FRANK LLOYD

WRIGHT
JUNE 8, 1867 -APRIL 9, 1959
INTRODUCTION
FRANK LLOYD WRIGHT WAS BORN
IN RICHLAND CENTER ON JUNE 8,
1867
 WAS AN AMERICAN ARCHITECT,
DRAFTSMEN, INTERIOR DESIGNER,
WRITER AND EDUCATOR,
 HE DESIGNED MORE THAN 1,000
STRUCTURES AND COMPLETED 500
WORKS.
WRIGHT BELIEVED IN DESIGNING
STRUCTURES WHICH WERE IN
HARMONY WITH HUMANITY AND ITS
ENVIRONMENT
HIS MAXIM IS “A BUILDING MUST
BE BASED ON A SITE AND MUST BE
BUILT” SO HIS WORK IS BALANCED
WITH NATURE.
HIS FAMOUS WORK IS GUGGENHEIM
MUSEUM AND “FALLING WATER”
STYLES OF ARCHITECTURE
PRARIE STYLE ARCHITECTURE USONIAN ARCHITECTURE
WORK CONCEPT

ORGANIC ARCHITECTURE
"Organic Architecture" was invented by Frank Lloyd Wright in 1908.
Main objective is to cause no harm to the nature through our design
 “The essence of organic building is space, space flowing outward, space flowing inward.
Both plan and construction are seen to be inspired from within.”
 “If one would get the essential character of an organic building, it could not be by camera,
in as much as it is wholly a matter of experience. One must be in the building before he can
understand what makes it is.”
FEATURES

 A RESPECT FOR NATURAL MATERIALS

 STRUCTURE SHOULD BLEND INTO THE
SURROUNDINGS
 INSPIRATION OF ORGANIC
ARCHITECTURE IS OBTAINED FROM:
1. NATURE’S FORM 2. GEOMETRY
3. ENVIRONMENT
 ORGANIC ARCHITECTURE

INSPIRED FROM NATURE INSPIRED FROM GEOMETRY

Ushida Findlay's
spiral Ennis house of
House was U.S.A was
inspired from inspired from
uncoiling the Greek
Leaf of a fern. symbol

The Nautilus
in Mexico was Parabolic Arch
inspired from of Casa Mila
Nautilus shell. was inspired
from Curves

Domed roof of Interiors of

the Palazzetto Solomon R
Guggenheim
dello was
Museum,
inspired from
was inspired
Spiders web
from Spiral
 ORGANIC ARCHITECTURE
INSPIRED BY ENVIRONMENT :
 Organic architecture is the blending of
Water body:
structure with environment
 Environment includes land, water, wind,
light, material etc
 Depending on architects interest blending of
structure can be done with following :
Land:
Material:

Light:
Interplay of areas
brightness
& shadow makes use of
light as an
architectural feature.
USE OF MATERIALS IN ORGANIC ARCHITECTURE

THESE MATERIALS HAD HITHERTO BEEN

USED IN DIFFERENT WAYS – COVERED,
WRIGHT HAD A DEEP PAINTED, PLASTERED, AND ALTERED TO
KNOWLEDGE OF AND A SUIT ANY PARTICULAR FASHION OR TASTE.
LOT OF RESPECT FOR BUT IN HIS WORKS, THESE MATERIALS
NATURAL MATERIALS SUCH WERE ALWAYS USED IN THE NATURAL FORM,
AS WOOD AND STONE. BY ALLOWING FOR INSTANCE, THE USE OF
MASSES OF STONE AS THE NATURAL
FEATURE OF THE BUILDING
 OTHER FEATURES:

 Simple geometrical shapes.

 Strong horizontal lines.
 Hidden entries.
 Used horizontal planes
 No basements or attics
 Deep overhangs
 Built with natural materials
 Used large stone fireplaces
 Repetitive lines and shapes
 He made innovative use of new building materials such as
precast concrete blocks, glass bricks and zinc canes (instead of
the traditional lead) for his leadlight windows.
REPETITIVE LINES AND SHAPES

