Louis didampingi orangtuanya ketika mereka mendirikan akademi menari pendek tinggal di Halifax, Nova Scotia, dan Newburyport dan Gloucester, Massachusetts, topi pada saat Louis Henry Sullivan 12 ia telah tinggal di berbagai pengaturan fisik. This array of experiences and exposures made him an exceptionally independent boy. Ini array pengalaman dan eksposur membuatnya menjadi anak yang sangat independen. Having decided around age 11 to become an architect, Louis Henry Sullivan was willing to stay behind with his grandparents to study in Boston when his family moved to Chicago in 1868. Setelah memutuskan sekitar usia 11 untuk menjadi arsitek, Louis Henry Sullivan bersedia tinggal di belakang dengan kakek-neneknya untuk belajar di Boston ketika keluarganya pindah ke Chicago pada tahun 1868.

Commuting 20 mi round trip each day from Wakefield, young Louis Henry Sullivan graduated from the Rice Grammar School 1870. Komuter 20 round trip mi setiap hari dari Wakefield, muda Louis Henry Sullivan lulus dari Rice Grammar School 1870. In his sophomore year at English High Louis Henry Sullivan came under the influence of Moses Woolson, a gifted and imaginative teacher, who reinforced and stimulated Louis's intelectual inclinations. Dalam tahun kedua di Inggris High Louis Henry Sullivan datang di bawah pengaruh Musa Woolson, seorang guru yang berbakat dan imajinatif, yang diperkuat dan merangsang kecenderungan intelektual Louis. Eager to begin his life's work and bored as a junior, Louis Henry Sullivan applied in 1872 for early admisssion to the Building and Architecture program at the Masachusetts Institute of Technology, the only architecture school in the country at the time. Bersemangat untuk memulai pekerjaan hidupnya dan bosan sebagai junior, Louis Henry Sullivan diterapkan pada tahun 1872 untuk admisssion dini untuk Gedung dan program Arsitektur di Institut Teknologi Masachusetts, sekolah arsitektur hanya di negara pada saat itu. Louis Henry Sullivan was accepted as 5-year-old special student without a high school diploma after passing a rigorous battery of tests. Louis Henry Sullivan diterima sebagai mahasiswa khusus 5 tahun tanpa ijazah sekolah tinggi setelah melewati baterai yang ketat tes. But Louis Henry Sullivan found the MIT program, which was modeled on that of the Ecole des Beaux Arts in Paris, to be too traditional and too lttle concerned with social and architectural theory. Tapi Louis Henry Sullivan menemukan program MIT, yang dimodelkan pada bahwa dari Ecole des Beaux Arts di Paris, terlalu tradisional dan terlalu lttle peduli dengan teori sosial dan arsitektur. So Louis Henry Sullivan left college in June 1873 after his first year to take a job white Frank Furness, a boisterous, innovative Philadelphia architect responsible for several major buildings in ai of Greco-Gothic style and an outstanding ornamentalist after the manner of the Welsh theorist, Owen Jones. Jadi Louis Henry Sullivan meninggalkan bangku kuliah di Juni 1873 setelah tahun pertama untuk mengambil pekerjaan putih Frank Furness, sebuah, kencang inovatif Philadelphia arsitek bertanggung jawab untuk bangunan besar di ai gaya Greco-Gothic dan ornamentalist beredar setelah cara dari teori Welsh , Owen Jones. Laid off in November during the recession that year, Louis Henry Sullivan followed his parents to Chicago where Louis Henry Henry Sullivan found a position with the prominent architect William Le Baron Jenney, a pioneer of metal frame construction in tall dings. PHK pada bulan November selama resesi tahun itu, Louis Henry Sullivan mengikuti orang tuanya ke Chicago dimana Louis Henry Henry Sullivan menemukan posisi dengan arsitek William terkemuka Le Baron Jenney, pelopor konstruksi logam bingkai dalam bantingan tinggi. Sesudah enam bulan penuh fruitful months with Jenney, Louis Henry Sullivan decided to return to school for theoretical grounding, this time to the acknowledged source of architectural wisdom, Ecole des Beaux Arts. Setelah enam bulan berbuah dengan Jenney, Louis Henry Sullivan memutuskan untuk kembali ke sekolah untuk landasan teoritis, kali ini ke diakui sumber kebijaksanaan arsitektur, Ecole des Beaux Arts. Louis Henry Sullivan berlayar dari New York pada bulan Juli tahun 1874, dan tiba di kota Paris pada bulan Agustus, dan setelah a period of determined preparation, entered the Ecole in October wherere Louis Henry Sullivan remained for approximately three months.

