Frank Lloyd Wright The Rooms Interiors and Decorative Arts Margo Stipe Photography by Alan Weintraub Foreword by David A. Hanks
Rizzoli International Publications, Inc. 300 Park Avenue South New York, NY 10010 www.rizzoliusa.com ISBN: 978-0-8478-4342-8 US: $75.00 Can: $75.00, UK: ÂŁ50.00 Hardcover, 11 x 11 inches 304 pages 250 color illustrations Rights: World
For serial rights, images to accompany your coverage, or any other publicity information about this title please contact: Pam Sommers, Publicity Director, T. (212) 387-3465, psommers@rizzoliusa.com
Frank Lloyd Wright The Rooms Interiors and Decorative Arts Margo Stipe Photography by Alan Weintraub Foreword by David A. Hanks
Rizzoli International Publications, Inc. 300 Park Avenue South New York, NY 10010 www.rizzoliusa.com ISBN: 978-0-8478-4342-8 US: $75.00 Can: $75.00, UK: ÂŁ50.00 Hardcover, 11 x 11 inches 304 pages 250 color illustrations Rights: World
For serial rights, images to accompany your coverage, or any other publicity information about this title please contact: Pam Sommers, Publicity Director, T. (212) 387-3465, psommers@rizzoliusa.com
Contents 7
Foreword by David A. Hanks
9
Introduction
27
The Works 29
Oak Park Home and Studio
29 Prairie Houses 000 Decorative Interlude 000 The Tumultuous Years of Eclipse and Return 1922-1940 000 The Celebrated Final Years, 1945–1959 000 The Architect’s Homes: Taliesin and Taliesin West 000 Conclusion
4
300
Notes
301
Acknowledgments
301
Photograph and Illustration Credits
302
Index
FRANK LLOYD WRIGHT: THE ROOMS
© 2014 Rizzoli International Publications. All Rights Reserved.
FRANK LLOYD WRIGHT: THE ROOMS
5
Contents 7
Foreword by David A. Hanks
9
Introduction
27
The Works 29
Oak Park Home and Studio
29 Prairie Houses 000 Decorative Interlude 000 The Tumultuous Years of Eclipse and Return 1922-1940 000 The Celebrated Final Years, 1945–1959 000 The Architect’s Homes: Taliesin and Taliesin West 000 Conclusion
4
300
Notes
301
Acknowledgments
301
Photograph and Illustration Credits
302
Index
FRANK LLOYD WRIGHT: THE ROOMS
© 2014 Rizzoli International Publications. All Rights Reserved.
FRANK LLOYD WRIGHT: THE ROOMS
5
UNEDITED TEXT
IMAGE Placeholder
Introduction by Margo Stipe
Art and architecture matter. They tell us where we have come from, where we are, and where we are going. Our most eloquent artists are able to penetrate into the depths of a reality beyond the material one to which most of the rest of us are bound, exploring below the surface a deeper level of consciousness governed by the spiritual dimension—an abstract immateriality of creative energy from which the substance of their reality is drawn. It is the ability of the artist to recreate visions of the metaphysical realm in concrete terms that gives art its power to wrestle meaning and beauty from otherwise mundane reality. In time present, their power is revealed in the creation of new forms through the recombination and juxtaposition of known elements that awaken us in profound ways to the world around us, broadening our horizons, stimulating our imaginations, and enriching our lives. Although architecture should be the most ubiquitous of the arts, surrounded and enveloped as we are by buildings of all sorts, it has frequently been the most overlooked and underappreciated. From an aesthetic perspective, we might say there have been far too many buildings and much too little architecture. For the majority of Americans, architecture, when it has been thought about at all, brought to mind buildings somewhere else—the cathedrals and palaces of Europe or the mansions and skyscrapers of New York. On our main streets and in our suburban enclaves, the buildings we live, work, shop, study, worship, and play in have often been, and still often are, too rarely imaginative and often so prosaic as to go unnoticed. That they go unremarked is almost as distressing as the fact of their banality. It means we do not experience our environment. From this creative barrenness, however, there appear from time to time, architects who think we all deserve better, that place should matter. One such architect was Frank Lloyd Wright (1867–1959). A true visionary and idealistic iconoclast, he is universally recognized as one of the most influential architects of the twentieth century. Wright spoke frequently about “an architecture for democracy.” This had much to do with his belief that individuality was important and that because individuals were important they deserved spaces where their full potential would be encouraged to develop. It followed then that place making was an important ritual and that the quality of that place mattered a great deal. Arguing America needed and deserved an indigenous architecture of its own—spaces that reflected the democratic character of American life—he turned his attention to the creation of environments that addressed the spiritual as well as the physical and social needs of the American citizen—environments to inspire, characterized by simplicity, beauty, and repose. With missionary zeal, Wright promoted this radical idea in lectures, exhibitions, professional journals, and fashionable home publications. In Wright’s view, Americans were living in the past—and someone else’s past, at that. While there might be increased interest in stylistic considerations, at least among the upper classes with sufficient incomes to afford it, what Wright considered substance and spiritual character were too often overlooked. He railed against the pervasive adherence to European historic styles and formulas that no longer
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UNEDITED TEXT
IMAGE Placeholder
Introduction by Margo Stipe
