Frank lloyd wright by ACC Art Books

Introduction

Nature is deeply entwined with the American

Unfortunately, its proximity to the river became

identity, and thus the natural world is the inspiration

the very thing that threatened the house in later

for many of the masterworks hanging on the walls

years. Beginning in the late 1970s, construction

of Crystal Bridges Museum of American Art.

projects and other changes to the watershed caused

Frank Lloyd Wright’s Bachman-Wilson House,

the Millstone to flood with increasing frequency,

now installed on the museum grounds, stands as a

inundating the house on at least six occasions. With

monument to Wright’s recognition of the importance

each flood, the water rose higher until, in 2011,

of the natural world to the American psyche, as well

the owners of the home at the time, Lawrence and

as to the genius of one of the nation’s most prolific

Sharon Tarantino, realized that the house could no

and innovative architects.

longer be preserved in its original location. They

Wright looked at Nature (which he routinely

began a multiyear international search for a buyer

capitalized) as the physical manifestation of the

who could move the structure in order to save it,

spiritual, and his ethos can be felt on the site of the

ultimately settling on Crystal Bridges.

Bachman-Wilson House at Crystal Bridges. In the late-

Wright’s 1954 perspective drawing of the Bachman-

afternoon light, the house, protected by the shadow of

Wilson House (page 6) depicts a structure completely

the Ozark forest to the east, is as quiet as a chapel. A few

connected to—immersed in—the many natural

yards from the back terrace, shaded by oak, hickory,

elements that define its place. In Wright’s ideal vision

and tulip trees, water from Crystal Spring tumbles

for the structure, plants cascade from the master

over Ozark limestone into Crystal Pond. Wright’s

balcony, and the fecund terrace garden dissolves

architecture responds to this place; it persuades us to

the separation between inside and outside. Today,

look up, slow down, and take in the environment.

transplanted to Crystal Bridges and safe at last from

Originally built in 1956 for Gloria and Abe Wilson

rising floodwaters, the house maintains its harmony

and their daughter, Chana, alongside the Millstone

with the surroundings. Although it is more than 1,200

River in New Jersey, the Bachman-Wilson House was

miles from its original location, the house, nestled on

designed to introduce its residents to the quiet pace

an Ozark hillside above Crystal Spring, seems as if it

of nature. The river was a place of peace and comfort

has always somehow belonged to this landscape—

for the Wilson family, and thus they wanted to build

separate from its new setting, and yet undeniably kin.

their house nearby. (Chana fondly remembers swimming and boating on the Millstone throughout her childhood.) 10

Rear view of the Bachman-Wilson House, as seen from the Crystal Spring Trail, Bentonville, Arkansas.

Introduction

Nature is deeply entwined with the American

Unfortunately, its proximity to the river became

identity, and thus the natural world is the inspiration

the very thing that threatened the house in later

for many of the masterworks hanging on the walls

years. Beginning in the late 1970s, construction

of Crystal Bridges Museum of American Art.

projects and other changes to the watershed caused

Frank Lloyd Wright’s Bachman-Wilson House,

the Millstone to flood with increasing frequency,

now installed on the museum grounds, stands as a

inundating the house on at least six occasions. With

monument to Wright’s recognition of the importance

each flood, the water rose higher until, in 2011,

of the natural world to the American psyche, as well

the owners of the home at the time, Lawrence and

as to the genius of one of the nation’s most prolific

Sharon Tarantino, realized that the house could no

and innovative architects.

longer be preserved in its original location. They

Wright looked at Nature (which he routinely

began a multiyear international search for a buyer

capitalized) as the physical manifestation of the

who could move the structure in order to save it,

spiritual, and his ethos can be felt on the site of the

ultimately settling on Crystal Bridges.

