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Course: Art of the Americas to World War I > Unit 7
Lesson 8: Sculpture and architecture- Hiram Powers, The Greek Slave
- Hiram S. Powers, The Greek Slave
- William Wetmore Story, Cleopatra
- Thomas Crawford, George Washington Equestrian Monument
- Mission San Antonio de Valero & the Alamo
- Slave Burial Ground, University of Alabama
- Seneca Village: the lost history of African Americans in New York
- Olmsted and Vaux, Central Park
- Representing freedom during the Civil War
- Edmonia Lewis, The Old Arrow Maker
- Edmonia Lewis, Forever Free
- Cultures and slavery in the American south: a Face Jug from Edgefield county
- David Drake, Double-handled jug
- The Little Round House at the University of Alabama
- Snakes and petticoats? Making sense of politics at the end of the Civil War
- The light of democracy — examining the Statue of Liberty
- Monument Avenue and the Lost Cause
- Defeated, heroized, dismantled: Richmond's Robert E. Lee Monument
- Burnham and Root, The Monadnock Building
- Burnham and Root, Reliance Building
- Louis Sullivan and the invention of the skyscraper
- Carrère & Hastings, The New York Public Library
- Mark Hopkins House Side Chair (Herter Brothers)
- Robert Mills and Lieutenant Colonel Thomas Lincoln Casey, Washington Monument
- Shrady and Casey, Ulysses S. Grant Memorial
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Burnham and Root, The Monadnock Building
Burnham & Root, The Monadnock Building, 1885–91 and Holabird & Roche south addition (Kearsarge) 1891–93, 53 West Jackson Boulevard, Chicago, Illinois
A conversation with Dr. Beth Harris and Dr. Steven Zucker standing on a very busy intersection looking at The Monadnock Building. Created by Smarthistory.
Video transcript
(jazzy piano music) - [Dr. Steven Zucker] We're standing in the downtown Loop in Chicago, looking at the Monadnock Building. It's now surrounded by much taller towers, but in its day, it was a skyscraper. - [Dr. Beth Harris] I think we forget about all the technology that was needed to build a building more than
six or seven stories high. - [Steven] The safety
elevator was introduced at the Haughwout Building
in downtown Manhattan. This kind of vertical transportation ushered in what we know as the skyscraper. - [Beth] So this is a
really interesting building, because it is tall, but it doesn't employ the technology that we know was so important for the development of the skyscraper. And that is cheap steel. - [Steven] So in addition to the elevator, before the introduction of
interior steel framework, large-scale buildings were literally structures that were held up when you piled one brick or
one stone on top of another. - [Beth] But of course,
you have to make sure that you don't build so high that the stones that are on
the bottom don't get crushed. - [Steven] And the building
that we're looking at has taken that to its extreme. This building is about as high as a brick building could be built. Now, that's not to say that there isn't some
bracing in the building. There is some metal bracing that was meant to help
with the force of wind; but it's not supporting the building, it's bracing the building. - [Beth] In order to build a building this high out of brick, you would have to make the
brick walls very thick, especially at the bottom, in order to hold the weight
of all the stories above. - [Steven] And in fact,
the walls of the base are more than six feet thick. But this has a negative impact on the rentable space down below. Nevertheless, the architects found a really beautiful opportunity to express the massiveness
of the building. And in its original design, they were thinking about
ancient Egyptian architecture and the great masses of
stone that we see there. - [Beth] In those early designs, there was decoration that
recalled ancient Egyptian style. But in the final building, there's really no
decorative elements at all. - [Steven] All we're left with is a subtle flare at the bottom and a subtle flare at the top, which is just a suggestion of the architecture of Egyptian antiquity. This is one of the great buildings of the Chicago School of architecture. Architects from across the
country flocked to Chicago because Chicago's downtown
had been obliterated, and there were tremendous
opportunities for architects. What develops is a style of architecture that is credited with inventing
the American skyscraper and that would have profound impact beyond the United States,
in Europe and elsewhere. - [Beth] We have to
imagine an enormous influx of people into the city in
the post-Civil War period, a tremendous population boom, tremendous industrial development. - [Steven] At the bottom of Lake Michigan, Chicago was a perfect intersection between the waterways
that led to the East Coast and the interior of the continent. - [Beth] This idea of
stripping away ornamentation will come to be an important aspect of modernist architecture. - [Steven] And although we think that one of the principal,
original architects, a man named Root, although ornamentation had
always been important to him, designing a building of this
scale that lacked ornamentation allowed him to focus on its masses and to create beauty
from its plainer forms, that is, the essential elements
of the architecture itself. - [Beth] So there's nothing
here that's embellishing, that is a layer applied on top. What we're seeing is the
structure of the building itself. - [Steven] And although
this is incorporating the older architecture of a
self-supporting exterior wall, by focusing on its elemental form, it is a truly modernist building. We've walked inside. The lobby is long and narrow with storefronts on either side, and the space is made
to feel even more narrow because the exterior walls are so thick. - [Beth] But there are some
lovely decorative elements. - [Steven] There's a mosaic floor, and the walls are lined
with Carrara marble. - [Beth] The architect used cast aluminum to create decorative elements
that line the stairwell. - [Steven] Which was an
entirely new technique and material to be using. And so while the exterior is quite spare, the interior does have a
wonderful decorative flourish. (upbeat piano music)