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CHAPTER 6. THE BROOKSES’ PLANS FOR DEARBORN: BURNHAM & ROOT
6.1. HOW THE EARLY ROOT AND BURNHAM DESIGNED: AN OVERVIEW (1880-85)
6.2. ROOT’S FIRST ATTEMPTS AT THE DESIGN OF A SKYSCRAPER
6.4. THE RATIONAL ALTERNATIVE: ADLER’S BORDEN BUILDING
6.5. THE ORIGINAL PLANS FOR DEARBORN VIA THE NEW CHICAGO AND WESTERN INDIANA STATION
6.6. THE MOVE OF THE FIRST NATIONAL BANK TO DEARBORN AND MONROE
6.7. ROOT ENCOUNTERS THE REALITY OF THE ACCOUNTANT: THE MONTAUK BLOCK
6.8. ROOT’S FIRST MASTERPIECE: THE CHICAGO, BURLINGTON, AND QUINCY HEADQUARTERS
CHAPTER 7: THE BOOM ALONG LA SALLE STREET
7.1 THE RELOCATION OF THE BOARD OF TRADE
7.2. THE BOARD OF TRADE COMPETITION
7.3. BOYINGTON’S BOARD OF TRADE
7.4. CONSTRUCTING AND DECONSTRUCTING THE BOARD OF TRADE
7.5. BOYINGTON’S DESIGN FOR THE ARMOUR, KENT AND BENSLEY BUILDING
7.6. BURNHAM AND ROOT IN 1882: THE CALUMET BUILDING
7.7. THE DESIGN OF A BUILDING ON A CORNER LOT: THE COUNSELMAN BUILDING
7.8. GEORGE PULLMAN BRINGS S.S. BEMAN TO CHICAGO
7.9. THE ANARCHIST IWPA AND THE “CHICAGO IDEA”
7.10. BEMAN”S PULLMAN BUILDING
7.11. BOYINGTON’S ROYAL INSURANCE BUILDING
7.12. THE PIER-AND-SPANDREL DEVELOPMENT: DANKMAR ADLER
7.14. REDEMPTION? BURNHAM & ROOT ARE GIVEN THE RIALTO BUILDING
7.15. DEVELOPMENTS ALONG DEARBORN: 1883
7.16. THE INFLUENCE OF H.H. RICHARDSON: v.1.0
7.17. PEABODY & STEARNS PERFECT THE BRICK BOX: THE R.H. WHITE STORE
7.18. ROOT’S TAKE ON THE R.H. WHITE STORE: THE SANTA FE BUILDING
CHAPTER EIGHT: 1884 – THE RISE OF CHICAGO
8.1. DEFEAT: THE DEARBORN STATION IS ERECTED AT POLK STREET
8.2. THE FIRST PROPOSAL FOR A LIMITATION ON THE HEIGHT OF BUILDINGS
8.3. PLANNING THE MOVE FROM “THE ROOKERY” TO THE NEW COOK COUNTY/CITY HALL
8.4. ROOT’S EARLY EXPERIMENTS WITH THE MEDIEVAL REVIVAL: THE RIALTO VS. THE INSURANCE EXCHANGE
8.5. THE RETURN OF THE IRON FRAME TO THE EXTERIOR
8.6. LES MAGICIENS DU FER: ARMAND MOISANT AND GUSTAVE EIFFEL
8.7. EIFFEL’S DUORO AND GARRABIT RAILROAD BRIDGES
8.8. THE STATUE OF LIBERTY: v.2.0.
8.10. GEORGE A. FULLER, HENRY I. COBB AND CHARLES S. FROST: PEABODY & STEARNS COMES TO CHICAGO
8.11. POTTER PALMER BUYS UP AND THEN MOVES TO LAKE SHORE DRIVE
8.13. THE HOME INSURANCE BUILDING
8.14. THE “SKYSCRAPER” AND “IRON SKELETON FRAMING” IN 1884
8.15. FREDERICK BAUMANN PUBLISHES THE CONCEPT OF THE TALL IRON SKELETON FRAME
8.16. JENNEY’S STRUCTURE OF THE HOME INSURANCE BUILDING
8.17. “NO BEAM, NO FRAME:” IT WAS NOT THE FIRST USE OF AN IRON SKELETON FRAME
8.18. THE MALLER BUILDING: THE FIRST TWELVE-STORY SKYSCRAPER
8.19. LEITER HAS THE LAST LAUGH: MARSHALL FIELD’S 13-STORY OFFICE BUILDING, NOT!
8.20. ROOT CHANNELS HIS INNER GEORGE POST AGAIN: THE PHOENIX BUILDING
8.21. ROOT GETS THE ARCADE RIGHT: THE McCORMICK BUILDING
8.22. THE FIRST REAL USE OF EXTERIOR IRON FRAMING: THE WALLS OF THE LIGHTCOURT
8.23. PREMATURE EXPECTATIONS: THE MONADNOCK BLOCK v.1.0
8.24. THE THWARTED OPENING OF DEARBORN
8.25. 13 YEARS LATER: THE END OF USING WOOD FLOOR STRUCTURES – THE GRANNIS BLOCK FIRE
8.26. THE BROOKSES ADMIT DEFEAT AND “BUY” CITY HALL
CHAPTER NINE. WESTERN SELF-AWARENESS: THE “INLAND” ARCHITECT AND THE W.A.A.