Louis Henry Sullivan berlayar dari New York pada bulan Juli 1874, tiba di Paris pada bulan Agustus dan, setelah periode persiapan ditentukan, memasuki bulan Oktober wherere Ecole Louis Henry Sullivan tinggal selama sekitar tiga bulan. But Louis Henry Sullivan found the Ecole as disappointing as MIT, in large part because of its concentration on Renaissance and classical ideas. Tapi Louis Henry Sullivan menemukan Ecole sebagai mengecewakan karena MIT, sebagian besar karena konsentrasi pada Renaissance dan ide-ide klasik. After a tour of southern France and northern Italy, where Louis Henry Sullivan was staggered by Michelangelo's work, especially at the Sistine Chapel, Louis Henry Sullivan returned to Chicago in June 1875 as a free-lance draftsman. Setelah tur Perancis selatan dan Italia utara, di mana Louis Henry Sullivan terhuyung oleh karya Michelangelo, terutama di Kapel Sistina, Louis Henry Sullivan kembali ke Chicago pada Juni 1875 sebagai juru free-lance.

Louis Henry Sullivan - at vitruvio.ch Louis Henry Sullivan - di vitruvio.ch One of the several architects Louis Henry Sullivan worked for during the next six years was Dankmar Adler, who was so impressed with Louis Henry Sullivan 's drawing talent and his ability to devise architectural ornament that Louis Henry Sullivan made him a junior partner late in 1881 or early in 1882 and then full partner in the new firm of Adler & Sullivan, organized May 1, 1883. Salah satu dari beberapa arsitek Louis Henry Sullivan bekerja untuk selama enam tahun berikutnya adalah Dankmar Adler, yang begitu terkesan dengan bakat Louis Henry Sullivan 's menggambar dan kemampuannya untuk merancang ornamen arsitektur yang Louis Henry Sullivan membuatnya menjadi partner junior akhir tahun 1881 atau awal tahun 1882 dan kemudian mitra penuh di perusahaan baru Adler & Sullivan, diselenggarakan 1 Mei 1883.

From the beginning of their association until July 11, 1895, when Adler temporarily quit architecture because of the national depression, Adler & Sullivan designed approximately 180 buildings. Sejak awal hubungan mereka sampai 11 Juli, 1895 ketika Adler sementara berhenti arsitektur karena depresi nasional, Adler & Sullivan dirancang sekitar 180 bangunan. Of these, some 60 or one-third of the total-most commissioned before 1890-were single or multiple residences; 33 (18%) were commercial buildings (generally offices and stores); 27 (15%) were for manufacturing; 17 (9%) were theaters, music halls, and auditoriums; and 11 (6%) were warehouses. Dari jumlah tersebut, sekitar 60 atau sepertiga dari total paling ditugaskan sebelum 1890-adalah satu atau beberapa tempat tinggal; 33 (18%) adalah bangunan komersial (umumnya kantor dan toko); 27 (15%) adalah untuk manufaktur; 17 ( 9%) adalah teater, ruang musik, dan auditorium, dan 11 (6%) adalah gudang. The remaining 31 (17%) ran the gamut from stables and mausoleums to railroad stations and libraries. Sisanya 31 (17%) berlari, mulai dari kandang dan mausoleum ke stasiun kereta api dan perpustakaan.

Adler and Sullivan complemented each other perfectly. Adler dan Sullivan saling melengkapi dengan sempurna. Recognized as an outstanding acoustical and structural engineer as well as a reliable architect, Adler nonetheless understood his own limitations as a designer. Diakui sebagai seorang insinyur akustik dan struktural yang beredar serta arsitek yang handal, Adler tetap mengerti keterbatasan sendiri sebagai seorang desainer. Though eight years senior to his 26-year-old partner in 1883, Adler turned over to Louis Henry Sullivan full responsibility for façade composition and decorative work.