-Guggenheim
Museum -Fallingwater

-Wingspread
LONG OVERHANGS
ARCHITECTURAL WORKS :
 ROBIE HOUSE :
Location: Chicago, Illinois
Date: 1909
Building Type: house
Construction System: brick and steel
Style: Prairie Style
Concept:
 The house was designed for Frederick C. Robie, a bicycle manufacturer, who did
not want a home done in the typical Victorian style. Robie desired a modern
floorplan and needed a garage, and a playroom for children. He also required
that his home be fire-proof, yet retained an open floor plan free of closed, box-
like rooms that would prevent the uniformity of decoration and design.
 Materials :
Clad in Roman brick and limestone.
The use of wood strips arranged perpendicularly to the direction of the room and
rhythmically placed lights reduce the feeling of a long narrow space. Two angled
rooms at the ends further reinforce the idea that space is extended outward.
CONCEPT
The house was designed for Frederick C.
Robie, a bicycle manufacturer, who did not
want a home done in the typical Victorian
style.
Robie desired a modern floorplan and
needed a garage, and a playroom for children.
He also required that his home be fire-proof,
yet retained an open floor plan free of closed,
box-like rooms that would prevent the
uniformity of decoration and design.
DESIGN
Foreign:
The house has no facade, conventional
windows, nor a prinicpal entrance or front
door. It occupies almost the entire plot; what
little free space left is incorporated in the
overall composition with dedcorative walls and
gardens.
The horizontal feel of the edifice is reinforced
by the window sills and stone thresholds, as
well as by the thin mortart joints of the brick
work.
Compositional method:

The method of composition Wright utilized at the time consisted of organizing symmetric forms in assymetric groupings.

The basis of the composition is a long two-story block, with apparently symmetrical porches, each featuring a sloped roof, at each end.

On the first floor of the south facade, which faces the street, there is a row of large doors opening onto a large balcony that projects outward from the house.

The balcony provides shade to a series of similar windows on the ground floor.

The symmetry is an illusion, because the elevated terrace of the western end of the house is balanced by the wall of the courtyard to opening to service the eastern end. But it
is only one factor in a more complex equation.
Above the main block, the second floor features bedrooms with windows and covered balconies, creating the conflicting dynamic that sets the entire composition in motion. On
one side emerges a large vertical chimney that anchors all the horizontal levels below. Further, at the eastern end of the building, a sloping deck covers a wing dedicated to a 3
car garage and service personnel entrance.
 SPACES
 Wright rejected the popular view that indoor spaces should be closed and isolated from each other. In
contrast, he designed the house so that the space in each room or hall was open to the other, so that the
feeling in the house was one of immense light and space.
 To differentiate one area from another, Wright resorted to lightweight divisions or different height ceilings,
avoiding unnecessary solid room divisions. So Wright was the first to establish the difference between
"defined spaces" and "closed spaces".
 The significance of Wright's design of the Robie House is that he neglected the conventional ideation of a
house as a box containing a smaller "boxes" for rooms. By contrast, the interior space is fluid and
transparent, allowing the entry of light without obstructing the view.
 This "explosion of the box" produces the effect of walls unfolding to reveal large, vast spaces. The floor
composition is based on two adjacent horizontal bars that are mixed in a central space, anchored by the
vertical column of the fireplace, around which the rooms are arranged and interconnected.
 The design draws on the wide terraces and eaves to achieve a solid and strong, yet lightweight and hollow
appearance. This concept of eaves and large terraces was used later by Wright in the Casade House.
 The house is divided into two wings, keeping the public areas toward the street and the service areas near
the innermost sections of the house.
 Ground Floor: A game room and billiard room make up this level, separated by a fireplace. In both spaces,
Wright chose to showcase the system of structural beams in the ceiling, to give a greater sense of altitude to
the rooms.
This level also houses the utility equipment, laundry, pantry space, and a 3-car garage.
Access to the house is at this level, with access to the main living area via stairs.
• Second level:
The second floor of the house is composed of the kitchen and the servants quarters. But undoubtedly the most interesting rooms
are the living and dining rooms, separated by the fireplace, but visually connected.
These rooms feature a wide space without walls that obstruct the visual from the outside, which recalls the vast spread of the
prairie and at the same time allows the diffusion of light from the inside.
However, the eaves are designed such that they protect the inhabitants privacy from prying eyes in the street.
Here, climb the central staircase, which leads to one of the most famous domestic interiors of the twentieth century: a large loft,
long and low, as the living room of a boat, gaily lit by skylights opening to the noon sun.
The space is divided into two areas, the living and dining areas, which symbolize the most familiar elements of living and roots
the house to the earth.
• The chimney, which has a massive presence in the central space, is not an obstruction since it is possible to maintain the
continuity of the roof structure around a central opening. In turn, the ceiling is divided into panels, each equipped with two
types of electric lighting: glass globes on each side of the higher central zone and bulbs hidden behind racks of wood, in the
lower side zones.
oOn both ends of this space the two long galleries form triangular areas that are more
intimate, for relaxing or eating.
oThese spaces are barely visible from the outside due to the intense shade thrown by the
extensive flying eaves.
oThese decks could not be built in wood, in fact, they are held by two hidden steel beams
that extend the length of the main block. • Third level: The bedrooms are at this level,
overlooking the house in a sort of tower-style.
MATERIALS
•The house is clad in Roman brick and limestone.
•To achieve those enormous eaves, Wright pioneered the use of steel in the structure of the
house by using two main beams that run lengthwise along the same axis as the fireplace.
Wright chose to cover the sides of the beams, leaving a high cieling area in the center, which
has the effect of creating the illusion of vast vertical space.
•The use of wood strips arranged perpendicularly to the direction of the room and
rhythmically placed lights reduce the feeling of a long narrow space. Two angled rooms at the
ends further reinforce the idea that space is extended outward.
 ARCHITECTURAL
WORKS :
 FALLING WATER :
Location: Ohiopyle, (Bear Run),
Pennsylvania
Date: 1934 , 1938, 1948
Building Type: house
Construction System: reinforced concrete,
stone
Style: Expressionist Modern
Structure:
The type of structure of the house is a
porticado in particular, because there are
columns and beams to form porches, and the
plates, the horizontal elements that stretch as
terraces on the waterfall, were made with
concrete. Some walls and other vertical
elements that define the spaces of the house,
the Like the floor, were lined with native stone
from the site. Also you can see some details of
the house in steel and wood.
Materials :
 concrete,
 stone rugosa,
 native stone,
 wood and steel.
FALLING WATER
PENNSYLVANIA

