2. Biography:
• Born on June 8, 1867 , in Wisconsin
• His first building, “Unity Chapel”
and went on to construct 433
different structures
• Worked directly under Louis
Sullivan
• Maxim : ‘ Form and Function are
One’
• Prairie School, Usonian House,
Broadacre City
Frank Lloyd Wright
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3. Principles
• Natural materials
• Skylights
• Organic
• Unified design of an
enclosed space
• Open plan and flowing
spaces divided by screens
and planes
• No applied articulation
• Integrated openings
• Horizontal lines integrated
with each other
• Pinwheel plan
3
Taliesin East
Taliesin West
4. Taliesin East, Spring
Green, Wisconsin
Taliesin I
(1911-1914)
Taliesin II
(1915-1925)
Taliesin III
(1925-…)
4Mithilesh Mandal 114AR0006
5. Building Materials
• Yellow limestone
• Revised stone masonry
• Combination of stone and
wood
• Analogous designs
• Glazed windows and doors
• Naturally coloured plaster
walls were trimmed with
cypress
• Floors made of waxed cypress
or stone.
5
6. Taliesin East I
• Built in 1911
• Burnt in 1914
• Based on principles of Form
and Function
• Built on the side of a hill as its
part
• Based on Organic Architecture
• Inspired from Prairie School
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7. Taliesin I
April,1911 Plan
Interior:
• Latin Cross placed on its side
• Entry loggia at intersection of
the axes with low sheltering
roof
• Dutch doors used
• Exterior had cantilevered
terrace
• Axial projections extended
through internal spaces and
beyond
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8. Exterior:
• Wright made use of “four-foot
module”, in his plan
• The module evident in
dimension of windows and in
the cantilever eaves
• Interior and exterior wall
surfaces had plaster coating
8
9. Taliesin I
June,1911 Plan
• New plan drafted
• Less pressed for secrecy
• Refined residence wing
• Work wing made 5 times longer
than studio
• Re-defined entry from hill
• Articulated courtyards
• Replaced bridge up the hill with a
farm wing
• Steam heating system installed
9
12. Taliesin East II
• Built in 1914 after Taliesin-I was
burnt
• Complex was enlarged
• Mostly identical to old building
• Additional wing added
• Second loggia added that looked
out of the valley
• Dam was rebuilt
• Observation platform was added
• Hydroelectric generator added to
make it self sufficient, had form of
Japanese temple
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Aerial View: Taliesin East II
15. Taliesin East III
•Plan
• Dynamic asymmetry of earlier
Prairie House
•Low pitched roofs and broad
eaves
•Overhung stone walls gently
embraced a series of outdoor
courts
•Native limestone in rough
masonry work
•Plush finishes
•Exterior interior merged
15
21. America – 1920-1930s
• Peace returned after war
• Rise of the working class and urban
middle class
• A time of economic progress
• New companies
• New jobs
• Invention of automobile
• Expansion of glass and steel
industry
• New industries like mass media
• Rise of consumerism
• Migration to cities
• New genre of architecture
22. FRANK LLOYD WRIGHT – 1910S
• Sequence of failed
companionship
• Prairie school ( famous in USA)
• Went to Germany ( portfolios
recognition)
• Returned to Wisconsin in 1914
• Designed Taliesin east (got
enraged in fire three times)
• Japanese emperor commissioned
him for Imperial Hotel, Tokyo
23. TALIESIN WEST
• Founded the Taliesin Fellowship in 1932, an immersive architectural school
based out of his own home and studio
• Five years later, he and his apprentices began work on "Taliesin West," a
residence and studio in Arizona
25. TALIESIN WEST
• Location- Frank Lloyd Wright
Boulevard in Scottsdale, Arizona,
USA
• Plan -
• Resembles Cretan architecture
• Oriental architecture and
aethetics
• Movement is directed along a
strong set of axes and reflex
diagonals
• Designed interconnected lines
based on “petro glyphs”
26. TALIESIN WEST
• Building materials –
• Multicolored volcanic rocks
• Cement, white canvas and
redwood
• Roofs were made out of
sheets of canvas that were
stretched over large redwood
trusses.
• Overtime glass and plastic
were incorporated into the
site
27. TALIESIN WEST
• Style –
• Organic architecture
• Microcosm of his Usonian
community
• Based on the concept of broad
acre city
28. TALIESIN WEST
• Key Building Features –
• Garden Room (1938)
• Kiva Theatre (1938)
• Wright’s Office (1939).