Art and architecture matter. They tell us where we have come from, where we are, and where we are going. Our most eloquent artists are able to penetrate into the depths of a reality beyond the material one to which most of the rest of us are bound, exploring below the surface a deeper level of consciousness governed by the spiritual dimension—an abstract immateriality of creative energy from which the substance of their reality is drawn. It is the ability of the artist to recreate visions of the metaphysical realm in concrete terms that gives art its power to wrestle meaning and beauty from otherwise mundane reality. In time present, their power is revealed in the creation of new forms through the recombination and juxtaposition of known elements that awaken us in profound ways to the world around us, broadening our horizons, stimulating our imaginations, and enriching our lives. Although architecture should be the most ubiquitous of the arts, surrounded and enveloped as we are by buildings of all sorts, it has frequently been the most overlooked and underappreciated. From an aesthetic perspective, we might say there have been far too many buildings and much too little architecture. For the majority of Americans, architecture, when it has been thought about at all, brought to mind buildings somewhere else—the cathedrals and palaces of Europe or the mansions and skyscrapers of New York. On our main streets and in our suburban enclaves, the buildings we live, work, shop, study, worship, and play in have often been, and still often are, too rarely imaginative and often so prosaic as to go unnoticed. That they go unremarked is almost as distressing as the fact of their banality. It means we do not experience our environment. From this creative barrenness, however, there appear from time to time, architects who think we all deserve better, that place should matter. One such architect was Frank Lloyd Wright (1867–1959). A true visionary and idealistic iconoclast, he is universally recognized as one of the most influential architects of the twentieth century. Wright spoke frequently about “an architecture for democracy.” This had much to do with his belief that individuality was important and that because individuals were important they deserved spaces where their full potential would be encouraged to develop. It followed then that place making was an important ritual and that the quality of that place mattered a great deal. Arguing America needed and deserved an indigenous architecture of its own—spaces that reflected the democratic character of American life—he turned his attention to the creation of environments that addressed the spiritual as well as the physical and social needs of the American citizen—environments to inspire, characterized by simplicity, beauty, and repose. With missionary zeal, Wright promoted this radical idea in lectures, exhibitions, professional journals, and fashionable home publications. In Wright’s view, Americans were living in the past—and someone else’s past, at that. While there might be increased interest in stylistic considerations, at least among the upper classes with sufficient incomes to afford it, what Wright considered substance and spiritual character were too often overlooked. He railed against the pervasive adherence to European historic styles and formulas that no longer
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© 2014 Rizzoli International Publications. All Rights Reserved.
FRANK LLOYD WRIGHT: THE ROOMS
9
America encumbered with chairs, bureaus, tables, bedsteads, washstands, etc., and of the dusty carpets and suffocating wall-paper, hot with some frantic design, and perforated with a pair of quadrangular openings, wholly or partially closed against light and air. Recalling this labyrinth of varnished furniture, I could but remember how much work is entailed upon some one properly to attend to such a room and enjoying by contrast the fresh air and broad flood of light, limited only by the dimensions of the room, which this Japanese house afforded, I could not recall with any pleasure the stifling apartments with which I had been familiar at home. Wright’s spaces may seem crowded when compared to traditional Japanese spaces, but when compared to their Victorian predecessors, they look positively austere and it would not take much revision to the above description to describe a Wright interior. Abstraction and simplification reduced the clutter and formality characteristic of Victorian-era architecture and furnishings to structural clarity, emotional tranquility, and familial informality in spaces designed to flow without obstruction one into the next through wide openings, continuous ceilings, or semi-transparent spindle screens. Wright stipulated only furnishings necessary to achieve the desired functional and aesthetic result, easily cleaned, and family friendly. Historic photographs of Prairie house interiors show primary living spaces that are open and uncluttered, strongly horizontal, and connecting to the landscape through abundant windows and doors. This uncluttered aesthetic characterizes Wright’s architecture throughout his career. These are not Japanese spaces, but they are spaces “disciplined by an ideal at least as high and fine as theirs.” Wright believed architecture should be alive. Bruno Zevi captured it well when he wrote that there is in all of Wright’s architecture the tendency to “animate the building as if it were a continuous spatial discourse rather than a series of separate words, to break with geometry—
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FRANK LLOYD WRIGHT: THE ROOMS
often even with the right angle—for the sake of forms more adequate for human use and movement. Above all, to feel interior space as a reality, as the substantive, pulsating reality of an architecture—that reality which, through the artist’s intuition, expresses and transforms all practical requirements…This is the true meaning of Wright’s work.”