Bachman-Wilson House at Crystal Bridges. In the late-

Wright’s 1954 perspective drawing of the Bachman-

afternoon light, the house, protected by the shadow of

Wilson House (page 6) depicts a structure completely

the Ozark forest to the east, is as quiet as a chapel. A few

connected to—immersed in—the many natural

yards from the back terrace, shaded by oak, hickory,

elements that define its place. In Wright’s ideal vision

and tulip trees, water from Crystal Spring tumbles

for the structure, plants cascade from the master

over Ozark limestone into Crystal Pond. Wright’s

balcony, and the fecund terrace garden dissolves

architecture responds to this place; it persuades us to

the separation between inside and outside. Today,

look up, slow down, and take in the environment.

transplanted to Crystal Bridges and safe at last from

Originally built in 1956 for Gloria and Abe Wilson

rising floodwaters, the house maintains its harmony

and their daughter, Chana, alongside the Millstone

with the surroundings. Although it is more than 1,200

River in New Jersey, the Bachman-Wilson House was

miles from its original location, the house, nestled on

designed to introduce its residents to the quiet pace

an Ozark hillside above Crystal Spring, seems as if it

of nature. The river was a place of peace and comfort

has always somehow belonged to this landscape—

for the Wilson family, and thus they wanted to build

separate from its new setting, and yet undeniably kin.

their house nearby. (Chana fondly remembers swimming and boating on the Millstone throughout her childhood.) 10

Rear view of the Bachman-Wilson House, as seen from the Crystal Spring Trail, Bentonville, Arkansas.

Usonian Architecture

“America, more than any other nation, presents a new

friendly and beautiful.”2 In design, integrity meant

“We have no longer an outside and an

architectural proposition. Her ideal is democracy. . . .

cohesion of form and function, a simplicity in which

inside as two separate things. Now

This means that she places a life premium upon

“each separate portion of the building devoted to a

the outside may come inside and the

individuality. Individuality is a national ideal.”

special purpose asserts itself as an individual factor

inside may and does go outside. They

in the whole.”3 Wright firmly believed that such a

are of each other. Form and function

and Plans of Frank Lloyd Wright: The Early Period

structure could elevate its residents’ lives: “Living

thus become one in design and

(1893–1909), 1910

within a house wherein everything is genuine and

execution if the nature of materials

harmonious, a new sense of freedom gives one a new

and method and purpose are all in

sense of life,” he wrote.4

unison.”

— Frank Lloyd Wright, Introduction to Drawings

Frank Lloyd Wright first experimented with his Usonian concept in the 1930s in response to the

Wright designed his Usonian houses to be efficient

Great Depression and the intellectual atmosphere

and economical to build as well as functional and

created by the New Deal. Wright used the term

beautiful to live in. They were smaller than most

Usonian—based on the abbreviation Usonia (for

of Wright’s custom homes. The Bachman-Wilson

“United States of North America”)—to describe

House, for example, comprises just 1,700 square

homes that he designed to be affordable yet

feet. Wright achieved an affordable house by

architecturally significant. He described his Usonian

utilizing standardized and mass-produced materials

house as “a thing loving the ground with the new

such as concrete block and plywood, and he packed

sense of space, light, and freedom—to which our

a lot of function into a small space through the use of

U.S.A is entitled.”1

an open floor plan.

Usonian homes expressed many of Wright’s

Approximately 60 Usonian homes were built,

design principles: the use of strong horizontal

beginning with the Jacobs House in Madison,

and vertical forms that continue from interior to

Wisconsin, in 1936. Though these homes usually

exterior; a cantilevered roof with overhanging

consisted of one story, Wright made modifications

eaves; a living space with large expanses of glass

to suit the site and the needs of each client, and

providing views of the outdoors; and what Wright

as a result, a few Usonian houses, including the

referred to as “integrity” of design and materials.

Bachman-Wilson House, include an upper story.

In construction, integrity referred to honesty in the

Attics and basements were often eliminated to

look and purpose of the materials used. “Reveal

encourage economical, uncluttered living. Open

the nature of the wood, plaster, brick, or stone in

floor plans connect small kitchens—which Wright

your designs,” Wright wrote; “they are all by nature

called “workspaces”—to large living areas. Walls

— Frank Lloyd Wright, The Natural House, 1954

1 Frank Lloyd Wright, The Natural House (New York: Horizon Press, 1954), 91. 2 Frank Lloyd Wright, In the Cause of Architecture: Wright’s Historic Essays for Architectural Record, 1908–1952 (New York: McGraw Hill, 1975), 55. 3 Wright, In the Cause of Architecture, 161.

The Jacobs House, Madison, Wisconsin, designed by Frank Lloyd Wright in 1936.

of glass allow expansive views of the outdoors and

private views of nature. Wright embraced the idea

provide passive solar warming in the winter, and

of a suburb, but he also understood that the close

clerestory windows illuminate the spaces with

proximity of other houses meant that his suburban

natural light. Much of the furniture is built in to save

homes needed some separation from their neighbors.

space and to utilize leftover construction materials.

