Lecture 10

Imperial Hotel The second Imperial Hotel, built from 1915-1923, was the best-known of Frank Lloyd Wright's
buildings in Japan. It was designed roughly in the shape of its own logo, with the guest room wings forming the letter "H", while the public rooms were in a smaller but taller central wing shaped like the letter "I" that cut through the middle of the "H".[1]
Architecture
The Frank Lloyd Wright version was designed in the "Maya Revival Style" of architecture. It incorporates a tall, pyramid-like structure, and also loosely copies Maya motifs in its decorations. The main building materials are poured concrete, concrete block, and carved oya stone. The visual effect of the hotel was stunning and dramatic, though not unique; in recent years, architectural historians have noted a marked similarity with the Cafe Australia in Melbourne, Australia (1916), designed by Prairie School architects Marion Mahony and Walter Burley Grifn. The architecture heavily inuenced the style of the Kshien Hotel, which was constructed by Wright's apprentice Arata Endo.
1923 Great Tokyo Earthquake

The structure famously survived the Great Kant earthquake of 1923 (7.9 on the Moment magnitude scale (Mw)). A telegram from Baron Kihachiro Okura reported the following: Hotel stands undamaged as a monument of your genius hundreds of homeless provided by perfectly maintained service congratulations[.] Congratulations[.][2] Wright passed the telegram to journalists, helping to perpetuate a legend that the hotel was unaffected by the earthquake. In reality, the building had damage; the central section slumped, several oors bulged,[2] and four pieces of stonework fell to the ground.[3] The building's main failing was its foundation. Wright had intended the hotel to oat on the site's alluvial mud "as a battleship oats on water".[2] This was accomplished by making it shallow, with broad footings. This was supposed to allow the building to oat during an earthquake. However, the foundation was an inadequate support and did nothing to prevent the building from sinking into the mud to such an extent that it had to be demolished decades later.[2] Furthermore, alluvial mud, such as that at the hotel's site, amplies seismic waves.[4] However, the hotel had several design features that minimized potential earthquake damage: The reecting pool provided a source of water for re-ghting, saving the building from the post-earthquake restorm;[2] Cantilevered oors and balconies provided extra support for the oors; A copper roof eliminated the risk of falling debris created by traditional tile roofs; Seismic separation joints, located about every 20m along the building; Tapered walls, thicker on lower oors, increasing their strength; Suspended piping and wiring, instead of being encased in concrete, as well as smooth curves, making them more resistant to fracture.[3] The hotel survived an earlier earthquake that struck Tokyo during its construction. While many buildings in the area were destroyed, the hotel itself while shaken stood completely undamaged.[5]
Hollyhock House The Aline Barnsdall Hollyhock House is a building in the East Hollywood neighborhood of Los Angeles, California, originally designed by Frank Lloyd Wright as a residence for oil heiress Aline Barnsdall, built in 19191921. The building is now the centerpiece of the city's Barnsdall Art Park. As with many of Wright's residences, it has an "introverted" exterior with small windows, and is not easy to decode from the outside. The house is arranged around a central courtyard with one side open to form a kind of theatrical stage (never used as such), and a complex system of split levels, steps and roof terraces around that courtyard. The design features exterior walls that are tilted back at 85 degrees (which helps provide a "Mayan" appearance sometimes referred to as the Mayan Revival style), leaded art glass in the windows, a grand replace with a large abstract bas-relief, and a moat. Water