Frank Lloyd Wrights Architecture

According to Steffensen (2570), Frank Lloyd Wright (1867-1959) is considered to be one of the most popular architects across the globe. His renowned private home “Fallingwater” is designed in a manner that hangs above from a cliff that harbors the Eponymous waterfall located at Pittsburgh. The piece was no doubt a sophisticated form of home. It was characterized by cream-colored cantilevered horizontals which were arranged in position allowing rhythmical one layer on top of another which was anchored by the dark vertically-placed masonry while the interstice was inter-twined to depict a diaphanous-like glass canal.

His influential contribution has been attributed to his manner of portraying revolutionary ideas, peculiar Herculean output, and the immense level of talent. It should also be noted that Frank Lloyd had embraced contemporary media-based gadgets in the line of his works so that unique and distinctive designs were associated with his architects (Satler 15-21).

His contributions in the piece have been embraced positively with numerous professionals within the industry, especially Bauhaus. Specifically, Frank Lloyd used different features in order to manipulate his images through a fundamental level of outputs in the form of print, photographs, radio sets, as well as television mediums for such programs.

It is noted that in addition to his ability to harness the initially available resources, Frank Lloyd also deployed other devices that had been used by other older architects. Some of the aforementioned devices used were considered to be older in terms of the Renaissance while others were his own formulations in the course of the 20th century.

Frank Lloyd’s works are depicted as having attained success through methodologies involved with the evaluative paradigm given the fact that it distinguishes the uniqueness attributed to Eastern and Western architectural as well as other forms of interactional philosophies. In respect to Wright’s works, it is determined that there is a demonstration concerned with the correlation of distinctive philosophies that are referred to as the organic forms of architecture.

The evaluative paradigm capability of Wright’s works is considered to be distinctive tools which can be used for the purpose of constructing as well as assisting issues of both social and economic aspects in the United States economy as a whole. It should be noted that in the course of building these forms of influential sites there is a perceived need to differentiate between the behaviors which happen within their respective contexts.

The aforesaid evaluative approach is considered to be a necessary facet which exposes architectures of attributed with lesser cultural interactions into platforms of the immense level of status. The design which has been formulated by the architecture found in the landscape is transformed from elements of contestation into an absorptive state.

Notably, these architectural designs open ways through which globalization helps to define the relationships created between different philosophies of space, people as well as their immediate forms of the interface within the built structures. In addition to this, the evaluative paradigm approach has been used to distinguish additional forms of cultures that are considered to be useful to the continual-presence of dominant structures.

Wright considered his works to be oriental. His organic-based architecture forms were depicted to have also been replicated in the East, especially Japan. However, Wright does not confess that he sourced much inspiration from these forms rather he indicates that the existence of such built form in Japan was confirmation to most of his organic structures. It should be noted that Oriental architecture is one that conducts his works in an instinctive manner.

In the course of nurturing and thus subduing most of his works, Wright confesses to having discovered a newer form of space through which the body was inscribed in it. Particularly, this was understood when he constructed both the Larkin Building in 1904 near Buffalo, as well as Unity Temple in 1906 at Oak Park.

Frank Lloyd’s works were considered to be unique and distinctive in that they were different from the Eastern since he possessed the capability as well as the talent to utilize the fundamental principles of the philosophies of the Japanese cultures. Furthermore, he had the capacity to apply the aforementioned values, perceptions, resource materials as well as methodologies to the numerous existing needs of his time – 20th century America. Historically, Frank Lloyd is considered to be a fairer connection between the traditional forms of Arts and Crafts to the brighter contemporary architecture.

It is retorted that most of his works went away from the western forms of culture into the eastern understanding of space hence the conception attributed with space was considered to be useful in respect to the notion of contestation. The notion attributed to Wright’s organic architecture is considered to be a window of opportunity which helped bring forth the usefulness of extracting ideas between two distant cultures and later using them in the aforementioned contestation processes.