His architecture provides privacy and guides

Stretches of cantilevered roof shelter the family

inhabitants to look toward the natural world rather

cars: a new design feature that Wright invented and

than toward other homes in the neighborhood.

dubbed a “carport.”

The minimal façade affords a family a sense of

Usonian homes present a nearly windowless façade to the street, but the far side opens up on

protected insularity, of dwelling within their own private realm of safety and freedom.

4 Wright, The Natural House, 130.

Usonian Architecture

“America, more than any other nation, presents a new

friendly and beautiful.”2 In design, integrity meant

“We have no longer an outside and an

architectural proposition. Her ideal is democracy. . . .

cohesion of form and function, a simplicity in which

inside as two separate things. Now

This means that she places a life premium upon

“each separate portion of the building devoted to a

the outside may come inside and the

individuality. Individuality is a national ideal.”

special purpose asserts itself as an individual factor

inside may and does go outside. They

in the whole.”3 Wright firmly believed that such a

are of each other. Form and function

and Plans of Frank Lloyd Wright: The Early Period

structure could elevate its residents’ lives: “Living

thus become one in design and

(1893–1909), 1910

within a house wherein everything is genuine and

execution if the nature of materials

harmonious, a new sense of freedom gives one a new

and method and purpose are all in

sense of life,” he wrote.4

unison.”

— Frank Lloyd Wright, Introduction to Drawings

Frank Lloyd Wright first experimented with his Usonian concept in the 1930s in response to the

Wright designed his Usonian houses to be efficient

Great Depression and the intellectual atmosphere

and economical to build as well as functional and

created by the New Deal. Wright used the term

beautiful to live in. They were smaller than most

Usonian—based on the abbreviation Usonia (for

of Wright’s custom homes. The Bachman-Wilson

“United States of North America”)—to describe

House, for example, comprises just 1,700 square

homes that he designed to be affordable yet

feet. Wright achieved an affordable house by

architecturally significant. He described his Usonian

utilizing standardized and mass-produced materials

house as “a thing loving the ground with the new

such as concrete block and plywood, and he packed

sense of space, light, and freedom—to which our

a lot of function into a small space through the use of

U.S.A is entitled.”1

an open floor plan.

Usonian homes expressed many of Wright’s

Approximately 60 Usonian homes were built,

design principles: the use of strong horizontal

beginning with the Jacobs House in Madison,

and vertical forms that continue from interior to

Wisconsin, in 1936. Though these homes usually

exterior; a cantilevered roof with overhanging

consisted of one story, Wright made modifications

eaves; a living space with large expanses of glass

to suit the site and the needs of each client, and

providing views of the outdoors; and what Wright

as a result, a few Usonian houses, including the

referred to as “integrity” of design and materials.

Bachman-Wilson House, include an upper story.

In construction, integrity referred to honesty in the

Attics and basements were often eliminated to

look and purpose of the materials used. “Reveal

encourage economical, uncluttered living. Open

the nature of the wood, plaster, brick, or stone in

floor plans connect small kitchens—which Wright

your designs,” Wright wrote; “they are all by nature

called “workspaces”—to large living areas. Walls

— Frank Lloyd Wright, The Natural House, 1954

The Jacobs House, Madison, Wisconsin, designed by Frank Lloyd Wright in 1936.

of glass allow expansive views of the outdoors and

private views of nature. Wright embraced the idea

provide passive solar warming in the winter, and

of a suburb, but he also understood that the close

clerestory windows illuminate the spaces with

proximity of other houses meant that his suburban

natural light. Much of the furniture is built in to save

homes needed some separation from their neighbors.

space and to utilize leftover construction materials.

His architecture provides privacy and guides

Stretches of cantilevered roof shelter the family

inhabitants to look toward the natural world rather

cars: a new design feature that Wright invented and

than toward other homes in the neighborhood.

dubbed a “carport.”

The minimal façade affords a family a sense of

Usonian homes present a nearly windowless façade to the street, but the far side opens up on

protected insularity, of dwelling within their own private realm of safety and freedom.

