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Following the former part, here at first, we observe Burnham's attitudes towards architectural styles. He was not a rigoristic Classicist as compared with, for instance, McKim. According to circumstances, he was sympathetic to the Gothic. Besides, he had interest in the new architectural tendencies till his latest days, too. He maintained private contacts not only with Sullivan and Wright but also with younger generation architects as George Maher. He could and did produce "Chicago School" architecture even in his last years. But request was rare simply. If there were any one notion applicable to Burnham's later works, it would be ambiguous, loose one, "Beautiful". Then, we investigate the situation of his office. His office produced great volume of works in about forty years. This was made possible by the haste of design work on the one hand, and the delegation system on the other hand. It goes without saying that the office itself was a large organization with about 180 staffs. In that, Burnham showed his innate administraive ability. He left off the old-fashioned notion of architect. In conclusion, it would be possible to say that, though he knew "rational" architecture, Burnham, produced old-aged and seemingly irrational style. But it was done from his clever eye. He accomplished his rationality in another field, namely architectectural design production, like those one geneaology of architects as James Wyatt, G. G. Scott and Albert Kahn.
社団法人日本建築学会の論文
1978-07-30

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佐藤彰
名古屋大学

ダニエル・ハドソン・バーナムについて (下)

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