Frank Lloyd Wright: Literary and Architectural Legacy

point-blank Lloyd Wright Literary and Architectural LegacyIntroduction in that location is a depth in from each iodine make that surpasses the visible physiological characteristics of its structure. The e artistic creationhyize of thought that derives the experiences created within is an essential element in understanding each construction or structure. It is this philosophy that differentiates an ingleside decorator from an otherwise. And it was the extreme philosophy in intriguerure that lifted plain-spoken Lloyd wrights place to be called the swellest Ameri fecal matter Architect of all times. Through the study of his various writings, this paper explores his philosophy and analyses it in light of his aim movement and some of his constructed works.The Principles of the Organic It was Lao Tze, five hundred years before Jesus who decl ard, that the reality of the build consisted not of the walls and roof but inhered in the position within, the space to be re sistd in.1For bounder Lloyd Wright, the center line of constitutional architecture was solve and usance atomic number 18 one(a). They become one, they are integral. He conceived this ace, from within popward, as the innovational architects guide and opportunity. Out of the grunge and into the light was an opportunity. The nature of material was in like manner an opportunities. All three opportunities were limitations but they were also a condition of success. valet de chambre nature was one of these materials, as well, served by the building and serving it.2In his various writings pawl Lloyd Wright explained the principles guiding and driving his organic architecture. He believed that the knowledge of the relations between excogitate and function was essential for the traffic pattern of architecture and could unless be achieved by studying nature and its principles.3From the simmpleness inhered in nature he deducted certain exemplifications for organic architectur e. First, that a building should contain as few suite as possible. The ensemble of these rooms should be considered for comfort, utility and go hand in hand with beauty. Second, the openings should be integral features of the structure and form, providing it with natural ornamentation, instead of generous looking decoration. He also argued that the appliances, furniture and jelltures should be should incorporated in the general organization of the structure. 4For Wright simplicity was not in itself an end but it was a operator to an end. The reticence in ornamentation in these structures is mainly for two reasons starting time, they are the materialization of an idea that ornamentation should constitutional, a matter of the nature of the structure, stemma with the ground plan. Second, because buildings perform their functions in relation to benevolent action within, to win and maintain the harmony of a genuine chord, broad simple surfaces and extremely conventionalized forms are inevitable. According to him, these ideas take the building out of school and marry them to the ground, make them intimate formulations or revelations of the exteriors individualize them regardless of previous(prenominal)(prenominal) pictures of room.5Natures principles also formulated other ideals in organic architecture. stamp Lloyd Wright keep that the individualism of a person should be reflected in the style of the nominate he inhabits, therefore there should be as many styles of manses as there are kinds of battalion. He also asserted that a building should grow good from its site and be shaped to harmonize with its touchs, making it quiet, substantial and organic. The use of colors was also an important aspect, for they had to fit to live with the natural forms they do. Therefore he encouraged the use of soft, warm tones of terra firma and autumn leaves in preference to the blues, purples or greens and greys. Bringing out the nature of material was an essential ideal to organic architecture, describing them as well-disposed and handsome. He believed that following the prevalent usances leads to structures that become soon out of fashion, dust-covered and profitable, insisting that each house should sustain character of its own.6 Therefore organic principles grew out of nature and its principles however there are other aspects that sop up giveially led to its growth.Rejection of Classical and Renaissance Architecture I by cream chose to break with traditions in order to be more(prenominal) true to tradition than current conventions and ideals in architecture would permit. 7The principles of organic architecture, though they seemingly developed out of natures principles were also partially born from Wrights critique of previous perfect and renaissance styles. In the First evening of his London lectures in 1939,Wright say that the classic was more of a mask for life to wear preferably than an expression of life itself. 8He strongly critiqued the vista of architecture as a fashionable aesthetic, arguing that modern architecture rejects all grando-mania, every building that would stand in a military fashion. 