​

​

Today is National Skyscraper Day, chosen to celebrate the tall buildings and the engineering they represent. Also decided to celebrate the birth and influence of Louis Sullivan (September 3, 1856 – April 14, 1924), often referred to as the "father of skyscrapers."

​

Sullivan is also known as the "father of modernism," and the principle he introduced, “form follows function,” which serves as a guiding principle for skyscraper design.

​

Personally, I believe there is a lesser-known, yet potentially greater, contribution to skyscraper design.

​

But first, the form follows function principle emphasizes that buildings should reflect their purpose, environment, and structural needs while incorporating artistry. He saw architecture as an organic expression of context and function, as evident in his designs, such as the Wainwright Building, in St. Louis.

​

Sullivan attributed the concept to Marcus Vitruvius Pollio, the Roman architect, engineer, and author, who first asserted in his book, De architectura (On architecture), that a structure must exhibit the three qualities of firmitas, utilitas, venustas – that is, it must be "solid, useful, beautiful."

​

Over time, this idea was simplified into a rule prioritizing utility over aesthetics, losing Sullivan’s richer philosophy of blending function, ornamentation, and cultural sensitivity. His approach influenced modernism but is often misunderstood in its original depth.

​

Another three-pronged approach to architecture that I particularly favor, and Sullivan is less known for, is the Palazzo Style.

​

The Palazzo Style is from the 19th and 20th centuries, inspired by the palaces (palazzi) of the Italian Renaissance. It refers to the overall shape, proportions, and key features rather than a specific design. The style spans nearly two centuries and typically includes three distinct elements: cornices, basements, and neat rows of windows.

​

If you're unfamiliar, you've likely seen it and possibly didn't realize it. For example, the Italianate houses of San Fransico, as well as other parts of the country, craftfully combine the three "layers."

​

The traditional names of the three elements or layers are:

• Piano Rustico (Ground floor or basement): This is the lowest level, often rusticated and sometimes partially below street level, designed for storage, service, or commercial activity. It usually features heavier stonework and less ornate decoration.
• Piano Nobile (Noble floor): The central and most important storey, where the principal reception rooms are located. It's marked by refined architectural detailing, larger windows, and is often accessed via a grand staircase. It was reserved for the owner's family and esteemed guests.
• Attic floor (or upper level): The top storey is shorter, simpler, and often reserved for servants' quarters or secondary spaces. This layer is distinguished by lighter decoration and diminished window size.

​

In commercial buildings, one of my favorite places to hang out in Washington DC is the National Building Museum, a good example of Palazzo Style.

​

After attending training at the Institute of Classical Architecture and Art, the first modern building where I personally recognized the style, later turned out to be the one where I closed my most recent home purchase.

Above, PGA Financial Plaza, 3399 PGA Blvd, Palm Beach Gardens, FL 33410.

​

Even more recently, last month, we announced the 2025 ARDA winners and two multi-family entries, both by the same designer, expertly utilized (IMO) the Palazzo Style.

​

The first is Touro Street Renovation by Kevin Catanzaro of Catanzaro Design Group in Rhode Island. The project is a former warehouse that has been converted into a two-story residential apartment building.

​

Although it is only two stories, Kevin replicated the cornice element by including a contrasting colored parapet.

​

Before I show you Kevin's second winning entry, let's briefly return to Sullivan.

​

Before the late nineteenth century, the weight of a multi-story building had to be supported principally by the strength of its walls. The taller the building, the more strain this places on the lower sections of the building.

​

The development of cheap, versatile steel in the second half of the nineteenth century changed those rules.

​

Louis Sullivan and his contemporaries pioneered the concept of using a steel skeleton to support a building’s structure. This innovative approach allowed the walls, windows, and façade to serve as exterior elements rather than load-bearing components.

​

It was a game-changer, paving the way for taller, more ambitious buildings than ever before. With

​

Sullivan's often-overlooked contribution to skyscraper design, in my opinion, lies in his remarkable adaptation of the Palazzo Style for high-rise buildings. This groundbreaking feat naturally had never been attempted before, as buildings weren’t that tall yet.

​

The Wainwright Building (also known as the Wainwright State Office Building) is a 10-story terra cotta office building at 709 Chestnut Street in downtown St. Louis, Missouri. It is considered to be one of the first aesthetically fully expressed early skyscrapers. Five years later came the very similar Prudential (Guaranty) Building in Buffalo, New York.

​

​

​

Both the Wainwright and Purdential buildings are visibly divided into three "zones" of design: a plain, wide-windowed base for the ground-level shops; the main block, with vertical ribbons of masonry rising unimpeded across the upper floors to emphasize the building's height; and an ornamented cornice covered by Sullivan's trademark Art Nouveau vines.

​

Finally, back to Kevin Catanzaro. His other multi-family entry, the Pittman Street project, is a five-story apartment building, also divided into three zones. As typically depicted in Palazzo Style, the first floor is rusticated with stone work. As with Sullivan's skyscrapers, the main block has vertical columns of windows and sliding doors. All of which is topped off with a subtle, but visible, "cornice" effect.

​

Great work, Kevin! And congratulations on your accolades!

​

A few single-family ARDA entries that I feel loosely apply the Palazzo Style include:

​Ocean Haven, by Jenny Miller Design.

​Old Towne Lane, by HousePlans.Guru.

​Hilltop Transitional Modern, by 42° North Architecture + Design.

​

Visit residentialdesignawards.com/2025-arda-winners to view more of each of these entries, as well as all of this year's winning entries.

​

From historic landmarks like the Wainwright and Guaranty Buildings to modern interpretations of his ideas in projects like Kevin Catanzaro’s award-winning design, classical architecture continues to shape building design today. As we celebrate his legacy, it’s clear that his vision for blending beauty, function, and innovation remains as relevant now as it was in his time.

​

Go forth and design boldly,

Steve Mickley, Executive Director

Email: steve.mickley@AIBD.org​

Let's chat: AIBD.org/meetsteve​