Modern Architecture: Momo to Pomo Final essay

FACULTY OF ARCHITECTURE, BUILDING & PLANNING ABPL 30050 / ARCH 20003 MODERN ARCHITECTURE: MOMO TO POMO ESSAY COVER SHEET Please sign and attached this cover sheet to the hard copy submission of your essay STUDENT NAME

Manasi Chopdekar

STUDENT NUMBER

935401

ESSAY NUMBER

16

ESSAY TOPIC (BRIEF DESCRIPTION)

Is there a discernible shift in Frank Lloyd Wright’s notion of organic architecture over his career? If so, why?

Compare and contrast his architecture of 1893-1910 to that of the 1950s.

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Date: 02/05/201

Essay number: 9 Essay topic: Is there a discernible shift in Frank Lloyd Wright’s notion of organic architecture over his career? If so, why? Compare and contrast his architecture of 1893-1910 to that of the 1950s.

Name: Manasi Chopdekar Student number: 935401 Course Code: ARCH20003 Tutor name: Dr. Bronwyn Stocks Tutorial number: 9 A remarkable figure in the scheme of architectural developments, Frank Lloyd Wright was an individualist who had by the end of his career produced extraordinary ideas and architectural designs, particularly related to modernism1. In the early stages of his career, he was highly influenced by his mentor Louis Sullivan’s notion of organic architecture2. He applied them in his early practice by designing residential dwellings that would reflect the “quiet simplicity of family life”3 and be in tune with their surrounding natural landscape “as if it were made by Nature itself”4. This can be seen in his design for the Ward Willits house wherein the building is in complete harmony with and appears to grow out of its natural landscape (see Fig. 1).

Fig 1. Ward Willits House, Highland Park, 1900-02.

Source: Dr. Stocks, Bronwyn, “Frank Lloyd Wright”, Lecture Notes, University of Melbourne (2019)

As he went on to design other buildings, his focus shifted from a sense of harmony with nature to developing an understanding and relationship with the purpose of the building itself.

His design for Unity Temple, which is a carefully composed system of structure, form and function, accurately portrays this thinking.

Fig 2. Solomon R. Guggenheim Museum, New York, 1956-59 Source: Dr. Stocks, Bronwyn, “Frank Lloyd Wright”, Lecture Notes, University of Melbourne (2019)

In the later stages of his career there is a discernable shift in his ideas of organic thinking in terms of the kind of geometry he used and his reasoning for it, which can be seen in his design for Price Tower, and his use of abstracted historical references, which can be seen in the case of Solomon R. Guggenheim museum (see Fig. 2). These buildings will be discussed further in this report with an aim to understand and compare the shift in Frank Lloyd Wright’s organic thinking of 1893-1910 to that of the 1950s.

Dr. Bronwyn Stocks, “Frank Lloyd Wright,” (Lecture Notes, University of Melbourne, March 11, 2019) Merfyn Davies, “The Embodiment of the Concept of Organic Expression: Frank Lloyd Wright,” Architectural History, 25 (1982): 121, doi:10.2307/1568417.

3 Jerome Klinkowitz, Frank Lloyd Wright and his manner of thought (Wisconsin: University of Wisconsin Press, 2014), 36 4 Frank Lloyd Wright, In the cause of architecture (London: Phaidon, 2005), 339 1 2

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Name: Manasi Chopdekar Student number: 935401 Course Code: ARCH20003 Tutor name: Dr. Bronwyn Stocks Tutorial number: 9 The term ‘prairie style’ described most of Wright’s residential structures from the late 1890s to the early 1900s5. Of these, the Ward Willits house, located in Highland Park, Illinois, was built in 1902 and is well known for exhibiting Wright’s organic ideas of an endless shift on the horizontal plane and being in harmony with its natural surroundings.

Essential rooms placed around central hearth – spread out in plan Central hearth/fireplace at the core of the building

Fig 3. Plan for Ward Willits House, Highland Park, Illinois, 1902.

