Tall: The American Skyscraper and Louis Sullivan | |
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Directed by | Manfred Kirchheimer |
Produced by | Manfred Kirchheimer |
Starring | Sigmund Abeles, Ann Chernow, Paul Marcus, James Reed [1] [2] |
Cinematography | Zachary Alspaugh, Peter Rinaldi, Taiki Sugioka |
Edited by | Manfred Kirchheimer |
Production company | Streetwise Films |
Distributed by | First Run Features [3] |
Release dates |
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Running time | 82 minutes [4] |
Country | United States |
Language | English |
Tall: The American Skyscraper and Louis Sullivan is a 2006 documentary film by Manfred Kirchheimer that attempts to tell the story of how Louis Sullivan designed skyscrapers. The film begins by placing the viewer in late 19th century Chicago just after the Great Chicago Fire of 1871. The film takes the viewer through the early development of skyscrapers with archival photos, music and narration. It ends by focusing on the decline of Louis Sullivan. The documentary met with mixed reviews that generally liked the artistry of the documentary but found the storytelling lacking. [5]
Louis Sullivan was an architect from Chicago who achieved peak prominence as a designer of early skyscrapers during the end of the 19th century. In the 1880s, with the development of the mass production of steel, it became possible to construct buildings on steel frames. Previously, the height of buildings was limited by the load-bearing capacities of the outer walls of buildings. With the mass production of steel, steel frames for buildings could be erected and buildings could be constructed by hanging them from steel frames, thereby eliminating the need for thick load-bearing outer walls. This new construction technique allowed the construction of very tall buildings and Louis Sullivan was concerned with how to express this "newness" in design, capturing "good ol' American know-how" in the design of these new buildings. [6] [7] [8]
In an 1896 essay, Sullivan revealed his fundamental law of design: "form ever follows function". [6] For him, this law implied that the design of skyscrapers must express their tallness: "It must be in every inch a proud and soaring thing". [6] The Wainwright Building in downtown St. Louis, Missouri and the Guaranty Building in Buffalo, New York are the most famous examples of his design from this perspective. [6] However, the Panic of 1893 brought the construction of skyscrapers to a near stop and Sullivan met with financial ruin. He continued to design some small buildings, especially banks but he died nearly penniless in 1924. Tall: The American Skyscraper and Louis Sullivan attempts to tell some of this story. [6] [8] [9]
The opening scene of the film begins with a horse standing on empty street near a warehouse. [7] This was just after the Great Chicago Fire in 1871 that burned down much of Chicago. The horse standing alone represents the transition from the pre-modern era to the modern era and its skyscrapers. Kirchheimer attempts to capture this transition through a montage of images and music. [7] Kirchheimer also attempts to express the idea of form following function by how he uses the camera with archival photos. For example, the first panning up shot in the film is used on the Woolworth Tower, which suddenly draws the viewer into the unprecedented immensity of these never before seen tall buildings. [7] For other archival photos, Kirchheimer uses camera movement and an evocative soundtrack to enhance the narrative. [7] [8]
The latter scenes of the documentary turn to Sullivan's decline, focusing more on him than his architecture. [7]
Several other architects are given screen time, mostly in conjunction with Sullivan. Daniel Burnham, though praised for city planning and a few of his buildings, is mostly presented as a contrast—and almost a personal nemesis—to Sullivan in artistry and "careerist" kowtowing to clients. Following Sullivan's strong criticisms, Tall blames Burnham for short-circuiting Chicago architecture's original design sense in favor of East Coast architects' slavishly slapping historic European details all over tall buildings. Frank Lloyd Wright is presented as having reconciled with Sullivan, his first employer, and as being his true heir in brilliantly conceived tall buildings. Numerous other Chicago architects are mentioned, mostly in passing, such as Dankmar Adler, Sullivan's longtime partner until economic conditions forced a breakup; Sullivan proteges George Grant Elmslie and William Gray Purcell; William Le Baron Jenney, designer of the Home Insurance Building, which generally gets credit for its steel-skeleton innovation; John Wellborn Root, Burnham's partner until Root's early death; Holabird & Roche; and later some of the entrants to the Chicago Tribune Tower design competition.
The film gives New York architects and several of their "post-Sullivan" buildings mixed coverage. There is some praise for Burnham's Flatiron Building and Cass Gilbert's Woolworth Building, but Tall generally joins Sullivan and later Wright in decrying NY architecture's historicism as inappropriate for modern America. Art Deco skyscrapers are not highly regarded by the film inasmuch as they don't adhere to Sullivan's principles, and the International Style is wholly panned as technology stripped of art.