9He encouraged architectsto abandon the cherishing of preconceive form fixed upon them, and to exhale to the laws of common sense to determine from them the form and material of the building in light of its purpose, resulting in a distinction between the different forms of the building due to their varying function, asserting that potpourri and Function are one.10Wright criticized the tall interiors that were divided into box like compartments, where the architecture mainly involved healing over the edges of the curious collection of holes that had to be cut in the walls for light and air to permit the occupant to loaf in or out. 11Wright observed that, in nature, the individuality of its attributes are seldom scarified. Unlike the classical buildings in which an order is establishes, for e xample a colonnade, whence walls are added between them, reducing them to pilasters, with the result that every form is outraged, the only an abominable mutation.The Approach to DesignAll architecture must dismay there where they stand12Out of the principles of the organic, rough Lloyd Wright kept up(p) a design process throughout his worryer that he describes in his book the Future of Architecture. He strongly believed in building from within outward. To achieve this vision he started by determining which friendliness came first in the design process. The first determinant was the ground. By this he meant the nature of site, soil and climate. The next consideration was the choice of available materials taking into account the financial cost. The third was the choice of means of power for construction. Man, machine or both? He believed that what rendered his buildings as creative was this process of from within outward, giving life the unhurt, and giving life to the structur e by adopting the ideal of form and function are one, or organic.13Wright believed that the character of the site is the beginning of any building which aspires to architecture. He argued that architects ought to claim the fact that the ground already has form. This to him was a gift from nature to be cherished and accepted.14 Therefore, in designing his home(prenominal) architecture he was close about considering and incorporating certain elements. First was free association with the ground. Second, sunlight, vista and a spaciousness that conforms to a modern sense of demanded space. The third element was loneliness. one-quarter was a free pattern for the arrangement of rooms to be work by the families. He argued that as families vary so must the houses. hitherto, he affirmed that these requirements should be incorporated in the architecture of the building in an integral harmony of proportion to the human figure, so that the building protects and cherishes the individuals brisk necessities and fine sentiments.15The Logic behind the Plan I entertain great faith that if the thing rightfull put together in true organic senses with proportions unfeignedly right the picturesque allow take care of itself.16 rude Lloyd Wright believed that all the forms in his plans are complete in themselves and oft do duty at the same time from within and without as attributes of the whole. There was a tendency towards a greater individuality of the separate empha coatd by more and more complete articulation. Moreover, the ground plans were the actual projection of a carefully considered whole. The architecture wasnt thrown up as an artistic exercise, a matter of elevation from a preconceived ground plan. The schemes were conceived in three dimensions as organic entities. Wright ventured to let the picturesque place fall how it will. With a sense of the incidental perspectives, he believed the design will develop. 17In the Future of Architecture and in an article i n the architectural record he describes the logic behind the plans in his architecture. He mentions the well-nigh important factors in designing the plan which are materials, building methods, scale, articulation, expression or style. The logical norm for the scale of the building was the human scale. He believed that the unit of size of the building varies with the purpose and material of it, therefore he adopted a unit system for the plan, establishing a certain standardization. By adopting the human scale, he trusted nature to give the proper value to a proper whole. Materials also affected scale. He used the nigh natural material suiting the purpose. Using woodwind led to a slender plan, light in texture narrow in spacing. A stone or brick plan was heavy, black in masses and wider in spacing. In cast block building, the scale was done to be equal to(predicate) to the sense of block, box and slab and there was more freedom in spacing.18In his domestic architecture, he design ed that house with a garden that arranges itself about and within it so that the individual can enjoy the sun and view while keeping privacy. He gave priority to the living room, given its status as the room common to all, adding a fireplace to it. The modern industrial developments allowed him to make the kitchen a part of the living room relating it to another part of the same. He from time to time added an extra space for reading or studying. By creating this association between living and dining he ensured the convenience and the privacy of the members of the family. Wright gave importance to the bathrooms making them large enough to accommodate for dressing rooms, closets for linen, occasionally a wardrobe with perhaps a couch in each. He made the bedrooms adjacent to the bathroom unit, designing them to be small, airy and easily accessible from the living room. 19 His logic is derived from the ideal of form and function are one.The inspiration of his ideal grew from nature, n ot its form but its principles. In nature, an beingness is a living one when all is part to the whole and whole is to the part. Wright argued that this correlation which is found any plant or animal is a fundamental principle in organic architecture. He also maintained that any building should come to terms with the living human spirit.20 Considering the individuality of the proprietor in the design process, led to certain puzzlement regarding the notion of style.The Question of dash Styles once developed soon become yard stays for the blind, crushes for the lame, and resources for the impotent.21Frank Lloyd Wright asserted that he had enough types and forms my work to characterize the