• Drafting Studio, Kitchen and
Dining Area (1939)
• Sunset Terrace (1939)
• Shop(1939)
• Wright family living quarters
(1940)
29. TALIESIN WEST
• Key Building Features –
• Apprentice Court and
Apartments (1941)
• Sun Cottage (1948)
• Cabaret Theater (1951)
• Music Pavilion (1956, rebuilt in
1964)
• Realigned Entrance Drive and
Citrus Grove (1958)
30. FALLINGWATER
• Designed in 1935
• Residence for Pittsburgh's
acclaimed Kaufmann family
• Oriental or organic architecture
• Series of cantilevered balconies
and terraces constructed atop a
waterfall.
31. FALLINGWATER
• The type of structure of the
house is aporticado
• Materials used for the
construction of this house were:
concrete, stone rugosa, native
stone, wood, steel and glass
• Vertical focus is the "heart" of
the House of Cascade.
32. JOHNSON WAX BUILDING
• Designed in 1935, for Herbert
"Hib" Johnson‘s new office in
Racine, Wisconsin
• Designed a horizontal amount,
contrary to the tall buildings
• Wright devised a new system of
reinforced concrete
• Curved "Cherokee red" bricks
,white dendriform columns ,Stee
lcase furniture, Pyrex glass
tubed skylight
33. COMPARISONS
TALIESIN EAST
• Built in 1911 over a hill in
Wisconsin
• “Prairie style”
• Organic and complete
structures
TALIESIN WEST
• Built within 1937-1958 in
Arizona desert
• Organic forms
• Stylized desert camp(tent-like
structure)
34. COMPARISONS
TALIESIN EAST
• Rebuilt and modified numerous
times
• Restrained pallet of materials
• Demonstrates the flow of space
from interior to exterior
• A sense of enclosure
TALIESIN WEST
• Solid stone walls , glazing roofs,
wood trusses
• maintains a strong flow of space
between the interior and
exterior
• Breaking down of the building
envelope
35. Critique Analysis of Taliesin East and Taliesin
West
• Taliesins are not only a symbol of Wright’s versatility and influential
expansion
• Marks moment in his career where vernacular begin to integrate in
his formulated Prairie style
• The sources of his work are inspired from 19th century Romanticism
• Both the Taliesins are continuous pieces of architecture
• The influence of parallel movements can be seen in the Taliesins
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36. REFERENCES
• Photographs of Taliesin East
http://www.mcness.org, http://www.the greatbuildings.org
• Taliesin East 1911-1914
• National Register of Historic Place Inventory -
http://focus.nps.gov/pdfhost/docs/NHLS/Text/74000457.pdf
• Andre t boyne ARCHITECT -
http://andrewtboyne.com/organicarchitecture/wright_taliesinw.html
• http://www.biography.com/people/frank-lloyd-wright-9537511#taliesin-
fellowship
• Internal committee for documentation and conservation of buildings-
http://www.docomomo-us.org/register/fiche/taliesin_west
• http://architizer.com/blog/wrights-utopia-in-usonia-today/
• Frank Lloyd Wright Foundation
37. "The longer I live, the more
beautiful life becomes."
Frank Lloyd Wright
Thank you
Notes de l'éditeur
In Chicago worked for architect Joseph Lyman Silsbee, where he first drafted his first building, “Unity Chapel”.
‘ Form and Function are One’, was adapted from Sullivan’s maxim ‘Form Follows Function
Utilized natural materials, skylights and walls of windows to embrace the nature.
Proclaimed that shapes found in the environment should not only be integrated, but should become the basis of American architecture.
A building is only organic when the exterior and interior exist in unison and both are in harmony with the character and nature of its purpose, its reason for existence, its location and the time of its creation.
Basic material was Yellow Limestone, quarried nearby
A new method devised for laying up stones, that simulated the stratified layers in which it was naturally found
3. Lines of hills, the lines of roof
Slope of hills, the slope of roof
Kitchen had a screen of tall and narrow windows separated by stone piers
Dining area flowed into living room, lit by a band of high windows separated by narrow piers
This new plan was drafted with an influence of Japanese art.
The plan was simil
workshops, farm buildings and the studio were spared
Observation platform was inspired from his platform designed in “Baraboo”
The plush finishes of the interior add warmth, but provide a distinction between the interior and exterior.
The sprawling complex, inspired by Italian Villas, encompasses the Wright residence, his studio and drafting room,
numerous additional residences guests and staff, a long wing of garages and carports and even animal shelters, which have now been adapted.