Meskipun delapan tahun senior untuk pasangannya 26 tahun pada tahun 1883, Adler diserahkan ke Louis Henry Sullivan tanggung jawab penuh untuk komposisi façade dan bekerja dekoratif. Generally speaking, Adler took care of mechanicals and structurals, Louis Henry Sullivan handled the art, and together they worked out the program. Secara umum, Adler merawat mekanis dan struktural, Louis Henry Sullivan ditangani seni, dan bersama-sama mereka bekerja di luar program. Their mutual talents were first recognized in the theater and concert hall genre. saling bakat mereka pertama kali diakui di teater dan ruang konser genre. Beginning in 1879, with Louis Henry Sullivan a free-lance assistant on Central Music Hall in Chicago, the partners produced eight reconstructions and one new theater over the next seven years, culminating in their grandest structure, the Chicago Auditorium Build ing (1886-1890). Awal tahun 1879, dengan Louis Henry Sullivan asisten freelance di Central Music Hall di Chicago, para mitra menghasilkan delapan rekonstruksi dan satu teater baru selama tujuh tahun berikutnya, yang berpuncak pada struktur termegah, Chicago Auditorium Build ing (1886-1890 ).

Rekonstruksi Hooley Chicago's Theater pada tahun 1882 adalah komisi pertama yang menghasilkan pujian bagi Louis Henry Sullivan independen Adler. Louis Henry Sullivan, kata salah seorang komentator, adalah "mengarahkan semangat master dan Pembentuk Pencipta" dari interior baru. By the time McVicker's Theater was remodeled in 1885, Louis Henry Sullivan 's work was "the best" of its kind in Chicago, according to one critic, "superior to anything heretofore seen in any public building in this country", in the eyes of another. Pada saat McVicker's Theater direnovasi pada tahun 1885, karya Louis Henry Sullivan adalah "yang terbaik" dari jenisnya di Chicago, menurut salah satu kritikus, "unggul dalam bidang apapun sampai sekarang terlihat di setiap bangunan publik di negeri ini", di mata lain. Even more impressive to contemporaries than Sullivan 's rich enfoliated ornament in a carefully coordinated array of colors, however, was his handling of incandescent light.
Bahkan lebih mengesankan untuk sezaman dari Sullivan 's ornamen enfoliated kaya array terkoordinasi dengan hati-hati warna, bagaimanapun, adalah penanganan terhadap efek cahaya pijar. Adler & Sullivan 's theaters did away with flaming chandeliers in favor of electric light fixtures worked into overhead decoration continuing down and around the room sides. teater s Adler & Sullivan menghapuskan menyala lilin yang mendukung lampu listrik bekerja menjadi hiasan kepala terus ke bawah dan di sisi ruangan. The totality, evenness, and clarity of light startled observers accustomed to flickering gas lamps. Totalitas, kemerataan, dan kejelasan pengamat terkejut cahaya terbiasa dengan kerlip lampu gas. Together with Adler's impressive acoustics and uninterrupted sight lines, Sullivan 's lighting and ornament earned the firm a well-deserved reputation for excellence in theater design. Bersama dengan akustik mengesankan Adler dan garis pandang tidak terganggu, s pencahayaan Sullivan 'dan ornamen yang diperoleh perusahaan baik-reputasi untuk keunggulan dalam desain teater.

The same was said of Adler & Sullivan 's offices commercial structures, and factories. Hal yang sama dikatakan kantor s Adler & Sullivan 'struktur komersial, dan pabrik. In the series of sions in the 1880s-the 1881 Rothschild, 1882 Jeweler's, 1884 Troescher, and the 1887 Wirt Dexter and Selz, Schwab buildings being the best known-they developed several trademarks. Dalam rangkaian aksesi pada tahun 1880-an-the Rothschild 1881, 1882 Perhiasan's, 1884 Troescher, dan 1887 Wirt Dexter dan Selz, Schwab bangunan menjadi yang terbaik dikenal-mereka dikembangkan beberapa merek dagang. Using isolated footings instead of continuous foundations when possible, Adler widened the spans between masonry-clad columns, thereby increasing fenestration. Menggunakan ketahanan terisolasi bukan yayasan terus menerus bila mungkin, Adler memperluas rentang antara kolom batu-dipalut, sehingga meningkatkan fenestration.

