Frank Lloyd Wright - Works PDF

Frank Lloyd Wright (1867-1959)
• Organic Architecture
• Prairie Houses
• Usonian Homes.
• Japanese influence in Wrights Building
• Taliesin East and Taliesin West
• Winslow House
Examples of work • Ward W. Willits House
• Unity Temple
• Robie House
• Gordon Home
• John Haynes House
• Fallingwater
• Johnson Wax Building.
• Guggenheim Museum, NY
1
o Winslow House (1893)
• FLW’s first major commission

as an independent architect,
and can be termed the ‘first
prairie house’
• Sense of simplicity and a

mastery of form and materials
• A gently sloping roof and wide

eaves
2
• stands as a symmetrical
monolithic block, divided into
bands of cast stone, golden
Roman brick, and a terracotta
frieze of sinuous
Sullivanesque ornament
3
• In contrast to the calm,

classical front elevation, the
private, rear of the house is a
dynamic mass of irregularly
sized geometric forms
comprising a stair tower,
chimney, conservatory, and
second floor sitting room.
4
• On the interior, the plan

echoes that of Wright’s own
home, with an inglenook
fireplace at the center, around
which a library, entrance hall,
living room and dining room
are arranged.
5
o Ward Willits House (1902)
• The first of Wright’s mature

prairie-style designs
• The plan was arranged to
offer the least resistance to a
simple mode of living, in
keeping with the high ideal of
family life together
• The low, horizontal exterior
with deep, overhanging
eaves, recognizes the
influence of the prairie, and is
firmly and broadly associated
with the site.
6
• Informed by the work and

writings of Louis Sullivan,
Wright conceived of
architecture as a living
organism in which “part is to
part as part is to whole.
• The plan, structure,
furnishings, leaded glass, and
interior and exterior spaces of
the Willits house were
devised as a coherent
synthesis of interrelated
elements.
7
• In the living room of the

Willits house, bands of floor-
to-ceiling leaded glass
windows open to a veranda
and the yard, allowing nature
to penetrate the interior.
• Traditional divisions like

doorways, instead orienting
rooms along the
perpendicular axis of a
cruciform plan, and
alternatively modulating the
heights and floor levels to
create a sense of progressive
expansion and compression.
8
• Screens made of vertically

oriented wooden slats, as well
as low built-in bookshelves
and seating, delicately
delineated rooms and related
to the freestanding furniture
Wright designed for the
house.
• The resulting unity of discrete
natural, architectural,
utilitarian, and decorative
components served as an
expression of what Wright
called “organic architecture.”
9
o Unity Temple (1905)
• Unity Temple is a massive and

monolithic cube of concrete,
sheltered beneath an
expansive flat roof.
• In harmony with Wright’s
philosophy of organic
architecture, the concrete was
left uncovered by plaster,
brick, or stone.
• No entrance is apparent and
the building appears
impenetrable, save for a band
of high clerestory windows
recessed behind decorative
piers and shadowed by
overhanging eaves.
10
o Unity Temple (1905)
• he sanctuary is the heart and

anchor of the building. At
once grand yet intimate, the
sanctuary is a masterful
composition in light and
space.
• Its elegant articulation and
warm colors stand in striking
contrast to the grey concrete
exterior.
• Devoid of overt religious
iconography, its precise
geometric proportions
declare a harmonious whole.
11
o Robie House (1910)
12
• Prairie style home influenced

by the flat, expansive prairie
landscape of the American
Midwest.
• The built form
accentuates this natural
beauty of prairie landscape.
• Gently sloping roofs, low
proportions, quiet sky lines,
supressed heavy-set chimneys
and sheltering overhangs, low
terraces and out-reaching
walls sequestering private
gardens.
13
• a clever arrangement of
public and private spaces,
slowly distancing itself from
the street in a series of
horizontal planes.
• overlapping of the planes
allowed for interior space
expanded towards the
outdoors while still giving the
space a level of enclosure.
14
• The rooms were determined

