FLW Architecture of Lanscape 2

8/12/2019 FLW Architecture of Lanscape 2

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CONTI NT I=RAHK LLOYD WRIGI lT aUARURLY Fal2

rrank Lloyd Wright Foundation cw: Tr a lI r Jlunt .

Frank Lloyd Wright: [ hite t f and cape (Part 11by Anne Wlhi t n pirn 4The ummel 2000 issue of the uarrerly featured Part f holar AnneWhiston /Jim s essay which included a detailed relJorf of the develo/Jment ofthe Taliesin land cape in pring reen Wis onsin. This i u ontinues withan analysis of the Taliesin West landscape and further exploration of Wright sprinciples of landscape design.

Book 26

Wright ites 'vent n f o rma t i on 0

Ir nw n Apprentice helterby had o r n t t 2

VER PH T : The el1tran e t the main c01llplex of bllildings at Taliesin West.ott dol Arizona, ca. 1970. Pholo Frank Lloyd Wright FOlllldatiol1.

PubllsIMd by h r lloyd Wright F MldatIcMIT,llic ln Wt'l. Sc Oll cl.1l .I\Z 8 261

ldilOr: ULCllt luea,i ant FdilClr: Dan f1ilenc

Copyedilor: Alice UrbanD e ~ i l t n e r : Robert Miller

oard of TrusteesHdmilron 'vkR,le Ill Chdirm,ln. I ll',ldi'c' Valle, AI

Dr. II. ichob\ luller III, F and JlrC\idcllIHh Man,1 c.a,ey. ScOlbd,lle. ZI. I homa,


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w T


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A: c titl rhon iew o 111 ll -tr nce w tl sample blocks left 1929.

tand ith

r1zona thith u

m fr the

twicand f

pr tan-de -

fi d ea h < nd k pl hi per eptionfr h. P rhap hi tcnden toromami iz h lh \ n ouragcd hp riods of ab n and the fact thathe p nr th m t plea am ea on ina h did n t . mend ith the hal hi on in im r r tOrrid rizona

umm r. Pr grc rh f 0ali in in rhe relation hip between

building and I nd ap ame tor mble umm r lta and \ inreramp rather lhan year r und

dwellin .right r turn d to b th ea h ar

full f id a for hange izingafre. h th t k f I hapin buildingand gal d : Ir wa pand moniLUllfor Iw w>ek aring ut wallI bllildin 1 I all d Hrll e B1 ok f i f r. h built land ap thetwo Talie ins ar imilar yet different;


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tru tured by imiJar principle buttaking different hape, ach in diaI gu with the other and with itwn I nd cap . spit all th e

change over the years building andgarden at Talie in are rooted in thefirst half of Wright career, i cd byfoundation that urvivcd u c ,sivefires and dcmolition , while Tali inW t repr ent a n w charter in hiswork. Brucc Br k Pf iff r dir t rof th Frank yd Wri ht hivat Tali in W t, r m mber whenthe t n mark r in rib d with thew rd Tali in We t wa et upn ar th enrran e Wright poinred toth name Talie in molded into thewall of the parking ar a oppo i te hat th 10k he aid, th npointed to the new mark r - Andthat the chapter.

By identifying Tali in a a bookand th pia h cam to allTalie in North and Taliesin We t achapt r , Wri -ht under ored therol of Talie in a te t with purpo e-ful pI t and tbe two pIa e as s ayelaborating similar th mc . Tog th rthe Tal ie ins embody in built formWright s idca n natur and lond-

7 A: Plan ft r catilla Arizona hyFrank Lloyd Wright 1 29 Drawing Frank Lloyd Wright fOll/ldati I B: catilla AriZOl/a View from gamge1929. catilla images courtesy FrankLI yd Wright Archives.


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8-A 8-B: an Marco in-the-De ert,handler, Arizona, 1928. ite plan,above 8A) and aerial per pective.below 8H . hank Uoyd Wrightarchitect.

cape They are villas a holarJames Ackerman has def ined thetype, di ti nguished from farm orranches by , the inten c pro rammaricinve tm nr of ideolo ical goal. roorcd in th nrra r of lmrr andcity, in that th virtue and d lightof rhe one are pr nt d a th

antithc e f the vice and c ofthc orh r. Th Tali sin pr l1t intangibl f rm Wright id a f w rid made better by de ign. Theyar th built vcr ion of hi utopiant t isapp earin g ity WhenDemocracy Builds, and The Livillgity. s villa the Talie in belong to


