonstrated the practicality of using steel cables in bridge construction—and today, early in the 21st century, several of his bridges still stand, including the famed Brooklyn Bridge in New York, constructed in the 1870s. Another great creator, largely forgotten today, is the U.S. Army surgeon and bacteriologist Walter Reed (1851-1902). In the 1890s, Reed’s investigations contributed greatly to the understanding of typhoid fever, leading to the control and prevention of epidemics of the disease. In 1900 Reed demonstrated that the yellow-fever virus was transmitted by the bite of the mosquito Aedes aegypti. By exterminating the mosquitoes, the disease was virtually wiped out.

A great thinker from the Inventive Period who is widely remembered is the Scottish immigrant, Alexander Graham Bell (1847-1922). In 1874, his work on the multiple telegraph gave him the idea for the telephone. Experiments with his research assistant, Thomas Watson, proved successful on March 10, 1876. Later that year, Bell demonstrated the telephone at the Centennial Exposition in Philadelphia, an event leading to the organization of the Bell Telephone Company in 1877. Bell’s other inventions include the audiometer, a device for measuring hearing acuity and, later in life, the aileron and other aeronautical advances.

Space does not permit even the mention of all the inventors, entrepreneurs, and groundbreaking industrialists who flourished during the period. The achievements of Frank Julian Sprague (1857-1934), for example, are no longer remembered. Sprague, a brilliant electrical engineer who graduated from Annapolis and worked for Edison, electrified Richmond’s trolley system in 1888. He demonstrated that electricity was cheap, and that it could be used on both surface and elevated cars. In 1890 about 15 percent of America’s urban transit mileage was electrified; by 1902, 97 percent.

On the eve of the twentieth century America’s technological advances were only beginning. On the morning of June 4, 1896, Henry Ford (1863-1947) battered down the brick wall of his rented garage with an ax and drove out his first car. Others, of course, had already built and run cars, but Ford began the Ford Motor Company in 1903 and made the automobile a commercial reality. Soon millions of Americans were driving cars. That same year, Wilbur (1867-1912) and Orville (1871-1948) Wright, two bicycle mechanics from Dayton, Ohio, who were self-educated regarding the principles of aeronautical engineering, accomplished the first controlled, powered flight of a heavier-than-air vehicle at Kitty Hawk, North Carolina. Throughout the 1890s, the Wrights had been studying aeronautics and experimenting with flying devices. Both the automotive and aviation ages dawned in early twentieth-century America as a direct outgrowth of the achievements of the late nineteenth. (Ford and the Wright brothers are included in Sorel’s painting.)

The Underlying Factor


What underlying factor was responsible for this unprecedented outpouring of innovations, inventions, advances, and new products? The answer should be obvious, but unfortunately, to many historians it is not. It was the political and economic freedom of the capitalist system that enabled these inventor-entrepreneurs to flourish.

The late nineteenth century (until the proliferation of trust-busting and government controls in the early twentieth century) was the freest period of American history. The leading economists, professors, legal theorists, and judges upheld the principles of individual rights, limited government, economic freedom, and profit-making. Economists such as Amasa Walker, Arthur Latham Perry, and Francis Bowen wrote the leading economics textbooks of the day. Their works—Science of Wealth, Elements of Political Economy, and American Political Economy, respectively—championed the ability of the free market to create wealth and upward economic mobility.2 William Graham Sumner (1840-1910), the leading American social scientist of the late nineteenth century, wrote of “The Forgotten Man,” the honest labourer who supported himself by productive work. The principle of the Forgotten Man is that he needs the liberty of the American system if he is to flourish. He is the one always victimised by the socialists’ schemes to redistribute the income earned by private individuals.3

The law writers and legal philosophers of the day shared the same commitment to limited government. The most prominent, Thomas Cooley and Christopher Tiedeman, wrote their major works in the second half of the nineteenth century. The upshot of both Cooley’s A Treatise on the Constitutional Limitations Which Rest Upon the Legislative Powers of the American Union (1868) and Tiedeman’s A Treatise on the Limitations of the Police Powers of the States(1886) was the defense of property rights.4

In practice, most American judges of the period agreed with the individualistic principles of the country’s leading legal philosophers. After the Civil War, American courts generally presumed to be unconstitutional any laws restricting property rights and the rights of both businessmen and workers to set the terms of labor that they deemed best. As one example, the New York State Court of Appeals in 1885 struck down legislation seeking to limit the hours of industrial employment, ruling that such a law violated the rights of both worker and employer to engage in a voluntary transaction.

