frank concept

8/10/2019 Frank Concept

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Each building owes it style to the

integrity with which it is individually

fashioned to serve its particularpurpose.

June 8, 1867 April 9, 1959
http://en.wikipedia.org/wiki/Image:Frank_Lloyd_Wright_LC-USZ62-36384.jpg


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BORN ON : 8th June, 1867 in Richland Centre, Wisconsin

EDUCATION : Began formal education in 1885 at University ofWisconsin Madison School of Engineering

: Took part time classes for two years

: Apprenticed under A.D. Conover, a local builder

and professor of civil engineering

: In 1887, left the university and moved to Chicago,

Illinois and joined the firm of J.L. Silsbee

: Within a year he went to work with the firm of

ADLER and SULLIVAN as their chief assistant

: Entrusted with the offices domestic architecture

since 1890

: By 1893, Wright established his own practice andhome in the Chicago suburb of Oak Park, Illinois

BRIEF HISTORY


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By 1901, Wright's completed projects numbered approximately fifty,

including many houses in his hometown.

Between 1900 and 1917, his residential designs were Prairie Houses

Characterized by extended low buildings with shallow, sloping roofs,

clean sky lines, suppressed chimneys, overhangs and terraces, using

unfinished materials

So-called because the design is considered to complement the land

around Chicago.

These houses are credited with being the first examples of the open

plan

LANDMARK ACHIEVEMENTS


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Organic architecture strives to integrate space into a unified whole.

Frank Lloyd Wright was not concerned with architectural style,

because he believed that every building should grow naturally from

its environment.

In the later half of the twentieth century, Modernist architects took

the concept of organic architecture to new heights. By using new

forms of concrete and cantilever trusses, architects could create

swooping arches without visible beams or pillars.

ORGANIC ARCHITECTURE


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"So here I stand before you preaching organic architecture:declaring organic architecture to be the modern ideal and

the teaching so much needed if we are to see the whole

of life, and to now serve the whole of life, holding no

'traditions' essential to the great TRADITION. Nor

cherishing any preconceived form fixing upon us either

past, present or future, but - instead - exalting the simple

laws of common sense - or of super-sense if you prefer -

determining form by way of the nature of materials..."

QUOTE BY FRANK LLOYD WRIGHT


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An architecture that evolves naturally out of the context

Building should be natural

Every part should be related to the whole

Entire concept should be related to the site

Site, structure, material, furniture: All are one in organic architecture

Scale : human scale, feeling of comfort and oneness with

architecture

Space : Fluid, flowing and informal spaces like American

Lifestyle

Confining and releasing proved as an effective

exercise

ORGANIC ARCHITECTURE


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SOME OF HIS WORKS

FALLING WATERS

JOHNSON WAX BUILD

THE GUGGENHEIM MUSEUM

PRAIRIE HOUSES

MARINE COUNTY CIVIC

FLORIDA SOUTHERN COLLEGE


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ARCHITECT FRANK LLOYD WRIGHT

LOCATION OHIOPYLE, PENNSYLVANIA

DATE 1934-1938, 1948

BUILDING TYPE HOUSE

CONSTRUCTION SYSTEM REINFORCED CONCRETE, STONE

CLIMATE TEMPERATE

STYLE EXPRESSIONIST MODERN

NOTES EDGAR J. KAUFMANN RESIDENCE

INTRODUCTION


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Falling water is renown for itssimplicity. It is not a skyscraper,it is a home situated in a remotesection of Western Pennsylvaniacalled Bear Run. The ingenuity of

Falling water is its harmony withits surrounding natural

elements, most notably awaterfall .

THE HOUSE
http://z.about.com/d/architecture/1/0/e/q/FallingwaterFlickr.jpg


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Falling water was the family's weekend home from 1937 to1963. In 1963, Kaufmann, Jr. donated the property to the WesternPennsylvania Conservancy.

In 1964 it was opened to the public as a museum and nearlysix million people have visited the house since (as of January2008).It currently hosts more than 120,000 visitors each year.