is meant to ow from a pool in the courtyard through an underground tunnel to this inside moat, and out again to a fountain. Charles Ennis House The Ennis House is a residential dwelling in the Los Feliz neighborhood of Los Angeles, California, USA, south of Grifth Park. The home was designed by Frank Lloyd Wright for Charles and Mabel Ennis in 1923, and built in 1924. Following La Miniatura in Pasadena, and the Storer and Freeman houses in the Hollywood Hills, the structure is the fourth and largest of Wright's textile block designs, constructed primarily of interlocking pre-cast concrete block, in northern Los Angeles. The design is based on ancient Mayan temples [4] and along with other buildings by Frank Lloyd Wright, such as the A. D. German Warehouse in Wisconsin and Aline Barnsdall Hollyhock House in Hollywood, the Ennis House is sometimes referred to as an example of the Mayan Revival architecture. Its prominent detail is the relief ornamentation on its textile blocks, inspired by the symmetrical reliefs of Mayan buildings in Uxmal.[5] Fallingwater Almost forgotten at age 70, Frank Lloyd Wright was given the opportunity to re-emerge on the architectural scene with his design and construction of three buildings. His three great works of the late 1930s--Fallingwater, the Johnson Wax Building in Racine, Wisconsin, and the Herbert Jacobs house in Madison, Wisconsin--brought him back to the front of the architectural pack. [6] Edgar Kaufmann Sr. was a successful Pittsburgh businessman and president of Kaufmann's Department Store. His son, Edgar Kaufmann, Jr., studied architecture briey under Wright. Edgar Sr. had been prevailed upon by his son and Wright to itemize the cost of Wright's utopian model city. When completed, it was displayed at Kaufmanns Department Store. The Kaufmans lived in La Tourelle, a French Norman estate designed by celebrated Pittsburgh architect Benno Janssen (18741964) in the stylish Fox Chapel suburb in 1923 for Edgar J. Kaufmann.
Fallingwater with falls Wright visited Bear Run on Tuesday, December 18. [7]The Kaufmanns and Wright were enjoying refreshments at La Tourelle when Wright, who never missed an opportunity to charm a potential client, said to Edgar Jr. in tones that the elder Kaufmanns were intended to overhear, Edgar, this
house is not worthy of your parents... The remark spurred the Kaufmanns' interest in something worthier. Fallingwater would become the end result. The Kaufmanns owned property outside Pittsburgh with a waterfall and cabins they used as a rural retreat. When the cabins deteriorated, Mr. Kaufmann contacted Wright. In November 1934, Wright visited Bear Run and asked for a survey of the area around the waterfall. One was prepared by Fayette Engineering Company of Uniontown, Pennsylvania including all the site's boulders, trees and topography, and forwarded to Wright in March 1935. As reported by Wright's apprentices at Taliesin, Kaufmann Sr. was in Milwaukee on September 22, nine months after their initial meeting, and called Wright at home early Sunday morning to surprise him with the news that he would be visiting Wright that day before lunch. He could not wait to see Wright's plans. Wright had told Kaufmann in earlier communication that he had been working on the plans, but had not actually drawn anything. After breakfast that morning, amid a group of very nervous apprentices, Wright calmly drew the plans in the two hours in which it took Kaufmann to drive to the Taliesin. [8] It was at this time that Kaufmann rst became aware that Wright intended to build the home above the falls,[9] rather than below them to afford a view of the cascades as he had expected.[10] It is said that Kaufmann was initially very upset that Wright had designed the house to sit atop the falls. He had wanted the house located on the southern bank of Bear Run, directly facing the falls. He had told Wright that was his favorite aspect of the Bear Run property. [11]
Design and construction