Source: archINFORM, Ward Winfield Willits House, 2018. Accessed May 1, 2019. https://www.archinform.net/projekte/1045.html

The plan for the building shows a strong sense of horizontality as the building is spread out on the landscape, to become part of it. Wright uses the pinwheel plan to place the heart of the dwelling – the fireplace, in the center, with other essential rooms placed around it (see Fig. 3).

Projected terrace plane forming semi private space underneath Floating roof plane accentuated by use of glass Projected roof forming car port

Fig 4. Dynamic view of Ward Willits House, Highland Park, Illinois, 1902.

Source: archINFORM, Ward Winfield Willits House, 2018. Accessed May 1, 2019. https://www.archinform.net/projekte/1045.html

The floating roof plane, emphasized by the use of glass on the first floor, provides a strong sense of shelter. In its dynamic view the house appears “quiet and level”6 and there is a strong correlation between the interior and exterior spaces in terms of projecting terraces and roof planes to provide interior semi private spaces and outdoor porte-cochere to accommodate vehicles (see Fig. 4). Wright’s aim was to design a prairie house that would provide a pleasant experience both outside and within the dwelling. In providing a “natural feel” and sense of “open and flowing space”7, Wright was deconstructing the ‘traditional box’ to create a space

5

Klinkowitz, Frank Lloyd Wright and his manner of thought, 37 Klinkowitz, Frank Lloyd Wright and his manner of thought, 38 7 Klinkowitz, Frank Lloyd Wright and his manner of thought, 39 6

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Name: Manasi Chopdekar Student number: 935401 Course Code: ARCH20003 Tutor name: Dr. Bronwyn Stocks Tutorial number: 9 that depended on “experience and observation”8. This generates a strong sense of movement and portrays Wright’s organic idea of a house relating to its individual. This is a house that shows sensitivity to its surroundings, natural growth of design elements and an easily perceivable composition9 of its form, structure and function. This is Wright’s initial organic thinking in built form.

In his mind however, Unity Temple, located in Oak Park, Chicago, was the first building Wright designed as a conscious expression of his organic thinking10. It was designed and built between 1905-08, which was around the same time Wright was developing his ideas for the Larkin building. The use of only reinforced concrete in Unity Temple for design and construction, was not only a logical solution to the problem of limited funds and a new way of using the material in early modern architecture, but it was also an expression of Wright’s organic idea of a building representing its function – in this case the use of a single material symbolized the idea of religious unity11.

Flat roof – absence of traditional church spire

Seating spots for public

Podium on raised platform in front for the speaker

Fig 5. Interior of Unity Temple, Oak Park, 1905-08.

Source: Frazier, Jim, AD Classics: Unity Temple/Frank Lloyd Wright, 2010. Accessed May 1, 2019. https://www.archdaily.com/64721/ad-classics-unity-temple-frank-lloyd-wright

Conventional church elements such as the spire were omitted in favor of a more open auditorium space which enabled the speaker to be well-positioned at the front of a raised platform with the audience seated around in a friendly gathering (see Fig. 5). This also signified the unitarian religious belief behind the temple, that the divine dwell within human beings and not as a supernatural divinity which was represented by the spire extending to the Heavens12.

H. Allen Brooks, “Frank Lloyd Wright and the Destruction of the Box,” Journal of the Society of Architectural Historians, 38, no. 1 (Mar. 1979): 8, doi:10.2307/989345 9 Klinkowitz, Frank Lloyd Wright and his manner of thought, 40 10 Davies, “The Embodiment of the Concept of Organic Expression: Frank Lloyd Wright,” 123 11 Joseph Siry, “Frank Lloyd Wright's Unity Temple and Architecture for Liberal Religion in Chicago, 18851909,” The Art Bulletin, 73, no. 2 (1991): 278, doi:10.2307/3045793.