4 Wright, The Natural House, 130.

Origins: The First Family

“Would you design a home for us?” —Abe and Gloria Wilson, 1953

suburban home to New York City for the weekend. There they stepped outside the conventions of their family and bought cheap standing-room tickets to

In 1953, Abe and Gloria Wilson sent Frank Lloyd

the opera or spent the afternoon at the Metropolitan

Wright a request to design their home. The architect,

Museum of Art. They had an unwavering bond

then 83 years old, replied to their request in a letter

enhanced through their shared love of beauty.

consisting of a single sentence: “My dear Wilsons:

In 1948, Marvin and Gloria took a road trip to visit

I suppose I am still here to try to do houses for such

Frank Lloyd Wright buildings throughout the country.

as you.”1

Marvin was then an architectural student at Carnegie

Wright was wholly committed to what he felt

Mellon, and this trip solidified his resolve to become

was his purpose in life: to help form an American

an apprentice at Taliesin. Gloria took photographs of

identity through architecture. He envisioned an

Wright’s buildings during their journey and developed

architecture embedded not only in the topography of

a profound appreciation of the architect’s style.

the land itself but also in the cultural and ideological

Like all Taliesin Fellows, Marvin’s responsibilities

makeup of American society. He saw architecture

extended far beyond the drafting table. In December

as a method of effecting change in a country that

1950, as a step in his education, Marvin was assigned

he believed required a guide to develop its identity.

to assist in the construction of the Shavin House

In Wright’s eyes, the Wilsons, like all Americans,

in Chattanooga, Tennessee, a Usonian house

deserved an architecture expressing reverence for

composed of natural stone with high, angular

the natural world.

rooflines and walls of glass granting views of the

The Wilsons’ request arose not only from their

Appalachian Mountains. Wright intended the

desire to own a piece of architectural history but also

overall Taliesin experience to supply a foundation

from a need to fill the void left by a lost loved one.

for architectural expression connected not only to

Gloria’s younger brother, Marvin Bachman, had died

his students’ place in time but also to their place in

in 1951. An aspiring student of architecture, Marvin

the land. Nature created what Wright called “soul,”

became a Fellow at Taliesin, Wright’s architecture

and soul is what Wright believed would distinguish

school and residence in Wisconsin, in 1950. Since

his buildings from all others produced at the time.

childhood, Gloria and Marvin had connected

He wanted the essence of the natural world to reveal

through their shared love of the arts and music. As

itself to his students. By assisting in the construction

teenagers, they often traveled from their New Jersey

of a Wright-designed home, Marvin would learn

top The Shavin House,

1 Frank Lloyd Wright to Mr. and Mrs. Abraham Wilson, August 29, 1953, Archives for the History of Art, Getty Center for the History of Art and the Humanities, Los Angeles.

Chattanooga, Tennessee, designed by Frank Lloyd Wright in 1950.

far right Abe and Gloria Wilson on their wedding day, 1949. near right Marvin Bachman and his mother, Mirian Bachman, circa 1947. 15

Origins: The First Family

“Would you design a home for us?” —Abe and Gloria Wilson, 1953

suburban home to New York City for the weekend. There they stepped outside the conventions of their family and bought cheap standing-room tickets to

In 1953, Abe and Gloria Wilson sent Frank Lloyd

the opera or spent the afternoon at the Metropolitan

Wright a request to design their home. The architect,

Museum of Art. They had an unwavering bond

then 83 years old, replied to their request in a letter

enhanced through their shared love of beauty.

consisting of a single sentence: “My dear Wilsons:

In 1948, Marvin and Gloria took a road trip to visit

I suppose I am still here to try to do houses for such

Frank Lloyd Wright buildings throughout the country.

as you.”1

Marvin was then an architectural student at Carnegie

Wright was wholly committed to what he felt

Mellon, and this trip solidified his resolve to become

was his purpose in life: to help form an American

an apprentice at Taliesin. Gloria took photographs of

identity through architecture. He envisioned an

Wright’s buildings during their journey and developed

architecture embedded not only in the topography of

a profound appreciation of the architect’s style.

the land itself but also in the cultural and ideological

Like all Taliesin Fellows, Marvin’s responsibilities

makeup of American society. He saw architecture

extended far beyond the drafting table. In December

as a method of effecting change in a country that

1950, as a step in his education, Marvin was assigned

he believed required a guide to develop its identity.

to assist in the construction of the Shavin House

In Wright’s eyes, the Wilsons, like all Americans,

in Chattanooga, Tennessee, a Usonian house

deserved an architecture expressing reverence for

composed of natural stone with high, angular

the natural world.