Once Wright had decided the location of the house, he had the obvious problem of building it there. The location of the north bank of Bear Run was not large enough to provide a foundation for a typically built Wright house. [12] Beyond this issue, there were also the clients' needs that had to be met. The Kaufmanns planned to entertain large groups of people, so the house would need to be larger than the plot allowed. Also, Mr. and Mrs. Kaufmann requested separate bedrooms as well as a bedroom for their adult son and an additional guest room. [13] Wright's solution to the problem of space came when he decided on a cantilevered structure.[14] The structural design for Fallingwater was undertaken by Wright in association with staff engineers Mendel Glickman and William Wesley Peters, who had been responsible for the columns featured in Wrights revolutionary design for the Johnson Wax Headquarters. Preliminary plans were issued to Kaufmann for approval on October 15, 1935,[15] after which Wright made a further visit to the site and provided a cost estimate for the job. In December 1935 an old rock quarry was reopened to the west of the site to provide the stones needed for the houses walls. Wright only made periodic visits during construction, instead assigning his apprentice Robert Mosher as his permanent on-site representative.[15] The nal working drawings were issued by Wright in March 1936 with work beginning on the bridge and main house in April 1936. The strong horizontal and vertical lines are a distinctive feature of Fallingwater The construction was plagued by conicts between Wright, Kaufmann, and the construction contractor. Uncomfortable with what he saw as Wright's insufcient experience using reinforced concrete, Kaufmann had the architect's daring cantilever design reviewed by a rm of consulting engineers. Upon receiving their report, Wright took offense and immediately requested Kaufmann
to return his drawings and indicated he was withdrawing from the project. Kaufmann relented to Wright's gambit and the engineers report was subsequently buried within a stone wall of the house.
[15]
After a visit to the site in June 1936, Wright rejected the stonemasonry of the bridge, which had to be rebuilt.[citation needed] For the cantilevered oors, Wright and his team used upside down T-shaped beams integrated into a monolithic concrete slab which both formed the ceiling of the space below and provided resistance against compression. The contractor, Walter Hall, also an engineer, produced independent computations and argued for increasing the reinforcing steel in the rst oors slab. Wright refused the suggestion. While some sources state that it was the contractor who quietly doubled the amount of reinforcement,[16] according to others,[15] it was at Kaufmanns request that his consulting engineers redrew Wrights reinforcing drawings and doubled the amount of steel specied by Wright. In addition, the contractor did not build in a slight upward incline in the formwork for the cantilever to compensate for the settling and deection of the cantilever. Once the concrete formwork was removed, the cantilever developed a noticeable sag. Upon learning of the steel addition without his approval, Wright recalled Mosher.[17] With Kaufmanns approval, the consulting engineers arranged for the contractor to install a supporting wall under the main supporting beam for the west terrace. When Wright discovered it on a site visit he had Mosher discreetly remove the top course of stones. When Kaufmann later confessed to what had been done, Wright showed him what Mosher had done and pointed out that the cantilever had held up for the past month under test loads without the walls support.[18] In October 1937, the main house was completed. Johnson Wax Building Johnson Wax Headquarters is the world headquarters and administration building of S. C. Johnson & Son in Racine, Wisconsin. Designed by American architect Frank Lloyd Wright for the company's president, Herbert F. "Hib" Johnson, the building was constructed from 1936 to 1939.[3] Also known as the Johnson Wax Administration Building, it and the nearby 14-story Johnson Wax Research Tower (built 19441951) were designated as a National Historic Landmark in 1976 as Administration Building and Research Tower, S.C. Johnson and Son.[2] The Johnson Wax Headquarters were set in an industrial zone and Wright decided to create a sealed environment lit from above, as he had done with the Larkin Administration Building. The building features Wright's interpretation of the streamlined Art Deco style popular in the 1930s. In a break with Wright's earlier Prairie School structures, the building features many curvilinear forms and subsequently required over 200 different curved "Cherokee red" bricks to create the sweeping curves of the interior and exterior. The mortar between the bricks is raked in traditional Wright-style to accentuate the horizontally of the building. The warm, reddish hue of the bricks was used in the polished concrete oor slab as well; the white stone trim and white dendriform columns create a subtle yet striking contrast. All of the furniture, manufactured by Steelcase, was designed for the building by Wright and it mirrored many of the building's unique design features. The entrance is within the structure, penetrating the building on one side with a covered carport on the other. The carport is supported by short versions of the steel-reinforced dendriform (tree-like) concrete columns that appear in the Great Workroom.[3] The low carport ceiling creates a compression of space that later expands when entering the main building where the dendriform
