This article was originally published on Common Edge. If you’ve been in the profession of architecture long enough, you come to know a certain rarified subset of fellow professionals: Those who call themselves “architects,” who have a degree, and who may even be licensed and members of the AIA, but who do not practice architecture. They simply like being an “architect.”
It was, of course, Frank Lloyd Wright who set up the ground for modern architecture to happen in Los Angeles. Then came the Viennese, Rudolph Schindler in 1920 and Richard Neutra in 1925 at the invitation of Schindler. Both worked for Wright choosing to learn from him what they saw as essential—by focusing on spatial and formal clarity, transformability, restrained materiality, and the living environment to achieve a desirable quality of life within. Neutra and Schindler collaborated at first, and then each built a rich portfolio, mainly comprising houses and apartment blocks. Universal in principle, these abstract robust structures defined and led the development of a local building vernacular. These buildings, of which there are several hundred, are now strongly associated with the two architects’ adopted city.
This article was originally published on Common Edge.
It has been about 200 years since the École des Beaux-Arts in Paris created an academic discipline—and thus the profession—of architecture. The central role of the architect as the defining agent of creation transcended the Master Builder, a role that defined those who designed buildings not as experts or celebrities but as stewards of building traditions.
Michael Rotondi’s buildings—museums, civic centers, education facilities, monasteries, restaurants, and residences—evoke kinetic mechanisms that fold, hinge, twist, and split open. They express the architect’s feelings, thinking, and mood at the time they had been designed, and, on some occasions, during their assembly and construction. Rotondi was born in 1949 in Los Angeles.
He established his RoTo Architects, a research-based firm in his native city, in 1991 after co-heading Morphosis for 16 years with Thom Mayne. Parallel to his practicing career, the architect has been teaching and lecturing at SCI-Arc, Southern California Institute of Architecture, which he co-founded in 1972, led its graduate program from 1978-1987, and was the school’s second director for a decade from 1987 to 1997.
Architecture and fashion share an interesting interplay in the formation of cultural expressions and identities. Both disciplines can become vehicles for creativity at different levels. Architecture is often described as the “third skin” of humans, while clothes represent the second skin, highlighting somewhat similar functionality of protecting the body while also allowing for self-expression and individuality.
The relationship between architecture and fashion can also be seen in the shared design principles, such as form, proportion, human scale, and materiality. More than a simple background for runway shows, architecture can contribute to setting the atmosphere, becoming a source of inspiration, and orienting the movement through space. Collaborations between architects and fashion houses, such as the renowned partnership between OMA/AMO and Prada, further blur the boundaries between the two disciplines, demonstrating the myriad of interconnections between the two creative fields.
Diller Scofidio + Renfro, in collaboration with Dallas Theater Center, unveiled the design proposal for the Kalita Humphreys Theater master plan, centered around one of Frank Lloyd Wright’s lesser-known buildings. Over the years, neglect and additions have compromised the building’s integrity. The project aims to restore the mid-century theater to its original state by applying a multifaceted approach. According to the architects, this includes surgical extraction, selective reconstruction, preservation, and a faithful reinterpretation of Wright’s design intent. The master plan also aims to transform the surrounding public green space into an active and attractive park connected to Turtle Creek and Katy Trail, some of the most visited destinations in Dallas.
As the largest city in the United States, New York City is one of the most diverse and vibrant cities in the world, recognized by many as the center for global media, culture, fashion art, and finance. The city was founded in 1624 by settlers from the Dutch Republic and has since grown into “the city that never sleeps”.
While almost every style of architecture exists in New York City, the metropolis is most well known for its skyscrapers, both in historical styles such as Neoclassical and Art Deco and in their varied contemporary expressions. The first building to bring the world's tallest title to New York was the New York World Building, in 1890. Later, New York City was home to the world's tallest building for 75 continuous years, starting with the Park Row Building in 1899.
Predominantly associated with places of worship, stained glass has been used by artisans across the globe for thousands of years in an array of art ventures and installations. Intensifying architecture with vivid color, the process of stained glass refers to a particular action in which glass has been colored via metallic oxides during its manufacture, using different additives in order to create a range of hues and tones.
In terms of architectural enhancement, stained glass is often pieced together in order to produce depictions of decorative art, allowing light to filter and penetrate a particular structure or building. As a component it is both decorative and a variety of window, allowing a substantial and sufficient amount of light into a space, for atmospheric and beneficial effect.
The School of Architecture, founded by Frank Lloyd Wright as the Taliesin Fellowship in 1932, is undergoing significant transformations. Two years after separating from the Frank Lloyd Wright Foundation, TSOA landed at Arcosanti, an experimental desert community in Arizona owned and operated by The Cosanti Foundation. In line with the school’s values, the program at Arcosanti seeks to provide students with a contemporary design education based on immersive, experimental, and experiential learning. The curriculum offers 2 and 3+ year NAAB-accredited Master of Architecture degrees and a 1.5-year Master of Science in Design-Build.
