Nature Portfolios are cool

The Most Beautiful Sunset

I saw the most beautiful thing in my life when I was vacationing on Captiva Island, a border island off the coast of eastern Florida. The day was warm, and the glistening ocean shined like a box of azure sapphires. The sun shone down onto the crystal white sand, causing the particles to shimmer. The real beauty, however, occurred later in the day, when the sun was returning to its home underneath the water. It was almost six thirty, and the entire day was filled with anticipation for the sunset later that night. My family and Iwalked down to the deserted shore, eager to see what we had heard was a fantastic occurrence. The sand was no longer burning hot like it had been earlier in the day, and the ocean had turned serene and calm. The sun slowly started setting, turning the previous blue of the sky to the color of roses. As the water began to darken, the sun still sunk farther, leaving behind a trail of gold and pink. I was awestruck- I had never seen anything as gorgeous in my life. Compared to this wonder, sunsets in the city looked like old lightbulbs sputtering out. The jewel-like sky displayed thousands of bright stars, and it seemed for the first time that I realized how big the universe really was. Standing there, with my family, on the cool beach, I saw how beautiful nature could be, just by seeing this sunset. I never really acknowledged the fact that this happened every day, and I was upset to know that I missed out on so many in my lifetime. After the glowing sun faded from sight, all I could do was stand there, marveling over what I had just viewed. Every night after that, I went outside to watch the sun disappear. Even though I had seen it before, every time seemed like the first, and I was no less amazed at the shining colors than I had been the first time. When I came back to Chicago, I felt empty knowing that I would not be able to experience the sunsets that I had on Captiva. Even so, the experience humbled me, and it comforted me to know that the sun would always set, no matter where I was.

382 words


Native American Creation Story

In the old ages, there was a tribe named the Chikagoes who resided in the grassland plains of America. The Chikagoes put an enormous focus on hunting, and every year they held a tournament to see which member of the tribe could kill and hunt the biggest animal. The tournament was meant to show appreciation for the newer hunters, but every year the same man won. His name was Sears, and he was the most superb hunter the tribe had ever known. Sears could kill any animal he saw, and it was thanks to him that the tribe survived a particularly rough winter a few years before. However great Sears was, he had a monstrous ego, and was convinced that he was sent from the hunting god. Sears was upset that he was forced to live with the mundane warriors of his tribe, and he devised a plan to be reunited with the nature gods, where he felt he belonged.  When the hunting tournament began, Sears was nowhere to be found. The other tribe folk began to worry, as they knew that hunting was the most important thing in Sears’ life. A search party was sent out, but they were unsuccessful in finding the great warrior master. After one sunrise, a rabbit was scurrying to his berry bush, where he normally ate. Instead of finding his berries, however, he found a strange tower blocking his path. Knowing that something was wrong, he hopped back to the tribe’s settlement to tell them the news. The tribe leader went to investigate, and when he reached the enormous structure, he gasped. Sears had constructed a massive ramp to the heavens! The leader desperately called up at Sears, urging him to come down before he fell and hurt himself. Sears called back, “I am simply joining my rightful place in the heavens, where I belong! I am a god, which is why I can hunt so well!” The tribe leader knew that Sears suffered from inflated self-esteem, so he kept screaming for Sears to come down. Knowing it was hopeless, the leader stepped back, when he saw a great black snake slithering behind him. “Return to your home,” the snake whispered. “The rabbit and I will look after him.” The tribe leader took one last look at Sears before sighing and walking back to camp. Suddenly, the snake heard a scream. He saw Sears tumbling down the tower from a great distance. The snake had no time to think, so he quickly wrapped himself around the tower, covering the mud with his shimmering black body. He caught Sears on top of his head, and wrapped around the tower to deliver Sears to the top. Sears stood triumphantly, raising his arms into the air waiting for the nature gods to claim him.  Suddenly, an owl flew and landed on his arm. “You have been ingrateful, Sears,” the owl admonished. “And for your punishment, you will be condemned to stand here forever.” With that, Sears froze into place, arms still raised. The snake still stays wrapped around, in solidarity to his friend. This is how the Sears Tower was created.

583 words

Nature Poem

Fallen Warriors

1. The warriors on the trees all clad in green
2. Whisper stories of summer and tales unseen
3. The chilling tales of soldiers down
4. Amid the frozen winter’s frown
5. Their chlorophyll shields taking the blow
6. Of the frost ridden air and the cold damp snow
7. The biting winds and snapping chills
8. Attack the rolling grass on hills
9. The bravest ones are the first to fall
10. When the whistling winds of winter call
11. The verdant armor soaked in red
12. Bloodstains soak their wooden bed
13. The  battle since the beginning of time
14. Accompanied by the frozen chime
15. Of warriors clashing under the enemy flank
16. Forcing the trees to be bare and blank
17. Heroes fighting their inevitable death
18. Holding on till their last breath
19. The warriors’ coats burning with rust
20. Falling into the Earth’s gray dust
21. Survivors stay stalwart till the last day
22. Staying strong as their friends decay
23. And when the end is drawing near
24. They are not consumed by fear
25. For even though they’re full of pain
26. Winter soon makes way to spring’s cool rain
27. The new generation will grow anew
28. From their predecessors coup
29. For eons they will fight for glory
30. And the spirits in the wind pass on their stories