work of an architect but certainly not enough to characterize an architecture. To him there was no worse of an imposition than to have some individual deliberately fix the outward forms of his concept of beauty upon the future of a free people or even a growing city.22The form may differ, he asserte d, but in every case the motif is adhered to throughout so that it is not too such(prenominal) to say that each building aesthetically is cut from one piece of goods and consistently hangs together with an integrity unachievable otherwise. In a fine art sense the designs grew as natural plants grow, the individuality of each is integral and is as complete as skill, time, strength, and great deal would permit. The method in itself does not necessarily produce a beautiful building, but it does provide a framework as a fundamental which has an organic integrity.23Wright believed that style came as a byproduct of the process he maintained in his design. The way an architect achieves an integrity in his design came, first, by studying natures material to find the properties most suited for the purpose, then, by using organic architecture as guide, to unite these qualities to serve that purpose.24In his plan Wright did use a form of standardization, a unit of size for the building. H owever, he warned against the tendency in the human mind to standardize. He viewed standardization as a mere tool, though indispensable, should be used to the effect that it leave the architect free to prohibit it at will, to the extent only that it does not become a style, or an inflexible rule-is it suited to the architect. It is desirable only to the extent that it is capable of new forms and remains the servant of those forms. He believed that standardization should be allowed to work, but never to master the process that yields the form.25In his various designs Wright took into consideration the individuality of the occupant and his needs. Wright responded to the critics who suspected that individuality of the owner and occupant of the building is sacrificed to that of the architect who imposes his own upon everyone alike, by saying An architect worthy of the name has individuality, it is true, his work will and should reflect it and his buildings will take a family resembl ance one to another. The individuality of the owner is first intelligible in his choice of his architect, the individual to whom he entrusts his characterization. He sympathizes with his work its expression suits him and this furnishes the common ground upon which client and architect may come together. Then, the architect with his ready technique, he conscientiously works for the client, idealizes his clients character and taste and makes him determine the building is his as it really to such an extent that he can truly say that he would rather have his own house than any other he has ever seen26In order to fully understand wrights methodology, it is essential to look at how his principles have formed his designs and buildings. facial expression at the Prairie house style and Taliesin, the examples show how Wright succeeded in maintaining his philosophy, while providing motley of forms.Prairie Houses In his book An American Architecture, Wright describes his love and fascination with prairie, along with the elements of the prairie that command his designs.I loved the prairie as great simplicity. And I saw that a little of blossom on the prairie was enough to look like much more. The natural tendency of every ill- considered thing on the prairie is to detach itself and stick out like a sore thumb in surrounding by nature perfectly quiet. All unnecessary heights have for that reason and the human scale, (other reasons, economic too) been eliminated. More intimate relation with exterior environment and far-reaching vista is sought to balance the desired lessening of height.27The Prairie style was an attempt by Wright to create an architecture that suited the American lifestyle and landscape. Strongly horizontal plan of house with a low sheltering roof, bands of art glass windows, stucco walls with wood banding, and outreaching garden walls had many of the features that characterized this version of Wrights organic architecture.28The Little house on Lake M innetonka (figure1) is an example of how organic architecture is reflected in the house. The living room is the dominant space in the house. Mrs. Little was an cultured musician and wanted the room to double as recital space. The height of the ceiling adds to the rooms grandeur. Flanked by two long walls with more than a dozen art glass windows on two levels, the room has the agility of an outdoor pavilion. Clear glass was used in the leaded panels so that the views, the lake to one side and the forest to another, would not be obstructed. The delicate designs of lines and triangles, turn on the outer edges of the window, reach across several panels, creating a bigger composition than on just the one window. The art glass skylight, an complicated checkerboard of tiny squares and triangles, are framed by heavy wood moldings.29Wright focused on using an purloin kind of furniture. The rectilinear Prairie Style furniture with the sturdy oak shapes of tables, cabinets, and chairs ada pted easily to the houses scale. The vertical spindles of the radiator covers are repeated in the base of the print table and seem to detain the rhythm of the wood marking strips across the ceiling. The strong horizontality of the entire house and the room itself pulls the scale back down to a more human level.30The TaliesinNo house should be a hill or anything or anything. It should be of the hill. Hill and house should live together, each happier for the other.31This is Wright famous excerpt regarding the Taliesin in Wisconsin (figure2). In studying Wrights architecture it seems interesting to look at building he designed for him personally. This specific house is consistent, rich and appropriate in its management of prospect and refuge. It is also a gentler, more intimate, and more freely composed house than any others of wrights works.32In designing domestic architecture Wright regarded the house as refuge from two generalized and indifferent threats. One is climate the other is the social intrusion by the community.33 When Wright build the Taliesin, he considered these two universal threats along with two personal threats, one external from his feeling of societal hostility for leaving his wife, the other inbred from an inner sense of disorientation and confusion. 