THEORY OF MODERN INTERIOR: DESIGNER LOUIS SULLIVAN

Posted: August 26th, 2021

THEORY OF MODERN INTERIOR: DESIGNER LOUIS SULLIVAN

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Designer’s Ideals and Principles and Manifestations in Design Outcomes

One of the significant ideals and principles of Louis Sullivan’s works is functionality, where the purpose of the design was essential in the sense that form conspicuously reflected on function. Precisely, he believed inprioritizing the use of a building before embarking on an architectural form[1]. Moreover, he is well renowned for the application of high-quality ornaments as a way ofstressing the beauty of the structure. Indeed, he frequently repeated motifs like semi-circular arches to serve as decoration[2]. Most importantly, his principle of fulfilling the ever-changing commercial needs of the urban and West region has resulted in the conception of the skyscraper, thus complementing the modern design of the elevated commercial building in the US.

Revolutionary Engineering in Wainwright Buildingin 1891

Revolutionary engineering is an object that characterizes the higher ideals and principles of Sullivan in designing the Wainwright Building. As a nine-story building fitted with a terracotta façade, the building’s purpose was intended to pioneer for the revolutionary decade of the skyscraper, as shown in figure 1.

Indeed, it is considered one of the essential structures in the US, simply because its construction implied a form that created a contemporary visual language for a new building type[3]. Notably, the building is regarded to have attributed positively to the quality of tallness.

Moreover, the ability of Sullivan to take advantage of using steel frames meant that the building endeavored in the possibility of reaching the sky without minimalmasonry. The Wainwright Building is dominated mainly by its vertical lines, with windows as well as horizontal panels inset, hence making the piers going upwards more conspicuous[4]. The designer’s overall onset of the structure is correspondingly based on classical column buildings having a simple but weighty base. Such an arrangement with a broader base gives way to a plain shaft as well asan ending coupled with a beautiful upper space[5].Though the specifics of his detailed designare modern,as shown in plain terracotta on lower floors and the celery leaf used as the basis for the ornamentation of the strip painting[6], Wainwright was an icon of modernism.

            With the incorporation of both the ideals of simplicity and functionality, I see why the designer wanted to reflect on the revolutionary engineering for the reason that Wainwright Building was one of few first skyscrapers. Conceptually, I regard the construction of this building as the advancement of modern design coupled with innovation in meeting the changing commercial needs of the Americans[7]. Therefore, I view that the construction of the building promoted the revolt of the US towards its overdependence on European antecedents when the designer decided to utilize tall steel frames. Upon its completion, the building’s broader landscape focused on proportionality in the sense that it was elegant, well-lit, and high-styled, and properly-ventilated, thus creating a better micro-atmosphere for the commercial office occupants.

            Moreover, I consider the spatial and functional distance between the building and the corridors of the town as a proper design method that has further excelled Sullivan’s artistic talent. His sense of individuality at the age of consolidation revered the designer as a character who broke loose the general perception that all buildings in the US were to conform to the European background[8]. In this regard, Wainwright Building created a relief psychological feeling among its occupants that they were separated from noise and smell arising from the neighboring brewery factories. Summarily, many designers in the US have adopted Suvillan’s ideal of “form follows function,” and therefore, the skyline of the Midwest has resulted in uniformity and coherence when viewed aerially.

Bibliography

De Wolfe, Elsie. “Suitability, Simplicity, and Proportionality,” pp. 82-85.

Lupkin, Paula. “The Wainwright Building: Monument of St. Louis’ Larger Landscape.”Journal of the Society of Architectural Historians, vol. 77, no. 3, 2008, pp. 428-447.

Prigge, Walter (Ed.). “The Icon of Modernism.”The Bahaus Building Dessau, pp. 80-88.

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[1]Lupkin 428

[2]Lupkin 430

[3]Lupkin 430

[4]Lupkin 434

[5]Lupkin 438

[6]Lupkin 439

[7]De Wolfe 83

[8]Prigge 82