Films & Architecture: “The Fountainhead”

We jump back to the end of 1940′s to remember the film based on Ayn Rand’s acclaimed book, . The movie talks about the architectural debate between the industrialisation of the profession and the individual creation. An issue that we can consider still questionable nowadays.

I guess most of our readers have seen this classic or have read the book instead. Let us know your thoughts about the “creation” concept in architecture.


Original title: The Fountainhead
Year: 1949
Runtime: 114 min.
Country: United States
Writer: Ayn Rand
Soundtrack: Max Steiner
Cast: Gary Cooper, Patricia Neal, Raymond Massey, Kent Smith, Robert Douglas, Henry Hull


Howard Roark, a brilliant young architect, is expelled from his architecture school for refusing to follow the school’s outdated traditions. He goes to New York to work for Henry Cameron, a disgraced architect whom Roark admires. Roark’s schoolmate, Peter Keating, moves to New York and goes to work for the prestigious architectural firm Francon & Heyer, run by the famous Guy Francon. Roark and Cameron create beautiful work, but their projects rarely receive recognition, whereas Keating’s ability to flatter and please brings him almost instant success. In just a few years, he becomes a partner at the firm after he causes Francon’s previous partner to have a stroke. Henry Cameron retires, financially ruined, and Roark opens his own small office. His unwillingness to compromise his designs in order to satisfy clients eventually forces him to close down the office and take a job at a granite quarry in Connecticut.

In Connecticut, Roark feels an immediate, passionate attraction to Dominique Francon, Guy Francon’s temperamental and beautiful daughter. Society disgusts Dominique, and she has retreated to her family’s estate to escape the mediocre architecture she sees all around her. One night, Roark enters the house and rapes her. Dominique discovers that this is what she had needed, but when she looks for Roark, he has left the quarry to design a building for a prominent New York businessman. Dominique returns to New York and discovers Roark’s identity. She realizes that he designed a building she admires. Dominique and Roark begin to meet in secret, but in public she tries to sabotage his career and destroy him. Ellsworth Toohey, an architectural critic and socialist, slowly prepares to rise to power. He seeks to prevent men from excelling by teaching that talent and ability are of no great consequence, and that the greatest virtue is humility. Toohey sees Roark as a great threat and tries to destroy him. Toohey convinces a weak-minded businessman named Hopton Stoddard to hire Roark as the designer for a temple dedicated to the human spirit, then persuades the businessman to sue Roark once the building is completed. At Roark’s trial, every prominent architect in New York testifies that Roark’s style is unorthodox and illegitimate, but Dominique declares that the world does not deserve the gift Roark has given it. Stoddard wins the case and Roark loses his business again. To punish herself for desiring Roark, Dominique marries Peter Keating.

Enter Gail Wynand, a brilliant publisher, who has lost his early idealism and made his fortune by printing newspapers that say exactly what the public wants to hear. Wynand meets Dominique and falls in love with her, so he buys her from Keating by offering him money and a prestigious contract in exchange for his wife. Dominique agrees to marry Wynand because she thinks he is an even worse person than Keating, but to her surprise, Wynand is a man of principle. Wynand and Roark meet and become fast friends, but Wynand does not know the truth about Roark’s relationship with Dominique. Meanwhile Keating, who has fallen from grace, asks Roark for help with the Cortlandt Homes, a public housing project. The idea of economical housing intrigues Roark. He agrees to design the project and let Keating take the credit on the condition that no one makes a single alteration to his plan.

When Roark returns from a summer-long yacht trip with Wynand, he finds that, despite the agreement, the Cortlandt Homes project has been changed. Roark asks Dominique to distract the night watchman one night and then dynamites the building. When the police arrive, he submits without resistance. The entire country condemns Roark, but Wynand finally finds the courage to follow his convictions and orders his newspapers to defend him. The Banner’s circulation drops and the workers go on strike, but Wynand keeps printing with Dominique’s help. Eventually, Wynand gives in and denounces Roark. At the trial, Roark seems doomed, but he rouses the courtroom with a statement about the value of selfishness and the need to remain true to oneself. Roark describes the triumphant role of creators and the price they pay at the hands of corrupt societies. The jury finds him not guilty. Roark marries Dominique. Wynand asks Roark to design one last building, a skyscraper that will testify to the supremacy of man.


YouTube Preview Image

Previously posted on this section…

Cite: Portilla, Daniel. "Films & Architecture: “The Fountainhead”" 28 Aug 2012. ArchDaily. Accessed 26 May 2015. <>
  • Savchyn architect

    Это лучший фильм об архитектуре, который мне довелось посмотреть. Русский перевод “Источника” смотрите на

  • drejer

    Like all of Ay Rand’s books, The Fountainhead should be inspiring and believable only to an adolescent. Its false heroism and swooning individualism is a shallow and ultimately destructive morality, if that. Howard Roark is a conceded jerk, who becomes a terrorist(!) to satisfy his (aesthetic) pride. No wander that wanna-be conservatives drool at this ultimately plutocratic ideal…

    • Anna

      I think they’re usually of a more libertarian than conservative bent.

    • M

      wow ¡¡ Drejer, what a bitterness about ¡¡
      Are you insulting millions of people. We should be idiots if we don´t think like you, right?

  • Kim Ngoc

    Good book, mediocre film. Different time, different ideas about architecture. Nothing is said about the role of builders and engineers. This book made sense during the time of Frank lloyd wright, Corbu, Utzon, Nemeier, Alto or Nervi…during the time of Liberalism and Capitalism…How can it make sense when Western architects are slowly disapearing in self pity, self hatred, and white-guilt?