Weather Experience Narrative

The cold air stings my eyes as I shuffle through the empty park, my steps staggered as the strong gusts of air try to restrain my movement . I look at the sky, painted a dripping gray, as I trudge up the hill making my way home. I sniff, inhaling the scent of the moist, cold air and become aware of the imminent rain. As soon as my weary feet reach the top of the hill, the biting wind begins tugging me down until I'm running to the bottom. The icy blasts of air permeate through my woolen sweater into my skin, chilling me to the bone until I shiver. The sheets of rain arrive in a blink of an eye, with not a drizzle to warn of the storm. Water whips around me, soaking my hair and beading in my eyelashes until I can't see the ground beneath my feet. I blindly sprint until I find cover under an awning, wiping my eyes until I can see again. The liquid pounding down looks magical, like drops of mercury instead of simple water. The wind swirls the drops into a whirlwind, catching bits of leaves into the maelstrom. I look at the dense gray sky and begin to laugh, extending my palm into the rain. The drops sting my hand, bouncing off onto the ground. The rain is gone faster than it came, and shaking my head  I continue my trek home.


Response to The Atlantic Essays- The Walker, The American Forests, & The Sound of Trees

The Walker by Thoreau, The American Forests by Muir, & The Sound of Trees by Robert Frost all talk about humanity's relationship with nature and the world around it. All of these works were written around the turning point of technology (in the late 1800's and early 1900's), and they examine the fact that ever since all of these new innovations and technologies have come around nature became more trivial to most people. In "The Walker", Thoreau talks about how humankind used to be able to connect with nature and the wilderness, but "they (the humans) have confined themselves to the highways" ever since they were popularized. Henry David Thoreau reminisces on days when it was normal for people to go out and walk amongst the trees, but because of new technology throw that joy away in favor of being more "advanced". Muir agrees, saying that "wild trees had to make way for orchards and cornfields"- humans desperately try to overcome nature instead of work with it, trying to make progress even when it is not necessary, just like the idea of railroads. Humanity has always had the need to move forward, but the essays show that all the human race is doing is making it less sustainable and more unnatural. Robert Frost says that we "suffer (the trees)"; we do not have a symbiotic relationship with the trees and nature, we lose them in order to advance, even when the advance is not beneficial.

Response to Book

Corn Planting Response

To me, The Corn Planting is a very good representation of how nature can help people cope with immense suffering, pain, and every other emotion in between. In The Corn Planting, the grief-stricken parents turn to their corn fields when they learn that their son had died in an alcohol fueled car crash. Instead of turning to violence or anger, the Hutchensons “got a hand cornplanter…and a bag of seed corn” and spent the entire night doing what they knew best- planting the corn that was the foundation of their lives. They channeled all of the raw and bitter emotion of losing their son into the land, and the land did not judge them or try to offer them apologies, it let them work and fix things on their own. The narrator says that it was the first time he had seen “the connection between certain people into the earth”, and that their hard work and effort might give way to a new growth. Even through all of their sadness and anger at the world and at their son, they turned bad emotions into a new life. The corn would grow and live on, even though it was born of such sorrow.

202

To Build A Fire Response

I think that To Build A Fire by Jack London shows how nature has many sides, and that it is spontaneous and cannot be changed or micromanaged by people. The main character is symbolic of the entire human race- self-centered and overly confident in the fact that he is invincible and is stronger than everything else out there. The main character sees the bitter cold of the Alaskan wilderness as something benign and not deadly at all, while he should know enough to see it as a serious threat. The man has no respect for the strength of nature, and even refers to people who take the cold seriously as “womanish”.  Even though the old-timer from Sulfur Creek knows the lay of the land much better than the main character, he chooses to think that he is better than and in control of nature. The dog, symbolic as a part of nature and the wilderness, knows better than to try and fight the snow and the cold- it’s intuition showing him that nature does not change just to suit one person’s needs. When the man begins to die, it is not because of nature. Nature does not bend; it simply exists, unlike the mortality of men.

206

Snowbound Response

Snowbound, by John Greenleaf Whittier further shows the many different sides and personalities of nature. The poem starts out by saying that the expectant sky is “ominous”, implying that a grave or sad event is about to take place. This side of nature is scary and powerful; a suggestion is enough to send a family cowering for safety in their home. Whittier says that the air brings about a “chill no coat…could quite shut out”, showing nature’s dominance over manmade means of protection. Nature is portrayed as controlling and single minded in much of the essay, enforcing its position in the hierarchy of the planet. A single storm has the power of ruining this family’s life and business, by freezing the grass the cows eat or destroying the crops. Later, however, nature is shown as a gift-giver. The snow is described as a piece of art, something beautiful to look at and fun for the children to experience. The storm also brings the family together- although it forces the family inside while the blizzard rages on, it lets them spend quality time together they may not have had otherwise. While being virtually impossible to control and very dangerous, nature can heal people and bring hope and happiness.

