Transcript Frank Lloyd Wright

Frank Lloyd Wright
1867-1959
“I’ve been accused of saying I was the greatest architect in the world
and if I had said so, I don’t think it would be very arrogant ...”
The chronological context
of Wright’s architecture
Chronological context in Architecture
- Modernism to Postmodernism 1890s
1900s
1910s
First generation
modernists
1920s
1930s
1940s
1950s
Second generation
modernists
1960s
1970s
1980s
1990s
Third generation
modernists
The pioneers of modernism.
They each treated form, space,
structure, materials and ornament in
novel ways.
These were the architects of ‘high
modernism’- the universal
International Style- as well as the
fashionable Art Deco period.
These were the architects of
Postmodernism.
They reacted against the orthodoxy of
high modernism.
Peter Behrens -
Berlin
Walter Gropius
Frank Gehry
Auguste Perret -
Paris
Le Corbusier
Philip Johnson
C. R. Mackintosh -
Glasgow
Mies van der Rohe
Charles Moore
Otto Wagner -
Vienna
Gerrit Reitveld
I. M. Pei
Adolf Loos -
Vienna
William Van Allen
Michael Greaves
Louis Sullivan -
Chicago
Napier Art Deco architects
Louis Kahn
Frank Lloyd Wright - Chicago and mid-western states of USA
Robert Venturi
The context of his architecture
Geographical context:
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Frank Lloyd Wright was an American architect. His buildings are located throughout
the United States, but mostly in the greater Chicago area and in the mid-west.
Chicago
Context continued…
Historical and Social context:
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Wright was an extremely influential pioneer of modern design, and arguably the
greatest architect of the 20th century. During his exceptionally long and prolific career
over 500 of his designs for buildings were constructed, dating from 1893 to his death
in 1959.
Wright was a first generation modernist who sought to rid American architecture of
its European revivalist tendencies and to define a uniquely American architecture
suited to American life and landscape.
Wright rejected the historical European styles that his fellow American architects
emulated. He believed these styles had no relation to modern American life;
“Classicism is a mask and does not reflect transition. How can such a static
expression allow interpretation of [modern American] life as we know it? A fire
station should not resemble a French Chateau, a bank a Greek temple and a
university a Gothic Cathedral”, he said.
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After a brief spell studying engineering at the Massachusetts Institute of Technology,
Wright served as senior draughtsman with Louis Sullivan. In 1893 Wright set up his
own practice, but Sullivan’s ideas about architectural structure, integral ornament and
functional design remained with Wright throughout his career.
Context continued…
Historical and Social context:
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Wright was primarily a designer of American homes. He first made his name designing
houses for wealthy clients in the mid-western States between 1900 and 1916. These
grand houses became known as his Prairie Houses. Wright’s career took off again in the
mid-1930s when he was aged in his late 60s and when most architects of his generation
were either retired or deceased. The next 20 years were the most prolific of his career
and he designed and built over 140 Usonian houses for middle-income Americans, as
well as grand masterpieces like ‘Fallingwater’, The Johnson Wax Headquarters and the
Guggenheim Museum.
Wright had a major influence on European architects. In 1909 he toured Europe and at
the same time the Wasmuth Papers were published, a portfolio of his Prairie houses, the
Larkin Building and Unity Temple. Dutch and German architects were impressed with his
simplified geometric forms, his arrangement of planes in three dimensions, his
cantilevered structures and open, flowing spaces. This influence is particularly evident in
designs by De Stijl designers and in the early works of Mies van der Rohe.
Strictly speaking there is no single Wright ‘style’. Wright designed according to set
principles rather than a pre-determined visual vocabulary. Wright believed that
fundamentally a building had to be ‘organic’, meaning that it must be harmoniously
conceived according to its time (the materials and technologies of the age), it’s place
(the nature of it’s immediate physical environment and the culture of the people) and it’s
requirements (the needs of it’s inhabitants). This is why a Wright house in suburban Los
Angeles is different in style to a Wright family home in the Arizona Desert or to a Wright
house in the woods of Kentucky, and to Wright’s design for a Jewish synagogue in
Philadelphia.
Influences on Wright
Wright’s mother was
determined her son
was going to be a
great architect. She
bought him a set of
froebel blocks to play
with. Wright later
credited this as an
influence in his work.