Additionally, the American courts of the late nineteenth century repeatedly placed severe limitations on the government’s power to tax and to subsidize business ventures. The courts generally gave strong support to the capitalist principle that productive enterprise was to be privately funded, owned, and operated. One representative ruling by a Missouri court in 1898 found against governmental paternalism, whether state or federal, and proclaimed that individuals know best how to conduct their own business and personal affairs.5

In this era, the U.S. Supreme Court gradually came to be the great defender of an individual’s right to property, freedom of contract, and economic liberty. For example, Stephen J. Field (brother of Cyrus Field), for many years a distinguished Justice of the high court, issued pro-freedom dissenting opinions in such famous disputes as the Slaughter-House cases (1873) and Munn v. Illinois (1877), holding that the government could prevent neither employers nor workers from entering fields of their own choosing or violate the right of individuals to the full use and disposal of their property. The majority opinion at this time was that the Fourteenth Amendment protected the rights of the recently freed slaves only and that there was nothing in it to prevent the states from interfering in business activities. But by the mid-1880s, after the San Mateo case (1882) and the Santa Clara case (1886), Justice Field prevailed. Chief Justice Morrison Remick Waite, in an oral statement, spoke for a unanimous bench in 1886, proclaiming that all the justices “understood and accepted the fact that corporations were persons within the equal protection clause of the Fourteenth Amendment.” The right of individuals to work and to use their own labor and property as they saw fit now came under the legal protection of the Supreme Court.6

Religion and Capitalism


Religious leaders of the period characteristically upheld the virtues of work, frugality, sobriety, and wealth earned through honest effort. The weekly religious periodical The Independent, edited for a while by the noted Congregationalist minister Henry Ward Beecher (1813-1887), defended the free market as the means by which both capitalists and workers would achieve material gain. For almost four decades Beecher preached from his influential Brooklyn pulpit the ability of hard-working individuals to rise economically in the capitalist system.7

The intellectual, cultural and political climate of the country upheld freedom, limited government, and property rights in this era. The economic results are not surprising. The most innovative and creative minds were free to develop new products and methods, to start their own companies, to bring their innovations to the marketplace, to convince consumers that the new products were superior to the old and, in time, to earn fortunes. There were few government bureaucrats and regulators to prohibit their activities, restrict their output, dictate working conditions, or limit their market share. “The first condition of this proliferation was that the innovations did not require the assent of governmental . . . authorities.”8

Most of the innovators of the Inventive Period were entrepreneurs who sought and made wealth by virtue of their creative work. Edison retired with a net worth of $12 million, an enormous sum in those days. His inventions were profit-driven. “Edison’s Menlo Park laboratory was conceived to bring scientific knowledge to bear on industrial innovation . . . . Its inventions were goals chosen with a careful eye to their marketability.”9

Such instances were numerous during the Inventive Period. Eastman, Westinghouse (Westinghouse Electric Company), and Ford are all examples of innovator-entrepreneurs who developed their new products into profitable business ventures. Willis Carrier (1876-1950) invented the air conditioner in 1902, held more than 80 patents by the 1940s, and founded the manufacturing firm that bears his name. (He also made Sorel’s painting.) Bell’s most famous invention led, of course, to the founding of the Bell Telephone Company. Roebling made a fortune from his wire-manufacturing company, as did McCormick from his firm’s producing the reaping machine and other farm equipment. Colt was an entrepreneur who opened his own plant, Colt Patent Arms, in 1855. He pioneered advanced manufacturing methods such as the production line and the use of interchangeable parts, making his company the largest private armory in the world. Isaac Merritt Singer (1811-1875) wanted a commercially practical sewing machine and brought together several related patents to create his immensely popular product. By 1860, he was the largest manufacturer of sewing machines in the world. A business innovator, Singer began such practices as installment buying, advertising campaigns, and service with sales.

Because of the climate of political and economic freedom during the Inventive Period, America’s entrepreneurs were able to revolutionise the fields of heavy industry on which general prosperity depended. Between 1860 and 1900, American output of bituminous coal increased by 2,260 percent, crude petroleum by 9,060 percent, steel by 10,190 percent, and other industries increased by similar amounts.10 Industrialists such as Andrew Carnegie (1835-1919) and John D. Rockefeller (1839-1937) built Carnegie Steel and Standard Oil into enormously productive concerns that flooded the country with steel and oil products. In the 1880s and 1890s, the great railroad man James J. Hill (1838-1916) constructed the Great Northern Railroad with only private funds to the immense betterment of people in the northern plains and northwest states. It goes without saying that Carnegie, Rockefeller, and Hill earned great wealth.

The lesson of the Inventive Period can be applied today. Political and economic freedom will lead to widespread innovation. This principle can already be seen in the computer industry, in which the relative absence of government regulation has enabled such innovators as Steve Jobs, Stephen Wozniak, Bill Gates, Paul Allen, Michael Dell, Larry Page, Sergey Brin and others to create an information revolution, and to earn fortunes in the process.

To defend freedom against the distortions of the anti-capitalist historians it is important to reject the inaccurate and opprobrious title of “the Gilded Age” for the late nineteenth century. We must recognise and celebrate the true nature of the era.

It was the Inventive Period.
Notes
See www.cooper.edu/engineering/chemechem/general/cooper.html.
Louis M. Hacker, The World of Andrew Carnegie, 1865-1901 (New York: J.B. Lippincott, 1968), pp. 68-73.
Ibid., pp. 81-85.
Ibid., pp. 86-92.
Ibid., pp. 95-96.
Ibid., pp. 98-107.
Ibid., pp. 74-80.
Nathan Rosenberg and L.E. Birdzell, How the West Grew Rich (New York: Basic Books, 1986), p. 265.
Ibid., p. 250.
Hacker, p. xxxi
* * * * 
Andrew Bernstein holds a Ph.D. in Philosophy from the City University of New York. He lectures all over the world. His books include The Capitalist Manifesto, American Racism: Its Decline, Its Baleful Resurgence, and Our Looming Race War, Heroes, Legends, Champions: Why Heroism Matters, and his newly-released (and highly recommended) collection of essays Aristotle Versus Religion.
This post previously appeared at the Foundation for Economic Education.