USE OF THE HOUSE


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The house is built on a plateau of concrete, built on cliffs,above a waterfall.Its verandas and terraces advance on the void and the wildnature.The rock can be seen in the interior of the house and the

walls which support it are made of stone.This house has as purpose to prove all the circulation which itcan have: light thanks to the glass, and water, thanks to thetorrent which flows under the house.You can also notice that the height of the house highlights

the vegetation.

DESCRIPTION


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Wright sends out free-floatingplatforms audaciously over a smallwaterfall and anchors them in thenatural rock. Something of the prairie house ishere still; and we might also detecta grudging recognition of theInternational Style in the

interlocking geometry of the planesand the flat, texture less surface ofthe main shelves. But the house is thoroughly fusedwith its site and, inside, the roughstone walls and the flagged floorsare of an elemental ruggedness."


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Falling water may look like a loose pile of concrete slabs about to toppleinto the stream... but there is no danger of that!The slabs are actually anchored through the stonework of the hillside.Also, the largest and heaviest portion of the house is at the rear, not overthe water.

And, finally, each floor has its own support system.
http://www.wright-house.com/frank-lloyd-wright/fallingwater-pictures/large-fallingwater-photos/19SSEL-fallingwater-elevat.html


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Falling water is the name of a very

special house that is built over a

waterfall.

A house that doesnt appear to

stand on solid ground, but instead

stretches out over a 30 waterfall.

The site given to Lloyd had a natural

stream of water. Frank Lloyd Wright is one of the

first architects who created terraces

to open the house towards nature as

environment is a strong point of his

architecture.

FACTS


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These constructions are geometric

shapes assembles - triangle, rectangle,

lozenge, circle in order to create a fluid

space. The house is conceived from a cross like

plan, on three floors.

The ground floor contains common

parts, especially the living room which

contains the fire place, central object of

the house. This fire place is built next to the cliff

next to which the Kaufmanns used to go

for a picnic. This cliff was integrated on

the floor of the living room.

The other two floors contain the rooms

and the bathrooms.

FORM

FOLLOWS

FUNCTION


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FIRST FLOOR PLAN


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SECOND FLOOR PLAN


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SECTIONPROFILE OF SITE


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For the cantilevered floors Wright and his team used integral upside-down beams with the flat slab on the bottom forming the ceiling of thespace below.The contractor, Walter Hall, who was also an engineer, producedindependent computations and argued for increasing the reinforcement inthe first floors slab.Wright rebuffed the contractor. This additional steel not only added

weight to the slab but was set so close together that the concrete oftencould not properly fill in between the steel, which weakened the slab.In addition, the contractor did not build in a slight upward incline in theformwork for the cantilever to compensate for the settling and deflectionof the cantilever once the concrete had cured and the formwork wasremoved. As a result, the cantilever developed a noticeable sag.

STRUCTURAL DESIGN


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The low ceilings curve to

nature, not upward to agrandeur interior.

Inside the home, spaces driftinto an array of woodenfurnishings, constructed asextensions of the home, ratherthan furniture place inside ahome.


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The driveway trellis connectsthe back of the house to the

hillside.

The plunge pool beside the guest

house uses the same materials as

the main house and guest house:
http://www.wright-house.com/frank-lloyd-wright/fallingwater-pictures/large-fallingwater-photos/high-resolution/c1-guest-house-plunge-pool-L.jpghttp://www.wright-house.com/frank-lloyd-wright/fallingwater-pictures/large-fallingwater-photos/high-resolution/43W-driveway-trellis-fallingwater-L.jpg


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FEATURESOUTSIDE VIEW OF CANTILEVERS
http://www.wright-house.com/frank-lloyd-wright/fallingwater-pictures/large-fallingwater-photos/high-resolution/traditional-view-fallingwater-L.jpg


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Wright created long, drawn-outlines and planes to achieve reposeamid daring structural exploits, andhis use of trellises over the easternterrace and driveway balances thethree-story glass wall on the west. The design incorporates broadexpanses of windows and the

balconies are off main rooms givinga sense of the closeness of thesurroundings. The experiential climax of visitingthe house is an interior staircaseleading down from the living roomallowing direct access to the rushingstream beneath the house.