Following its DVD released, documentary did not receive many reviews and those it did receive were mixed. Michael Mooradian Lupro, writing for Film & History thought the film was well done when it focused on architecture, but when it turned to Sullivan as a person towards the end of the film Lupro wrote: "The cinematic techniques that were so successful in rendering the architecture are less effective when the subject shifts to people." [7] In the Chicago Reader , Fred Camper wrote: "The images here of standing and vanished buildings and the many wise quotes from Sullivan are valuable, but the music is intrusive, the narration bland, and the attempts to meld live-action footage and stills awkward." [9] Kent Williams, concluded the Kirchheimer largely failed to tell Sullivan's story in the film and wrote: "But the artistic touches, of which there are many, start to seem self-indulgent after a while." [6] After its theatrical release, more than a decade later, the film received positive reviews, earning a score of 86 on review aggregator Metacritic. [10]
A skyscraper is a tall continuously habitable building having multiple floors. Modern sources currently define skyscrapers as being at least 100 metres (330 ft) or 150 metres (490 ft) in height, though there is no universally accepted definition. Skyscrapers are very tall high-rise buildings. Historically, the term first referred to buildings with between 10 and 20 stories when these types of buildings began to be constructed in the 1880s. Skyscrapers may host offices, hotels, residential spaces, and retail spaces.
Daniel Hudson Burnham was an American architect and urban designer. A proponent of the Beaux-Arts movement, he may have been, "the most successful power broker the American architectural profession has ever produced."
Louis Henry Sullivan was an American architect, and has been called a "father of skyscrapers" and "father of modernism". He was an influential architect of the Chicago School, a mentor to Frank Lloyd Wright, and an inspiration to the Chicago group of architects who have come to be known as the Prairie School. Along with Wright and Henry Hobson Richardson, Sullivan is one of "the recognized trinity of American architecture". The phrase "form follows function" is attributed to him, although he credited the concept to ancient Roman architect Vitruvius. In 1944, Sullivan was the second architect to posthumously receive the AIA Gold Medal.
Cass Gilbert was a prominent American architect. An early proponent of skyscrapers, his works include the Woolworth Building, the United States Supreme Court building, the state capitols of Minnesota, Arkansas and West Virginia; and the Detroit Public Library, the Saint Louis Art Museum and Public Library. His public buildings in the Beaux Arts style reflect the optimistic American sense that the nation was heir to Greek democracy, Roman law and Renaissance humanism. Gilbert's achievements were recognized in his lifetime; he served as president of the American Institute of Architects in 1908–09.
The Tribune Tower is a 463-foot-tall (141 m), 36-floor neo-Gothic skyscraper located at 435 North Michigan Avenue in Chicago, Illinois, United States. Built between 1923 and 1925, the international design competition for the tower became a historic event in 20th-century architecture.
Dankmar Adler was a German-born American architect and civil engineer. He is best known for his fifteen-year partnership with Louis Sullivan, during which they designed influential skyscrapers that boldly addressed their steel skeleton through their exterior design: the Wainwright Building in St. Louis, Missouri (1891), the Chicago Stock Exchange Building (1894), and the Guaranty Building in Buffalo, New York (1896).
The Flatiron Building, originally the Fuller Building, is a triangular 22-story, 285-foot-tall (86.9 m) steel-framed landmarked building located at 175 Fifth Avenue in the eponymous Flatiron District neighborhood of the borough of Manhattan, New York City. Designed by Daniel Burnham and Frederick Dinkelberg, it was one of the tallest buildings in the city upon its 1902 completion, at 20 floors high, and one of only two "skyscrapers" north of 14th Street—the other being the Metropolitan Life Insurance Company Tower, one block east. The building sits on a triangular block formed by Fifth Avenue, Broadway, and East 22nd Street—where the building's 87-foot (27 m) back end is located—with East 23rd Street grazing the triangle's northern (uptown) peak. As with numerous other wedge-shaped buildings, the name "Flatiron" derives from its resemblance to a cast-iron clothes iron.
Chicago's architecture is famous throughout the world and one style is referred to as the Chicago School. Much of its early work is also known as Commercial Style. In the history of architecture, the first Chicago School was a school of architects active in Chicago in the late 19th, and at the turn of the 20th century. They were among the first to promote the new technologies of steel-frame construction in commercial buildings, and developed a spatial aesthetic which co-evolved with, and then came to influence, parallel developments in European Modernism. A "Second Chicago School" with a modernist aesthetic emerged in the 1940s through 1970s, which pioneered new building technologies and structural systems, such as the tube-frame structure.
