AR: Wright, Frank Lloyd FLW Wright, F. L. (1867 – 1959), American, architect
TI: Taliesin West
TI: View Description: general view, pictograph on rock, 1999
DT: 1937-1959
AA: ARTstor
CN: ASAHARAIG_111212443305
UR: http://0-library.artstor.org.library2.pima.edu/library/secure/ViewImages?id=8CNSfTw1OTw9NEA6ez55R38pWHkoeA%3D%3D
Since pre-historic times, man has sought after dwellings to shelter them from the elements. To most of us a home means much more than just shelter from the weather. Usually dwellings are common tract type homes with minimal emphasis on an elaborate design. In an effort to introduce composition to the home, we adorn the walls in colored paints and pictures, thus, establishing a theme within the walls of the dwelling. Architects, like any other artist, are commissioned to fulfill a variety of intentions, making the landscape their canvas, an installation art of a different form. Just as other artists, architect’s content can have a wide range, from naturalism to abstraction. There isn’t any doubt childhood has a great impact on how they view their work and the world around their work. Frank Lloyd Wright was no exception; growing up in rural Wisconsin in the late 1800’s, his family farmed, hunted and fished. As a result, this lifestyle fostered Wright’s deep respect for Native Americans of that region. There is even reminiscence of an Indian coming into the home to sleep by the warm fire, only to be gone at crack of dawn. Much of Wright’s work contained symbolism that is a representation of those he revered, the Native Americans. It is said, his work speaks to the soul of Americans. Wright spent his life creating work that was unique to America, at a time when Victorian style was considered traditional. His ambition was to create a national culture of American architecture, free of European influences. Consequently, Wright altered the aesthetics of the homes and cityscapes of the 20th century.
AR: Wright, Frank Lloyd FLW Wright, F. L. (1867 – 1959), American, architect
TI: Taliesin West
TI: View Description: general view, pavilion garden, 1999
DT: 1937-1959
AA: ARTstor
CN: ASAHARAIG_111212443321
UR: http://0-library.artstor.org.library2.pima.edu/library/secure/ViewImages?id=8CNSfTw1OTw9NEA6ez55R38pWHkqfg%3D%3D
The petroglyph above was found near Taliesin West. Wright’s reverence of the native Americans inspired much of his use of symbolism. The interconnected squares in the center of the rock is said to represent “Fellowship.” It was January of 1929 when Wright built his first camp “Ocatillo” in the desert near Scottsdale Az.. He always referred to it as a camp. Maintaining a minimalist attitude, which is also reflected in his content, he encouraged his apprentices live a minimal lifestyle as well. He had one apprentice who once a year would gather all is belongings, only to set them on fire. Wright was a revolutionary in so many ways. In the twilight of his life he set a challenge to his apprentices, requiring them to design their dwellings for which to live at Taliesin. The only requirement he set forth was they must be no more than 400 square feet. He was a minimalist before it was vogue.
The image to the right is a view of the pavilion at Taliesin West Wright’s use of horizontal lines are evident. These lines remain long and low, as to not penetrate the beautiful sky. He also implemented the use of native materials in effort to maintain the color and texture of the surrounding landscape. Almost all the wall construction is reinforced concrete with rock creating a massive feel within the structure.
AR: Wright, Frank Lloyd (1867-1959), American
TI: Taliesin West
TI: View Description: exterior, Music Pavilion
DT: creation date: 1937-1958
AA: ARTstor
CN: ASAHARAIG_111211358364
UR: http://0-library.artstor.org.library2.pima.edu/library/secure/ViewImages?id=8CNSfTw1OTw9NEA6ez55RHsvUnIufw%3D%3D
The image to the Left: Columns of concrete and rock at Taliesin West off the music pavilion. Massive columns are not exactly proportionate to the roof structure, yet they resemble the natural structures in rock formations. Wright uses this method to remain in context with the native landscape. These columns carry the weight of the wood beam roof framing. The roof panels between the beams are white canvas to remain neutral and reflect the sun.
Choudhri, Asim. “taliesin west symbol.” photo. http://www.flickr.com/photos/asimchoudhri/4608990882/ October 9, 2009. 4-19-2013
The image to the right is used as a logo for Taliesin West. It is the same symbol found in the petroglyph. The symbol has become an icon, because of all it represents. It is almost an abstract representation of the natural, depicting two hands clasped together by the fingers. This is symbolic of Wright’s beliefs, and an example of how the Native Americans influenced him. In addition, it spoke of harmony, between one’s brothers and the earth. The icon can be found in many forms, whether etched in stone or welded steel. It is very common to find it painted in a burnt red or orange color. Which is important to the impact fire had on both the Native Americans and on Wright.