FEATURESSOUTH EAST EXTERIORS
http://www.wright-house.com/frank-lloyd-wright/fallingwater-pictures/large-fallingwater-photos/high-resolution/7x-stairs-house-to-waterfall-L.jpg


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The materials of the structure blend

with the colourings of rocks and trees,while occasional accents are providedby bright furnishings, like wildflowersor birds outside. The paths within the house, stairsand passages, meander without

formality or urgency, and the househardly has a main entrance; there aremany ways in and out. Sociability and privacy are bothavailable, as are the comforts of homeand the adventures of the seasons

FEATURESB I R D S E Y E V I E W


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Falling water's structural system includes a series of bold reinforced

concrete cantilevered balconies; however, the house had problems fromthe beginning. Pronounced sagging of the concrete cantilevers was noticed as soon asformwork was removed at the construction stage.The Western Pennsylvania Conservancy conducted an intensive programto preserve and restore Falling water. The structural work undersupervision of Louis D. Astorino of Pittsburgh was completed in 2002. Thisinvolved a detailed study of the original design documents, observing andmodelling the structure's behaviour, then developing and implementing arepair plan.The original structural design and plan preparation had been rushed andthe cantilevers had significantly inadequate reinforcement.Given the humid environment directly over running water, the house also

had mould problems and for its leaks, it was nicknamed "Rising Mildew"

STRUCTURAL PROBLEMS


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LOCATION RACINE, WISCONSIN

DATE 1936 TO 1939, 1944

BUILDING TYPE RESEARCH LABORATORY AND CORPORATE OFFICE

CONSTRUCTION SYSTEM PRECAST CONCRETE AND BRICKCLIMATE TEMPERATE

CONTEXT SUBURBAN

STYLE MODERN


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An example of streamlined design, theJohnson Wax Administration Building,

as it is also known, has over 200 types

of curved red bricks making up the

exterior and interior of the building

Pyrex glass-it is tubing in from

clerestories and ceiling to let in soft

light


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GROUND FLOOR PLAN


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FIRST FLOOR PLAN


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Color scheme-cream for columns

(capable of supporting six times

weight imposed on them) and

Cherokee red for floors, bricks and

furniture.


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Approach-no opening along the faade of the building. Sole entrance lies

on west side (garage opening).

ceiling of parking lot is supported by steel-reinforced "dendriform" (tree-

shaped) concrete columns and creates compression of space n dendriform

echoes in the space.

Reception and office area-And after which one enters the largest room of

the building. Administrative space creates a sense of release of spatial

compression. a rectangle 45x65 m.


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No window is provided, as the light

comes in from the top.

Auditorium

Above the reception area

Ceiling was like a cascade with a

cafeteria and a meeting room.

Management floor

a bronze cage like lift was provided

opposite there is Johnson office area

with only balcony and opening to

exterior.


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Tower

Elegant tower in the middle

50 m high central core with floor which

are cantilever to the column.

no monumental entrance.

SECTION OF TOWER


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LOCATION NEW YORK

DATE 1956 TO 1959

BUILDING TYPE ART MUSUEM

CONSTRUCTION SYSTEM CONCRETECLIMATE TEMPERATE

CONTEXT URBAN

STYLE MODERN

INTRODUCTION


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Frank Lloyd Wright created the

Guggenheim Museum as a series of

organic shapes.Circular forms spiral down like the interior

of a nautilus shell.

Visitors to the museum begin on the

upper level and follow a sloping ramp

downward through connected exhibition

spaces.At the core, an open rotunda offers views

of artwork on several levels.

Frank Lloyd Wright, who was known for his

self-assurance, said that his goal was to

"make the building and the painting an

uninterrupted, beautiful symphony such asnever existed in the World of Art before."

INTRODUCTION


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Wright said, the Guggenheim Museum is "one great space

on a single continuous floor. The eye encounters no

abrupt change, but is gently led and treated as if at the

edge of a shore watching an unbreaking wave ... one floor

flowing into another instead of the usual superimposition

of stratified layers. The whole is cast in concrete, more an

eggshell in form than a crisscross brick structure."


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In Frank Lloyd Wright's earliest drawings of the Guggenheim,

the exterior walls were red or orange marble with verdigris

copper banding on the top and bottom. When the museum

was built, the color was a more subtle brownish yellow. Over

the years, the walls were repainted an almost white shade of

gray.