The buildings and architecture of Chicago reflect the city's history and multicultural heritage, featuring prominent buildings in a variety of styles. Most structures downtown were destroyed by the Great Chicago Fire in 1871.
William Le Baron Jenney was an American architect and engineer who is known for building the first skyscraper in 1884.
Fazlur Rahman Khan was a Bangladeshi-American structural engineer and architect, who initiated important structural systems for skyscrapers. Considered the "father of tubular designs" for high-rises, Khan was also a pioneer in computer-aided design (CAD). He was the designer of the Sears Tower, since renamed Willis Tower, the tallest building in the world from 1973 until 1998 and the 100-story John Hancock Center.
The Wainwright Building is a 10-story, 41 m (135 ft) terra cotta office building at 709 Chestnut Street in downtown St. Louis, Missouri. The Wainwright Building is considered to be one of the first aesthetically fully expressed early skyscrapers. It was designed by Dankmar Adler and Louis Sullivan and built between 1890 and 1891. It was named for local brewer, building contractor, and financier Ellis Wainwright.
The Carbide & Carbon Building is a 37-story, 503 feet (153 m) landmark Art Deco high rise built in 1929, located on Michigan Avenue in Chicago. It was converted to a hotel in 2004.
The Guaranty Building, formerly called the Prudential Building, is an early skyscraper in Buffalo, New York. It was designed by Louis Sullivan and Dankmar Adler and completed in 1896. The building has been declared a National Historic Landmark.
The Rookery Building is a historic office building located at 209 South LaSalle Street in the Chicago Loop. Completed by architects Daniel Burnham and John Wellborn Root of Burnham and Root in 1888, it is considered one of their masterpiece buildings, and was once the location of their offices. The building is 181 feet (55 m) in height, twelve stories tall, and is considered the oldest standing high-rise in Chicago. It has a unique construction style featuring exterior load-bearing walls and an interior steel frame, providing a transition between accepted and new building techniques. The lobby was remodeled in 1905 by Frank Lloyd Wright. From 1989 to 1992, the lobby was restored to Wright's design.
Burnham and Root was one of Chicago's most famous architectural companies of the nineteenth century. It was established by Daniel Hudson Burnham and John Wellborn Root.
Colcord Hotel is a luxury boutique hotel located in downtown Oklahoma City, in the U.S. state of Oklahoma. The building was finished in 1909 and has been considered Oklahoma City's first skyscraper. It is 145 feet (44 m) tall and has 14 floors.
Adler & Sullivan was an architectural firm founded by Dankmar Adler and Louis Sullivan in Chicago. Among its projects was the multi-purpose Auditorium Building in Chicago and the Wainwright Building skyscraper in St Louis. In 1883 Louis Sullivan was added to Adler's architectural firm, creating the Adler & Sullivan partnership. According to Architect Ward Miller:
Adler & Sullivan are most associated with being an innovative and progressive architectural practice, forwarding the idea of an American style and expressing this in a truly modern format. Their work was widely published and at the forefront of building construction. Their buildings and especially their multipurpose structures. .. were unequaled. Furthermore, the expression of a tall building, its structure with a definite base, middle section or shaft and top or cornice was a new approach for the high building design. These types of tall structures developed into a format.. .. Even today, the vertical expression of a building employs these design principals.
The earliest stage of skyscraper design encompasses buildings built between 1884 and 1945, predominantly in the American cities of New York and Chicago. Cities in the United States were traditionally made up of low-rise buildings, but significant economic growth after the Civil War and increasingly intensive use of urban land encouraged the development of taller buildings beginning in the 1870s. Technological improvements enabled the construction of fireproofed iron-framed structures with deep foundations, equipped with new inventions such as the elevator and electric lighting. These made it both technically and commercially viable to build a new class of taller buildings, the first of which, Chicago's 138-foot (42 m) tall Home Insurance Building, opened in 1885. Their numbers grew rapidly, and by 1888 they were being labelled skyscrapers.
Manfred Kirchheimer is a documentary film maker and professor of film at the School of Visual Arts in New York City. He previously taught at NYIT. He was born in Saarbrücken, Germany, and his family moved to New York City in 1936 to escape Nazi Germany. After receiving a B.A. from the City College of New York in 1952, he worked primarily as a film editor and he also began making his own films. A major theme in many of his documentaries is urban life. His most notable documentaries include: Stations of the Elevated, We Were So Beloved, Tall: The American Skyscraper and Louis Sullivan, and Art Is... The Permanent Revolution.