columns rise over two stories tall. This rise in height as one enters the administration building creates a release of spatial compression making the space seem much larger than it is. Compression and release of space were concepts that Wright used in many of his designs, including the playroom in his Oak Park Home and Studio, the Unity Temple in Oak Park, Illinois, the Solomon R. Guggenheim Museum in New York City, and many others. Throughout the "Great Workroom," a series of the thin, white dendriform columns rise to spread out at the top, forming a celling, the spaces in between the circles are set with skylights made of Pyrex glass tubing. At the corners, where the walls usually meet the ceiling, the glass tubes continue up, over and connect to the skylights creating a clerestory effect and letting in a pleasant soft light. The Great Workroom is the largest expanse of space in the Johnson Wax Building, and it features no internal walls. It was originally intended for the secretaries of the Johnson Wax company, while a mezzanine holds the administrators. The construction of the Johnson Wax building created controversies for the architect. In the Great Workroom, the dendriform columns are 9inches (23cm) in diameter at the bottom and 18feet (550cm) in diameter at the top, on a wide, round platform that Wright termed, the "lily pad." This difference in diameter between the bottom and top of the column did not accord with building codes at the time. Building inspectors required that a test column be built and loaded with twelve tons of material. The test column, once it was built, was tough enough that it was able to be loaded vefold with sixty tons of materials before the "calyx," the part of the column that meets the lily pad, cracked (crashing the 60 tons of materials to the ground, and bursting a water main 30 feet underground). After this demonstration, Wright was given his building permit. Additionally, it was very difcult to properly seal the glass tubing of the clerestories and roof, thus causing leaks. This problem was not solved until rubber gaskets were placed between the tubes, and corrugated plastic was used in the roof to seal it, while mimicking the glass tubes. And nally, Wright's chair design for Johnson Wax originally had only three legs, supposedly to encourage better posture (because one would have to keep both feet on the ground at all times to sit in it). However, the chair design proved too unstable, tipping very easily. Herbert Johnson, needing a new chair design, purportedly asked Wright to sit in one of the three-legged chairs and, after Wright fell from the chair, the architect designed new chairs for Johnson Wax with four legs; these chairs, and the other ofce furniture designed by Wright, are still in use. Despite these problems, Johnson was pleased with the building design, and later commissioned the Research Tower, and a house from Wright known as Wingspread. The Research Tower was a later addition to the building. Cantilevered from a giant stack, the tower's oor slabs spread out like tree branches, providing for the segmentation of departments vertically. Elevator and stairway channels run up the core of the building. The single reinforced central core, termed by Wright as a tap root, was based on an idea proposed by Wright for the St. Mark's Tower in 1929. Wright recycled the tap root foundation in the Price Tower in Bartlesville, Oklahoma in 1952. Freed from peripheral supporting elements, the tower rises gracefully from a garden and three fountain pools that surround its base while a spacious court on three sides provides ample parking for employees. The Research Tower is no longer in use because of the change in re safety codes, although the company is committed to preserving the tower as a symbol of its history.
Taliesen West Taliesin West was architect Frank Lloyd Wright's winter home and school in the desert from 1937 until his death in 1959 at the age of 91. Today it is the main campus of the Frank Lloyd Wright School of Architecture Wright felt very strongly about the connection to the desert. He said: Arizona needs its own architecture Arizonas long, low, sweeping lines, uptilting planes. Surface patterned after such abstraction in line and color as nd realism in the patterns of the rattlesnake, the Gila monster, the chameleon, and the saguaro, cholla or staghorn or is it the other way aroundare inspiration enough. The structure's walls are made of local desert rocks, stacked within wood forms, lled with concrete. Wright always favored using the materials readily available rather than those that must be transported to the site. In Wrights own words, There were simple characteristic silhouettes to go by, tremendous drifts and heaps of sunburned desert rocks were nearby to be used. We got it all together with the landscape[5] The at surfaces of the rocks were placed outward facing and large boulders lled the interior space so concrete could be conserved. Natural light also played a major part in the design. In the drafting room, Wright used translucent canvas to act as a roof (later replaced by plastic because of the intense wear from the Arizona sun). In the south-facing dining room, Wright did not take the masonry walls from oor to