The termination superior shot, simulating a classic capital, was decorated with different ledges. The main body of offices, which dominated the orthogonal grid, was characterized by the function of the office building, in which large glazed spaces left for better lighting. The Home Insurance Building in Chicago, rectangular, presenting a facade inspired by a classical column divided into three parts, where the first two floors coated with different pillow shapes in stone plucked from the street level, giving way to a volume stylized in search of heaven. Home Insurance Building, Chicago, IL, USA, 1884-1885Īrchitect-Engineer: William Le Baron Jenney (1832-1907)Īddress: Chicago Loop, 135 South LaSalle Street,Ĭhicago, Illinois, United States of AmericaĮnd first 10 floors Construction: Fall 1885įrame: Steel, formed by square pillars filled with concrete and covered with terracotta as fire protection, the slabs were supported by rolled steel type IPN containing the slabs prefabricated support of each plant.įinal height with 12 floors: 55 meters (180 feet) Four decades later, in 1931, and in the twentieth century, the Home Insurance Building, which was built in the Chicago Loop (financial and commercial district of the city), specifically in the corner of Adams and La Salle streets -, was demolished along with other buildings to build the Empire Field, now known as LaSalle National Bank Building and Bank of America Building. The work, only ten stories high and built between 18 by an innovative structure consists of a steel frame, was subsequently expanded to twelve plants in 1890. Chicago continues to be a living museum of the skyscraper, where the great architects of the world show their work.Did you know.? The Home Insurance Building, designed by the architect-engineer the first school of Chicago William Le Baron Jenney, became the first tall building or first skyscraper history. The graceful 333 Wacker (1983) gives and takes with the curve of the river, while the PaineWebber Tower (1990) revives a 1920s Saarinen design in scintillating contemporary garb. Sears Tower, the world's tallest building from 1974 to 1997, crosses Mies with the telescoping setback.īy the 1980s postmodernists were creating visual excitement with all manner of historical references and contextual sensitivity. The glass and steel box was also made plastic by the sculptural Lake Point Tower (1968), which was in fact based on a 1921 Mies design, while the pyramidal John Hancock Center (1969) broke from the right angle and the grid with its gigantic diagonal X supports running up and down the tower. Amid a barrage of imitators, the elegant stainless steel and green glass Inland Steel Building (1958) and the rusty Cor-Ten steel Daley Center (1965) stand out as masterful variations on the Miesian theme. Depression and war stopped tall building construction until the 1950s, when Mies van der Rohe's 860 Lake Shore Drive apartments (1951), with their glass and steel curtain walls, set the International Modernist agenda for the next two decades. The late 1920s saw a flurry of art deco towers such as the Palmolive (1929) and Board of Trade (1930) in the distinctive telescoping setback Vertical style. The luminous Reliance (1895), with its continuous horizontal bands of window, ended all pretense of supporting walls, anticipating the glass curtain wall of the next century. The Home Insurance Building (1885–1931), utilizing a fireproofed metal frame, was Chicago's first skyscraper.Įarly skyscrapers were clothed in historical styles, but eventually the form's distinctive skeletal metal frame was fully expressed, as in the Second Leiter Building (1891), which showed the wall becoming more glass than stone. In the phenomenal growth years after the 1871 fire, an extraordinary pool of architectural talent known as the First Chicago School advanced the skyscraper form. The invention of the skyscraper in the late 1800s made possible the concentration ofĪnd services that have in turn made Chicago the great metropolis of the interior United States.Ĭhicago has been the site of many of the skyscraper's stylistic and technical advances.
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