Monday, 1 April 2019

"It has, alas, for centuries been taught that the intellect and the emotions were two separate and antagonistic things... How depressing it is to realise that it might have been taught that they are two beautifully congenial and harmonious phases of that single and integral essence that we call the soul" #QotD


"It has, alas, for centuries been taught that the intellect and the emotions were two separate and antagonistic things. This teaching has been firmly believed, cruelly lived up to.
    "How depressing it is to realise that it might have been taught that they are two beautifully congenial and harmonious phases of that single and integral essence that we call the soul. That no nature in which the development of either is wanting can be called a completely rounded nature." 
          ~ Louis Sullivan, from his 1894 article 'Emotional Architecture as Compared to Intellectual : A Study in Subjective and Objective',.

Sunday, 22 October 2017

Quote of the Day: 'Why It's Okay To Like Ornament'





"Sullivan’s ornament never feels as though it is imposed from without. It does not feel applied.
Instead, his ornament really does manifest what 'organic' is actually supposed to feel like, 'as though the outworking of some beneficent agency had come forth from the very substance of the material and was there by the same right that a flower appears amid the leaves of 
its parent plant.'”
~ Barbara Lamprecht, from Part IV her book/article 'Why It's Okay To Like Ornament,' quoting Michael Lewis





"This greatest feature of his work was esoteric. Is it any the less precious for that?
    "Do you realise that here, in his own way, is no body of culture evolving through centuries of time but a scheme and 'style' of plastic expression which an individual working away in this poetry-crushing environment ... had made out of himself? Here was a sentient individual who evoked the goddess whole civilisations strove in vain for centuries to win, and wooed her with this charming interior smile -- all on his own, in one lifetime too brief.
... Although seeming at time a nature-ism (his danger), the idea is there: of the thing not on it; and therefore Sullivanian self-expression contained the elements and prophesied organic architecture. To look down on such efflorescence as mere 'ornament' is disgraceful ignorance. We do so because we have only known ornament as self-indulgent excrescence ignorantly applied to some surface as a mere prettification. But with the master [Sullivan], 'ornament' was like music; a matter of the soul..."~ Frank Lloyd Wright writing in his book Genius and the Mobocracy about the only man he ever called his Master






Tuesday, 24 January 2017

People’s Savings Bank in Cedar Rapids, Iowa, by Louis Sullivan - 1911

 

Peoples-Savings-Bank

Architect Louis Henri Sullivan was Frank Lloyd Wright’s mentor, the father of the skyscraper, and one of the “godfathers” of modern architecture, In the last phase of his career, Sullivan built several exquisite wee banks in the American midwest that he called “jewel boxes,” stunningly crafted small buildings celebrating the primary symbol of capitalism in each of these prosperous small towns.

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The People’s Savings Bank in Cedar Rapids, Iowa, was probably the least of these small jewels, but has enjoyed perhaps the best repurposing.

CedarRapids

The bank has been restored, and is now a very fine Italian restaurant and cocktail bar – Sullivan’s Bar, appropriately – just the sort of place I could easily spend a week doing serious research. A blogger recently spent the day there:

We gawked at Allen E. Philbrick’s murals depicting “Banking, Commerce, and Industry” ... The murals feature idealised forms of capitalism in front of pristine forests and open fields. Man and nature appear in harmony with golden sunshine flooding the dimly lit bar with the promise of future prosperity -- a prosperity Cedar Rapids works towards as earnestly as the farmer with his plough.

140811_blog_photo_cedar-rapids_popoli

A fine use of the elegant space. And the perfect backdrop to enjoy a Negroni or a God Father. Or several.

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Build yourself one now while you watch this short clip of the first bank he brought into the world …

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Sunday, 22 January 2017

Quote of the Day: Form follows function …

 

“[T]o the steadfast eye of one standing on the shore of things … the heart is ever gladdened by the beauty, the exquisite spontaneity, with which life seeks and takes on is forms in an accord perfectly responsive to its needs. It seems ever as though the life and the form were absolutely one and inseparable, so adequate is the sense of fulfilment.
    “Whether it be the sweeping eagle in his flight or the open apple blossom, the toiling work horse, the blithe swan, the branching oak, the winding stream at its base, the drifting clouds, over all the coursing sun, form ever follows function, and this is the law. Where function does not change form does not change. The granite rocks, the ever brooding hills, remain for ages; the lightning lives, comes into shape, and dies in a twinkling.
    “It is the pervading law of all things organic and inorganic, of all things physical and metaphysical, of all things human and all things superhuman, of all true manifestations of the head, of the heart, of the soul, that the life is recognisable in its expression, that form ever follows function. This is the law.
    “Shall we, then, daily violate this law in our art? Are we so decadent, so imbecile, so utterly weak of eyesight, that we cannot perceive this truth so simple, so very simple?”