The numerous forms that were built by Frank Lloyd are considered to be one of the most peculiar structures across the globe. For instance, the Guggenheim Museum which is located in the upper East of Manhattan; New York was designed by him. It provides an immense source of inspiration to the impressionists as well as contemporary architecture personnel. The building was established in 1939 and assumes a cylindrical shape. The top-most section of the building is wider and vast as compared to the bottom section. The distinctive and unique gallery located within the building is perceived to be extending from below the sky-light in rather extensive and continual forms of spirals along with the external framework of the entire building till it connects to the ground level (Satler 20-24).

Through his extensive search and development of organic architecture, Wright put much emphasis on the need for establishing a contemporary form of architects which were inspired by both the old western traditions as well as the eastern notion of space. In the course of establishing his structures, Wright embraced certain logical architects in ancient Greece. For instance, in the Platonic view, he affirms the concept about space and air depicting them as a real element of the earth. The perception is highly inclined towards the centralization as well as the agglomeration of space and thus explained the rationale behind methodology involved with carving and customizing space in that matter (Levine 19-27).

Remarkably, the concept involved with classical forms of architecture perceives different links that define the numerous versions of space. For instance, the perception allows for space being defined at the focal points where they finally converge. Moving forward, whenever it is realized that there is a possible convergence of space, Wright asserts that the source of power should be searched for within the different corners. Therefore, with the real sources of power being reflected from the corners it is safe to assume that the definite center which also happens to be a source of both strength and definition is located at exactly the same location, which is, the walls which protect matter from exposure from both inside and outside the structure.

The “William Winslow” residence which was established on the period between the year1893 and 1894 is Wright’s typical example of a standard built form inspired by the Prairies School. The residence depicts a self-contained free-standing conventional structure. It rests on an extended stone water table which Wright as the architecture compared to the old Greek temple (Pfeiffer 45-56).

It is believed that the residence drew its inspiration from the Central Hall Plan pioneered in the Japanese Ho-o-den whereby the structure of one of the rooms is created with vast space in order to serve different house-functionalities. Moreover, the resultant distinction of the residence is depicted by the interior fireplace spotlight whereby it provides the notion of spatial interior pivoting (Nute 8).

In respect to the International Style, the architecture was perceived as having a greater significance to the crucial manners pertaining to space as reflected in western architectural forms. The Robie House which was established in the year 1908 is one such example of Wright’s works that incorporated the numerous processes involved with abstraction given the fact that the evaluative approach was derived from the Winslow Residence (Hoffmann 23-28).

With the single room, the space of the entire floor is depicted as having covered all of the main components of the floor of the residence. The classical portrayal of the house is simplified into a series of intersections, overlapping as well as depicting autonomic-like planes. The fireplace which is placed centrally depicts the numerous forms of the key attention which surrounds it wholly. It should be noted that in his sense of advocating immense levels of privacy, Wright provided for an extensive openness whose core purpose was to partition as well as articulate the frameworks of the enclosed space. It is also noted that Wright had earlier visited the Hiashi Hongan-Ji in Nagoya and the Robie House is an extensive replicate of such an extended double eave (Gutheim 36).

The “Johnson Administration Building” was established in 1936 and depicts Wright’s initial step into large-scale commission. In this project, Wright perceived the need to establish a working environment that was characterized by safety measures. The structure was solely based on the third dimension which was a reflection of the Nikko buildings. In this building, Wright managed to streamline the building through the evident use of the immense circular points which were already developed with the master-plan. Wright took-off the upper angle through the cornice at the immediate ceiling as well as the wall which were curved and opened at the top-most section as an entire rift. A horizontal tube was later placed at the right position between the walls and the ceiling thus allowing immense light to reach the section of the building where it had never reached (Gutheim 34-37).

To sum up, it is true to assume that through his perception towards organic architecture, Wright recognized the need to establish the different design methodologies which were to be used for creating an impetus used for maintaining the different degrees of life as well as its inhabitants. In his works, he had perceived the need for making the process of living simpler through the use of space escapement.