ceiling, and designed the roof to hangover past the walls preventing unwanted sun rays from penetrating but allowing for horizontal light to pass through the room. Wright believed natural light aided the work environment he had his apprentices in, keeping the inside of his building in touch with the natural surroundings. Every part of Taliesin West bears Frank Lloyd Wrights personal touch. Upon every return after a summer in Wisconsin Wright would grab a hammer and immediately make his way through the complex. He would walk through each room making changes or shouting orders to apprentices closely following with wheelbarrows and tools. He constantly changed and improved on his design xing arising problems and addressing new situations. Throughout the years he added an addition to the dining room, the cabaret theatre, music pavilion and numerous other rooms. All of the furniture and decorations were designed by Wright and the majority built by apprentices. A brilliant aspects of Wright's design is the cabaret theatre. Built with six sides, out of the standard rock, concrete mixture, in an irregularly hexagonal shape, the theatre provides its occupants with what someone has called "95% acoustic perfection". One sitting in the back row can hear the lightest whisper from a speaker on stage. Usonian Houses Usonia (/jusoni/) was a word used by American architect Frank Lloyd Wright to refer to his vision for the landscape of the United States, including the planning of cities and the architecture of buildings. Wright proposed the use of the adjective Usonian in place of American to describe the particular New World character of the American landscape as distinct and free of previous architectural conventions. 'Usonian' is a term usually referring to a group of approximately sixty middle-income family homes designed by Frank Lloyd Wright beginning in 1936 with the Jacobs House.[1] The "Usonian Homes" were typically small, single-story dwellings without a garage or much storage, L-shaped to t around a garden terrace on odd (and cheap) lots, with native materials, at roofs and large cantilevered overhangs for passive solar heating and natural cooling, natural lighting with clerestory windows, and radiant-oor heating. A strong visual connection between the interior and exterior
spaces is an important characteristic of all Usonian homes. The word carport was coined by Wright to describe an overhang for a vehicle to park under. Variants of the Jacobs House design are still in existence today and do not look dated.[citation needed] The Usonian design is considered among the aesthetic origins of the ranch-style house popular in the American west of the 1950s. Guggenheim Museum Designed by Frank Lloyd Wright, the cylindrical museum building, wider at the top than the bottom, was conceived as a "temple of the spirit" and is one of the 20th century's most important architectural landmarks. The building opened on October 21, 1959, replacing rented spaces used by the museum since its founding. Its unique ramp gallery extends from just under the skylight in the ceiling in a long, continuous spiral along the outer edges of the building until it reaches the ground level. The building underwent extensive expansion and renovations from 1992 to 1993 (when an adjoining tower was built) and from 2005 to 2008. The museum's collection has grown organically, over eight decades, and is founded upon several important private collections, beginning with Solomon R. Guggenheim's original collection. The collection is shared with the museum's sister museums in Bilbao, Spain, and elsewhere. On October 21, 1959, ten years after the death of Solomon Guggenheim and six months after the death of Frank Lloyd Wright, the Museum rst opened its doors to large crowds.[8][9] The building instantly polarized architecture critics,[7][10] though today it is widely praised.[11] Some of the criticism focused on the idea that the building overshadows the artworks displayed inside,[12] and that it is difcult to properly hang paintings in the shallow, windowless, concave exhibition niches that surround the central spiral. Prior to its opening, twenty-one artists signed a letter protesting the display of their work in such a space. Marin Civic Center The Marin County Civic Center, the last commission by Frank Lloyd Wright, is located in San Rafael, California. Groundbreaking for the Civic Center Administration Building took place in 1960, after Wright's death and under the watch of Wright's protg, Aaron Green, and was completed in 1962. The Hall of Justice was begun in 1966 and completed in 1969. Veterans Memorial Auditorium opened in 1971, and the Exhibit Hall opened in 1976. The selection of Frank Lloyd Wright in 1957 to design the Civic Center was controversial. The Civic Center project was Wright's largest public project, and encompassed an entire campus of civic structures. The post ofce was the only federal government project of Wright's career. Wright's design borrowed ideas and forms from Wright's Broadacre City concept, rst published in 1932.[5]
Architecture in English II
Lecture 10: Frank Lloyd Wright Fall 2012
Saturday, December 22, 2012
Points about Frank Lloyd Wright
Three Careers Inuence of Japan Inuence of the Chicago School Wright inuences the European
Modernists
Inuences and Developments
Strong Roof Lines Relationship of Nature to the House Organic Architecture Regionalism
Carson Pirie Scott Store - Chicago, Illinois