Dalam komposisi tampak depannya, Louis Henry Sullivan memproyeksikan kolom-kolom ramping slightly fbrward of the building's main mass. Dalam komposisi fasad nya, Louis Henry Sullivan diproyeksikan kolom yang relatif tipis sedikit fbrward massa utama bangunan. The result as his tentative thrust at a system of vertical construction as well as illumination "far greater than is usually obtained by other architects," said a local building magazine. Hasil sebagai tentatif dorong di sebuah sistem konstruksi vertikal maupun pencahayaan "jauh lebih besar daripada yang biasanya diperoleh oleh arsitek lain," kata sebuah majalah bangunan lokal. Their alleged motto, "let there be light," this magazine continued, assured them "abounding orders from conòding clients." Moto diduga mereka, "biarkan Jadilah terang," lanjut majalah ini, meyakinkan mereka "berlimpah pesanan dari klien conòding." Their private dwellings were also marked by "originality" and "common sense". rumah pribadi mereka juga ditandai dengan "orisinalitas" dan "akal sehat".

This kind of reputation, but especially their theater successes, landed them the commission for the Auditorium Building on December 22, 1886. Semacam ini reputasi, tetapi terutama keberhasilan teater mereka, mereka mendarat komisi untuk Gedung Auditorium pada tanggal 22 Desember 1886. At $3,200,000, it was the costliest edifice in the city, and at 8,737,000 ft3 of volume the largest in the nation. Pada $ 3.200.000, itu adalah bangunan paling mahal di kota, dan pada 8.737.000 ft3 volume terbesar di negara ini. Running from Michigan Boulevard along Congress Street to Wabash Avenue, it was 63,350 ft2 m plan in 10 stories plus a seven-òoor, 40 x 70 ft tower.

Menjalankan dari Michigan Boulevard bersama Kongres Street Wabash Avenue, itu 63.350 ft2 m rencana di 10 cerita ditambah tujuh-òoor, 40 x 70 menara ft. The program was ultimately arranged as a 400-room hotel on Michigan and partway down Congress, 136 offices and stores on Wabash and in the tower, and a 4200-seat concert hall that, with support facilities, occupied half the total area and one-third the volume of the entire structure, the largest permanent concert hall ever built at the time. Program ini akhirnya diatur sebagai hotel 400 kamar di Michigan dan partway turun Kongres, 136 kantor dan toko-toko pada Wabash dan di menara, dan aula konser 4200-kursi itu, dengan fasilitas pendukung, menempati setengah luas dan satu- ketiga volume keseluruhan struktur, ruang konser permanen terbesar yang pernah dibangun pada saat itu. The nonsteel building of load-bearing masonry walls weighing 110,000 tons confronted Adler with as many structural challenges as did the acoustics of the vast auditorium. Bangunan nonsteel dinding pasangan bata dukung beban seberat 110.000 ton dihadapkan Adler dengan sebagai tantangan struktural sebanyak melakukan akustik auditorium luas. But Louis Henry Sullivan solved them as successfully as Louis Henry Sullivan did the aesthetics. Tapi Louis Henry Sullivan dipecahkan mereka berhasil sebagai Louis Henry Sullivan melakukan estetika.