rooflines and walls of glass granting views of the

The Wilsons’ request arose not only from their

Appalachian Mountains. Wright intended the

desire to own a piece of architectural history but also

overall Taliesin experience to supply a foundation

from a need to fill the void left by a lost loved one.

for architectural expression connected not only to

Gloria’s younger brother, Marvin Bachman, had died

his students’ place in time but also to their place in

in 1951. An aspiring student of architecture, Marvin

the land. Nature created what Wright called “soul,”

became a Fellow at Taliesin, Wright’s architecture

and soul is what Wright believed would distinguish

school and residence in Wisconsin, in 1950. Since

his buildings from all others produced at the time.

childhood, Gloria and Marvin had connected

He wanted the essence of the natural world to reveal

through their shared love of the arts and music. As

itself to his students. By assisting in the construction

teenagers, they often traveled from their New Jersey

of a Wright-designed home, Marvin would learn

top The Shavin House,

1 Frank Lloyd Wright to Mr. and Mrs. Abraham Wilson, August 29, 1953, Archives for the History of Art, Getty Center for the History of Art and the Humanities, Los Angeles.

Chattanooga, Tennessee, designed by Frank Lloyd Wright in 1950.

far right Abe and Gloria Wilson on their wedding day, 1949. near right Marvin Bachman and his mother, Mirian Bachman, circa 1947. 15

right Floor plan of the Bachman-Wilson House and addition.

Home and Icon: The Biography of a House

below The Bachman-Wilson House, New Jersey, post 1970.

Wright’s designs, particularly his Usonian houses,

had been embraced by other American architects,

transcended the realm of traditional suburban

giving rise to the “ranch”-style home. Suburban

housing. The Bachman-Wilson House was designed

streets across the country were lined with these low-

not only to meet the family’s wants and needs but

profiled, rectangular homes featuring crisp corners,

also to enhance the residents’ living experience

large windows, and carports (now upsized to fully

through implementation of Wright’s ideas on the use

enclosed garages), with minimal external decoration.

of space, connection with the outdoors, and simple,

Meanwhile, the middle class was growing steadily,

unadorned forms. Like many architects, Wright

and houses became larger as American society began

supplied the space for magic to occur, but the power

to associate square footage with personal wealth

of his design couldn’t come to full fruition until the

and status.

inhabitants of the house began to notice its influence on their quality of life. “We receive many letters from people who

Perhaps partly because of this cultural shift, the Gaby family was less inclined to adapt their lifestyle to a work of architectural art that was frozen in

sing praises for what has happened to them as a

time. With four children, the family felt a need for

consequence; telling us how their house has affected

additional living space, and so they built a new

their lives,” Wright wrote. “They now have a certain

wing that added 900 square feet to the house’s total

dignity and pride in their environment; they see

footprint. The carport was subsumed into the new

it has a meaning of purpose which they share as a

addition, but otherwise the original house remained

family or feel as individuals.”1

intact. The designers made an effort to integrate the

Over time, a total of four families would inhabit

addition by using materials similar to those in the

the Bachman-Wilson House. The Wilsons, its first

original; however, the new construction significantly

residents, were intensely aware that the structure

altered Wright’s intended manner of entering and

they had built as their home was much more than

moving through the house. A new exterior wall

just a house. They remained faithful to Wright’s

was added to the left of the front entrance, and the

intentions as to how the space should be used: they

front door was resituated to face directly outward,

kept decoration and clutter to a minimum, made

something Wright’s designs never did. The new

no structural changes, and added no unnecessary

façade also created awkward parallel hallways inside:

adornment during their residence.

the original hallway from the entryway to the guest

In 1967, the house was sold to Mr. and Mrs. Daniel Gaby. By this time, some of Wright’s aesthetic ideals 20

room now ran alongside a second hallway, created by the new front wall, which led to the new wing.

1 Wright, The Natural House, 135.

right Floor plan of the Bachman-Wilson House and addition.

Home and Icon: The Biography of a House

below The Bachman-Wilson House, New Jersey, post 1970.