207

Walden Response

Henry David Thoreau’s advice in Walden is a very good example and view on life. Thoreau encourages removing oneself from all connections- personal and physical, in order to become truly one with oneself and nature. When a person takes away all material possessions and unnecessary personal relationships that reap no benefits, they can live the life they were meant to live- a life rich with respect for nature.  Walden explains that “a man is rich in proportion to the number of things which he can afford to let alone”, meaning that the less material items a person is connected to, the more the person has. If a person threw everything out to live with nature, then the person would become a part of nature, therefore granting him or her the right of every tree, river, or stone. Thoreau’s compromise on this was to move to Walden Cottage in order to clear his mind and soul. I think that more people should turn to nature to find who they really are without the social pressures and norms, and to learn how to be truly self-sufficient. Too many people nowadays get caught up in a storm of technology and expectations, and uniting oneself with nature can fix the dependence on unnecessary items that only hurt us.

214

The Snowstorm Response

The Snowstorm by Ralph Waldo Emerson also shows the majesty and power of nature. Ralph Waldo Emerson shows this by describing the coming of a massive snowstorm as being “Announced by all the trumpets of the sky”, likening the snowstorm to royalty such as a king of a queen instead of a natural weather occurrence.  This is an accurate likening, as nature is far more powerful than any human, royal or not, could ever be. The snowstorm is like a divine force, stopping almost all activity by everybody. This is supportive of the fact that nature is not particular or selective- under nature’s gaze, all titles or social barriers collapse and every human is equal to the other, regardless of birth, life, or caste. The snowstorm does not only stop peasants or farmers, but also people of high power. Nature does not know how to be selective- everything about it is pure intuition. Nature does not think, it simply acts, and that is the way humans were meant to be before society developed the idea that one person is better than the other. If everybody turned to lives alone with nature, then there would be no suffering as everybody would have the same things.

204 

Classmate I Am Thankful For

A classmate I am thankful for is Yareli Rodriguez. Yareli is one of the nicest, most genuine people I know, and I can always count on her to tell the truth and help out.  She has helped me in American Lit. because she is always offering good feedback, and keeping me on focus when I tend to stray. Yareli always looks for the best in people, and is always good for a laugh. I am very thankful to have a friend like her in my class this year, and I’m excited to work with her for the rest of the year.

101 words

       In "Here Is New York" by E. B. White, White starts off by defining New York as what it is not because it shows that New York City is flawed. The idea of the essay is to show that there is beauty in chaos, and NYC exemplifies this statement. While to a traveler or tourist New York City may seem like an unforgiving, cold and harsh place, the native New Yorker knows different: whether you live in SoHo or the Bronx, you are part of a community more tightly knit than many small villages and towns. New Yorkers revel in their toughness, their ability to face extremes without showing any sign of fear, and while this can come across as impersonal, it is hardly the case. Neighbors, whether they know each other well or not, look after each other, shop owners are on one on one terms with customers, and people who live near each other are in it together. While New York City can be crowded, smelly, and occasionally dangerous, the residents all share a certain pride that helps them get through the problems of such a complex system. This unity with strangers is the beauty of the city- while walking a crowded street, sitting on a stalled subway, or waiting in line for the coffee shop or deli, you can turn to the stranger next to you and talk like you have known each other for years.

     This sense of community is also demonstrated in Thurber's "University Days" in the fact that the students watch out for each other. While Thurber struggled with apathetic and harsh professors and teachers, he still felt connected to his classmates. University life was somewhat different than Thurber expected, as shown in his Botany class. Instead of acknowledging Thurber's sight disability, the professor got aggravated at him. His stubborn professor caused him to fail the class, while it could be avoided by a mutual understanding. While this was unfair, Thurber also did not live up to the University standards. He did not try to swim laps in gym (instead having another boy do the work for him), and his work in ROTC was also below average, due to his own fault. Even with these disappointments, Thurber still felt like a part of something. When a classmate struggled, the entire class tried to help. The students at the university were all connected emotionally, and this led to a sense of community and mutual trust.

