News of another single-site book: Beth Sholom Synagogue: Frank Lloyd Wright and Modern Religious Architecture by Joseph M. Siry.

It’s both hefty (736 pages) and expensive ($65), but , according to this review in The Jewish Daily Forward, comprehensive (mostly, the review points out that Wright’s possible anti-Semitism is ignored) and carefully builds up the context for one of Wright’s last commissions:

Following a brief introduction, Siry spends the first half of his book laying out the larger biographical and architectural contexts for Wright’s design. He explains how the architect’s Unitarian religious background led him to develop a respectful attitude toward Judaism. He discusses how Wright’s experience working at the Chicago firm of Adler Sullivan exposed him to innovative synagogue designs at the turn of the century, most notably the comparatively modern Kehilath Anshe Ma’ariv, which opened in 1891.

And he shows how the architect’s designs for a series of Christian churches and chapels between the late 1920s and early ’40s helped Wright develop his own unique solution to the central architectural question of how to make a modern construction that would signify a denominational ideal.

The author, Joseph Siry, is an architectural historian and professor at Wesleyan University. He’s previously written books on Unity Temple, the Auditorium Building and the Carson, Pirie Scott Building.

I just learned of Frank Lloyd Wright — Fallingwater, an iPad app released in early December. Crated by Planet Architecture and in-D media, creators of a number of documentaries on architecture, including fantastic ones on Frank Lloyd Wright.

I don’t own an iPad, so I won’t have a chance to try the new app, but I have watched three of the company’s DVDs, including the one on Fallingwater that the app is based on, and they are extraordinary; the creators care about architecture, and understand that great buildings are expressions of ideas, and not just something pretty to look at (I reviewed the DVDs here). I would not hesitate to recommend anything they make.

The iPad app is priced at $9.99, a bargain given that it’s photography alone is the equal to any coffee table book on Fallingwater you’ll find and it has a number of additional features that no book can replicate. On the iTunes Store, 4 of the five reviews are 5-star reviews, and the last guy only gave it 4 stars because he’s saving the fifth star for the perfect app he has yet to find.

For more information, you can view a short video trailer here, and see screenshots of the app here.

[Long-time readers will have seen this link before (more than once), but it is, by far, the best thing I've ever unearthed]

The video I linked to earlier this week on Annunciation Greek Orthodox Church reminded me of this audio of an interview (originally aired on WDUQ, Pittsburg public radio) of legendary Wright apprentice Edgar Tafel and Franklin Toker, author of Fallingwater Rising. In it, Toker advances his theory that Wright had done at least some of the design before hand, that the story that he quickly sketched it out in front of apprentices as Kaufman, Sr. approached Taliesin was mistaken. Tafel quickly slaps Toker’s theory down, mocking it. It’s a classic.

Even better, if you listen through to the end, Tafel sings the Taliesin fight song. Just great.

Oct 122011

A Suntop home, one of four in an unusual Usonian development in Ardmore, Pennsylvania has sold. The closing will take place in early November, so, until then, the sale price and they buyer’s identity will not be public. The selling price, originally $490,00 was lowered first to $429,000, then to $419,000; the sales price was not disclosed.

Here is a video tour of the home with a local architect, and as always, The Frank Lloyd Wright Roadtrip has a nice selection of photos.

The American Institute of Architects has a page commemorating the 75 anniversary of Fallingwater.

The page is a hub for the AIA’s coverage of the landmark — there’s an interview with Lynda Waggoner (and an excerpt from her book), a portion of an essay by Edgar Kuafmann, Sr. and an interactive graphic about the repairs needed to preserve the building (which, of course, lead other to produce an episode of The Idiot Train on how flaws in a vacation cottage that outlived the clients by decades is somehow cosmically echoes the flaws of the architect (though clearly the result of great thought because the writer used the word “doxology”)).

Also on the page, though unjustly subordinated, are a few links to items related to Taliesin’s 100th.

Sep 092011

Philly.com has an article on the Sweeton House, a Usonian home designed in 1959 that is on the itinerary for the Frank Lloyd Wright Building Conservancy’s Annual Conference this Fall.

The Sweeton family was solidly in the middle, and approached Wright to design a house for them that fit their “unpretentious lifestyle,” according to correspondence. Nichols says the Sweetons paid builders $24,000 to construct the house, which was completed in 1951. Wright’s design fee was $1,500.

