FRANK LLOYD WRIGHT

ISHAN PAL, AKSHAY SRIVASTAVA, SANA KHAN, IVNEET SINGH

SULLIVAN INFLUENCE
Frank Lloyd Wright(1867-1959) was a student of Sullivan. He attributed his new architectural concepts to educational building blocks he had played with as a child, to Japanese architecture, and to the prairie (kr) landscape on which many of his houses were built. The Chicago Years: In 1888 he took a drafting job with the firm of Adler and Sullivan where he worked directly under Louis Sullivan for six years. Sullivan was one of the few influences Wright ever acknowledged. Sullivan, known for his integrated ornamentation based on natural themes, developed the maxim "Form Follows Function" which Wright later revised to "Form and Function Are One." Sullivan also believed in an American architecture based on American themes not on tradition or European styles -- an idea that Wright was later to develop.

SULLIVAN INFLUENCE
Sullivan influenced a generation of architects by designing the modern skyscraper as an organic whole. Form ever follows function was his credo. He said: Whatever is beautiful rests on the foundation of the necessary. He delineated three major visible sections in his works: A strong base with broad windows for shops, A middle section for offices with vertical elements to dramatize height, and A capping cornice housing mechanical equipment. If we review the characteristics of Chicago Style, the most important items were as follows: Use of new material, new building techniques Elimination of historical ornaments Inventive and fresh surface decoration Expression of structure Abundance of antique styles Expression of buildings commercial purpose: FUNCTION

SULLIVAN INFLUENCE
Louis Sullivan was the only architect whose influence wright acknowledged During this period ,the firms work included such famous designs as the Auditorium Theater, the walker warehouse, the schiller building , the Carson, Pirie Scott department store, and the Charnley House in Chicago, the Wainwright Building and Union Trust Building in St. Louis, the Guaranty Building in Buffalo, New York, and eight small Jewel Box banks , these are among the most treasured pieces of historic architecture in the United States The Wainwright Building (1890)

SULLIVAN INFLUENCE

Wright was less influenced by Sullivan,s remarkable design than by his philosophy and manner of thinking

SULLIVAN INFLUENCE
In Wrights houses, few dividing walls separated rooms and one room seemed to flow into the next. Wrights open design was extremely influential, and variations of it were used, not only for the houses of the wealthy, but for apartments and middle-class homes in Europe and the United States. Grammar of ornament f.l.wright was impressed by high-rise buildings of Chicago and transformations that modern technology brought to architecture and art Inspiration found in book grammar of ornament from oven jones (London born architect and designer and one of the most influential design theorists of the nineteenth century)exotic ,Chinese , Egyptian, Assyrian, celtic ornaments collected in a book. In wrightss atelier in oak park , mural presents a man of Arabia.

FROEBELS BLOCK
The influential building blocks were developed by german educator friedrich Froebel in late 1830s ,. Through the Froebel gifts, wright learned design principles in geometric form.

NATURE AND MUSIC

From nature , F.L.Wright abstracted patterns and forms

Wrights appreciation for music stayed with him throughout his lifetime, a constant inspiration for his work Later,Louis Sullivan, through his own abstraction of nature ,taught wright how to analyse nature ,not just as it appear at the moment, but asa process of growth and evolution from speed to plan to flower to seed

PRAIRIE SCHOOL
In 1889, at age twenty-two, Wright married Catherine Lee Tobin. He purchased a wooded corner lot in the Chicago suburb of Oak Park and built his first house. reminiscent of the East Coast shingle style with its prominent roof gable, but reflecting Wrights ingenuity as he experimented with geometric shapes and volumes 1894. Wright set up his own studio in Chicago. In 1893, otherwise known as the Chicago World's Fair, was supposed to herald Chicago's rise from the ashes. But F.L. Wright was disturbed by the Greek and Roman classicism of nearly every building constructed for the fair. He consciously rejected the popular idea of reviving past styles and sought to create a truly American architectural style that combined utility and beauty as well as reflected the natural surroundings of the prairie.

CHARACTERISTICS OF PRAIRIE SCHOOL

Free open plan :
To reduce the number of necessary parts of the house and make all come together as enclosed spaceso divided that light, air and vista permeated the whole with a sense of unity. To eliminate the room as a box and the house as another box by making all walls enclosing screens. Make all house proportions more literally human, with less wasted space in structure. House living room assembled around the hearth (brick or stone fire place) This is the moral and spiritual center of house. Wings project outward from the central fireplace and terminate in porches and terraces that relate the house to the site.

CHARACTERISTICS OF PRAIRIE SCHOOL

Horizontal emphasis
The horizontal is emphasized by wide overhangs and further reinforced by wood strips that mark the division between the stories and vaguely echo the exposed timbers of English Tudor-style and Japanese houses. This was done to associate the building as a whole with its site by extension and emphasis on the planes parallel to the ground, but keeping the floors off the best part of the site. Ribbon windows. Geometric forms. Crisp geometric forms impart a sculptural quality enhanced by the interplay of apparent voids and solids created by the studied placement of the glazed areas.

CHARACTERISTICS OF PRAIRIE
Interior horizontal emphasis. Activity areas are not separated from each other by the enclosure of four walls. Materials are chosen for their natural beauty.

Limited exterior materials. Ornament is not applied and usually is restricted to patterns of leaded glass in the windows.
To get the unwholesome basement up out of the ground. To harmonize all necessary openings to outside or to inside with good human proportions and make them occur naturally.