Crucible final

            The events that take place in the Crucible are an example of recurring themes that happen all throughout the course of history. Fear is a part of human nature, and it has defined circumstances in the past and shaped our future. One of the main fears used to trick or persuade people into following orders or going against their moral codes is fear of God and the Devil. This is illustrated in the Crucible, where good people are turned “evil” because of hysteria. What may start out as an innocent prank or joke can quickly cause a full-scale uproar, just due to the responses of people. The Puritans in the Crucible turn into murderers because of their fear of change and Satan. Many of the characters who accused other people of being witches did not even know why they were doing so or how the entire trial got started, but the fear of one person turned into the feverish craze of dozens. This is shown when Abigail is talking to the bird she is pretending is Mary Warren, and the other girls chime in about it. Though it is not real, and Abigail just created it to get revenge on Mary Warren for blackening her name, her false show of fear leaves the other girls afraid as well. Fear has a ripple effect; though the smallest disruption on the surface of the water can cause it, the aftermath and hysteria can turn into a shaking of the entire body of water.

251 words

Act 3 Response

Act 3 of the Crucible is the climax of the story.  Act 3 is full of dramatic and situational irony- dramatic in that Elizabeth lies about her husband’s affair because she doesn’t know Proctor already confessed, and situational because it defies the usual good vs. evil and light vs. dark battle. It becomes obvious to the reader that John Proctor is the “good guy”- while moral wise he is anything but. The prosecutors are seen as evil, while they claim to be working for God to rid the world of sin. It is hard to label the antagonist and protagonist because of the motives. Most of the people in Salem who are accusing people of being witches truly believe that they are doing good and helping people, even though the reader can obviously tell that they are committing a crime. Meanwhile, John Proctor, who is trying to exonerate the accused, is an adulterer and unfaithful man. Both parties have a paradoxical double standard to their motives.

166 words

Crucible Act 2 Response

      Arthur Miller's own life as a suspected Communist is reflected greatly in Act 2 or the Crucible. During the time that he wrote the book, he was blacklisted and ostracized, and he is reflecting on his own inner feelings through the struggles of those trying to prove the women innocent. Judge Danforth and Parris are using blatant McCarthyism to convict the "witches" in Salem, a technique that might have also been enlisted on Miller himself. While the Crucible is a true story, characters such as Abigail and Parris seem to be very similar to people in Arthur Miller's experiences during the Cold War, and the reason the book is so realistic is because Arthur draws the malice of the "bad guys" from people he knew that accused him of supporting the Soviet Union. The Crucible was a way for Miller to express his anger and reproach at the U.S. government for treating him like a criminal, though he did nothing.

160 words

ALL MA BIB!!!111***!818188**!*!*!**!*

1. Morrison, Hugh. Louis Sullivan: prophet of modern architecture. New York: Museum of Modern Art and W.W. Norton & Co., 1935. Print.
Biography and record of Louis Sullivan's life and works

2. Twombly, Robert C., and Narciso G. Menocal. Louis Sullivan: the poetry of architecture. New York: W.W. Norton, 2000. Print.
The art and structure of Sullivan's designs

3. Sullivan, Louis H., and Robert C. Twombly. Louis Sullivan: the public papers. Chicago: University of Chicago Press, 1988. Print.
All of Louis Sullivan's released papers and interviews

4. Paul, Sherman. Louis Sullivan, an architect in American thought.. Englewood Cliffs, N.J.: Prentice-Hall, 1962. Print.
History of Sullivan's innovations

5. Hoffmann, Donald. Frank Lloyd Wright, Louis Sullivan, and the skyscraper. Mineola, N.Y.: Dover Publications, 1998. Print.
The development of the skyscraper

6. "Louis Sullivan: Louis Sullivan." Louis Sullivan: The Struggle for American Architecture. N.p., n.d. Web. 4 Oct. 2012. <http://louissullivanfilm.com/sullivan/>. 
Biography of Louis Sullivan and short videos on his work

7. "American Experience | Chicago: City of the Century | People & Events." PBS: Public Broadcasting Service. N.p., n.d. Web. 4 Oct. 2012. <http://www.pbs.org/wgbh/amex/chicago/peopleevents/p_sullivan.html>
Information about Sullivan's designs/buildings

8. "Louis Sullivan." MIT - Massachusetts Institute of Technology. N.p., n.d. Web. 4 Oct. 2012. <http://web.mit.edu/museum/chicago/sullivan.html>
Louis Sullivan's building history and relevance 

9. Colquhoun, Alan. Modern architecture. Oxford: Oxford University Press, 2002. Print.
Sullivan & the Chicago School

10. Larson, George A., and Jay Pridmore.Chicago architecture and design. New York: H.N. Abrams, 1993. Print.
Chicago School and Sullivan's impact on Chicago's architecture

11. "Louis Sullivan." Prairie Styles - An Online Museum of Prairie Style Architecture. N.p., n.d. Web. 11 Oct. 2012. <http://www.prairiestyles.com/lsullivan.ht
Sullivan's life, architectural achievements, and decline.