~ Architect Louis Sullivan, in his 1896 article ‘The Tall Office Building Artistically Considered

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Wednesday, 10 September 2014

Restoring Wright Buildings with 3d printing [updated]


Frank Lloyd Wright’s Millard House or “La Miniatura”

While everyone has been talking about trying to 3d print houses, Frank Lloyd Wright’s ‘textile block’ buildings are being restored for pennies in the pound with 3d printed textured blocks.

His Annie Pfeiffer Chapel at Florida Southern College—part of a composition of twelve buildings at the South Florida campus designed as a “harmonious whole expressing the spirit of the college free from grandomania:--has had is having a makeover with the help of 3d-printed textile blocks replacing weathered and aged blocks.

The cost to recast Wright’s blocks by hand proved prohibitively expensive in the past…until the arrival of the affordable 3D printer.
    Thanks to a $50,000 grant from the Florida Division of Historical Resources and the emergence of affordable 3D printing technology, the Annie Pfeiffer Chapel was
recently restored in exacting architectural detail.
    Architect Jeff Baker of
Mesick Cohen Wilson Baker Architects oversaw the 12-month grant project, turning to the aid of 3D printers to replicate and replace what was once a tedious manual process. 3D printing significantly reduced both cost and effort to complete the architectural restoration, allowing Baker’s team to integrate 2,000 distinctive coloured glass tiles into Wright’s original design textile blocks, recreating the jewelled box effect envisioned by the architect.
    “The success found on this project is a milestone not only in the restoration of Frank Lloyd Wright buildings on the FSC campus but also for similar textile block projects designed by Wright and other architects throughout the nation,” enthused Baker.

This opens up possibilities not just for restoration, but for new textile block buildings as well.

And not just new and inexpensive textile buildings – new and economical methods of applied ornament as well. Just imagine what Wright’s master Louis Sullivan could have done with a few industrial 3d printers instead of being restricted to hand-crafted forms for cast iron, plaster and terracotta!

Coping of Louis Sullivan’s Wainwright Building

 

[Pics from http://prairieschoolarchitecture.tumblr.com/, Florida Rambler, Design Milk, When the Sidewalk Ends and 3dprint]

Thursday, 25 March 2010

Sistine Chapel

sistine chapel

The Sistine Chapel.  Everybody knows it.  Tourists tramp through it. In a queue.

As a room, it’s just a room.

A room several stories high whose walls are decorated with art.

And what art!  Some of the greatest art in the history of the world.

Louis Sullivan, one of my architectural heroes, spent three days in Rome in the late nineteenth century, two of them in the Sistine Chapel.

    “Needless to say [says Sullivan’s biographer Hugh Morrison], it was Michelangelo’s great ceiling paintings which held him. Michelangelo became for him another [hero], and greater than Wagner. “Here Louis communed in silence with a Super-Man. Here he felt and saw and great Free Spirit. Here he was filled with the awe that stills. . . .  Here was power as he had seen it in the mountains…, in the prairies, in the open sky. . . .  Here was the living presence of a man who had done things in the beneficence of power.”

Art full of power, in the service of bad philosophy.

But great art.  And you can see it all, up close, in context--almost as if you were there—at The Vatican’s Sistine Chapel website

It took the great Michelangelo three years to paint the ceiling, and another year to paint The Last Judgement. So why not spend an evening with the great man, and see why he’s so deservedly revered.

The website and its gadget takes a while to load, even at high speed, but once it does, you've got this amazing ability to pan and zoom all over the room. Enjoy! [Hat tip Scott Powell]

Tuesday, 25 August 2009

Louis Sullivan: the Struggle for American Architecture

Here's a trailer for new film worth seeing: a feature-length documentary that tells the story of revolutionary Chicago architect Louis Sullivan (1856-1924), one of my very favourite architects – his work, his rapid and early success, and the reasons behind his tragic decline.

 

RELATED: Louis Sullivan - What’s the Big Idea? - Peter Cresswell

Friday, 26 September 2008

'A System of Architectural Ornament' - Louis Sullivan

       gilesp_guaranty_1m

"In these little masterpieces of poetic imagination,' said Frank Lloyd Wright in 1949 of Louis Sullivan's ornamental drawings produced around half-a-lifetime before, "the poet in him shines forth on the record as a free, independent spirit characteristic of the free of all time."

'Wright,' he would say [when Wright worked under Sullivan] concerning details which I was trying (as yet by instinct) to work with T-square and triangle ... 'bring it alive, man!  Make it live!'  He would sit down at my board for a moment, take the HB pencil from my hand and, sure enough, there it would be.  Alive!
    ... He did "make it live." 
    ...Say this greatest feature of his work was esoteric.  Is it any the less precious for that?
    Do you realize that here, in his own way, is no body of culture evolving through centuries of time but a scheme and "style" of plastic expression which an individual working away in this poetry-crushing environment ... had made out of himself?  Here was a sentient individual who evoked the goddess whole civilizations strove in vain for centuries to win, and wooed her with this charming interior smile -- all on his own, in one lifetime too brief.
    ... Although seeming at time a nature-ism (his danger), the idea is there: of the thing not on it; and therefore Sullivanian self-expression contained the elements and prophesied organic architecture.  To look down on such efflorescence as mere "ornament" is disgraceful ignorance.  We do so because we have only known ornament as self-indulgent excrescence ignorantly applied to some surface as a mere prettification.  But with the master [Sullivan], "ornament" was like music; a matter of the soul...