-Natural colors
-Long overhangs

-Repetitive
horizontal lines

- Artificial and natural rock walls

 ARCHITECTURAL WORKS :
 PRICE TOWER: :
Location: Bartlesville, Oklahoma
Date: 1952 to 1956
Building Type: vertical multifamily housing
Construction System: reinforced concrete with cantilevered floors
Style: Modern
Concept:
The central metaphor of "Prairie Skyscraper" is a tree whose trunk is represented by
the solid core of building services. Branches, concrete floors cantilever protruding
from the center, allowing to decrease its thickness at least 3 inches. Wright began his
"tree" of "crowded forest" of the Manhattan skyline and placed on the Oklahoma
prairie where still standing with few "neighbors" highs around.
Materials :
 Concrete walls, floors pigmented concrete, aluminum windows and doors, with
reliefs of patinated copper.
 geometric figures of his own invention which he gave a greenish color, bands of
windows and angular fins copper, such as leaves, protect rooms from the sun.
 ARCHITECTURAL WORKS :
 Guggenheim Museum:
Location: New York, USA
Date: 1956-1959
Building Type: art museum
Construction System: concrete
Style: Modern
Concept:
From the street, the building looks like a white ribbon rolled into a cylindrical shape,
slightly wider at the top than at the bottom. Internally, the galleries form a spiral.Thus,
the visitor sees the work as you walk up the illuminated spiral ramp.Its design was
inspired by a "Ziggurat" Babylonian temple pyramid, inverted. The building rises as a warm
beige spiral. Its interior is similar to the inside of a seashell. Organic buildings are the strength and
lightness of the spiders’ spinning, buildings qualified by light, married to ground.”
Materials :
•The materials used in its construction were basically precast concrete blocks.
•The white paint used on the internal walls makes the works of art stand out.
•The skylight is supported by steel joints.
INTERIOR
DESIGN
 FrankLloyd wright was working with the current world and
designing buidings according to it.

As it is mentioned that Robie house is completely made of

bricks because in that era the new materials wasn’t
introduced.

CONCLUSIONS After that the falling water was completely designed with
concrete forming long cantilivers.

In 3rd price tower was constructed because of industrial

revolution.

RCC and steel structures was introduced .The architectural

trends with the current situation of the worlds are changing
after every 20years in franklloyd wright life span.
THANKYOU!