ar arch. Sullivan employed such arches throughout his career — in shaping entrances, in framing windows, or as interior design.All of these elements can be found in Sullivan's widely-admired Guaranty Building, which he designed while partnered with Adler. Completed in 1895, this office building in Buffalo, New York was visibly divided into three "zones" of design: a plain, wide-windowed base for the ground-level shops; the main office block, with vertical ribbons of masonry rising unimpeded across nine upper floors to emphasize the building's height; and an ornamented cornice perforated by round windows at the roof level, where the building's mechanical units (like the elevator motors) were housed. The cornice crawls with Sullivan's trademark Art Nouveau vines; each ground-floor entrance is topped by a semi-circular arch.Because of Sullivan's remarkable accomplishments in design and construction at such a critical point in architectural history, he has sometimes been described as the "father" of the American skyscraper. In truth, many architects had been building skyscrapers before or contemporarily with Sullivan. Chicago itself was replete with extraordinary designers and builders in the late years of the 19th century, including Sullivan's partner Dankmar Adler, as well as Daniel Burnham, and John Wellborn Root. Root was one of the builders of the Monadnock Building (see above). That and another Root design, the Masonic Temple Tower (both in Chicago), are cited by many as the originators of skyscraper aesthetics of bearing wall and column-frame construction respectively.It may be that Sullivan's prominence in skyscraper history can be credited not only to his brilliance, but in some degree to the myth-making skills of his disciple, Frank Lloyd Wright, and to the impact of Sullivan's own book, The Autobiography of an Idea. He may also owe some of his legend to the tragic tint of his later years, which lend this great innovator's story a poignancy which has captured the imagination of student and historian alike.

Preservation
During the postwar era of urban renewal, Sullivan's works fell into disfavor, and many were demolished. In the 1970s growing public concern for these buildings finally resulted in many being saved. The most vocal voice was Richard Nickel, who even held one-man protests of demolitions. Nickel and others sometimes rescued decorative elements from condemned buildings, sneaking in during demolition. This practice led to Nickel's death inside Sullivan's Stock Exchange building, when a floor above him collapsed.

Selected projects
Buildings through 1895 are by Adler & Sullivan.

Martin Ryerson Tomb, Graceland Cemetery, Chicago (1887)
Auditorium Building, Chicago (1889)
Carrie Eliza Getty Tomb, Graceland Cemetery, Chicago (1890)
Wainwright Building, St. Louis (1890)
Charlotte Dickson Wainwright Tomb, Bellefontaine Cemetery, St. Louis (1892) which is lised on the National Register of Historic

Places  is considered a major American architectural triumph,a model for ecclesiastical architecture, a "masterpiece", and has

been called "the Taj Mahal of St. Louis." Interestingly, the family name appears nowhere on the tomb.
Union Trust Building (now 705 Olive), St. Louis (1893; street-level ornament heavily altered 1924)
Guaranty Building (formerly Prudential Building), Buffalo (1894)
Bayard Building, (now Bayard-Condict Building), 65–69 Bleecker Street, New York City (1898). Sullivan's only building in New

York, with a glazed terra cotta curtain wall expressing the steel structure behind it.
Carson Pirie Scott store, Chicago (1899)
Virginia Hall of Tusculum College, Greeneville, Tennessee, 1901
Van Allen Building, Clinton, Iowa (1914)
St Paul's Methodist Church, Cedar Rapids, Iowa
Krause Music Store, Chicago (final commission 1922)

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