12. "Louis Sullivan Buildings Extant in Chicago | The Art Institute of Chicago."The Art Institute of Chicago. N.p., n.d. Web. 11 Oct. 2012. <http://www.artic.edu/research/louis-sullivan-buildings-extant-chicago>.
List of buildings Louis Sullivan designed

13.Siry, Joseph. Carson Pirie Scott, Louis Sullivan and the Chicago department store. Paperback ed. Chicago: The University of Chicago Press, 2012. Print.
The making of and history of the Carson Pirie Scott building

14 Michael J. Lewis
The Art Bulletin
Vol. 87, No. 3 (Sep., 2005), pp. 546-548
Published by: College Art Association
Article Stable URL:http://www.jstor.org/stable/25067198
Article on the Auditorium Building

15. Appelbaum, Stanley. The Chicago World's Fair of 1893: a photographic record, photos from the collections of the Avery Library of Columbia University and the Chicago Historical Society. New York: Dover Publications, 1980. Print.
History of Chicago World's Fair (transportation building)

16. "Auditorium Building." Encyclopedia of Chicago. N.p., n.d. Web. 11 Oct. 2012. <http://www.encyclopedia.chicagohistory.
Excerpt on Auditorium Building

17.Korom, Joseph J.. The American skyscraper, 1850-1940: a celebration of height. Boston: Branden Books, 2008. Print.
History of skyscrapers

18.Sullivan, Louis H.. Kindergarten chats and other writings. New York: Dover Publications, 1979. Print.
Sullivan's own writings 

19. Sullivan, Louis H.. The autobiography of an idea. New York: Dover Publications, 1956. Print.
Louis Sullivan's thoughts on his buildings

20. "Carson Pirie Scott & Co.." Encyclopedia of Chicago. N.p., n.d. Web. 11 Oct. 2012. <http://www.encyclopedia.chicagohistory.org/pages/2586.html>.
Information about Carson Pirie Scott

21. Thompson, Emily Ann. The soundscape of modernity: architectural acoustics and the culture of listening in America, 1900-1933. Cambridge, Mass.: MIT Press, 2002. Print.
Explains the acoustics of buildings and various auditoriums

22.Douglas, George H.. Skyscrapers: a social history of the very tall building in America. Jefferson, NC [u.a.: McFarland, 1996. Print.

History of skyscrapers

23.Condit, Carl W.. The Chicago school of architecture; a history of commercial and public building in the Chicago area, 1875-1925. Chicago: University of Chicago Press, 1964. Print.
Personal achievements of the Chicago School

24.Twombly, Robert C.. Frank Lloyd Wright, his life and his architecture. New York: Wiley, 1979. Print.
Biography of Frank Lloyd Wright

25.Secrest, Meryle. Frank Lloyd Wright. New York: Knopf, 1992. Print.
Frank Lloyd Wright's life 

26.Miller, Ross. The great Chicago fire. Urbana: University of Illinois Press, 2000. Print.
History of the Great Chicago Fire

27. Kamin, Blair. Why architecture matters: lessons from Chicago. Chicago: University of Chicago Press, 2001. Print.
History of Chicago Architecture 

28. Gorman, Thomas J.. Architecture in detail: Chicago.. New York: PRC Pub.;, 2003. Print.
Chicago's innovations in architecture 

COMPLETE NOTECARDS!!11111~*~**~*~*~**~

1.      Louis Henry Sullivan was born in Massachusetts in 1856. When he was 18, he went to MIT for college, before heading to the Ecole de Beaux-Arts in Paris a few years later. Sullivan was famous for his "inventing" of the skyscraper- instead of building things squat and short, he focused on length and height. His popularization of steel frames, or skeletons, of buildings led to the massive amount of skyscrapers in Chicago today. Sullivan believed in aesthetic purpose just as much as practicability, and liked to use materials such as terracotta to design intricate patterns on the outside of buildings, as exhibited in many of his works. (8)

2.   Sullivan was a part of one of the first architectural programs in the country at MIT. Sullivan was very intrigued by Renaissance artwork, and based many of his ornaments on it. When Louis moved to Chicago, he worked with architect William Le Baron Jenney. Once his education was complete, Sullivan began studying engineering. After the Chicago Fire, when architects were in high demand, Sullivan began his more famous work. He was known for saying "Form should follow function." (7)

3.    Louis Sullivan's career started booming when he began working with Dankmar Adler. The pair mentored and employed Frank Lloyd Wright (who would soon become one of the most famous architects in history). Adler and Sullivan's most famous creation was the Auditorium Building- a theater/performance hall that was expected to be the best in the country. When it was finished, the Auditorium Building became the most famous and expensive building in the entire city. (7)

4.    Louis Sullivan came up with the idea of synthesizing heavy masonry with uniform structure. The Wainwright Building is a famous building that Sullivan co-created. The Wainwright building was one of the most famous buildings in the country at the time, built in St. Louis in 1981. The ten-story brick building was the one of the first skyscrapers in the world at the time. While looking somewhat out of place at the time, it became very famous. Sullivan's romanticism combined with Adler's pragmatic approach to building created this masterpiece, along with many others. (9)