Wright’s designs, particularly his Usonian houses,

had been embraced by other American architects,

transcended the realm of traditional suburban

giving rise to the “ranch”-style home. Suburban

housing. The Bachman-Wilson House was designed

streets across the country were lined with these low-

not only to meet the family’s wants and needs but

profiled, rectangular homes featuring crisp corners,

also to enhance the residents’ living experience

large windows, and carports (now upsized to fully

through implementation of Wright’s ideas on the use

enclosed garages), with minimal external decoration.

of space, connection with the outdoors, and simple,

Meanwhile, the middle class was growing steadily,

unadorned forms. Like many architects, Wright

and houses became larger as American society began

supplied the space for magic to occur, but the power

to associate square footage with personal wealth

of his design couldn’t come to full fruition until the

and status.

inhabitants of the house began to notice its influence on their quality of life. “We receive many letters from people who

Perhaps partly because of this cultural shift, the Gaby family was less inclined to adapt their lifestyle to a work of architectural art that was frozen in

sing praises for what has happened to them as a

time. With four children, the family felt a need for

consequence; telling us how their house has affected

additional living space, and so they built a new

their lives,” Wright wrote. “They now have a certain

wing that added 900 square feet to the house’s total

dignity and pride in their environment; they see

footprint. The carport was subsumed into the new

it has a meaning of purpose which they share as a

addition, but otherwise the original house remained

family or feel as individuals.”1

intact. The designers made an effort to integrate the

Over time, a total of four families would inhabit

addition by using materials similar to those in the

the Bachman-Wilson House. The Wilsons, its first

original; however, the new construction significantly

residents, were intensely aware that the structure

altered Wright’s intended manner of entering and

they had built as their home was much more than

moving through the house. A new exterior wall

just a house. They remained faithful to Wright’s

was added to the left of the front entrance, and the

intentions as to how the space should be used: they

front door was resituated to face directly outward,

kept decoration and clutter to a minimum, made

something Wright’s designs never did. The new

no structural changes, and added no unnecessary

façade also created awkward parallel hallways inside:

adornment during their residence.

the original hallway from the entryway to the guest

In 1967, the house was sold to Mr. and Mrs. Daniel Gaby. By this time, some of Wright’s aesthetic ideals 20

room now ran alongside a second hallway, created by the new front wall, which led to the new wing.

1 Wright, The Natural House, 135.

At Crystal Bridges: Rebuilding an American Masterpiece

As the Crystal Bridges design team considered

Bachman-Wilson House had included a basement,

possible sites for the Bachman-Wilson House on

it was cut from the final plans for cost reasons, along

the museum grounds, they sought a place that

with the darkroom and workroom it was intended

would allow them to orient the house with its back

to house. At Crystal Bridges, however, a basement

windows facing roughly south, as they had in the

was needed to accommodate heat and air units. The

home’s original location, with a view of the natural

original structure had no air-conditioning, but it was

landscape, preferably with water. After evaluating

an indispensable addition in the warm and humid

the pros and cons of several options, they chose a

climate of Northwest Arkansas.

site that offers a view of nearby Crystal Spring to the south. It is also conveniently located within walking

Meanwhile, in New Jersey

distance of the museum’s south entrance, allowing

Under the supervision of the Tarantinos, a crew of

easy access for visitors as well as proximity to

builders and craftsmen carefully dismantled the

existing utility connections.

Bachman-Wilson House piece by piece. Photographs

However, this site was also on a steep and wooded

were taken of each step of the process, and each

hillside. Before construction could begin, the area

board, batten, and fixture was wrapped and labeled.

had to be cleared and leveled. Some 3,200 cubic

During the winter of 2013–14, the structure gradually

yards of earth and rock were removed, after which

was transformed from a home into a collection of

another 1,700 cubic yards of soil were brought in and

boards, hardware, and furniture, all of which were

compacted to provide a level surface for building.

stored in a local warehouse before being loaded into

To stabilize the cut in the hillside, landscapers built

two shipping containers to be moved to Bentonville

a 250-foot-long dry-stacked stone retaining wall,

by J. B. Hunt Transport.

similar to stone landscape elements used elsewhere

The containers arrived in mid-April 2014, and

on the museum grounds. Finally, to connect the site

the parts were unloaded into an airplane hangar in

to water and electrical systems, workers were obliged

Northwest Arkansas. There, while the future site for

to bore a 245-foot-long horizontal tunnel six feet

the house was being prepared at Crystal Bridges,

below the existing museum sidewalks, parking areas,

a team of carpenters and architects, under the

and landscaping.

leadership of contractor Bill Faber, inventoried and

Finally, before the pieces of the house were brought onto the site, a 72-by-24-foot basement was excavated. Although Wright’s original designs for the 24

Original blueprint used in the construction of the Bachman-Wilson House.