Date: 1889 AD Architect: Louis
Sullivan
Wainwright Building - St. Louis, Missouri

Sullivan ( Adler and Sullivan)
Wainwright Building - St. Louis, Missouri

The Guaranty Building- Buffalo, New York

Date: 1894 - 96 AD Architect: Louis
W.W. Willits House - Highland Park, Illinois

Date: 1901 - 02 AD Architect: Frank Lloyd Wright



Fricke House - Oak Park, Illinois

Date: 1902 AD Architect: Frank Lloyd Wright
Larkin Building - Buffalo, New York

Larkin Building - Buffalo, New York

Robie House - Oak Park, Illinois

Date: 1906 -10 AD Architect: Frank Lloyd Wright







Taliesen East - Spring Green, Wisconsin

Date: 1911 ~ Architect: Frank Lloyd Wright


Imperial Hotel - Tokyo

Date: 1916 - 20 Architect: Frank Lloyd Wright




Yamamura Tei - Ashiya, Japan








Aline Barnsdall House (Hollyhock House) - Los Angeles, California

Date: 1921 Architect: Frank Lloyd Wright










Alice Millard House - Los Angeles, California





Charles Ennis House - Los Angeles, California




Falling Water - Bear Run, Pennsylvania
















Broadacre City
Broadacre City
Broadacre City
Broadacre City
Broadacre City
Broadacre City
Johnson Wax Headquarters - Racine, Wisconsin









Taliesin West - Scottsdale, Arizona



















Chauncey Griggs House - Tacoma, Washington



Ray Brandes House (Usonian Home) - Issaquah, Washington

W. B. Tracy House (Usonian Home) - Normandy Park, Washington





Marin County Civic Center - San Raphael, California









Guggenheim Museum - New York, New York








Lecture 10

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Lecture 10

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Imperial Hotel The second Imperial Hotel, built from 1915-1923, was the best-known of Frank Lloyd Wright's

1923 Great Tokyo Earthquake

Design and construction

Saturday, December 22, 2012

Points about Frank Lloyd Wright

Saturday, December 22, 2012

Inuences and Developments

Saturday, December 22, 2012

Carson Pirie Scott Store - Chicago, Illinois

Wainwright Building - St. Louis, Missouri

Sullivan ( Adler and Sullivan)

Wainwright Building - St. Louis, Missouri

Sullivan ( Adler and Sullivan)

The Guaranty Building- Buffalo, New York

Sullivan ( Adler and Sullivan)

W.W. Willits House - Highland Park, Illinois

W.W. Willits House - Highland Park, Illinois

W.W. Willits House - Highland Park, Illinois

W.W. Willits House - Highland Park, Illinois

Fricke House - Oak Park, Illinois

Larkin Building - Buffalo, New York

Larkin Building - Buffalo, New York

Robie House - Oak Park, Illinois

Robie House - Oak Park, Illinois

Robie House - Oak Park, Illinois

Robie House - Oak Park, Illinois

Robie House - Oak Park, Illinois

Robie House - Oak Park, Illinois

Robie House - Oak Park, Illinois

Robie House - Oak Park, Illinois

Taliesen East - Spring Green, Wisconsin

Taliesen East - Spring Green, Wisconsin

Taliesen East - Spring Green, Wisconsin

Imperial Hotel - Tokyo

Imperial Hotel - Tokyo

Imperial Hotel - Tokyo

Imperial Hotel - Tokyo

Imperial Hotel - Tokyo

Yamamura Tei - Ashiya, Japan

Yamamura Tei - Ashiya, Japan

Yamamura Tei - Ashiya, Japan

Yamamura Tei - Ashiya, Japan

Yamamura Tei - Ashiya, Japan

Yamamura Tei - Ashiya, Japan

Yamamura Tei - Ashiya, Japan

Yamamura Tei - Ashiya, Japan

Aline Barnsdall House (Hollyhock House) - Los Angeles, California

Aline Barnsdall House (Hollyhock House) - Los Angeles, California

Aline Barnsdall House (Hollyhock House) - Los Angeles, California

Aline Barnsdall House (Hollyhock House) - Los Angeles, California

Aline Barnsdall House (Hollyhock House) - Los Angeles, California

Aline Barnsdall House (Hollyhock House) - Los Angeles, California

Aline Barnsdall House (Hollyhock House) - Los Angeles, California

Aline Barnsdall House (Hollyhock House) - Los Angeles, California

Aline Barnsdall House (Hollyhock House) - Los Angeles, California

Aline Barnsdall House (Hollyhock House) - Los Angeles, California

Aline Barnsdall House (Hollyhock House) - Los Angeles, California

Alice Millard House - Los Angeles, California

Alice Millard House - Los Angeles, California

Alice Millard House - Los Angeles, California

Alice Millard House - Los Angeles, California

Alice Millard House - Los Angeles, California

Charles Ennis House - Los Angeles, California