5.   Frank Lloyd Wright was a dedicated student and worker for Sullivan. Wright got his architectural start whilst working for Sullivan and Adler's firm, and learned many techniques from them. Sullivan thought that looks were very important for his buildings. He thought that buildings should be beautiful as well as functional. He disliked ugly, drab and boxy buildings, and instead focused on elongating the buildings. Many tall buildings at the time were square and ugly, and Sullivan worked on making them more like the skyscrapers we see today. (10)

6.     After Sullivan's most famous buildings such as the Chicago Stock Exchange and the Auditorium building were built, he started his decline as a major architect. When Adler had left architecture, and Frank Lloyd Wright began his solo career, Louis Sullivan worked by himself for the next fifteen years, starting out by building great and nationally known buildings like the Carson Scott Building, but after a while he started on smaller projects. While he still had a league of workers and acquaintances, Sullivan and Adler worked extremely well together and created masterpieces. After a few more years, Sullivan was mostly designing banks and other businesses. (11)

7. After Sullivan stopped building, he fell into massive debt and poverty. He moved out of his office and often relied on money borrowed from friends as he grew older. Sullivan developed many maladies: his heart and kidneys were deteriorating and he died in 1924. Sullivan is now buried in Graceland Cemetery, a place that he once designed tombs for. (11)

8.  Dankmar Adler was one of Sullivan's most trusted colleagues and close friends. Adler's pragmatic approach matched with Sullivan's love for beauty and art created many of the country's most famous buildings. Though Adler had more experience in designing than Sullivan, Dankmar and Sullivan considered themselves equals. Dankmar Adler started the firm between him and Sullivan. Their main competition was a firm between John Root and Daniel Burnham, renowned architects who helped design the rookery. (5)

9.  The Auditorium Building was a architectural revolution at the time it was built. Taking up half of a block, it was the biggest opera house in the world. The building was heavy and bold, comprised of brick and iron with much ornamentation. This was the building that skyrocketed Sullivan to fame. While undeniably solid looking on the outside, the inside was lavishly decorated.  (14)

10. The Carson Pirie Scott building was one of Sullivan's greatest accomplishments as an architect. Known as one of the last famous building's designed in his career. The huge department store was originally for Schlesinger and Mayer, however once the building was finished they fell into debt and Carson Pirie Scott bought the landmark almost immediately. This was one of the last buildings Sullivan designed before retiring. The Carson Pirie Scott building was built in the late 1800's. (13)

11. Another one of Louis Sullivan's more famous buildings is the Transportation Building from the Chicago World's Fair in 1893. Perhaps most well known for it's gold-leaf embossed door, the Transportation Building was one of Sullivan's greatest accomplishments. The Transportation Building showcased many different types of trains. While Sullivan was still working with Adler at the time, the latter did not have much part in the design. The Transportation Building was aptly built on the lagoon. (15)

12. Sullivan's creation of the Transportation Building earned him some criticism from fellow architects. Many of his colleagues said that the structure was too heavily decorated, and the architecture did not fit in with the other buildings in the White City. Despite the mixed reviews, the building earned many awards for it's decor. (15)

13. During Sullivan's decline, he designed banks outside Chicago.  He made the outsides simple and homely, and focused on turning the inside into a haven for the customers and tellers. At the time, banks were solid and strong, made of heavy materials such as marble, but Sullivan chose a different strategy. He fired clay in a way that morphed it's color and texture, and used the resulting bricks to create patterns. Even through the end of his career, Louis Sullivan still maintained his artistic views on architecture. (2)

14. Sullivan and Adler designed the Chicago Stock Exchange building in 1983. The palace-like structure had 13 floors and was over 150 feet tall. The building was destined to be one of Chicago's most well known landmarks, and once completed it did not disappoint. The Stock Exchange building resided on LaSalle street and Washington Street, and was made of terracotta, bricks, and limestone. The steel structure was a classic of the team, and set an example for skyscrapers to come. (17)

15. Sullivan viewed himself as a poet and an artist. Along with designing over 100 buildings, he liked to write prose and poetry. During his career, he also wrote an autobiography and a listing of his personal experiences in architecture. Sullivan's parents were of Irish and French heritage, and Sullivan was raised in New England by his grandparents. (19)

16.  Louis Sullivan and Dankmar Adler became known as masters at creating beautiful acoustics. After designing more than a dozen theaters and auditoriums, the pair became experts at designing buildings so that the sound was near perfect. The best example of this accomplishment is found in the Auditorium Building on Congress Parkway- built for more than 4,000 people, the acoustics could be changed depending on the amount of people present. While normally it would be a struggle to do this based on sheer size, the two adapted the main theater based on how much was needed. (21)

