Frank Lloyd Wright: Organic Architecture for the 21st Century

2011 ◽  
Vol 65 (1) ◽  
pp. 82-84 ◽  
Author(s):  
Linda R. Krause
Art Journal ◽  
1965 ◽  
Vol 25 (1) ◽  
pp. 2-14 ◽  
Author(s):  
James M. Dennis ◽  
Lu B. Wenneker

1994 ◽  
Vol 6 (1) ◽  
pp. 24-40
Author(s):  
Debra A. Meyers ◽  

Frank Lloyd Wright is widely recognized as one of America's most creative architects. His influence continues around the world. Since Wright's death in 1959, his impact on architecture and social reform has remained an important topic for historians. Wright's genius has been attributed to his mentor Louis Sullivan, his father's love of classical music, or his preschool training with Froebel developmental toys. Although these factors may have played a part in Wright's development, his religious beliefs were central to his social theory and Organic Architecture. Wright's life and work was a concerted effort to convert the world to his strong Unitarian religious beliefs.


Art Journal ◽  
1965 ◽  
Vol 25 (1) ◽  
pp. 2 ◽  
Author(s):  
James M. Dennis ◽  
Lu B. Wenneker

Author(s):  
José Manuel Fernandes

Analisa-se comparativamente a obra de Frank Lloyd Wright (1867-1959), norte-americano, e de Raul Lino (1879-1974), português – dois arquitectos (quase) contemporâneos, cada um deles expoente na cultura e na sociedade, no seu tempo e no seu espaço de vida e obra. Faz-se o enquadramento, refere-se o contexto históricocultural e os antecedentes da 1ª. época criativa destes autores. Neste quadro referem-se as obras de John Ruskin e de William Morris, criadores do Arts & Crafts, bem como as características deste movimento artístico – tal como as continuações do A&C, no final do séc XIX, na América e na Europa – da Deutscher Werkbund a Sullivan e a Berlage. Sobre Wright e Lino apresenta-se o seu “entendimento do mundo”: os seus temas conceptuais e arquitectónicos, bem como os movimentos estético-culturais associados – “Organic Architecture” e “Casa Portuguesa”. Apresentam-se e analisam-se os “seis princípios” de Wright e os “seis princípios” de Lino –  salientando os aspectos comuns às concepções de ambos os autores. Descrevem-se e exemplificam-se alguns temas e materiais arquitectónicos definidores e comuns, na primeira fase das obras de Wright e de Lino – como o Arco redondo em tijolo nos vãos e a Lareira na sala principal. Estuda-se a concepção da casa, como um todo, nas suas semelhanças e contrastes, em obras concretas dos dois autores. Apresenta-se e analisa-se um tema parcial em obras específicas de ambos os autores: os arcos irradiantes e as arcarias de volta perfeita nos vãos da fachada; bem como o tratamento de uma peça concreta, a lareira. Termina-se com tópicos conclusivos.


2019 ◽  
Vol 6 (1) ◽  
pp. 26
Author(s):  
Ayu Setyoningrum ◽  
Anisa Anisa

Arsitektur organik merupakan sebuah konsep arsitektur yang awal mulanya dicetuskan oleh Frank Lloyd Wright.Sejak zaman kecil, Frank Lloyd Wright sering mengamati hubungan yang terjadi antara manusia dengan lingkungannya.Hal tersebut yang menjadi dasar pemikirannya tentang arsitektur organik.Arsitektur organik ini pada dasarnya masih diperdebatkan mengenai panduan maupun batasan untuk desainnya.Namun beberapa peneliti sebelumnya telah mencoba mengamati dan merangkum konsep dari Arsitektur Organik. Arsitektur organik lebih mengacu pada keselarasan dengan alam sekitarnya, menciptakan satu kesatuan yang harmonis, dapat bertahan sepanjang waktu dengan bentuknya yang dinamis dengan alam, serta fungsional terhadap fungsi bangunannya.Fungsi bangunan pendidikan yakni sebagai fasilitas dalam pembelajaran untuk menambah ilmu pada penggunanya. Proses pembelajaran tersebut akan terasa lebih nyaman apabila ruang maupun kegiatanya menjadi satu kesatuan terhadap lingkungannya. Penerapan arsitektur organik pada bangunan pendidikan memungkinkan terciptanya suasana yang segar dalam kegiatan pendidikan. Penelitian ini bertujuan untuk mendapatkan gambaran mengenai penerapan arsitektur organik pada bangunan pendidikan. Metode yang digunakan adalah kualitatif deskriptif yang menganalisis bangunan pendidikan berdasarkan konsep arsitektur organik.Kata-kata Kunci: Arsitektur Organik, Bangunan Pendidikan, konsep arsitektur APPLICATION CONCEPT OF ORGANIC ARCHITECTURE IN EDUCATIONAL BUILDINGS Organic architecture is an architectural concept which was originally coined by Frank Lloyd Wright. Since childhood, Frank Lloyd Wright has often observed the relationships that occur between humans and their environment. This is the basis of his thinking about organic architecture. This organic architecture is still debated about the guidelines and limits for the design. But some researchers have previously tried to observe and summarize the concepts of Organic Architecture. Organic architecture refers more to harmony with the surrounding environment, creates a harmonious whole, can survive all the time with its dynamic form with nature, and functional to the function of the building. The function of educational buildings is as a facility in learning to add knowledge to its users. The learning process will feel more comfortable if space and activities become a unity to the environment. The application of organic architecture to educational buildings enables the creation of a fresh atmosphere in educational activities. This study aims to get an overview of the application of organic architecture to educational buildings. The method used is a descriptive qualitative analysis of educational buildings based on the concept of organic architectureKeywords: Organic Architecture, Educational Building, Architectural ConceptREFERENCESBadan Standar Nasional Pendidikan (2011).Rancangan Standar Sarana dan Prasarana Pendidikan Tinggi Program Pascasarjana dan Profesi.Broto, C (2011). Educational Facilities. Barcelona: Links.Dalawir, A. M. P., Sony T., Hanny P (2017). Sentra Industri Kain Koffo Di Manganitu (Arsitektur Organik). Manado: Universitas Sam Ratulangi.Dwijendra, N. K. A (2009).Tokoh Arsitek Dunia dan Karyanya. Bali: Udayana University Press.Nangoy, W. M., Rieneke L. E. S (2016). Optimalisasi Konsep Building As Nature Dari Pendekatan Arsitektur Organik Pada Kawasan Industri Peternakan Berkonsep Agrowisata. Jurnal Media Matrasain 13(1). Manado: Universitas Sam Ratulangi.Republik Indonesia. Undang – Undang No. 20 Tahun 2003 tentang Sistem Pendidikan Nasional.Rukayah, S (2003). Penekanan Desain Arsitektur Organik dan Green Architecture Pada Perancangan Pusat Rekreasi dan Klub Pemancingan Di Rawapening, Kabupaten Semarang. Semarang: Universitas Diponegoro.Widati, T (2014). Rumah Usonian Sebagai Penerapan Arsitektur Organik Frank Lloyd Wright. Jurnal Perspektif Arsitektur 9(2). Kalimatan Tengah: Universitas Palangka Raya.


