7.4: COMMERCE
Buildings for commerce have appeared over time. Early systems of trade and barter in some places eventually became formalized in ways that required marketplaces and commercial establishments with temporary or permanent housing. While open-air markets with vendor stalls continue to be used in many places, in others shops or full buildings evolved for commercial and service transactions.
An early example appeared in ancient Athens, Greece, in the area where the open market or agora , was also located.The Stoa of Attalos, built by King Attalos II of Pergamon (r. 159-133 BCE), was comprised of a two story covered walkway made of marble and limestone with columns on one side and a closed wall on the other. (Figure 7.33) Along the closed wall, there were twenty-one rooms on each level with each room providing space for a shop. These rooms were similar in character and purpose to those we noted on the ground floors of Roman villas and apartment buildings, but they provided for a more concentrated shopping area.
Our modern provisions for shopping centers and department stores were designed with different ideas about merchandising, sales, and consumerism but, as we have seen with the rapid rise of on-line shopping for durable and perishable goods, this scenario will likely be ever evolving. Indeed, grocery and department stores may become completely passé. But their development in the nineteenth and twentieth centuries presented new possibilities for architectural design.
An example is the Carson, Pirie, Scott and Company Store in Chicago, designed by Louis Sullivan (1856-1924, USA) and built in 1904. (Figure 7.34) One of the early applications for steel frame, or “skeleton frame,” construction that made the development of skyscrapers possible, this sort of building also opened new possibilities for retail and office space. Here, the large ground-floor windows and corner entrance could provide a great deal of display space for attracting pedestrians while the expansive multi- story interior offered shoppers a wide array of goods, especially compared to the sorts of small shops and markets that had been its predecessors.
Not only the structure but also the decorative approach was innovative, as Sullivan combined Beaux Arts ideas with Art Nouveau motifs in the building’s surface design. (Figure 7.35) The elaborate, curvilinear, plant-based motifs central to the Art Nouveau movement, c. 1890-1910, in cast metal relief panels above the doors and ground floor windows added to visual appeal for potential customers.
New designs emerged for other commercial firms in this era as well. The Austrian Postal Savings Bank in Vienna, Austria, designed by architect Otto Wagner (1841-1918, Austria) has a huge multi story façade covering a broad open interior space on the ground level; its sleek and modern aesthetic was startlingly new and different when it was completed in 1905. (Figure 7.36) One of Wagner’s aims in the design was to create a sense of strength and solidity that engendered trust and a feeling of financial security in customers. The main banking customer area is filled with natural light. Wagner used marble, steel, and polished glass for the simplified decoration of the reinforced concrete building, turning away from the Art Nouveau aesthetic and replacing it with his sense of modernism.
The use of steel and reinforced concrete that facilitated the advent of the skyscraper truly revolutionized architecture and began a contest for height that continues today. Wealthy entrepreneurs and ambitious developers from around the world have joined in the competition for buildings of modern distinction. One example is the Chrysler Building in New York City, designed by William van Alen (1883-1954, USA). (Figure 7.37) Its décor in the Art Deco style (c. 1920-1940), including the ribbed, sun- burst pattern made of stainless steel in the building’s terraced crown, celebrates American industrialism and the automobile. At 1,046 feet, the Chrysler Building was for eleven months after its completion in 1930 the tallest in the world. (It was surpassed in 1931 by the Empire State Building at 1,454 feet.)
A more recent example is the Petronas Twin Towers in Kuala Lampur, Malaysia, designed by César Pelli (b. 1926, Argentina, lives USA). (Figure 7.38) Inaugurated in 1999, they were the tallest buildings for several years and remain the tallest twin towers to this day. The buildings’ design motifs are inspired by Islamic art and culture; for example, the shape of each tower is the Muslim symbol of Rub el Hizb, or two overlapping squares that form an eight-pointed star. Both structures house commercial and business concerns and symbolize the architecture of modern business.
In the late twentieth century, architectural ingenuity, new materials, and the potential of computer design led some architects to develop radically innovative approach- es to structures that might house any number of different types of needs. Among the most innovative in this regard is Frank Gehry (b. 1929, Canada, lives USA), who has designed buildings all over the world including museums, business towers, residences, and theaters.
In Los Angeles, he created the Walt Disney Concert Hall, completed in 2003. (Figure 7.39) Using titanium sheathing for multiform, swooping curvilinear forms and volumes, his buildings are sculptural in effect from a visual standpoint. Yet in each case, his buildings have proven effective and dynamic in creating spaces for the activities they house. The acoustics of the concert hall are widely praised as is the beauty of the architectural form in capturing the whimsical spirit of Walt Disney, the creator of so many American comics, cartoons, and movies.