12 Siry, “Frank Lloyd Wright's Unity Temple and Architecture for Liberal Religion in Chicago, 1885-1909,” 274275 8

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Name: Manasi Chopdekar Student number: 935401 Course Code: ARCH20003 Tutor name: Dr. Bronwyn Stocks Tutorial number: 9 The rectangular plan of the temple takes its inspiration from Wright’s visit to Japan a month prior, where he had seen the gongen-style form of the Nikko Taiyu-in-byo13 (see Fig. 6). This could also bear a religious significance, that in using a historical reference of an older temple form, Wright could have also been symbolizing the antiquity of the idea of religious unity14.

Fig 6. (a) Gongen-style plan form of Nikko Taiyu-in-byo, (b) Plan of Unity Temple, Oak Park, 1905-08 Source: Nute, Kevin. “Frank Lloyd Wright and Japanese Architecture: A Study in Inspiration,” Journal of Design History, 7, no. 3 (1994): 174

Wright’s aim was to design a symbol of liberal religion. This is a building that expresses the idea of unity in terms of its material, carefully composed facades and an ordered combination of form and function (see Fig. 7).

Fig 7. Unity Temple from northeast Source: Siry, Joseph. “Frank Lloyd Wright's Unity Temple and Architecture for Liberal Religion in Chicago, 1885-1909,” The Art Bulletin, 73, no. 2 (1991): 278, doi:10.2307/3045793.

At this stage, a shift in Wright’s organic thinking can already be observed – in place of an accordance with nature, there is more focus on establishing a sense of harmony between the building’s architectural expression and its purpose. This thinking carries forward to the latter half of Wright’s career when he is designing buildings for commercial use.

Kevin Nute, “Frank Lloyd Wright and Japanese Architecture: A Study in Inspiration,” Journal of Design History, 7, no. 3 (1994): 174 14 Siry, “Frank Lloyd Wright's Unity Temple and Architecture for Liberal Religion in Chicago, 1885-1909,” 280 13

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Name: Manasi Chopdekar Student number: 935401 Course Code: ARCH20003 Tutor name: Dr. Bronwyn Stocks Tutorial number: 9 A multi-use building combining commercial offices, retail stores and apartments15, Price Tower in Bartlesville, Oklahoma is a “skyscraper in American Landscape” which was built in 1955 and is a “testament to his [Wright’s] system of design”16, harmonizing design, structure and purpose into a ‘complete work of art’.

Fig 8. (a) analysis of Wright’s Price Tower floor plan rotational geometry, (b) Evening view of Price Tower, Oklahoma, 2004 Source: Alofsin, Anthony. Prairie Skyscraper: Frank Lloyd Wright's Price Tower (New York: Rizzoli; Enfield: Hi Marketing [distributor], 2005), pg. 31, 23

When compared to his organic thinking during the period from 1893-1910, some common elements can be observed, like a centralized plan, similar in concept to the one in Ward Willits house. Price Tower incorporates an organic system of rotational geometry that arrays squares around a central core that supports cantilevered upper floors in a tree principle17 (see Fig. 8).

Shifting planes create movement in shadow – thus facilitating movement in the building façade

Fig 9. Exterior façade of Price Tower, 2004 – shows planes that facilitate movement through light and shadow Source: Alofsin, Anthony. Prairie Skyscraper: Frank Lloyd Wright's Price Tower (New York: Rizzoli; Enfield: Hi Marketing [distributor], 2005), 38

The exterior of the building when observed in dynamic view, has facades that show sense of movement wherein, when viewed from different angles makes it appear at times open, and at times closed18 (see Fig. 9). This sense of movement is similar in concept to that observed in 15

Anthony Alofsin, Prairie Skyscraper: Frank Lloyd Wright's Price Tower (New York: Rizzoli; Enfield: Hi Marketing [distributor], 2005), 8 16 Alofsin, Prairie Skyscraper: Frank Lloyd Wright's Price Tower, 22 17 Alofsin, Prairie Skyscraper: Frank Lloyd Wright's Price Tower, 30 18 Alofsin, Prairie Skyscraper: Frank Lloyd Wright's Price Tower, 36