He responded with a three-bedroom, one-bath house on seven acres. It has trademark Wright features, including a long, low, sloped roof that emphasizes the horizontal, a cantilevered carport, a gridded red-tinted concrete slab floor, concrete block and glass, and generous windows.

The windows in the main room aren’t just holes in the wall, “they’re a subtle enclosure of the house,” says Nichols, pointing out that no frame connects the panes where wall meets wall. The glass is cut and mitered to fit together neatly so residents can absorb a full sense of the nature beyond.

“When Wright designed the house, he really wanted to give the owner a sense of shelter, but also not confine the owner,” says Nichols.

It doesn’t show up in my browser, but reportedly, there’s a video of the Sweeton House here.

This is a great post on the website Aqua Velvet (a site highly deserving of a spot in your daily web perambulations).

The post introduced me to the greatness of this Google Image search (safe for work, children and small pets).

This search, which isn’t as selective, is bad either.

My favorites (all photos (c) Time Inc.):







Edgar Tafel’s gift

Article and nice collection of photos of Sullivan’s National Farmer’s Bank in Owatonna, Iowa.

Updates at Wright in Racine

A Marion Mahoney Griffith article by Alice T. Friedman — I didn’t have time to read this (remind me about it when I get back) but it looks seriously good. Great stuff for your Sunday morning.

A video tour of a “Suntop” house.

NYT visits Wright in LA.

What we missed at Wright and Like .

The Spring issue of Modernism has an article on the Kaufmanns and Fallingwater. A portion of the article appears on the website, but you’ll need to find the print version for the full thing.

Part of Fallingwater’s 75th anniversary celebration, the Kaufmann family and the role of their department store in the cultural life of their hometown is featured in an exhibit at Fallingwater this summer, “Kaufmann’s: Pittsburgh Purveyor of Culture”, June 24 through August 28:

At the center of Pittsburgh’s consumer culture was Kaufmann’s department store, located at Fifth Avenue and Smithfield Street. The store’s eleven floors of merchandise made it a hub of commercial activity. However, it was also an institution that fostered public education, where Pittsburghers could attend free exhibitions or lectures on a myriad of contemporary topics. In its heyday during the first half of the twentieth century, Kaufmann’s established itself as a commercial, social and cultural center. The store became a powerful urban presence and a conduit to the world of goods and experiences beyond its walls and the borders of Pittsburgh. This exhibition celebrates the history of Kaufmann’s and the family behind its enterprising management.

Possibly jealous of Taliesin’s centenary, Fallingwater is celebrating its 75th anniversary this summer with a full schedule of events and exhibits, a book and, of course, a party (actually, they call it a gala).

One interesting addition to Fallingwater’s website is “Fallingwater, As Wright Intended”, a look at the differences between Fallingwater as built, with suggestions from the Kaufmann’s and Fallingwater as Wright designed it without changes initiated by the clients.

Along with these modifications to Wright’s plans were several rejections of design elements the Kaufmanns viewed as inconsistent with easy-going country life. In early drawings of the living room, Wright proposed rugs laid out on a well-defined grid, barrel chairs for the dining table and partner’s desk, and tall pole lamps to light the room at night. The Kaufmanns decided against all these proposals, arguing they introduced too much formality into an otherwise relaxed space. Wright also defined an orchestrated layout for the living room’s moveable furniture, placing hassocks (ottomans), zabutons (floor cushions), side tables, and coffee tables in asymmetrical arrangements in front of the sofas. The Kaufmanns never conformed to Wright’s intended placements; however, they did maintain the overall feel of asymmetry, just with a looser approach. On the exterior, Wright recommended gold leaf for the concrete, likely drawing on his Japanese experience and knowledge of gilded temples. The Kaufmanns thought gold leaf a bit too extravagant and inappropriate for a mountain house. Wright then suggested a white-mica finish from Super Concrete Emulsions, Ltd., a Los Angeles company. Again, the Kaufmanns rejected this idea, stating that the finish should blend with the stonework. Ultimately, they agreed upon a waterproof cement paint called Cemelith in a light ocher, a color which Wright described as taking inspiration from “the sere leaves of the rhododendron.”
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