As an architecture and city lover, it’ll probably surprise you that I’ve never been to Chicago. I think it may have to do with the fact that it has always felt like a sister to Toronto–another Great Lakes city of comparable size. And when you travel, you often want something novel.

But that’s no excuse. 

Thankfully I’m happy to report that last week I booked a trip to Chicago for this August. I’ll be there for an extended long weekend. But since it’s for a bachelor party, it remains to be seen how much archi-touring I’ll actually get a chance to do.

Chicago is a hugely important city in the world of architecture and city building. From Frank Lloyd Wright to Mies van der Rohe to Louis Sullivan, the city has deep architectural roots.

When most people think of skyscrapers they think of New York. But in actuality, if there’s one city that gave birth to the modern skyscraper I would argue that it was Chicago. And it was made possible by the steel industry.

Before the late 19th century, tall buildings were largely built with their exterior walls supporting most of the loads. This meant that the taller you went, the thicker the walls had to be near the bottom of the building. This is why older buildings often feel so heavy and permanent.

But when structural steel became widely available, a new building form was created. All of a sudden architects and builders could create relatively light weight structural steel frames to support the building. The skin, or outside of the building, was no longer carrying the weight.

That made images like this possible:

For most of us today, this building under construction looks fairly typical. First the structure goes up and then it gets clad with its window and exterior skin. But at the time, this sort of construction technique–with the 3rd and 4th floors still unenclosed and the upper floors finished–would have blown people’s minds. It was an entirely new way of building.

Steel framed buildings removed the technical limitations of building tall and also opened up entirely new possibilities for architectural expression–such as the all glass building. Today, there’s a lot of criticism around our glass buildings. But it’s interesting to note that it started as the futuristic dream of architects.

Freed from the technical limitations of load-bearing exterior walls, architects such as Mies van der Rohe began dreaming of transparent, all glass buildings. For them it represented modernity. It was the future. Above is an early charcoal sketch of that dream by Mies.

But our fixation with glass and transparency has never been because of environmental efficiency. It was about light, transparency and feelings of modernity. So as sustainability becomes increasingly critical, we should remember that there’s still lots of innovating left for us to do.

Art and architecture has always been a representation of the time and era in which it was created–which is one of the reasons I’m so interested in technology today. It’s our era. It’s our “structural steel”. And it’s going to impact our cities.

When posterity looks back on us and what we’ve done, I’m sure that will be clear.

Today was my MBA convocation at the University of Toronto’s Rotman School. Though I actually finished my degree last year (with a bit of fast-tracking), I had to wait until today in order to formally graduate with the rest of my cohort. I did what’s called the 3-year morning MBA. What that means is that I took most of my classes at 7am.

The picture above is from our weekend retreat right before we started the program (I’m in the back row in the middle). It was taken in the summer of 2011. That feels like eons ago. It has been a tough slog.

So today I’m taking the day off from writing about cities. Instead, I’m just going to enjoy the day off and the closing of this chapter in my life. An MBA is something I had been planning on doing even while I was in architecture school–so it’s nice to be able to check it off. But as I told my parents today after convocation: you ain’t seen nothing yet.

I’m a big fan of Canadian developer Ian Gillespie and his firm Westbank. They are the developers behind projects like the Shangri-La Vancouver, the Shangri-La Toronto, the mixed-use Woodward’s complex, and the upcoming Vancouver House (shown above) designed by Danish architect Bjarke Ingels (who just so happens to be one of my favorite architects). I would easily count them as one of the preeminent city builders in the country today.

In support of their commitment to city building (and as a way to offer the public a peek of Vancouver House), they recently staged an exhibition called Gesamtkunstwerk. I think this is great on so many levels. Not only was it probably a great sales tool, but it’s also introducing the public to a largely obscure and academic term, and showing off a deep commitment to design. Unless you studied art, architecture, or something like the philosophy of aesthetics, you probably haven’t come across this term before.

Gesamtkunstwerk is a German word, which literally translates into a “total work of art.” It was introduced in the 19th century by an opera composer by the name of Richard Wagner, who felt that opera represented a total, or complete work of art. Later, the term was picked up by architects. Some interpreted it to mean that architects should be responsible for everything from the building itself to the furniture and everything else that goes inside of it. Everything was art.

Westbank now wants to introduce the idea of gesamtkunstwerk into the real estate development business. They want to use it as a guiding philosophy for all of their projects. And what that means is that the building itself and its relationship to the greater city should be thought of as a “total work of art.” They seem to be reintroducing the term with an inherent city building tinge–one that I don’t think was ever there before. 

What a great philosophy.

Image: Westbank