Complex arrangement of sandstone, stucco, glass and roofs, all colliding and sliding past one another.
Despite its continual modification, it manages to retain a sense of unity through the preservation of roof material and pitches, and the use of a restrained pallet of materials that includes the sandstone native to the area, wood and raw stained plaster that has been mixed with river sand to provide a natural texture.
immersive architectural school based out of his own home and studio
that housed the Taliesin Fellowship during the winter months.
1,side elevation nd top view by wright s nd his apprentice
2.Hugh ferris sketches
directed the main axes of their central courtyards exactly toward a sacred mountain peak, which contained a cave shrine of the Minoan goddess of the earth. The sacred mountains were invariably cleft and horned, a good deal like Wright's mountain here. (mcdowel mountain)
2. petrogluphs- pictogram and logogram images created by removing part of a rock surface by incising, picking, carving, or abrading. Outside North America, scholars often use terms such as "carving", "engraving", or other descriptions of the technique to refer to such images.
The central building group is essentially in the form of a cross with a large inverted equilateral triangle attached by its base to the central axis, or long arm of the cross, which runs northwest-southeast.
The main materials used in the construction of the Taliesin complex were multicolored volcanic rocks available on site, cement, white canvas and redwood. Overtime glass and plastic were incorporated into the site. The walls, parapets and substructures that comprise the complex were hand-built using volcanic rocks that were embedded in cement through a process called “desert masonry”. In this process the rocks were placed into a wooden form and cement was poured in and allowed to set. Once dried the wooden forms were stripped and reused to continue the wall as desired.
The roofs of the office, drafting and garden room, three of several rooms that comprise the main complex, were made out of sheets of canvas that were stretched over large redwood trusses. However, due to the fact that the canvas used on the roofs needed constant replacement and repair, Wright began experimenting with different materials in order to find an appropriate replacement. Eventually, appropriate plastic materials that could hold up against the elements were incorporated into these structures.
Organic architecture is also translated into the all inclusive nature of Frank Lloyd Wright's design process. Materials, motifs, and basic ordering principles continue to repeat themselves throughout the building as a whole. The idea of organic architecture refers not only to the buildings' literal relationship to the natural surroundings, but how the buildings' design is carefully thought about as if it were a unified organism. Geometries throughout Wright's buildings build a central mood and theme. Essentially organic architecture is also the literal design of every element of a building: From the windows, to the floors, to the individual chairs intended to fill the space. Everything relates to one another, reflecting the symbiotic ordering systems of nature.
middle-income homes known as "Usonian Houses." The aesthetic precursor to the modern "ranch house," these sparse yet elegant houses employed several revolutionary design features such as solar heating, natural cooling and "carports" for automobile storage.
It was both a planning statement and a socio-political scheme by which each U.S. family would be given a one acre (4,000 m²) plot of land from the federal lands reserves, and a Wright-conceived community would be built anew from this. In a sense it was the exact opposite of transit-oriented development.
he Garden room is a spacious, well-lit room designed and built by the architect and considered the showpiece of the whole complex.
Located in the apprentice court, the Kiva is a masonry structure that served as a movie viewing area, concert hall, theater, apprentice lounge, library, storage, and currently as a classroom and conference room.
Wright’s office was one of the first buildings constructed and serves as the “dominate architectural theme” for the complex
These three areas form a group of interconnected buildings and are the core of the Taliesin West complex.
A formal, triangular, outdoor space adjacent to the core of the complex.
A craft and shop area located at the western end of the complex.
): A suite of rooms that served as the living quarters for the Wright’s.
): A grouping of small rooms around a courtyard that served as living quarters for Wright’s apprentices.
The Sun Cottage is a freestanding structure located east of the main complex. Originally called the “suntrap”, the cottage served as the initial living space for the Wright family. This living space was expanded in 1948 and renamed the Sun Cottage. In 1962 the area was enclosed and turned into a studio for apprentices.
The theater is a half sunken, reinforced concrete and desert stone theater that extends from Wright’s office.
): The pavilion is a steel-reinforced building with a roof of rigid-steel frames and translucent plastic used to host meetings, performances, and exhibitions.
The citrus grove and the realignment of the entrance drive to include a vertical stone monolith were the final improvements made to the complex before Wright died.
1. Wright announced his return to the profession in dramatic fashion in 1935 with Fallingwater,
1. in particular, because there are columns and beams to form porches, and the plates, the horizontal elements that stretch as terraces on the waterfall