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Name: Manasi Chopdekar Student number: 935401 Course Code: ARCH20003 Tutor name: Dr. Bronwyn Stocks Tutorial number: 9 Wright’s 1893 design of the Winslow house wherein the building shows movement by virtue of shift from a rigid, formal front gradually leading to an informal familial space at the back of the house. Wright’s organic notion of form follows function is evident in the skyscraper as it “engages the skyline”19 and offers a variety of services that fulfill the needs for business and living. It is a well-integrated building that is harmonious with its landscape, interior and environment as it changes its elevation with respect to the view and sunlight20. Price Tower is a skyscraper that responds to the modernizing needs of 1950s America and defines that shift in Wright’s notion of organic architecture towards exploring new types of geometries and having all elements of the building working towards a clear purpose21.

A key building in Wright’s architectural career that is seen as a summation of his organic thinking is the Solomon R. Guggenheim museum, located in New York. It was built between 1956 to 1959 and held exhibitions that exclusively displayed avant-garde art22. Its structure incorporates the idea of a processional space created from a spiral ramp that begins on the second floor and makes its way to the top without any interruptions23 (see Fig. 10 (a)). This ramp creates flexibility within the space because it could be subdivided into separate galleries.

Fig 10. (a) Guggenheim museum section drawing –dome on top and continuous ramp spiral leading from 2 nd floor to top, (b) Guggenheim museum circular plan drawing Source: Levine, Neil. The Architecture of Frank Lloyd Wright (Princeton, N.J.: Princeton University Press, 1996), 325

Its large glass dome and circular plan (see Fig. 10 (b)) suggests a historical reference to “monumental and sacred” spaces which is important because Wright’s client had specific requirements of the building and how it was to be a temple or a sanctuary of art and should thus allow the paintings to be perceived by the viewers in the ‘spirit’ they were made24. This sense of monumentality and artistic experience is incorporated by the unified environment of the displayed paintings and the architecture; Wright strived to harmonize the architecture of the museum with the kind of paintings and art it would display because in his belief, the art’s spiritual importance and the painter’s intent behind his work could only be perceived if the display was in harmony with its environment25. The use of natural lighting and the curve of the walls behind the paintings were meant to accentuate the displays as works of art and emphasize on their uniqueness and individuality. This connection between form and function 19

Alofsin, Prairie Skyscraper: Frank Lloyd Wright's Price Tower, 22 Alofsin, Prairie Skyscraper: Frank Lloyd Wright's Price Tower, 41 21 Klinkowitz, Frank Lloyd Wright and his manner of thought, 4 22 Neil Levine, The Architecture of Frank Lloyd Wright (Princeton, N.J.: Princeton University Press, 1996), 300 23 Levine, The Architecture of Frank Lloyd Wright, 301 24 Levine, The Architecture of Frank Lloyd Wright, 318 25 Levine, The Architecture of Frank Lloyd Wright, 327 20

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Name: Manasi Chopdekar Student number: 935401 Course Code: ARCH20003 Tutor name: Dr. Bronwyn Stocks Tutorial number: 9 and integrated harmony between his building elements is something that has been carried forward from Wright’s early works.