INSPIRATION FROM JAPANESE

His 1893 visits to Japans national pavilion at the Worlds Columbian Exposition in Chicago had a lasting affect on the young architect. He first went to Japan in 1905 ,He returned from his trip with hundreds of ukiyo-e (woodblock) prints, planning to sell them in America. interested in the harmony with nature, simplification, honest use of materials and minimal decoration.
he resided in Japan while working on Tokyos Imperial Hotel, giving him the chance to deepen his appreciation of Japanese nature and culture as seen in woodblock prints. Tokonoma as inspiration, center of house, interior divisions, flexibility.

IMPERIAL HOTEL TOKYO, 1912 - 1922

the hotel had to serve a unique role: pleasing foreign visitors with the latest amenities while upholding Japan's proud aesthetic tradition. The H-shaped building featured two three-story wings running the 500-foot length of the site, with some 245 guestrooms opening onto interior courtyards. The wings led to a seven-story building at the back, containing a theater, cabaret and banquet rooms. CONSTRUCTION TECHINIQUES Large no of pools to staunch fire 15 m of mud subsoil which he over came with introduction of grouped tapering concrete columns linked to continued reinforced concrete floors above, floated on a varying height base Walls made of concrete and bricks tapered upwards to reduce weight without loosing strength

USONIAN HOUSING
In 1929, Frank Lloyd Wright turned his interest to low cost housing for the masses. These houses were called Usonian. The first of these was the Jacobs house (1936). In the next 30 years over 50 houses were built, on the precepts of the Jacobs home. These homes were innovated and ahead of their time, as Wright created homes to fulfill the needs of a changing American society.

CHARACTERSTICS OF USONIAN HOUSES

*Designed on a Module system - Originally a 2 x 4 grid and a vertical grid of 1-1. * Deep Eaves - Cantilevered roofs that overhung and sheltered the walls, shading the house and Clearstory windows from the afternoon sun *Open Plan - Pioneered the connecting of the kitchen, dining room, and Living room * Connection to Nature - Shielded house from Public, but opened up the private side to the gardens and Light, blending indoors and outdoors, continuing the design of the house to the exterior.
STANDARD USONIAN WALL SECTION

OPEN PLAN

Connection of kitchen, living area and dining area. Easier for house lady to look after and work simultaneously.

 * Efficient design of Bedrooms and Bathrooms Bedrooms were modest in size, but contained spacious closets. Bathroom plumbing was stacked and located adjacent to kitchen to economize on material cost.

* Passive Heating - Use of concrete floors as thermal mass and large windows help regulate heating and cooling. In-bedded Plumbing pipes under foundations to provide radiant heating.
* Economical Materials - Used materials that were inexpensive. Early models with concrete, brick, and plywood, later with local stones and CMU blocks.

USONIAN HOUSING PLANS

As time passed, Frank Lloyd Wright adapted the usonian concepts from the original 2x4 design to six general styles.

DIAGONAL DESIGN SIMILAR TO POLLIWOG LAYOUT BUT BASED ON A PARALLELOGRAM AND WALLS ANGLES RATHER THAN 90 DEGREES. Snowflake House (1941)

POLLIWOG DESIGN 2X 4 LAYOUT WITH 90 DEGREE TAIL EXTENDING INTO GARDEN SEPARATING PUBLIC AND PRIVATE AREAS OF THE HOUSE

JACOBS HOUSE (1936)

In-Line Design house designed for narrower lots, square layout without tail. GOETSCH-WINKLER HOUSE (1939)

RAISED DESIGN: TWO-STORY DESIGN MADE TO ACCOMMODATE SLOPED PROPERTY LOTS LLOYD LEWIS HOUSE (1940)

HEXAGONAL DESIGN HANNA HOUSE (1936)

JACOBS HOUSE II (1940) LOWER RIGHT: DAVID WRIGHT HOUSE (1950)

SOLAR HEMI-CIRCLE DESIGN FIRST BUILT FOR JACOBS FAMILY WHEN THEY OUTGREW THE ORIGINAL USONIAN DESIGN, BUILT AROUND A CIRCLE COURTYARD.

INFLUENCE FROM ORGANIC ARCHITECTURE

After his return from Japan, Frank lloyd Wright gave many lectures and interviews on architecture. In these discussion he began describing what he called, Organic Architecture. This became the theme for the rest of his career. one that is integral to site; integral to environment; integral to the life of the inhabitants. A house integral with the nature of materials --- wherein glass is used as glass, stone as stone, wood as wood --- and all the elements of environment go into and throughout the house. Into this new integrity, once there, those who live in it will take root and grow. And most of all belonging to the nature of its being. Frank Lloyd Wrighthouses designed to rise up out of the site as it belonging.
Integral to environment - built appropriately to climate. Integral to Individual - Each building built to accommodate the lifestyle of the inhabitants way of life and needs. Integral to Materials - details of the building were the materials themselves

HOUSE RISING OUT OF THE HILL NATURALLY OLFELFT HOUSE (1958)

TALIESIN WEST
ROUGH ROCK AND CONCRETE BLEND WITH HARSH DESERT ENVIRONMENTS, SLATTED WINDOWS PROTECT FROM HARSH SUN.

FALLING WATERS (1935)

Truly organic Was built during usonian period. So it has similarities with usonian houses Ornate Opulent Costly

THE GUGGENHEIM MUSEUM OF MODERN ARTS

At first glance appears very different in style, but examination shows a very Organic Architecture and commonalities to Usonian houses. It was based on the Module of the circle similar the the Hemi-circle House. This can be seen in plan, fencing, dome ceiling, flooring pattern, and with curving ramps for circulation around Central , rather than exterior courtyard exterior.