9.1. THE EARLY HISTORY OF THE A.I.A.
9.2. ASSOCIATION FEVER HITS CHICAGO: THE INLAND ARCHITECT
9.3. IRRELEVANCY: THE PUSH TO FORM A NEW ASSOCIATION FOR ARCHITECTS IN THE WEST
9.4. THE CALL FOR A CONVENTION
9.5. THE FORMATION OF THE WAA: NOV 1884
9.6. THE FORMATION OF THE ILLINOIS STATE ASSOCIATION OF ARCHITECTS
9.7. THE CHICAGO ARCHITECTURAL SKETCH CLUB
9.8. THE AIA RESPONDS
9.9. THE 1885 WAA CONVENTION: COMPETITION REFORMS
CHAPTER 10. CULTURE VS. SOCIALISM: THE THEATERS OF ADLER (AND SULLIVAN)
10.1. THE CHICAGO OPERA HOUSE OPENS TO LESS THAN RAVE REVIEWS
10.2. THE FAILURE OF THE CENTRAL MUSIC HALL
10.3. JAMES MAPLESON BRINGS ITALIAN OPERA TO THE U.S.
10.4. MRS. ASTOR, MEET MRS. VANDERBILT
10.5. NEW YORK CONSOLIDATES ITS CENTRALITY IN AMERICAN MUSIC: THE METROPOLITAN OPERA AND THE PHILHARMONIC
10.6. THE HOMECOMING OF AMERICA’S DIVA-ADELINA PATTI
10.7. CHICAGO MUSIC FESTIVAL: 1882 EXPO
10.8. FAIRBANK ATTEMPTS ONCE MORE TO GARNER PRIVATE MONEY TO BUILD A MUSIC HALL IN CHICAGO
10.9. THE FOUNDING OF THE METROPOLITAN OPERA
10.10. UPGRADING CHICAGO’S THEATERS: ADLER AND SULLIVAN
10.11. “THE ART OF ‘PURE’ COLOR:” THE SHADOW OF OWEN JONES
10.12. OWEN JONES AND ISLAMIC POLYCHROMY
10.13. OWEN JONES’ THE GRAMMAR OF ORNAMENT
10.14. JONES’ EFFORTS TO PRODUCE A MODERN ARCHITECTURE
10.15. JONES’ IDEAS COME TO CHICAGO
10.16. THE 1884 CHICAGO OPERA SEASON
10.17. THE 1884 CHICAGO MUSIC FESTIVAL
10.18. 1884: THE PRESIDENTIAL ELECTION AND THE PUSH FOR THE EIGHT-HOUR WORKDAY
10.19. ART NOUVEAU: THE 1885 OPERA FESTIVAL
10.20. THE DAY: THE GRAND OPENING OF THE BOARD OF TRADE – MAY 1, 1885
10.21. “LET THERE BE LIGHT (AND COLOR)”- SULLIVAN’S INTERIOR FOR MCVICKER’S THEATER
10.22. INTERIOR DESIGNERS PAR EXCELLENCE: HEALY & MILLET
10.23. SULLIVAN’S ORNAMENT SPREADS TO THE EXTERIOR
CHAPTER 11. ROOT AND RICHARDSON: EAST MEETS WEST: MAY 1, 1885 – MAY 1, 1886
11.1. ROOT PERFECTS THE IRON-REINFORCED CONCRETE FOUNDATION
11.2. MARSHALL FIELD BRINGS IN H.H. RICHARDSON
11.3. THE ALLEGHENY COUNTY COURTHOUSE
11.4. CHICAGO VS. CINCINNATI – ROUND 5: THE CINCINNATI CHAMBER OF COMMERCE
11.5. CHICAGO VS. CINCINNATI – ROUND 6: THE CINCINNATI ART MUSEUM
11.6. THE ART INSTITUTE OF CHICAGO
11.7. BEMAN’S STUDEBAKER BUILDING
11.9. ROOT DESIGNS THE EXTERIOR
11.10. ROOT DESIGNS THE EXTERIOR-CONTINUED
11.12. CONSTRUCTING THE ROOKERY
11.13. ROOT’S CHOREOGRAPHY THROUGH THE ATRIUM
11.14. BURNHAM AND ROOT’S EYE ON CHICAGO
11.15. RICHARDSON’S WORK PRIOR TO COMING TO CHICAGO
11.16. THE ALLEGHENY COUNTY JAIL
11.17. RICHARDSON ELIMINATES HORIZONTAL LAYERING FROM HIS LAST DESIGNS
11.18. THE J. J. GLESSNER HOUSE
11.19. RICHARDSON BRINGS HIS PICTURESQUE ROOFLINES TO CHICAGO
11.20. THE FIELD WHOLESALE STORE: v. 1.0
11.21. “GIVE THE CLIENT WHAT HE WANTS”
11.22. THE FIELD WHOLESALE STORE: v. 2.0
11.23. THE FIELD STORE: FLOOR PLAN AND CONSTRUCTION
11.24. HOW RICHARDSON AND ROOT INFLUENCED EACH OTHER’S LATER DESIGNS
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