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Opposing themes of growth and decay, aspiration and rest, of vertical and horizontal, resolve in the ornament—a picture of “an unobservable reality in an observable phenomenon.”. This is a myth of the psychic and social unity of mankind, Sullivan’s least real, but most powerful, story.
Known for his groundbreaking tall buildings and theories of architectural ornament, Louis Sullivan was part of a wave of architects who flocked to Chicago following the Great Fire of 1871.
Through his exploration of organic ornamentation and steel-frame construction, Sullivan became a vocal advocate for the development of uniquely American architectural forms. He used natural ornament as a metaphor for a democratic society.
These images often show the architectural ornament as it originally appeared in the building Louis Sullivan designed. The featured ornaments are of various materials including terracotta, limestone, glass, and bronze.
Adler and Sullivan were highly regarded not only for their robustly modern and iconoclastic architecture—which illustrated Sullivan’s dictum “form follows function”—but for Sullivan’s complex and organic ornament.
This paper will present an overview of Sullivan’s principles of ornament and the primary ornament types he employed across his fifty-year career, and will focus on the medallion type of...
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Louis H. Sullivan. American, 1856-1924. In 1922 the Art Institute’s recently opened Burnham Library of Architecture com-missioned Louis Sullivan to make drawings illustrating his renowned theories of architectural ornament.