Fig 11. Guggenheim museum perspective view drawing Source: Levine, Neil. The Architecture of Frank Lloyd Wright (Princeton, N.J.: Princeton University Press, 1996), 324

Fig 12. Iraq, Ur – The ziggurat Source: Golvin, Jean-Claude. Iraq - Ur – The ziggurat, painting. Accessed May 3, 2019. https://jeanclaudegolvin.com/en/project/middle-east/irak-ur-la-ziggourat-jc-golvin-2/

However, in this building, there is also particular focus on appropriating historical references (in this case, inverting the form of a ziggurat26 – comparing fig. 11 and 12 for stepped form, use of ramp) which could be because of his client’s requirements of creating a sacred space for art. The use of circles as the base geometry was also done with a purpose – for Wright, and his client, circular forms symbolized unity and completeness27 and this was an ideal shape to design with, considering the purpose of the building. Wright’s organic principles of harmony and form follows function are clearly portrayed here. This is a building that is in complete harmony with its purpose and structure. It abstracts historical references to create a monumental sacred space that celebrated avant-garde art and unified it with its viewer and surroundings.

Wright’s early works can be described as picturesque in the most natural sense. In the period between 1893-1910, Wright focused heavily on the idea of a central core, or the pinwheel plan, harmonizing his buildings with their surrounding landscapes and the idea of form following function. What resulted were beautiful buildings with open, free flowing spaces that provided a pleasant experience for his clients. A clear sense of unity could be observed between the structure and form of the building, the materials he used for it and the environment that surrounded the building. These ideas of organic architecture can be 26 27

Levine, The Architecture of Frank Lloyd Wright, 324 Levine, The Architecture of Frank Lloyd Wright, 301

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Name: Manasi Chopdekar Student number: 935401 Course Code: ARCH20003 Tutor name: Dr. Bronwyn Stocks Tutorial number: 9 discerned even in his later works. Observing his works from the 1950s, it can be seen that the rectangular pinwheel plans have now changed into circular forms, which show Wright’s exploration of form using different geometries. While the buildings still retain a sense of harmony with their surroundings, even in urban streetscapes, more focus is given to having all elements working toward a clear purpose. Interestingly, he also started to abstract historical references, which can be seen in some of his later works like the Imperial Hotel in Tokyo, Hollyhock house in California and the Guggenheim museum. With the modernizing times and new means of construction techniques, a shift in his use of materials can also be observed, from using more natural materials to a growing interest in the use of concrete. To conclude, while some aspects of his notion of organic architecture shifted, or rather, evolved over the course of his career due to his own exploration and experimentation with different forms and geometries, changes in technologies and construction techniques and also due to particular requirements of his clients, his defining principles of organic architecture, namely a sense of unity and integrated harmony between all elements of his design, and form following function remained constant throughout his career.

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Name: Manasi Chopdekar Student number: 935401 Course Code: ARCH20003 Tutor name: Dr. Bronwyn Stocks Tutorial number: 9 Bibliography Alofsin, Anthony. Prairie Skyscraper: Frank Lloyd Wright's Price Tower. New York: Rizzoli; Enfield: Hi Marketing [distributor], 2005 Brooks, H. Allen. “Frank Lloyd Wright and the Destruction of the Box,” Journal of the Society of Architectural Historians 38, no. 1 (Mar. 1979): 7-14, doi:10.2307/989345 Davies, Merfyn. “The Embodiment of the Concept of Organic Expression: Frank Lloyd Wright,” Architectural History 25 (1982): 120-130+166-168, doi:10.2307/1568417.

Klinkowitz, Jerome. Frank Lloyd Wright and his manner of thought. Wisconsin: University of Wisconsin Press, 2014.

Levine, Neil. The Architecture of Frank Lloyd Wright. Princeton, N.J.: Princeton University Press, 1996.

Nute, Kevin. “Frank Lloyd Wright and Japanese Architecture: A Study in Inspiration,” Journal of Design History 7, no. 3 (1994): 169-185.

Siry, Joseph. “Frank Lloyd Wright's Unity Temple and Architecture for Liberal Religion in Chicago, 1885-1909,” The Art Bulletin 73, no. 2 (1991): 257-282, doi:10.2307/3045793.

Stocks, Dr. Bronwyn. “Frank Lloyd Wright,” Lecture Notes, University of Melbourne, March 11, 2019.

Wright, Frank Lloyd, In the cause of architecture. London: Phaidon, 2005

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