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America encumbered with chairs, bureaus, tables, bedsteads, washstands, etc., and of the dusty carpets and suffocating wall-paper, hot with some frantic design, and perforated with a pair of quadrangular openings, wholly or partially closed against light and air. Recalling this labyrinth of varnished furniture, I could but remember how much work is entailed upon some one properly to attend to such a room and enjoying by contrast the fresh air and broad flood of light, limited only by the dimensions of the room, which this Japanese house afforded, I could not recall with any pleasure the stifling apartments with which I had been familiar at home. Wright’s spaces may seem crowded when compared to traditional Japanese spaces, but when compared to their Victorian predecessors, they look positively austere and it would not take much revision to the above description to describe a Wright interior. Abstraction and simplification reduced the clutter and formality characteristic of Victorian-era architecture and furnishings to structural clarity, emotional tranquility, and familial informality in spaces designed to flow without obstruction one into the next through wide openings, continuous ceilings, or semi-transparent spindle screens. Wright stipulated only furnishings necessary to achieve the desired functional and aesthetic result, easily cleaned, and family friendly. Historic photographs of Prairie house interiors show primary living spaces that are open and uncluttered, strongly horizontal, and connecting to the landscape through abundant windows and doors. This uncluttered aesthetic characterizes Wright’s architecture throughout his career. These are not Japanese spaces, but they are spaces “disciplined by an ideal at least as high and fine as theirs.” Wright believed architecture should be alive. Bruno Zevi captured it well when he wrote that there is in all of Wright’s architecture the tendency to “animate the building as if it were a continuous spatial discourse rather than a series of separate words, to break with geometry—
24
FRANK LLOYD WRIGHT: THE ROOMS
often even with the right angle—for the sake of forms more adequate for human use and movement. Above all, to feel interior space as a reality, as the substantive, pulsating reality of an architecture—that reality which, through the artist’s intuition, expresses and transforms all practical requirements…This is the true meaning of Wright’s work.”
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UNEDITED TEXT
The Work
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© 2014 Rizzoli International Publications. All Rights Reserved.
Like all great art, great architecture speaks to the human spirit and in describing the work of Frank Lloyd Wright the word “magical” recurs with surprising frequency. In his most successful works vision, intuition, intelligence, and experience collide, bringing together site, structure, and people in such amazing compositions of materials, proportion, and scale that compared with most buildings we encounter, Wright’s buildings seem to be the result of wizardry. While some arts allow great freedom of composition, architecture is constrained by the need for functional practicality. Nevertheless, practicality should not preclude beauty. For Wright, architecture, of course, was about creating habitable spaces, but it was also about good design, and above all else about human spiritual expression. He insisted there should be joy in one’s environment. He believed by creating beautiful environments and filling them with well-made everyday objects of quality in which people could take pride and derive pleasure he could not only change and influence human lives, but improve and enrich them. Recognizing that the quality we call beauty must develop from the realities of one’s life, he found transcendent effects could result from the simplest things rightly composed.
FRANK LLOYD WRIGHT: THE ROOMS
27
UNEDITED TEXT
The Work
26
FRANK LLOYD WRIGHT: THE ROOMS
Like all great art, great architecture speaks to the human spirit and in describing the work of Frank Lloyd Wright the word “magical” recurs with surprising frequency. In his most successful works vision, intuition, intelligence, and experience collide, bringing together site, structure, and people in such amazing compositions of materials, proportion, and scale that compared with most buildings we encounter, Wright’s buildings seem to be the result of wizardry. While some arts allow great freedom of composition, architecture is constrained by the need for functional practicality. Nevertheless, practicality should not preclude beauty. For Wright, architecture, of course, was about creating habitable spaces, but it was also about good design, and above all else about human spiritual expression. He insisted there should be joy in one’s environment. He believed by creating beautiful environments and filling them with well-made everyday objects of quality in which people could take pride and derive pleasure he could not only change and influence human lives, but improve and enrich them. Recognizing that the quality we call beauty must develop from the realities of one’s life, he found transcendent effects could result from the simplest things rightly composed.
© 2014 Rizzoli International Publications. All Rights Reserved.
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*OHN 3TORER (OUSE Los Angeles, California, 1923
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*OHN 3TORER (OUSE Los Angeles, California, 1923
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(ARRIET AND 3AMUEL &REEMAN (OUSE Los Angeles, California, 1924
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(ARRIET AND 3AMUEL &REEMAN (OUSE Los Angeles, California, 1924
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