During recent restorations, preservationists have asked which

colors would be most appropriate.Up to eleven layers of paint were stripped, and scientists used

electron microscopes and infrared spectroscopes to analyze

each layer. Eventually, the New York City Landmarks

Preservation Commission decided to keep the museum white.

Critics complained that Frank Lloyd Wright would have chosenbolder hues


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http://z.about.com/d/architecture/1/0/Z/t/inkdrawing.jpg


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The choice of the expanding spiral

made the best use of the available site

and combined structural and spatial

principles toward which Wright had

worked throughout his career.

The primary construction material is

concrete, both sprayed and poured intoforms. Inside the building, a shallow

spiraling ramp follows the curvilinear

form of the exterior and provides

display space for the artworks.

FEATURES


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The Guggenheim is an icon of modern

architecture, designed specifically to

showcase and complement modern art.

Outside the curvaceous building, Wright's

attention to detail is evident in the

porthole-like windows on its south side,

the circular pattern of the sidewalk, and

the smoothness of the hand-plastered

concrete. Inside, under a 92 foot high

glass dome, a quarter-mi-long ramp

spirals down past changing exhibitions


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GROUND FLOOR PLAN


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FIRST FLOOR PLAN


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SECTION


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CIRCULATION


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The Guggenheim Museum in New York City is an example

of Frank Lloyd Wright's use of hemicycle styling. Paintings

are displayed along the walls of the spiral and also in

exhibition space found at annex levels along the way.


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INTRODUCTION


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The main motives and indications were: First - To reduce the

number of necessary parts of the house and the separate

rooms to a minimum, and make all come together as an

enclosed space--so divided that light, air and vista permeatedthe whole with a sense of unity.

INTRODUCTION


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PLANNING CONCEPT

Cruciform plan with wings

radiating from a central space

Bringing house and landscapeinto a more intimate relationship

was a favorite device of Wright

A central fireplace provided a

visual pivot

.

1

2

34

5

6

1 Verandah 2 Reception Hall 3 Dining Hall 4 Living Room5 Kitchen 6 Rear Verandah


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Rooms in the Victorian era were boxed-in and confining. FLW, therefore,

introduced a new concept, the prairie houses.

Rooms were often divided by leaded glass panels.

Furniture was either built-in or specially designed.

These houses were designed to blend in with flat prairie landscape.

The first prairie houses were usually plastered with wood trim or sided

with horizontal board and batten. Concrete blocks were later put into practice.

They were square, L-shaped, T-shaped, Y-shaped and even pin-wheeled

shape.


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Heavy roof form and overhanging

eaves

Terracotta frieze beneath the eaves

emphasizes the horizontal effect

Symmetrical front elevation

Roman brickwork emphasizing

white features of doors / windows

Asymmetrical rear side:

Romanesque Semi-circle & Stair

tower

Less controlled and more traditional

Rear Side of William H. Winslow House


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The soaring, cantileveredroof lines, supported by a

110-foot-long channel of

steel is the most dramatic.

Its living and dining areas

form virtually one

uninterrupted space.


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LOCATION SAN RAFAEL, CALIFORNIA

DATE 1957

BUILDING TYPE PUBLIC OFFICE

CONSTRUCTION SYSTEM STUCCO EXTERIOR

CLIMATE MILD

CONTEXT SUBURBAN

STYLE MODERN


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The Frank Lloyd Wright-designed

Marin County Civic Center is a

national- and state-designated

historic landmark.

Wright's 770th commission, the

Civic Center is the last and one of

the most important works by this

internationally acclaimed architectwho has been described as "one of

the most creative architectural

geniuses of all time" and "the most

original architect the United States

has ever produced."

INTRODUCTION


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Frank Lloyd Wright died on April 9, 1959, at the age of 92, and did

not see his vision completed.

Taliesin Senior Architect Wesley Peters and San Francisco Bay AreaTaliesin Architect Aaron Green directed the completion.


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FIRST FLOOR PLAN


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SECOND FLOOR PLAN

ARCHITECTURAL FEATURES


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The Marin County Civic Center in San

Rafael, California, was Frank Lloyd

Wright's last commission and was notcompleted until after his death.