AR: Frank Lloyd Wright
TI: Taliesin West
TI: exterior, side facade
DT: 1937
DT: Image: 1950
AA: ARTstor
CN: ASTOLLERIG_10311592060
UR: http://0-19… library.artstor.org.library2.pima.edu/library/secure/ViewImages?id=8CNHbzYmIyMoIjZUej54RH0lVHstew%3D%3D
The photo to the right was taken from the southern side of Taliesin West. There is a special beauty in how the photographer captured the rhythm of the clouds and how they contrast with the rhythm of the roof beams. Installing canvas between the beams, Wright originally sought to create a kind of tent. Initially, Taliesin West was a camp. The wide steps leading from the pool to the breezeway maintain the horizontal lines Wright is accustomed to using. Once again, much of the beauty of the deck lies in his use of the native rock. This supported his goal of “Organic architecture, its central tenet was that the house should be truthful to its purpose, its site and its material” (Boulton p 45). The texture of the flatwork surrounding the structure allows a form consistent with the native landscape.
AR: Made by Frank Lloyd Wright (American, 1867-1959)
TI: Stained Glass Windows
TI: Three panels
DT: 1912
DS: The Metropolitan Museum of Art
DS: http://www.metmuseum.org
aa: ARTstor
CN: MMA_IAP_10310749854
UR: http://0-library.artstor.org.library2.pima.edu/library/secure/ViewImages?id=%2FDFMaiMuOztdLS04ejp5SXgkXg%3D%3D
The image to the right is a stained glass panel Wright designed. He created the designs for much of the glass to be installed in his buildings. Windows were an important part of his design. These panels were commonly used in his “Prairie Homes.” This form has recently become quite popular to replicate in today’s homes. The abstract geometric shapes were typically toward the upper portion of the window, as to not impede the view. Through the use of arbitrary colors a kaleidoscope of colors becomes the focal point. While the lower portion remains fully functional. This is another example of how Wright uses all the components of a building to generate a variety of form.
AR: Wright, Frank Lloyd (1867-1959)
TI: Barnsdall (Hollyhock) House
TI: Interior, Living room fireplace
AA: ARTstor
CN: AWINTERIG_10313232518
UR: http://0-library.artstor.org.library2.pima.edu/library/secure/ViewImages?id=8Cdecy83PS89NEA7eD94RXgoWH0i
The image to the Left was taken in the living area of the Barnsdall home. It is an excellent example of Wright’s use of variety. Each and every element adds to the form. The vaulted ceiling draws the eye to the coffered ceiling that is capped off by a stained wood channel, which houses indirect lighting. Also from the ceiling comes the focal point of the room, the fireplace. Wright’s work always put an emphasis on the fireplace. He believed in a fireplace and central chimney, thus “creating a spiritual center” (Boulton ) This image shows his use of organic materials, common in much of his work. Organic materials provided the natural colors that have always been his inspiration. The three-dimensional brickwork above the fireplace opening is typical of Wright’s design. Resembling “cubism,” the geometric shapes add a unique texture to the wall surface. The Barnsdall home is a fine example of Wright’s intentions, making a home a sacred place.
AR: Wright, Frank Lloyd, 1867-1959.
TI: V.C. Morris Store. Interior near entrance
TI: Morris Store. Interior near entrance
DT: 1949.
AA: ARTstor
CN: CARNEGIE_1620005
UR: http://0-library.artstor.org.library2.pima.edu/library/secure/ViewImages?id=8jNTaD4kJDgpQik%2BeT16QQ%3D%3D
The image to the right is an interior with a very abstract feel; again Wright’s form represents that of a Cubist. The neutral colored plastered walls allow one to focus on the contour. Though it is not quite like the previous work in this exhibition, I find it quite organic in another way. The round walls give the feel of an aquarium, with the round windows representing bubbles, rising to the top. The ceiling has circular light panels that almost feel like lily pads floating on the surface. The suspended planter makes me think of a sea plant. The use of stained wood surfaces and designs in brick create an additional texture to the surfaces.