At Crystal Bridges: Rebuilding an American Masterpiece

As the Crystal Bridges design team considered

Bachman-Wilson House had included a basement,

possible sites for the Bachman-Wilson House on

it was cut from the final plans for cost reasons, along

the museum grounds, they sought a place that

with the darkroom and workroom it was intended

would allow them to orient the house with its back

to house. At Crystal Bridges, however, a basement

windows facing roughly south, as they had in the

was needed to accommodate heat and air units. The

home’s original location, with a view of the natural

original structure had no air-conditioning, but it was

landscape, preferably with water. After evaluating

an indispensable addition in the warm and humid

the pros and cons of several options, they chose a

climate of Northwest Arkansas.

site that offers a view of nearby Crystal Spring to the south. It is also conveniently located within walking

Meanwhile, in New Jersey

distance of the museum’s south entrance, allowing

Under the supervision of the Tarantinos, a crew of

easy access for visitors as well as proximity to

builders and craftsmen carefully dismantled the

existing utility connections.

Bachman-Wilson House piece by piece. Photographs

However, this site was also on a steep and wooded

were taken of each step of the process, and each

hillside. Before construction could begin, the area

board, batten, and fixture was wrapped and labeled.

had to be cleared and leveled. Some 3,200 cubic

During the winter of 2013–14, the structure gradually

yards of earth and rock were removed, after which

was transformed from a home into a collection of

another 1,700 cubic yards of soil were brought in and

boards, hardware, and furniture, all of which were

compacted to provide a level surface for building.

stored in a local warehouse before being loaded into

To stabilize the cut in the hillside, landscapers built

two shipping containers to be moved to Bentonville

a 250-foot-long dry-stacked stone retaining wall,

by J. B. Hunt Transport.

similar to stone landscape elements used elsewhere

The containers arrived in mid-April 2014, and

on the museum grounds. Finally, to connect the site

the parts were unloaded into an airplane hangar in

to water and electrical systems, workers were obliged

Northwest Arkansas. There, while the future site for

to bore a 245-foot-long horizontal tunnel six feet

the house was being prepared at Crystal Bridges,

below the existing museum sidewalks, parking areas,

a team of carpenters and architects, under the

and landscaping.

leadership of contractor Bill Faber, inventoried and

Finally, before the pieces of the house were brought onto the site, a 72-by-24-foot basement was excavated. Although Wright’s original designs for the 24

Original blueprint used in the construction of the Bachman-Wilson House.

→ Engineering In addition to his innovative design, Wright also incorporated new engineering techniques into his architecture. His technical expertise can be seen in the suspended staircase in the entry hall (page 36), which appears to float in the space. Wright was also well known for his use of the cantilever—a long, horizontal stretch of roof anchored at only one end—as can be seen in the roof of the Bachman-Wilson House’s carport.

← Central Core Defining the boundary of the living

“The open plan appeared naturally; the relationship

space, the home’s core, containing the fireplace,

of inhabitants to the outside became more

extends vertically through the entire house. Wright

intimate; landscape and building became one, more

wrapped the floor plan around this central structure,

harmonious . . . so the life of the individual was

which also serves as a principal support for the

broadened and enriched by the new concept

mezzanine and cantilevered roof. At this focal point,

of architecture, by light and freedom of space.”

vertical and horizontal planes intersect, creating

— Frank Lloyd Wright, An American Architecture, 1955

depth and movement among the structural elements of the house. Wright believed that the unification of contrasting elements, such as wood and concrete, creates a habitat that best reflects the material diversity of the natural world. 40

← Central Core Defining the boundary of the living

“The open plan appeared naturally; the relationship

space, the home’s core, containing the fireplace,

of inhabitants to the outside became more

extends vertically through the entire house. Wright

intimate; landscape and building became one, more

wrapped the floor plan around this central structure,

harmonious . . . so the life of the individual was

which also serves as a principal support for the

broadened and enriched by the new concept

mezzanine and cantilevered roof. At this focal point,

of architecture, by light and freedom of space.”