The ornament shown here comes from Sullivan's 1924 book, A System of Architectural Ornament, According with a Philosophy of Man's Powers.  Giles Phillips from MIT has a complete collection of the book's twenty plates, and a Flash presentation of the System based on a study of Sullivan's Guaranty Building (above) here at his website.

sullivan-plate-06 sullivan-plate-10 sullivan-plate-17

Friday, 19 September 2008

'The Tall Building Artistically Considered' - Louis Sullivan

Wainwright Building, St. Louis, Missouri, 1890-1891, Louis Sullivan (right) Guaranty Building, Buffalo, New York, 1894-1985 (left) Without Louis Henri Sullivan, the world's skylines would look very different. The tall building grew up on the American prairies with the invention by Otis of the elevator, and by Chicago engineers of the tall steel frame. 

The artistic problem was how to express this new thing. With no historical precedent on which to copy (most architects were no more original then than now) for years architects simply piled storey upon storey, Gothic upon Classical, cornice upon portico.

 The results were ... dire. It was Frank Lloyd Wright's mentor Louis Sullivan who realised not just that this would not do, but that what was happening violated a fundamental law. Like everything in existence, a building should express its nature, he said. "What is the chief characteristic of the tall office building?" he asked. "It is lofty. ... It must be tall, every inch of it tall. ... It must be every inch a proud and soaring thing, rising in sheer exultation . . . from bottom to top . . . without a single dissenting line." Said Frank Lloyd Wright some years later:
When buildings first began to be tall, architects were confused – there were no precedents – they didn't know know HOW to make them tall. They would put one two or three storey building on top of another until they had enough. 
.... I remember Leiber Meister [Sullivan] came in one afternoon and threw something on my table – it was a 'stretch' with the Wainwright Building in St. Louis designed in outline upon it. He said: “Wright, this thing is TALL. What's the matter with a tall building? Well, there it was, TALL!” After that the skyscraper began to flourish – TALL.
With the Wainwright Building, a simple ten-storey speculative block, Sullivan had discovered how to express the tall building, and into the world was born a new thing.

With the Guaranty Building four years later (right) he came to maturity in that expression: the verticals expressed, the horizontals recessed, the tripartite division, the efflorescence of ornament -- "just enough to allow the bones to show." From these two, for good or ill, all skyscrapers would derive. And with these buildings and his statement of the underlying principle of architectural design, Sullivan's place in history was complete.

Said Sullivan in 'The Tall Building Artistically Considered' : All things in nature had shapes, forms, and outward appearances "that tell us what they are, that distinguishes them . . . from each other." So too it should be in a building. Form, he said, should follow function. 

And with that, two new things under the sun was born: a dictum that would ring through the ages, and that proud and soaring thing; the tall building. 


LINKS: Louis Sullivan - What’s the Big Idea? - Peter Cresswell 
Master of the skyscraper - David van Zanten

Wednesday, 10 September 2008

Auditorium Building - Louis Sullivan

auditorium

There was a time back when the world was still young and fresh and vigorous, and everything human seemed possible -- at least that's how it must have seemed to those alive at the time. A very different time. Back when progress wasn't a dirty word, and people showed up to celebrate the opening of a new canal that spanned two oceans, bridges that spanned great canyons, or a new railway that linked a continent -- or of inventions like that of the incandescent lightbulb, which forever changed a world that was for so long lit only by fire.

Reefton, New Zealand, was one of the first places to celebrate the invention -- it was the first town in the world to boast electric reticulated lighting, ahead of Thomas Edison's Menlo Park! Architect Louis Sullivan was one of the first to celebrate the new invention in architecture: the golden arches of his auditorium, so gaily lit with the bright bulbs of the new age, its surfaces painted ivory "in subtly graded tones overlaid by three-karat gold leaf" to enhance the effect, brought ravishment to an audience ravening for the stuff. [Story here from the Wall St Journal.]

Alas for the age of the incandescent; killed by more than just a few luddites and their enforcement of 'eco-bulbs' on all of us, like it or not.

Tuesday, 5 February 2008

Frank Lloyd Wright Home & Studio (1889), Oak Park, Illinois

                   FLW home & Studio 2

Frank Lloyd Wright's home and draughting office. 

The Shingle Style home he designed and had built in his late teenage years when he first began work with Louis Sullivan (Wright's first employer Lyman Silsbee was a Shingle Style designer); the attached draughting office built nine years later was where Wright set up office with Marion Mahoney and Walter Burley Griffin once he left Sullivan -- and where they invented the Prairie Style
                   FLW home & Studio 3   
More photos here and here.