The Second Studio (formerly The Midnight Charette) is an explicit podcast about design, architecture, and the everyday. Hosted by Architects David Lee and Marina Bourderonnet, it features different creative professionals in unscripted conversations that allow for thoughtful takes and personal discussions.
A variety of subjects are covered with honesty and humor: some episodes are interviews, while others are tips for fellow designers, reviews of buildings and other projects, or casual explorations of everyday life and design. The Second Studio is also available on iTunes, Spotify, and YouTube.
This week David and Marina are joined by Stuart Graff, President and CEO of the Frank Lloyd Wright Foundation to discuss the foundation’s mission; the role cultural institutions play in supporting creative professions; preserving and furthering Wright’s legacy through programs and collaborations; intellectual property; Stewart becoming CEO of the foundation; running a successful non-profit; Frank Lloyd Wright’s principles; and more.
Housing objects of artistic, cultural, historical and scientific importance, the term ‘museum’ is derived from the Latin language. In regards to classical antiquity, in Ancient Greek ‘mouseion’, meaning ‘set of muses’ was a philosophical institution, a place for contemplation and thought. These muses refer to the 9 muses in Greek mythology, the goddesses of the arts and sciences, and patrons of knowledge. Early museums’ origins stem from private collections of wealthy families, individuals or institutions, displayed in ‘cabinets of curiosities’ and often temples and places of worship. Yet these ‘collections’ are predecessors of the modern museum, they did not seek to rationally categorize and exhibit their collections like the exhibitions we see today.
In definition, the modern museum is either a building or institution that cares for or displays a collection of numerous artifacts of cultural, historical, scientific or artistic importance. Through both permanent and temporary exhibits, most public museums make these artifacts available for viewing and often seek to conserve and document their collection, to serve both research and the general public. In essence, museums house collections of significance, whether these be on a small or large scale.
More than 60 years after his death, Frank Lloyd Wright's story remains relevant and arduously studied because of the great legacy he left to architecture. Considered the first truly American architect and the first superstar of his craft, Frank Lloyd Wright lives on through his buildings, his influence and his collective imagination. Surprisingly, more than half of Wright's 1171 architectural works were never erected.
Frank Lloyd Wright was one of the most internationally influential American architects and is considered the forefather of organic architecture as well as the Modern and Prairie School Movements. Throughout the years, Wright's works have been awarded even more importance, with 8 gaining entry into the UNESCO World Heritage Site registry.
On August 12, 1833, the Town of Chicago had roughly 200 inhabitants. Four years later, in 1837, it was upgraded to The City of Chicago – an interesting fact given that there are still 19 incorporated towns in Illinois. The Great Chicago Fire of 1871 killed 300 people, destroyed about 3.3 square miles (9 km2), and left more than 100,000 residents homeless. However, by that time Chicago had become the world’s fastest-growing city and its population had risen over 300,000 inhabitants. The fire meant these ambitious citizens had to start again.
With admirable strength, the city was reborn from the ashes and some of Chicago’s best architecture was constructed immediately after. Structures like the Rookery Building (1888, Frank Lloyd Wright), the Auditorium Building (1889, Louis Sullivan) and the Monadnock Building (1893, Burnham & Root, Holabird & Roche) are a few examples of the high standards the city was aiming for.
Less than two months ago, the future of an 1894 Dutch Colonial-style home designed by Frank Lloyd Wright wasn’t looking all that bright after it hit the market for $1.3 million in the Chicago suburb of Hinsdale, Illinois. As of this week, however, the historic Frederick Bagley House, described by the nonprofit Frank Lloyd Wright Building Conservancy as a “unique and irreplaceable” early work of Wright, has found a very happy ending—or, more aptly, a new beginning.
Juan Miró, co-founder of Miró Rivera Architects reflects in an opinion piece on the value of American cities. Stating that "when we idealize cities like Copenhagen, we risk losing focus of the fundamental historical differences between the urban trajectories of European and American cities", the architect and educator draws a timeline of events and urban transformations, in order to explain why it would be more relevant to look on the inside when planning U.S cities, rather than taking examples from the outside.
Frank Lloyd Wright’s Price Tower is the famous American architect’s only realized high-rise building and one of his only extant vertically-oriented designs. Located in the plains of Bartlesville, Oklahoma and commissioned by the local oil and chemical firm H. C. Price Company, the mixed-use tower is significant not only for its singularity within Wright’s oeuvre, but because of its unique materials and structural design. Some of Wright’s innovations, which were novel in the mid-twentieth century, remain useful even today.
Skyler Dahan, an LA-based photographer, has captured Frank Lloyd Wright's Civic Center, in Marin County. Shot on Kodak Portra film with a Contax 645 medium format camera, the series of images highlight Frank Lloyd Wright's latest commission. Serving as a justice hall, the project was actually completed by Wright's protégé Aaron Green after the architect’s death.
.jpg?1652479150 "The Solomon R. Guggenheim Museum / New York . Image © Laurian Ghinitoiu")