Designed at the same time as the

Guggenheim Museum. The Marin

County Civic Center Administration and

Hall of Justice buildings dramaticallyillustrate the kinship of Wright's

architecture to the surrounding

landscape.

The long horizontal buildings

gracefully link the crowns of three

separate hills.

ARCHITECTURAL FEATURES


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The central architectural focus for the building is the 80-foot diameter

dome with its 172-foot, slender gold spire.

The spire creates a visual punctuation mark that breaks the horizontality of

the two buildings. It was originally designed to serve as an exhaust outlet

for the furnace and as a radio tower, which was precluded by newtechnology.

MATERIALS $ COLOUR


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The circular theme is evident

throughout the complex. Materialsthroughout the Civic Center are

simple

The decorative arches create a

sense of rhythm, and are made of

cement stucco on metal laths.Floors are custom-colored

composition tile. Walkways and

stairs are terrazzo, and partitions

are sheet rock.

MATERIALS $ COLOUR


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The barrel-arched roof is of pre-cast

concrete. The roof is a blue. that blends

with the sky.Walls are sand beige.

Basic construction is pre-cast, pre-

stressed floor systems with combined

steel and concrete vertical supports.

Gold spheres outline the entire interior

and exterior rooflines.. They create the

effect of rhythmic unity and exemplify

the Oriental influence Wright displayed

in his work. They have been likened to

raindrops and called, by some, a string

of pearls.

C I R C U L A T I O N


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Wright first used many features now

considered commonplace in thesebuildings.

Atriums run down the center of each

building. They widen as they rise from

ground floor level to the fourth floor, to

create an illusion of upward spiraling

ramps.

This also creates narrower walkways on

the upper floors, where there is less

foot traffic. Elevators and stairs link one

floor to another.

C I R C U L A T I O N


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Atrium plantings provide employees and visitors with the pleasingprospect of either looking inward to the planted, sky-lit malls or

outward to green trees and hills.

The building complex abounds with detail. Elaborate grillwork,

accents, and appliqus all follow the "flow of pattern" carefully

orchestrated by Wright.

Glass and panel partitions separate the walkways around the atrium

from office spaces to create an airy, spacious effect.

Art exhibits on the first and third floors contribute to the aesthetic

harmony of the interior.


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LOCATION LAKELAND, FLORIDA

DATE 1941 TO 1958

BUILDING TYPE COLLEGE

CONSTRUCTION SYSTEM CONCRETE

CLIMATE TEMPERATE

CONTEXT URBAN

STYLE MODERN


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The present campus comprises

some 64 buildings on 100 acres(405,000 m) of land and is the

home of the largest collection of

Frank Lloyd Wright architecture

in the world.

The campus itself is designated a

National Historic District, due to

the historic significance of its

buildings.

INTRODUCTION


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A

H G F

E

DB


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Polk County Science Building,

completed in 1958, was the last ofWrights buildings to be constructed on

the campus. Built at a cost of over one

million dollars, the structure contains

the only planetarium Frank Lloyd Wright

designed that was constructed. The

buildings long low profile exemplifies

Wrights organic architecture. The

structure also contains the first use of

aluminum for aesthetic purposes.

Renovation was completed in 2001.


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Lucius Pond Ordway Building, was

originally designed as a cafeteria and

dining hall, although never used for that

purpose. Completed in 1952, thebuilding housed the industrial arts

center and later the fine arts with the

theatre- in-the-round and a student

lounge. The structures upper tier

consists of a series of 30- 60-90

triangles lying on their hypotenuse.

Natural lighting, courtyards and

fountains are used throughout the

complex. Often compared to Taliesin

West, this building was supposedly one

of Wrights favorites because of the

simplicity of the design.


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Emile E. Watson - Benjamin Fine

Administration Buildings, were the

fourth Wright structures completed on

campus and the first built by an outsideconstruction company. Wright

personally supervised the construction

of the buildings, completed in

1948. Evident in these buildings is the

integral part the esplanades play in

weaving the buildings together. The

courtyard pool area continues Wright's

patter of water, its presence and its

sound, in the buildings. Of particular

note is the copper lined interior ceiling

of the Fine building.


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THE END

S P E C I A L T H A N K S T O L E C T . H A R V E E N B H A N D A R I

frank concept

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