Tuesday, 14 August 2007

Architecture film festival back for another year

The Jasmax Architecture Film Festival is back again around the end of August, and rather than just the main cities this time it's out and about around much of the country. Says the press release, "This year’s festival, brought to you by Jasmax and NZ Home + Entertaining, will run from the 23rd until the 29th of August in Auckland, Hamilton, Wellington, Christchurch, Dunedin, Matakana, Tauranga, Rotorua, Havelock North, Palmerston North, Nelson and Arrowtown."

For mine, I'll be standing in line to get tickets for the Louis Sullivan, Renzo Piano and John Lautner films, and probably showing up to most of the others if I have time and there are spare seats. I won't be showing up to see the "diary" of the disgusting Philip Johnson, however, for reasons I explained here.

I'm particularly pleased to see Louis Sullivan getting the attention he deserves for his part in "inventing" the skyscraper. Sullivan--famous for his much misunderstood dictum that "form follows function"--has been a hero of mine for some time, and a year or so ago I tried to explain why. I hope this film does him justice.

Wednesday, 7 March 2007

"But is it art?"

The famous Mackintosh 'ladder' chair by architect Charles Rennie Mackintosh, left, and there's one in the location for which they were designed, at Hill House, Glasgow, right. (1903)

An ornamental bank teller's grille by architect Louis Sullivan below left, and the bank for which the ornament was designed, below right. (1908)

QUESTION: Is the chair, on its own, art? Is the ornamental grille art?

They're both very nice -- exceptional, in my estimation -- but is there enough in them on their own to be that "shortcut to our most deeply-held premises" which is the defining characteristic of art, particularly good art? Is their sufficient scope in a chair or an example of ornament to perform that role? Or are these things somewhat like a good and well-crafted phrase in a poem, or a peculiarly apt metaphor in a short story, or a telling chapter in a novel: things we can sometimes enjoy in their own right as well -- particularly if we know they came from and are part of the same theme as a major work -- but which we nonetheless know are part of an art work?

In other words, is it true to say that the ensemble is art -- the sum of all the parts -- but not the parts themselves, however attractive?

As they say in Glasgow, "What say you, Jimmy?" (My own answer, if you haven't guessed already, is of course suggested in the questions, but I've sketched it out a little more here and here.)

Oh, and the New York Times has a very brief piece on Sullivan's beautiful series of banks. And antiquarian Eric Knowles does the job for Hill House.

RELATED POSTS ON: Art, Architecture

Friday, 8 September 2006

Architecture v Architecture: 'Price Tower,' by Frank Lloyd Wright

My own second post in this competition of architectural favourites has already been trumped by Den's post last night of Frank Lloyd Wright's Fallingwater, but never fear: Wright has nearly 600 projects to choose from, every one a gem.


Here tonight is his only completed tall building: the Price Tower, or as so he often called it, "the tree that escaped the crowded forest."

First designed for the New York of the twenties, and then as part of an apartment cluster in Washington DC in the forties, it was finally built in Oklahoma in the fifties (yes, that's right: Oklahoma again; and architect Bruce Goff lived and kept an office there.)

The Price Tower wasn't the only tall building Wright had worked on. He began his career in the office of Louis Sullivan, who in the Chicago of the 1890s when tall buildings were still a new thing under the sun, largely invented the means of expression of the tall building. As the "pencil in the hand of the master" as Wright was happy to call himself, he helped Sullivan build the first skyscraper masterpieces the world had seen, before leaving Sullivan's office to begin his own practice.


The Larkin Building of 1905 was his first tall-ish building on his own account (and some fity years before the so-called seminal 'modern' high-rises were erected in Chicago and Manhattan), and a revolutionary one it was too, but for all sorts of reasons numerous design, studies and projects just flatly refused to get off the ground or to find a backer -- the Mile High Tower was one project used in part to attract attention for all the many ingenious schemes Wright had devised that were just going to waste -- so the Bartlesville opportunity when it came was grabbed with both hands.


The Price tower itself picks up on the form of a tree: like a tree, it has a 'tap root,' a central structural core that extends down into the ground to hold the building erect. From this vertical core, the floors are cantilevered out, like branches from the trunk. And at the exterior, like the foliage at the perimeter of a tree, light and shade and decoration are made to appear. It followed the principle of the tree, said Wright, but to that he added his own inescapable ingenuity to the mix.

The floors, combining rental offices and apartments on each floor, are laid out using an ingenous grid system, with 'nodal points' such as interior mezzanine balconies pushed out to the exterior to gve a delightful geometric variety. At the edge of the cantilevered floors, each wall is treated differently depending on function and sun direction. Vertical copper sun shades are used to mollify the afternoon sun; pressed copper panels bear the imprint of Wright's imagination, rather like the beautiful foliage of a tree that decorates its perimeter; concrete 'fin walls' rise vertically through the building from its 'tap root,' bursting out at the top to anchor a playful geometric composition that crowns the bulding, and silhouettes it beautifully against the sky.