17. Sullivan and Adler's work was a breakthrough in terms of relative space. The firm managed to keep things both beautiful and useful ("Form follows function" was a quote Sullivan was known for, and it is exhibited in much of his work). Both were excellent at making double uses for things, and even Sullivan's usual ornate decorations facades had use. Hotels and restaurants were placed within the Auditorium Building not only for service, but to help gain money to support the structure. Unlike with other architects, Sullivan believed that what designed not only had to look good, but be able to serve the owner. (21)

18. Out of all the members of the Chicago School, Sullivan is known as one of the greatest. His skill with aesthetics and function labeled him as the top architect at the time. Without his input in the creation of the skyscraper, buildings in the present time would look very different. After revolutionizing the steel frame, Sullivan used his love of beauty to make the skyscraper more sleek and elegant. When people critiqued his buildings as being too out of place, Sullivan designed a street comprised of only skyscrapers to prove them wrong. Before Sullivan, buildings were 3 or 4 stories at most. However, Louis doubled the number and still made the buildings beautiful. (22)

19. Much of Louis' knowledge of architecture was taught to himself. As a young man, he was fascinated by buildings and would talk to the architects to learn their ideas and techniques. While disorganized and somewhat hasty, Sullivan took great care in his work. At a very young age, he became recognized around the country for his architectural brilliance. Sullivan's influences came from many different places- his stint at art school in Paris is visible in the ornate decorations flowering his buildings, his knowledge of architects of the past is visible in his very classic style- yet they came together as a whole. (22)

20. Louis Sullivan created a firm with Dankmar Adler when he was 23 years old- an extremely young age to be paired with a renowned architect such as Adler. The two were almost complete opposites in manner, Adler was levelheaded and diplomatic while Sullivan was more whimsical and indelicate, yet against all odds they flourished greatly. Because of Adler's  previous experience, the firm were commissioned many buildings, and Sullivan's genius helped them gain more respect. When Adler died, Sullivan designed the frame surrounding his portrait.(22)

21. Before Sullivan teamed with Adler, he was an apprentice of renowned architect William Baron Jenney. Sullivan came across this opportunity in a rather unorthodox way- instead of the normal application process, he would walk around the city, find a building he liked, and ask to be employed by the architect who designed it. Working at Jenney's firm opened many doors for Sullivan, but he decided to go to Paris to finish schooling. When Louis Sullivan returned to Chicago, he was hired as a draftsman and soon designed the interior of Moody Tabernacle in his custom floral design. (23)

22. To many people, Sullivan seemed frigid, crass and irresponsible. Unlike his partner, Louis was not a "people-person", and had trouble opening up to others. Despite his grouchy manner, Sullivan was known as the philosopher of the Chicago School. His ideas were deep and profound. Sullivan believed in something called organic architecture- or the idea that buildings should fit into their surroundings. All of his buildings and designs were made so that they meshed with the other buildings on the street or in the area. This theory became a huge part of the Chicago School. (23)

23. Frank Lloyd Wright was an esteemed student of Sullivan and Adler. Wright joined their firm in 1888, however, he did not truly work with them until 1890. Sullivan taught Wright much of the knowledge that Frank would use in his solo projects later in life. Sullivan saw that Wright was an exceptional student, and advanced him quickly- by 1892 he became a head draftsman. Sullivan gave Wright charge of many residences that the team was commissioned. Frank Lloyd Wright was much like a younger Louis Sullivan, and his time at the Sullivan/Adler firm sculpted much of his style later on. (24)

24. During his career with Sullivan, Wright began covertly commissioning other buildings. When Sullivan discovered this, he became livid. Sullivan did not approve of Wright commissioning anything not involved with the firm, and though it is unclear whether he was fired or quit angrily, Wright left the firm. The father-son bond between the two evaporated until the end of Sullivan's life, when he forgave Wright and the two became friends again. In these later years, Sullivan praised Wright on his work and said that he was proud of the younger man. (24)

25. Fall out or no, Wright learned much from Sullivan. Frank Lloyd Wright often referred to Louis Sullivan as "master", and in many of Wright's essays he paid tribute to his teacher. Though Sullivan was recognized worldwide, he became very poor, and during this time he reunited with Wright. Frank Lloyd Wright helped support Sullivan's firm by giving him large sums of money. Before Sullivan died, Wright was the only friend he had left, and the two had an inseparable bond through those last few years. (25)

26. After the Great Chicago Fire, most of the buildings in the city were completely obliterated or seriously ruined from the fire. Instead of seeing this as a setback, architects saw this as a clean palate and a fresh start- with a completely new canvas, they could modernize their works and use technology that wouldn't have fit in with the old buildings. Louis Sullivan benefited greatly from the Fire, at the time he was famous, and he was commissioned many new landmarks and buildings. (26)

27. Sullivan's Carson Pirie Scott building has caused much dispute over people writing about his life. The building's organic structure (as seen in most of Sullivan's work) included wrought iron and heavy granite. The building was two-toned, the top being lighter than the bottom. Sullivan's artistic style is demonstrated in this building more so than many others. (26)