ICONI ◽  
2020 ◽  
pp. 108-128
Author(s):  
Anthony Romeo ◽  
◽  
Dale Laurin ◽  

This article shows how the enduring admiration people have for the architecture of Frank Lloyd Wright (1867–1959) is explained by this principle of Aesthetic Realism, stated by the founder of this philosophy, the great American poet and critic, Eli Siegel: “All beauty is a making one of opposites, and the making one of opposites is what we are going after in ourselves.” Scholars have written of Wright’s contradictions: his charm and his arrogance, the warmth of his interior designs and his coldness to persons near to him. The authors show that like people everywhere, Wright was trying in his life to put together opposites in himself, including the same opposites he was able to compose magnificently in his best architectural work: most particularly, the opposites of inside and outside, “the snug and exterior.” Two early examples discussed are his 1893 Gale House and the Heurtley House of 1902. Wright’s love of nature led to his concept of organic architecture: buildings inspired by, and at one with, their environment. A masterful example discussed in detail is his 1935 house design Fallingwater, built dramatically above a waterfall. The authors also show how two works from very different points in Wrightʼs long career — the 1904 Unity Temple, and the Guggenheim Museum, completed in 1960 — are opportunities for people to know ourselves better now. The explanation lies in the beautiful way each structure puts opposites together.


Author(s):  
Luca Guido

Abstract: Bruno Zevi was an enthusiastic promoter of Frank Lloyd Wright’s architecture and theories. However, the critical enquiry and propaganda of the Italian architect and historian about so-called “organic architecture” reveals a major cultural debt to Le Corbusier. In 1945, Zevi published “Verso un’architettura organica” [Towards an organic architecture], the first version of his history of architecture. The title is clearly a polemical reference to Le Corbusier’s book “Vers une architecture” (1923). In 1977, together with other architects, Zevi promoted the Machu Picchu Charter, a document to “update” the Athens Charter (1933). The places held significance: Athens was the birthplace of western civilization and architectural rationalism. Machu Picchu symbolised the contribution of an alternative way of viewing the world. Are those merely examples of Zevi’s provocations? The relationship between Zevi and Le Corbusier is problematic and ambivalent. Zevi adopts the educational and communicative methods of Le Corbusier and his critical writing style, but his interpretation of the French-Swiss architect also demonstrates an attempt to delineate a new concept of “organic architecture”, related to his researches on a historiographic redefinition of the Modern Movement. Resumen: Bruno Zevi fue un entusiasta promotor de la arquitectura y las teorías de Frank Lloyd Wright. Sin embargo, la investigación crítica y la propaganda del arquitecto italiano e historiador sobre la llamada "arquitectura orgánica" revela una importante deuda cultural para Le Corbusier. En 1945, Zevi publicó "Verso un'architettura organica" [Hacia una arquitectura orgánica], la primera versión de su historia de la arquitectura. El título es claramente una referencia polémica al libro de Le Corbusier "Vers une architecture" (1923). En 1977, junto a otros arquitectos, Zevi promovió la Carta Machu Picchu, un documento para "actualizar" la Carta de Atenas (1933). Los lugares celebradas importancia: Atenas fue la cuna de la civilización occidental y el racionalismo arquitectónico. Machu Picchu simbolizaba la contribución de una forma alternativa de ver el mundo. Son esos meros ejemplos de las provocaciones de Zevi? La relación entre Zevi y Le Corbusier es problemática y bivalente. Zevi adopta los métodos educativos y comunicativos de Le Corbusier y su estilo crítico escrito, pero su interpretación del arquitecto franco-suizo también demuestra un intento de delinear un nuevo concepto de "arquitectura orgánica", en relación con sus investigaciones en una redefinición historiográfico de la Movimiento Moderno.  Keywords: Bruno Zevi; Le Corbusier’s legacy; modern language invariants; five points; organic architecture. Palabras clave: Bruno Zevi; El legado de Le Corbusier; invariantes de lenguas modernas; cinco puntos; arquitectura orgánica. DOI: http://dx.doi.org/10.4995/LC2015.2015.760


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