AR: Wright, Frank Lloyd, 1867-1959
AR:
TI: Bear Run: Fallingwater: plan
DT: 1935-38
AA: ARTstor
CN: ARTSTOR_103_41822000205466
UR: http://0-library.artstor.org.library2.pima.edu/library/secure/ViewImages?id=8CJGczI9NzldLS1WEDhzTnkrX3kpf1h9eyY%3D
AR: Frank Lloyd Wright
TI: Edgar J. Kaufmann House (Fallingwater)
TI: exterior, approach side, with steps to stream
DT: designed 1935, construction completed 1937
DT: Image: 1971
AA: ARTstor
CN: ASTOLLERIG_10311591228
UR: http://0-library.artstor.org.library2.pima.edu/library/secure/ViewImages?id=8CNHbzYmIyMoIjZUej54RH0lV3ordw%3D%3D
The two images to the right were taken at the house at Bear Run or Falling Water, arguably one of Wright’s greatest pieces of work in the residential realm. Wright exercises his principle tenet in Falling Water, that being nature is his ultimate inspiration. In a book written by Donald Hoffmann, he explains “The house would welcome the changes of season, of weather, of the light of day; at the same time, in those darker and more secure spaces shaped by the great masses of stone masonry that counterbalanced the cantilevered terraces, there would be comforting warmth and a sense of shelter and refuge, where the steady sound from the falls would reinforce the forest quiet” (Hoffmann p 21). Wright’s use of steel beams to support the cantilevered construction (as shown in the architectural drawing) help create a naturalistic representation of the falls and the terrain. This use of steel provided horizontal lines, giving an asymmetrical design to the structure. The white plaster and wood provided local color which allowed it to blend in to the surroundings. Wright believed nature was art, therefore he chose to beautify with natural wood, plaster and stone. He didn’t believe in beauty through adornment. Glass was an integral element in his design. He believed it brought the outside in, which provided a oneness with nature.
AR: Wright, Frank Lloyd, 1867-1959.
TI: Edgar J. Kaufmann House
TI: Kaufmann House
DT: 1936.
AA: ARTstor
CN: CARNEGIE_1570002
UR: http://0-library.artstor.org.library2.pima.edu/library/secure/ViewImages?id=8jNTaD4kJDgpQio4fD16Rg%3D%3D
AR: Frank Lloyd Wright
TI: Edgar J. Kaufmann House (Fallingwater)
TI: interior, main room, dining area, with staircase to second level
DT: designed 1935, construction completed 1937
DT: Image: 1963
AA: ARTstor
CN: ASTOLLERIG_10311592820
UR: http://0-library.artstor.org.library2.pima.edu/library/secure/ViewImages?id=8CNHbzYmIyMoIjZUej54RH0lVHMhfw%3D%3D
The image to the left is the view from downstream. From this angle the white plaster cantilevers protrude from the hill like sheets of rock. This allows him to maintain the horizontal lines, which are evident in so much of Wright’s work. The white plaster represents the white water flowing over them, providing another example of local color. In order to be consistent with the surrounding landscape, they harvested the stone from a quarry close by. All the window frames have a brown enamel hue as another local color use to blend in to the surroundings.
The image of the interior at the stairs exemplifies his belief in oneness with the surrounding landscape. As the stone wraps the walls and up the stairs, one may envision water trickling down the stone with the snow melt. The ceiling is plaster with coffered details tracing the lines that define each room. Wright also incorporates wood shelves and many built in pieces, negating the need for an abundance of furniture.
AR: Frank Lloyd Wright
TI: Solomon R. Guggenheim Museum
TI: exterior, from corner of Fifth Avenue and 88th Street
DT: 1956-1959
DT: Image: 1959
AA: ARTstor
CN: ASTOLLERIG_10311593212
UR: http://0-library.artstor.org.library2.pima.edu/library/secure/ViewImages?id=8CNHbzYmIyMoIjZUej54RH0lVXgofg%3D%3D
The image to the right is the Guggenheim museum, located in New York. It was completed in 1956. Wright blended the unique contemporary design with Renaissance values. The white plaster represents purity, common in churches, as to not distract the mind from the spiritual concentration. He saw the museum as a temple to art. It has an almost abstract form that liberates the patron’s mind, opening their senses to the content inside. The structure consists mostly of reinforced concrete. Concrete can be formed in almost any shape imaginable. This flexibility provided the latitude to form the seashell shaped building. From the inside, the rhythm is breath-taking; it resembles a ribbon unwinding from its spool. Almost as if the building was rotating around its axis, the symmetrical coils maintain a continuous floor line. In an abstract way, Wright’s love of the horizontal line is expressed within the ribbon of floor space that slowly gains in elevation.
Works Cited:
Boulton, Alexander.Frank Lloyd Wright: Architect An Illustrated Biography. New York: Rizzoli
International Publications, Inc., 1993. Print
Hoffmann, Donald. FLW Fallingwater. New York: Dover Publications Inc., 1978. Print
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