B&W PHOTOGRAPHY AND ART CONTEST | Silhouettes of the city

For most of its history, the city's skyline has grown in an unplanned, unhindered fashion. It was not until the 1890s, when architects and critics began to pay attention to silhouettes, that a concerted effort to develop them appeared.

At the end of the 19th century, serious attention was paid to the city skyline. The public, including tourists, is fascinated by the "overwhelming impression" in the "unification" of the buildings in the skyline. Also weighing in on the issue were architectural critics, zoning reformers and advocates in the City Beautiful movement, who have mixed feelings about skyscrapers, including mistrust. These critics, using city planning committees, continue to this day to oppose the growth of the skyline for at least the next two decades, eventually culminating in zoning law at some point.

The creation and slow development of the skyline aesthetic—a set of principles guiding architects designing buildings from the skyline—occurred in the late 19th and early 20th centuries, when the skyline moved from a disjointed set of buildings to the beginning of an attempt to a single, picturesque whole. The construction of an overall vision helps to create the concept of the skyline, while architects and critics work to make the skyline a "collective view" or a "work of art", which is the only visual phenomenon that encompasses the urban form to its fullest extent.

At 363 metres (1,191 ft) tall, Jeanne Gang's St. Regis Chicago is currently the tallest building in the world designed by a woman.

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