Louis Sullivan, Wright’s
‘master’, shaped his
ideas about architectural
form and function
and taught him that
ornament must be
“of the building, not on it”.
Wright admired traditional Japanese architecture, with it’s
structural clarity, geometric design, clear, dynamic spaces
and harmony with nature.
The influence of the Arts and
Crafts movement is evident in
the craftsmanship, the natural
materials, and simplicity of Wright’s furnishings.
Nature inspired Wright’s ideas about structure,
his colour schemes, materials and ornamentation.
Significant buildings by Wright
The Robie House, Chicago, 1909
‘Fallingwater’, Bear Run, 1936
Unity Temple, Chicago, 1906
The Johnson Wax complex, Racine, 1938
Wright’s Prairie Style
Wright’s Prairie houses, designed between 1900 and 1916, broke with the fashionable
American taste for homes in a European revival style.
Fashionable Victorian villa typical of the time
Oriented to the street with frontal entrance
Wrap-around porch with decorative ironwork
Tall sash windows with shutters
Steep-pitched roofs, gables, several tall chimneys
Vertical, compact emphasis, unrelated to site
F.L. Wright, Ward Willets House, Chicago, 1902
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Set back from the street with hidden entrance
Broad eves, balconies merge interior/exterior
Bands of casement windows set under eves
Low-pitched hipped roofs, broad central chimney
Low, spreading, horizontal. Integrated with site.
Watch this short video of the stylistic context of Wright’s Prairie houses.
Wright’s Prairie Style continued…
Wright’s interiors were strikingly different to the prevailing American taste for Victorian-style rooms.
Fashionable drawing room typical of the time
Busy, cluttered, enclosed static space
Dark, heavy upholstery
Patterned wallpaper, rugs, carpets
Heavily ornamented to display wealth
Layers of curtains to keep the light out
Variety of period styles
Elaboration, artiface, accumulation
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Living space of the Meyer May House , 1909
Geometric, open-flowing, opening-out space
Oak furniture, abstract and organic*
Abstracted natural motifs in lamps and rugs
In-built furnishings and fixtures
Leadlight windows feature abstract natural motifs
One single, unified organic* environment
Simplicity, natural materials, finely crafted
Click here to explore the living space Wright designed for the Francis W. Little House in 1912.
* Click here to learn about Wright’s concept of organic architecture.
Wright’s treatment of space.
One of the most innovative aspects of Wright’s style was his development of the open plan. In
traditional houses of the time (above left) spaces are defined by the walls that enclose them.
The spaces are ‘closed in’, static, specific, with doors that close shut to complete each boxed
space. But in Wright’s houses the walls, doors and corners dissolve so that space flows from
room to room, from one level to another, and between inside and outside (above centre and
right). Wright equated this flowing spaciousness with American freedom and democracy.
Hear the current owners of the Heurtley House, 1902, speak about the living space of their
early Wright house and hear about space in the Chaney House, 1903, both built in Oak Park.
Robie House,
Chicago, 1909
Click here to view a short video about features of Wright’s Prairie Style and to
find answers to the following questions about this iconic Wright building:
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Who labeled Wright’s early houses as ‘Prairie Style’ and why?
State FOUR ways Prairie houses like the Robie House fit with the landscape.
Identify one traditional feature of American homes that Wright incorporated
into his Prairie houses?
State THREE points about the design of the windows in the Robie House.
What materials does Wright typically use to construct Prairie houses like the
Robie House?
What is unique about the treatment of the mortar between the bricks of the
Robie House?
What colours does Wright typically use in his Prairie houses? Why?
How did Wright make the living space of the Robie House feel intimate and
close, and yet tall and open at the same time.
What function do the art glass windows and doors of Wright’s Prairie Houses
serve?
Robie House, Chicago, 1909
Wright’s Prairie Style
How many Wright-style features can you spot in these images of the Robie house?
State ONE Wright-style feature that you don’t see in them.
Unity Temple, Oak Park, 1905
Unity Temple is a significant building in the development
of modern architecture. Even Wright himself regarded
this building as his ‘jewel’, the building where he first
discovered that “the space within becomes the reality of
the building”. The great American architect Philip Johnson
referred to Unity Temple’s interior as “the most intimate
and monumental space in America”.
View this introductory video of Unity Temple.