28. Sullivan's ideas and architectural innovations were imitated very much throughout the century. An example of this would be in Josef Paul Kleihues' work. Kleihues was a German architect that came to Chicago to design buildings in downtown Chicago, in the Loop and on Michigan Avenue. He used Sullivan's different ideas and floor plans to create many buildings. (27)

29. Sullivan's creations marked a new, modern trend. Because many of his works were commissioned in the late 1800's, his new style marked the turn of the century, bringing upon new styles and technology to the 1900's. Compared to other buildings at the time, Sullivan's were almost futuristic, and his designs became standard throughout the next hundred years. (27)

30. Sullivan's designs and buildings have distinguished Chicago in many ways. A lot of his pieces are national landmarks, and his buildings comprise many of Chicago's main streets. People from all around the world come to marvel at his works, and his buildings are seen as pieces of art as well as functional buildings. (28)

31. Another person who imitated Sullivan's ideas and works was Richard Schmidt. In the creation of the Madlener House, much of it's architecture is very similar to buildings of Sullivan in the past. The slim design and beauty was very reminiscent of the Carson Pirie Scott building. All of Sullivan's designs were very horizontal and tall, a trend that had not been around in years before. (28)

32. The Auditorium Building was and is one of the most famous buildings in the city. When Chicago hosted the Columbian Exposition, fair visitors from around the world all flocked to the Auditorium. The construction of the building was just as fascinating as some of the fair attractions to many guests. Many architects who visited the fair also came to view Sullivan's masterpieces. (28)

33. The Carson Pirie Scott building is a Chicago legacy. Not only beautiful and highly functional, the Carson Pirie Scott building is incredibly detailed. The first 2 stories are encrusted with ornate iron, with many designs etched in. Sullivan never overused any designs- his works are ornate and elegant, but different enough to not be boring and repetitive. (28)

34. Another trend that Sullivan developed was putting large glass windows on storefronts. This was a new concept, and almost every single store in the city has copied that technique. With windows as the exterior walls, passing customers could view the stores stock without actually entering. (28)

35. Although Sullivan's goal was to create "organic" buildings that flowed with the surrounding architecture, Louis Sullivan believed in the unexpected. He wanted his works to not be out of place, yet still pop to the passer-by and draw attention to the design. His buildings were simple, yet lavish, and the idea was continued in much of the Chicago School's pieces. (28)

Subtopics

5 Subtopics for Paper

1. Biography of Louis Sullivan
2. The Wainwright Building
3. The Chicago School
4. Louis' Architectural Style
5. Influences on Modern Architecture

Response to Act 1 of the Crucible

              Act 1 of the Crucible highlights the power hungry and conniving nature of human beings through Abigail Williams. As the true "villain" of the story, Abigail personifies these qualities. Abigail uses her beauty and clever mind to trick the townspeople into believing in witches. Her love for John Proctor turned her spiteful, and once Abigail realized that she had the power to end lives, she did not stop. When she realized that naming witches was more simple than drinking blood and cursing people, Abigail immediately chimed in. She used the town folk's fear of God and Satan against them, and started pitting them against their neighbors and friends. Abigail's anger at Goody Proctor, while perhaps misguided, caused the entire trial and many deaths. She caused unease and fear in the town that took her in, nourished her and gave her a home, all because of an affair that had gone very sour.

152 words

Community Song

My Hometown by Bruce Springsteen

I was eight years old and running with a dime in my hand
Into the bus stop to pick up a paper for my old man
Id sit on his lap in that big old buick and steer as we drove through town
Hed tousle my hair and say son take a good look around
This is your hometown, this is your hometown
This is your hometown, this is your hometown

In `65 tension was running high at my high school
There was a lot of fights between the black and white
There was nothing you could do
Two cars at a light on a saturday night in the back seat there was a gun
Words were passed in a shotgun blast
Troubled times had come to my hometown
My hometown, my hometown, my hometown

Now main streets whitewashed windows and vacant stores
Seems like there aint nobody wants to come down here no more
They're closing down the textile mill across the railroad tracks
Foreman says these jobs are going boys and they aint coming back to
Your hometown, your hometown, your hometown, your hometown

Last night me and Kate we laid in bed talking about getting out
Packing up our bags maybe heading south
Im thirty-five we got a boy of our own now
Last night I sat him up behind the wheel and said son take a good
Look around
This is your hometown

      Bruce Springsteen's approach to his former community is full of mixed feelings. He starts of the song talking about when he was young, when his memories of his birthplace were fond. However, once he gets into the second verse, the darker side of his former community emerges. At the time, racism predominated most schools, and there "(were) a lot of fights between the black and white". If not for the racism, his memories would've been better. He sees his hometown as a snare, and uses the term "getting out" instead of simply leaving. He feels tethered to the town because it is his community- his bond to the town only strengthened as he grew up there.