The overall effect is of a building almost shaped from crystal, like a jewel. It's masterful play of geometric form is, I'll use the word again, a delight. Unlike all too many tall buildings (like Auckland's pathologically disinteresting Sky Tower for example) it is different on all sides: like an ingenious puzzle it is a form that the eye never tires of taking it in and working out, all the time trying to establish the underlying principle that built it. To use Wright's words, "it is a grace, and not a disgrace" to the world in which it is built.

It is a building that is proud to be tall, and proud to be erect. It is by any standard a delightful building, and definitely one of my own top five.

LINKS: Louis Sullivan: What's the big idea? - Peter Cresswell, SOLO
'The Tall Building Artistically Considered' - Louis Sullivan - Not PC
Frank Lloyd Wright's St Mark's Apartment Tower Project - Not PC
Mile High Tower, Frank Lloyd Wright - Not PC
Crystal Heights complex, Frank Lloyd Wright - Not PC
Larkin Building, Frank Lloyd Wright - Not PC

RELATED: Architecture

Sunday, 12 March 2006

This week at 'Not PC'

For those of you who disgracefully missed some of Not PC this week, here's a brief summary of the best of it. Feel free to use that little e-mail button at the bottom top pass it on to everyone you've ever met...
  1. Fallingwater: The story of how Frank Lloyd Wright drew up America's finest Twentieth-Century house in the time it took the client to drive two hours to meet him

    The story of how Frank Lloyd Wright drew up America's finest Twentieth-Century house in the time it took the client to drive two hours to meet him is the stuff of legend. Edgar Tafel
  2. God drinks Guinness

    Friday afternoon a week before St Patricks Day seems an ideal time to ponder a fairly convincing Ontological Proof of God provided by a skinful of Guinness, a pretty girl and a bright sun, courtesy of an old post at Manhattan Transfer [and a hat tip to St

  3. John Key - "More meddling please"

    Those of you have commented on John Key's speech to West Harbour Rotary in which he argues for the benefits of greater government meddling might be interested in yesterday's discussion of the speech with bFM's Simon Pound, now online.
  4. 'Australia's most important architect' dies

    One of Australia's most prolific architects has died. Harry Seidler (1923-2006) was an unabashed modernist responsible for many of Australia's well-known public buildings including Sydney's Australia Square and Grosvenor Place, and Brisbane's Riverside Bu

  5. Black holes existence questioned

    As if to demonstrate that we know far less about astro- and quantum physics than we think we do, New Scientist reports this week that the existence of black holes is under question...

  6. When partly true is untrue - More FM misreporting shows interview dangers

    More FM yesterday ran a story saying that the Libertarianz political party supported racism. More FM now accepts that this was incorrect. Libertarianz Deputy Julian Pistorius confirmed that his party does ~not~ support racism, but it does support people's

  7. Rugby, Physics, Philosophy & Beer - update

    As I mentioned when I first suggested this, "we plan to integrate BBQ, beer-drinking, physics and rugby": What could be better, eh? Schrodinger's Fridge Cat? Strange particles? The interconnectedness of everything? Beer! In a series of taped lectures...

  8. 'Country House' - Mies van der Rohe, 1923

    A wonderfully free-flowing 'pinwheel' plan for this country house project by Ludwig Mies van der Rohe from 1923. A plan that combines elements of Frank Lloyd Wright, De Stijl, Berlage and Malevich.
  9. TradeMe block a tipping point?

    It doesn't stop, does it. Hard on the heels of Carter's Whangamata Veto, the Communist Commerce Commission chair-thing Paula Rebstock says she wants to throw a spanner in Fairfax's plan to give TradeMe founder Sam Morgan a large cheque.

  10. Get Carter

    Chris Carter has done everyone a favour. He's made it clear even to the unwashed and unenlightened that meddling is in, that enterprise is out, that the separation of powers in this pathetic authoritarian backwater is non-existent, and that New Zealand op

  11. Rodney Hide. Legend.

    Herald: "Do you support widespread legalisation?" Mr Hide: "No."

  12. Baa Baa ~What~ Sheep?

    Nursery school bosses [in Oxfordshire, UK] ordered the words of the rhyme Baa Baa Black Sheep to be altered to Baa Baa Rainbow Sheep. The change was made to avoid offending children after teachers examined the nursery's equal opportunities policy. Stuart

  13. Larkin Building - Frank Lloyd Wright

    Frank Lloyd Wright's Larkin Building of 1905 was revolutionary. The first atrium office building -- indeed, the first atrium building of any type -- air-conditioned, fire-proof, a veritable 'cathedral of industry.'

  14. Breathing fire on Nanny's census

    The Wellington firebreather made short work of a stack of census forms tonight at the Botanic Gardens Soundshell, doing what he does best in front of a crowd of forty or so that included a group of scouts chanting "Burn, Census, Burn!"
  15. Meddling arsehole stops Whangamata project

    This is what a meddling arsehole looks like (left). Chris Carter, MP, has just stepped in to reject the application to build a $10 million marina in Whangamata after consent for the project had already been granted by the Environment Court. Carter knows best...

  16. Crimes against society

    ...discussing 'prisoner rehabilitation' and Rachaelle Namana over the last day or so, I've kept hearing the phrase "repaying their debt to society." Prisoners, people keep saying, need to to "repay their debt to society." What on earth are they talking about?