Watch this brief video tracing the movement of a person
through this building. It is a good illustration of the way
Wright treats space, and its effect on the ‘residents’ of
the building.
Use your mouse to look around the interior of the Temple
and of the adjoining community hall.
This video about Unity Temple’s restoration shows many
stylistic features of Unity Temple.
Hear what Wright himself had to say about Unity Temple.
Unity Temple, Oak Park, 1905
What you should know about this building…
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With what material is Unity Temple constructed?
Why was this material chosen by Wright? What was
significant about the Temple’s construction in this
material at the time?
State THREE ways Unity Temple’s design is different
to that of traditional church architecture?
What are the three main sections of the building?
State TWO functions performed in each of these
sections of the building?
List THREE functions contained within (or served
by) the corner piers of the Temple.
How does the form of the building express its
functions and its method of construction?
How is the entrance to this building typical of other
works by Wright?
How is the treatment of space in this building
typical of other work by Wright?
Wright says that the side structures of Unity Temple
are not ‘walls’ but ‘features’. In what way are they
not ‘walls’? What do the ‘features’ protect the
congregation from?
How is it that the congregation can see “out into
the infinite in every direction”?
Wright’s Usonian Houses, 1936-1959
From the late 1920s Wright began to promote his vision for the modern American city and in
1932 he published The Disappearing City in which he first proposed his Broadacre City
concept. The residents of this new concept of American life would live in what Wright termed
‘Usonian homes’. Usonia was Wright’s name for the future United States of North America.
The earlier Prairie houses he had designed between 1902 and 1916 had been grand and
expensive, built for the urban elite. In contrast the 60 Usonian houses he built across the
United States, were offered as low-cost homes for middle income families. With Wright’s
Usonian houses a young family could build their own home, fulfilling the American dream of
home ownership.
The first Usonian built was the Herbert
Jacobs House in Madison, Wisconsin, in
1936 (right). Visit this building here.
Visit another Usonian, the Weltzheimer
House built in Oberlin, Ohio, in
1948. The text describes at least
eight features of the typical
Usonian home. Here are further
images of the house.
Wright’s Usonian Houses, 1936-1959
Two more Usonians:
Right:
Zimmerman House,
Manchester NH, 1950
Left and below:
William Palmer House,
Ann Arbor MI, 1950
Wright’s Usonian Houses, 1936-1959
Pope-Leighey House, Falls Church VA, 1939
This is an excellent and well preserved example
of an early Usonian house by Wright.
Visit the Pope-Leighey House website.
Here is one visitor’s photographic record, with
an accurate commentary, of the house.
Here is a video of the exterior.
Wright and Ornament
Wright believed that ornament was essential to architecture. However, like most
modernists, he opposed the decorative, applied ornament of past architectural styles.
The ornament Wright regarded as essential was integral ornament.
Wright’s concept of ornament was integral because it was part of the organic nature of
the building. The ornament was the natural pattern of the structure: the colour and grain
of wood; the colour, texture and shape of the bricks, or the stones, or the concrete or
the plaster; the geometric patterns and colours woven into the rugs; the patterns and
colours of the glass pieces leaded together to become the windows, skylights and screen
doors. The ornament was integral to the materials and structure of the building, it is “of
the building, not on it” as Louis Sullivan said.
For Wright ornament and structure were integral. For this reason Wright always sought
to express the natural qualities of the materials from which his buildings were made.
Natural materials like wood or stone were always used in a natural way. Man-made
materials like plywood, glass or concrete could be shaped or coloured according to the
architect’s imagination, the environment of the needs of the client.
Wright and Ornament
Wright said it…
Form follows function -that has been misunderstood. Form and function should be one,
joined in a spiritual union.
Organic buildings are the strength and lightness of spiders' webs, buildings qualified by
light, bred by native character to environment, married to the ground.
I would like to have a free architecture. Architecture that belonged where you see it
standing - and is a grace to the landscape instead of a disgrace.
True ornament is not a matter of prettifying externals. It is organic with the structure it
adorns, whether a person, a building, or a park. At its best it is an emphasis of structure,
a realization in graceful terms of the nature of that which is ornamented.
I have been black and blue in some spot, somewhere, almost all my life from too
intimate contacts with my own furniture.
He exposes all the function on the top and puts the form below. It's as if you were to
wear your entrails on top of your head. (in reference to Le Corbusier)
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