through a modular grid
system which was given order
with the 4' window mullions.
• “Light screens" composed of

pieces of clear and colored
glass, were used instead of
standard windows
15
16
• The entrance of the house is

not clearly distinguishable at
first glance due to the fact
that Wright believed the
procession towards the house
should involve a journey
17
• ‘Seeing his neighbours

without being seen.’
• The protrusions of the
windows on the East and
West facade, along with low
ceilings, emphasized the long
axis of the house and directed
views towards the outside.
The sun angles were
calculated so perfectly with
this cantilever that a
midsummer noon's sun hits
just the bottom of the entire
facade while still allowing
light to flood in to warm the
house during the spring and
autumn months.
18
• The entire house is sheathed

in Roman brick with yellow
mortar, and only
the overhangs and the
floating brick balcony have
steel beams for structural
support.
• The horizontality of the brick
masonry is emphasized with
double colored mortar joints
19
o Fallingwater (1939)
• A harmony between man and

nature – just like Japanese
Architecture
• Wright integrated the design
of the house with the
waterfall , placing it right on
top of it to make it a part of
the owners' lives.
• The house was meant to
compliment its site while still
competing with the drama of
the falls and their endless
sounds of crashing water.
20
• The circulation through the

house consists of dark,
narrow passageways,
intended this way so that
people experience a feeling of
compression when compared
to that of expansion the
closer they get to the
outdoors.
• The low ceilings direct the eye
horizontally to look outside.
• The terraces add an element
of sculpture to the houses
aside from their function.
21
• The terraces form a complex,

overriding horizontal force
with their protrusions that
liberated space with their
risen planes parallel to the
ground.
• Avoiding the corner mullion in
the windows opens it to the
vast outdoors.
22
o Johnson Wax Headquarters (1950)
• Created a sealed environment
lit from above.
• The building features many
curvilinear forms, using more
than 200 different types of
curved bricks.
• Pyrex glass tubing were used
to bring in diffused light from
side walls as well as from the
ceiling.
• The large workspace is well lit
with indirect light and very
little glare, resulting in a
productive work environment.
23
o Johnson Wax Headquarters (1950)
• Wright incorporated the
organic metaphor into his
architecture via a tall slender
mushroom (dendriform)
column that tapers to a base
of a mere 9-inch diameter.
• They rise 30 feet and
terminate at the roof level as
broad circular lily pads of
concrete 18 1/2 feet wide
• These hollow cored columns
also serve as storm water
drains and feature hinged
bases with pin jointed bronze
shoes.
24
o Solomon R. Guggenheim Museum (1959)
• Completely contrasting
the strict Manhattan city grid,
the organic curves of the
museum became a landmark.
• The exterior of the
Guggenheim Museum is a
stacked white cylinder of
reinforced concrete swirling
towards the sky.
• In 1992 the addition of 10-
story limestone tower was
built which was designed by
Gwathmey Siegel &
Associates
25
• The museum's dramatic
curves of the exterior, had an
even more stunning effect on
the interior. "one great space
on a continuous floor".
• The atrium, rising 92' in
height to an expansive glass
dome.
• Along the sides of this atrium
is a continuous ramp uncoiling
upwards six stories for more
than one-quarter of a mile,
allowing for one floor to flow
into another.
26
• The design of the museum as
one continuous floor with the
levels of ramps overlooking
the open atrium also allowed
for the interaction of people
on different levels, enhancing
the design in section.
27

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Frank Lloyd Wright (1867-1959)

• FLW’s first major commission

• Sense of simplicity and a

• A gently sloping roof and wide

• In contrast to the calm,

• On the interior, the plan

• The first of Wright’s mature

• Informed by the work and

• In the living room of the

• Traditional divisions like

• Screens made of vertically

• Unity Temple is a massive and

• he sanctuary is the heart and

• Prairie style home influenced

• The rooms were determined

• “Light screens" composed of

• The entrance of the house is

• ‘Seeing his neighbours

• The entire house is sheathed

• A harmony between man and

• The circulation through the

• The terraces form a complex,

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