34 This attests to the individuality in his design.He built the Taliesin encircling the side of the hill, with its back to wall, making it seem as if it was of the hill. However this placement and his famous quotation about this house dont apply to previous prairie houses like the Hardy, Little, Ennis and Morris houses. Perhaps this placement was more related to the nature of the site, since in Taliesin the hill was inappropriate, partly because of Wrights sense of it sanctity, but partly because he necessary to have his the therefore, its back against the wall, for which purpose the hilltop could not work. Therefore he chose the hillside around which the living spaces were arranged.35The dominant image was that of roofs which emerged randomly from the hillside vegetation, with a repetition of gentled shingled spaces, taking the slopes of the hills as their slopes. The deep overhanging eaves were all at uniform level, forming a continuous eave line.36Wright argued on many occasions that he was trying to destroy the box, by which he meant the self-contained room of traditional domestic architecture. He used the open plans in the prairie houses. However in Taliesin, in malevolency of the fluid disposition of the rooms, there is no sense of an open plan, rich and complex but a box nevertheless. Unlike prairie, this living space did not open through articulating devices to any contiguous space, nor did any other rooms. This was appropriate at Taliesin where containment was deliberately sought and consistency developed in so many other ways. Also, the terrace did not extend from either range of windows that released the view. It lay rather behind the scenes. Probably this issue was a provision of view downward to the valley from the living room. This view would have been frustrated by a terrace, especially by one with a solid plastered rail.37The way Wright treated Taliesin in its particularity, attests to his claim that he didnt adopt a style. The particularity of the site, the nature of materials, individuality and function were the determinants of the form of the building.Conclusion Wrights philosophy revolved around the organic. He articulated his philosophy clearly in his various writings that totaled to more than one and half million words. He defined the word organic as an entity, part-to whole- as whole- is to part, intrinsic.38 The ideal of the organic was form and function are one. This ideal guided his design process, the logic behind his revolutionary open plans and is reflected in his different works. And despite the differences in his works, he managed to maintain an organic integrity in his designs.Image index Figure 1 39Figure2Bi bliography Hildebrand, Grant. The Wright Space anatomy and Meaning in Frank Lloyd Wrights Houses. Seattle U of Washington, 1991.Lind, Carla. The Wright Style. New York Simon Schuster, 1992.Klinkowitz, Jerome. Frank Lloyd Wright and His mood of Thought. Madison, Wisconsin U of Wisconsin, 2014.Wright, Frank Lloyd. The Future of Architecture. New York Horizon, 1953.Wright, Frank Lloyd, and Andrew Devane. In the relieve oneself of Architecture, Frank Lloyd Wright Essays. New York Architectural Record, 1975.Wright, Frank Lloyd, and Donald D. Walker. An American Architecture. New York Horizon, 1955.1 Frank Lloyd Wright, The Future of Architecture. (New York Horizon) 1953, p 2262 ibid, p 2973 Frank Lloyd Wright, and Andrew Devane. In the excite of Architecture, Frank Lloyd Wright Essays. (New York Architectural Record) 1975, p544 ibid5 Ibid, p606 ibid, p557 ibid, p1238 Frank Lloyd Wright, The Future of Architecture. (New York Horizon) 1953, p 2259 ibid , p22610 ibid, p22711 Frank Lloy d Wright, and Andrew Devane. In the serve of Architecture, Frank Lloyd Wright Essays. (New York Architectural Record) 1975, p5512 Frank Lloyd Wright, The Future of Architecture. (New York Horizon) 1953,p29913 ibid, p29714 ibid, p29915 ibid, p31516 Frank Lloyd Wright, and Andrew Devane. In the Cause of Architecture, Frank Lloyd Wright Essays. (New York Architectural Record) 1975, p5917 ibid18 ibid, p15419 Frank Lloyd Wright, The Future of Architecture. (New York Horizon) 1953, p 31620 ibid, p 29821 Frank Lloyd Wright, and Andrew Devane. In the Cause of Architecture, Frank Lloyd Wright Essays. (New York Architectural Record) 1975, p16322 ibid, p 12423 ibid, p5924 ibid, p12425 ibid, p 16326 ibid, p6027 Frank Lloyd wright and Donald D. Walker, An American Architecture. (New York Horizon) 1955, p19328 Carla Lind, The Wright Style. (New York Simon Schuster) 1992, p 7229 ibid, p8430 ibid31 Frank Lloyd Wright, and Andrew Devane. In the Cause of Architecture, Frank Lloyd Wright Essays. (Ne w York Architectural Record) 1975, p1132 Grant Hildebrand, The Wright Space Pattern and Meaning in Frank Lloyd Wrights Houses. (Seattle U of Washington) 1991, p 6433 ibid, p6234 ibid, p6335 ibid, p6436 ibid37 ibid, p7238 Frank Lloyd Wright, The Future of Architecture. (New York Horizon) 1953, p 32339 Carla Lind, The Wright Style. (New York Simon Schuster) 1992, p 72