Basing his facade composition loosely on Henry obson Richardson's Marshall Field Wholesale Store (1885-1887) in Chicago, Louis Henry Sullivan articulated the granite-and-lime-stone exterior in a rhythmic and utilitarian manner befitting ting both the cultural and commercial nature of its interior functions. Mendasarkan komposisi fasad nya longgar di obson Henry Marshall Richardson Field Grosir Store (1885-1887) di Chicago, Louis Henry Sullivan diartikulasikan eksterior granit-dan-kapur-batu secara berirama dan utilitarian layaknya ting baik alam budaya dan komersial yang interior fungsi. The lavish auditorium, the main dining room, and the banquet hall were among the finest interior spaces Louis Henry Sullivan ever conceived. Auditorium mewah, ruang makan utama, dan ruang perjamuan adalah di antara ruang interior terbaik Louis Henry Sullivan pernah dikandung. Taking his cue from Adler's acoustical requirements, his Auditorium Theater featured four elliptical arches, wider and higher toward the rear, dividing the ceiling into smooth ivory panels of the most delicate lacelike tracery. Mengambil isyarat dari persyaratan akustik Adler, nya Auditorium Teater menampilkan empat lengkungan elips, lebih luas dan lebih tinggi ke belakang, membagi langit-langit menjadi panel gading kelancaran lacelike pola perhiasan yang paling halus. The arches were not structural, although they appeared to be, and Louis Henry Sullivan made them the basis of his decorative scheme.

Lengkungan tidak struktural, meskipun mereka tampak, dan Louis Henry Sullivan membuat mereka dasar skema dekoratif nya. Chevron moldings divide their faces into hexagons enclosing enfoliated designs that òower into electric lights, into grilled bosses hiding air inlets, and into smaller triangles with additional foliage. cetakan Chevron membagi wajah mereka ke dalam segi enam melampirkan desain enfoliated yang òower ke lampu listrik, ke bos panggang bersembunyi lubang udara, dan ke dalam segitiga kecil dengan dedaunan tambahan. The lights run down the arches and across the boxes illuminating the entire room softly and completely. Lampu berlari menuruni lengkungan dan di kotak menerangi seluruh ruangan lembut dan benar-benar. To the rear ofthe hall where the coved ceiling soars dramatically to provide sight lines for the gallery, Louis Henry Sullivan placed an immense stained-glass skylight. Ke ruang ofthe belakang di mana langit-langit coved menjulang secara dramatis untuk memberikan garis pandang untuk galeri, Louis Henry Sullivan menempatkan skylight kaca besar. In the great hall, one reviewer wrote, "the sight is one of the most remarkable . . . in the world", an assessment echoing the general sentiment, including that of Montgomery Schuyler, the sober Architectural Record critic, who concluded, after considering the pros and cons of the building, that Louis Henry Sullivan was "one of the most striking and interesting individualities among living architects". Di aula besar, satu resensi menulis, "pandangan adalah salah satu yang paling luar biasa... Di dunia", sebuah penilaian menggemakan sentimen umum, termasuk dari Montgomery Schuyler, yang sadar Arsitektur Record kritikus, yang menyimpulkan, setelah mempertimbangkan pro dan kontra dari bangunan, bahwa Louis Henry Sullivan adalah "salah satu individu-individu yang paling mencolok dan menarik antara arsitek hidup". next page Halaman berikutnya about Louis Henry Sullivan tentang Louis Henry Sullivan other books about Louis Henry Sullivan lain buku-buku tentang Louis Henry Sullivan Sullivan's City: The Meaning of Ornament for Louis Henry Sullivan Sullivan Kota: Arti Ornament untuk Louis Henry Sullivan THE CHARNLEY HOUSE: Louis Henry Sullivan, Frank Lloyd Wright, and the Making of Chicago's Gold Coast (CHICAGO ARCHITECTURE AND URBANISM) RUMAH Charnley: Henry Louis Sullivan, Frank Lloyd Wright, dan Pembuatan Gold Coast Chicago (CHICAGO ARSITEKTUR DAN Urbanisme) Louis Henry Sullivan Louis Henry Sullivan Louis Henry Sullivan - The Public Papers Louis Henry Sullivan - The Papers Publik The Idea of Louis Henry Sullivan Ide Louis Henry Sullivan Three American Architects: Henry Hobson Richardson, Louis Henry Sullivan, and Frank Lloyd Wright, 1865-1915 Tiga Amerika Arsitek: Henry Hobson Richardson, Louis Henry Sullivan, dan Frank Lloyd Wright, 1865-1