  17. The truth about cats and dogs and politics

    Liberals tend to like cats; conservatives tend to like dogs. Such is the result reported by the Washington Monthly...

  18. Oscars

    Didn't 'we' do well. Weta Workshops's Richard Taylor is now equal Oscar-wise with Clint Eastwood, Bob Hope, John Barry and Francis Ford Coppola as the winner of five Academy Awards. Says the Dom enthusiastically: "Wellywood and Weta have done it again, with King Kong grabbing

  19. 'Clash of civilisations' rubbished by Arab-American woman

    Wow! Dr. Wafa Sultan is a secular Arab-American psychologist, whose view of Islam can best be decribed as one of absolute contempt. On February 21 she confronted radical Islamist cleric Ibrahim Al-Khouli in a debate on 'The Clash of Civilizations,' not in

  20. Houses - when bigger is not necessarily better

    When someone buys a Mercedes Benz or Jaguar, they look for quality, comfort, and detail. Size has nothing to do with the appeal of these cars. If you wanted nothing but space, you could buy a truck. Why is it, then, that some people feel compelled to buy bigger when it comes to their house, even though bigger is not always better...

  21. Firebreathing over census at Wellington's sound shell tonight

    Meanwhile, Libertarianz has organised a protest at the Wellington Sound Shell, with a fire breather to burn census forms. The press release states: "Libertarianz leader, Bernard Darnton, announced the event today, saying that "the census is a blatant e

  22. National Farmer's Bank, Owatonna, Minnesota - Louis Sullivan

    In 1906 architect Louis Sullivan criticised the then-traditional bank with its classical ornament and layout in an article in The Craftsman -- read by musician-turned-banker Carl Bennett, Sullivan was challenged to "suggest how to obtain something better

  23. A republic. If you can keep it

    Democracy, as Bill Weddell used to say, is the counting of heads regardless of content. I talked the other day about the importance in a democracy of putting things beyond the vote, so that your life, liberty and your right to pursue your own happiness ca

  24. TradeMe changes hands for big money

    Good for Sam Morgan, the fomer owner of NZ's most popular website, TradeMe, the site he started just seven years ago that now accounts for sixty-percent of NZ's web traffic. He is "the former owner" because as you might have heard he's just sold it for th

  25. Where there's a census, let there be fire!

    Tomorrow night I shall be burning my census form. That is, I would be if I had one. Apparently I am amongst the third or so of central Aucklanders who haven't yet had a form delivered. How sad. Perhaps I'll need to download a form in order to burn it.
  26. Do the rich really make us all poorer?

    'The rich keep getting richer!' screams economist Paul Krugman. 'So what,' says George Reisman in his latest blog. Actually, they both say it far more learnedly than I just summarised, but what you got was the gist of it...
  27. Trees

    Four questions for you this morning: * Given that a man has been jailed last year for offending the state religion cutting down his own trees on his own property, and that yesterday a man was fined $100,000 after abasing himself before a room full of zealots...

Tags: Economics Education

Tuesday, 7 March 2006

National Farmer's Bank, Owatonna, Minnesota - Louis Sullivan



National Farmer's Bank, Owatonna, Minnesota - Louis Sullivan - 1908

In 19o6 architect Louis Sullivan criticised the then-traditional bank with its classical ornament and layout in an article in The Craftsman -- read by musician-turned-banker Carl Bennett, Sullivan was challenged to "suggest how to obtain something better than the usual Roman bank."

The Owatonna National Farmers' Bank in Minnesota was the result: a variegated brick cube sparely, beautifully and thematically ornamented and proportioned, and judged by Frank Lloyd Wright to be the best of the many banks Sullivan was to build in this later part of his career.

LINKS: Louis Sullivan's Owatonna Bank
'The tall building artistically considered' - Louis Sullivan -- Peter Cresswell
Lieber-Meister page: Louis Sullivan, the architect & his work

TAGS: Architecture

Friday, 2 December 2005

Michelangelo's 'God'

Michelangelo's godlike God, from the restored ceiling of the Sistine Chapel, creating the Sun and the Moon. Half the figure is in the light from the sune; half in darkness, where sits the moon. The angels themselves appear stunned by his unexpected command.

Louis Sullivan -- Frank Lloyd Wright's mentor, and Rand's Henry Cameron -- saw Michelangelo's stunning figures as a young student. "He remained always in awe of what he called ‘man’s powers’ – a passion first given life for him when as an impressionable youngster he stared open-mouthed at the awe-inspiring figures created by Michelangelo on the ceiling of the Sistine Chapel. ‘Here is Man’s Power evident in these figures!’ he wrote joyfully in his student’s journal."

Thursday, 24 November 2005

Price Tower -- Frank Lloyd Wright


"The tree that escaped the crowded forest" was what Wright called his Price Tower in Bartlesville, Oklahoma. Truth be told, he'd designed an earlier version of this for the Manhattan jungle that wasn't built, and he was eager to see it erected anywhere. Discounting his earlier collaborations with Louis Sullivan, the Price Tower was his only built skyscraper. More pictures here.