vertical and horizontal planes intersect, creating

— Frank Lloyd Wright, An American Architecture, 1955

“The magic of the living room is in the obscuring of

→ Mitered Windows The use of mitered glass

corners. It’s a great example of ‘breaking the box,’ as

corners is a common element in Wright’s designs

Wright called it. This draws the eye beyond the room

and is fundamental to the architect’s principles.

and architecturally controls the comprehension of its

By moving the house’s primary structural support

size. Wright realized that the brain instinctively rushes

to the central core, he greatly decreased the need

to define space by the perception of corners. The

for load-bearing support around the perimeter.

room becomes a space, and together with the window

Consequently, there are no vertical elements in the

wall, one is intently focused toward Nature.”

corners, and the mitered windows make the corners

—Lawrence Tarantino, 2016

themselves virtually invisible, adding to the sense of connection between the interior and exterior of the building.

“The magic of the living room is in the obscuring of

→ Mitered Windows The use of mitered glass

corners. It’s a great example of ‘breaking the box,’ as

corners is a common element in Wright’s designs

Wright called it. This draws the eye beyond the room

and is fundamental to the architect’s principles.

and architecturally controls the comprehension of its

By moving the house’s primary structural support

size. Wright realized that the brain instinctively rushes

to the central core, he greatly decreased the need

to define space by the perception of corners. The

for load-bearing support around the perimeter.

room becomes a space, and together with the window

Consequently, there are no vertical elements in the

wall, one is intently focused toward Nature.”

corners, and the mitered windows make the corners

—Lawrence Tarantino, 2016

themselves virtually invisible, adding to the sense of connection between the interior and exterior of the building.

→ Office/Guest Room The only bedroom on the ground floor, this room was used by the Wilsons primarily as an office. All the Wrightian elements of the home are represented here: horizontality, juxtaposition of organic and manmade materials, natural light, and built-in furniture for space efficiency.

← Ground-Floor Powder Room The groundfloor powder room is accessed via the narrow entry hallway. This purely functional space is very compact: 32 square feet (including a closet), with a low ceiling and a door that is only 24 inches wide.

→ Upstairs Bedroom Originally designed to be a child’s bedroom, this space is filled with light and offers expansive views of the front lawn and forest. Unique in that it is the only intimate space with clerestory windows, this room exhibits a playfulness not seen elsewhere in the house. Here, too, a balcony (near right) grants direct access to the outside world. 54

← Bathroom The upstairs bath features warm mahogany paneling, even around the shower.

↱ Mezzanine From the stairs rising to the second floor, views of the landscape outside are abstracted by the patterned windows. Wright wanted the second floor to feel intimate yet open to interaction with the outside world. The mezzanine balcony overlooks the living space and links the master bedroom with an additional bedroom (originally meant for the Wilsons’ daughter, Chana) and a shared bathroom. 56

← Bathroom The upstairs bath features warm mahogany paneling, even around the shower.

“In the summer, we pretty much had all the doors open if we could . . . so it was like there was no separation between indoors and outdoors. It was hot; there was no air-conditioning. First thing in the morning, I got to run down to the river in my pajamas and jump in. There was no real holding back from being outdoors.” —Chana Wilson, 2015

←↑ Terrace Designed as an extension of the living space, the terrace steps down gently into the backyard. In contrast to the front of the house, its rear face is composed of full-length glass windows and doors, providing both visual and physical connections between the interior and exterior.

Photography Credits

Unless otherwise noted below, all photos are by Crystal Bridges Museum of American Art. 2â&#x20AC;&#x201C;3, 5, 11, 23, 31 (right), 32â&#x20AC;&#x201C;63: Nancy Nolan; 6, 29,

unknown, courtesy Chana Wilson; 16 (above and

31 (center): Crystal Bridges Museum of American

below), 18: Gloria Wilson, courtesy Chana Wilson;

Art Library and Archives; 9, 64: Adair Creative;

19: Robert A. Crovelli; 21 (above): floorplan by Hight-

13: James Steakley/Wikimedia Commons; 15

Jackson Associates; 21 (below): courtesy New Jersey

(above left): William M. Gatlin/Flickr, used with

Historical Register; 25: Stephen Ironside.

permission; 15 (below left and right): photographers

Aerial view of the Bachman-Wilson House at Crystal Bridges Museum of American Art, Bentonville, Arkansas, 2016.