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a lradition lhousands of years old wheredw lIing i


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A : Talies in Wes t cottsdaleArizolla and surr tlnding desert seenfrom atop m tlntahl ca. 1940 tateHistorical ociety of Wisconsin HOlVeallecti Whi HollJe TSPI

a prowlik platform looking out v rth Jand ape and I t the d ert comeright up to th ba e of the retainingwall, ju tapo ing th ultivated andthe wild much a he later did atTalie in We t and had done alreadyat Taliesin. his approach wa trikingly diff r nt from th norm ofwnll din garden in pani i ori htyl or th irrigat d ra ylawn ancl r v f tr of the'pastorLl r ort.Building ancl living at atilla, the

de ert camp Wright built in 1929near the propo ed handler, Arizon2ite of an Marcos-in-the-Desert,

w r eminal p rienc of r ntper ona1 . ignif icance though the

whole epi e la ted only a fewmonth from January to May. fn reedom, book three of AnAutobiography Wright turned fromr fie tion on the past and pre ent tspeculntion on the future. Hc de crib d

atilla in a pirit of e item nt andoptimi a a p r liminary rudy,th fir t f an 'Ariz na typ .R yn r Banham later di eroed inatilla an ir of fr hn . and n w

invention u'ually a ~ u c i t e d with thebeginning of an ar hit ct' careerremarkable in a man of sixty, andranked it as one of rh great personaltatements in twentieth-century archit ctLir (fig. 6A, 7-A 7-B). Bunhamr ard d catilla a a econd b innin to Wright are r. i nowonder he lat r made Arizona hie ond hom that he orientedimportant ight line at alie in We tto repeatedly draw the eye to outh

Mountain (and thu th it ofcatilla n it Lith rn I p ).atilla mark d th ri and renewal

of Wright, wh wr te t hi son,J hn, Ph eni em t be the namef rmetu

atilla i an e entiallink b enTalie in (or aliesin North, aWright mctimes ailed it) and thmore permanent desert outpo t hbuilt later at Talie in We t. Thestructures of catilla like tho atTalie in mbraced a hilltop with acampfir -l ik tn c a circle-iu tbelow the rown (fig. 7-B). Thendo ed hilltop-like the hill gnrdenat Talie in-provid d a pro pe t ofth llrrollnding landscape fromwithin a prate ted en Inv and gaya measure of privacy to the qLl rt rdown, lop . Bedrooms, livin roomdining room, office, and euclio weresmall. tru tLir S, om fouped at


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right angl to on anoth r likeminiature vcr ion of h in wings

t Talie in all it d m r or lesa lo ng the ontOllr, h like ther lation of building to hill at Taliesinfi . 7-A). Unlike the earliest ver ionof Talie in however where a ingleorthogonal right-angled) grid organized the layout of building., ourt.and garden, two grid stru cured rhe

ite plan of catilla. Wright off tthe grids fr m on anoth r by 2Ie rce. in re p n to rhe V haped

hilltop, an angle h aloe pre ed inthe ea t em braci ng the campfi reoTh in divid ual u nit were ali gne da I ng the line of the e two grids,fore hadowing the strategy he developed further at Talie in West eightyea r later.

Until t he 1920 Wright landscape camp irian w r d minatedby a ingl rrhogon. I grid. ThiSO rime I d to probl m on steeply

lopin r irregularly haped terrain,in the gridd d gardens at Talie in.

l1 A: Talie in West, J940, lookingsouth toward the drafthtg stl/dio. Thesite i an integrated mplex of build-ings, c urtyards, m d gardens afigned,notched, alld knit inlO Ihe landscape;wafls cut inlO extend above, reach l ltto th e il1lrnediate terrain Photo rlPedro E. uerrero.

Working in ample topography onlarg landscape amp iti n in the1920 , Wright gradually adopted

tructural trategie rn re ppropriate to sloping, irregular terrain withviews in vari u dir ction . At thJohnson desert ompound fig. 9-A),for example h or aoiz d the J 924plan with everal a es aligned inr p n to terrain and view, atrategy he al o used in a design forthe Nakoma untry lub andemployed again four year later at

n Mar os-in-the-D crt fi . 8-B .By the time h drew the J925 iteplan for vineyard ard n and farmbuildings at Talie in fig. 9- ,Wright had ali ned them with a newgrid oriented perp ndicular to theline of the Jope, at a forty-fivd ree angle to the grid o f the earli rplan. At catilla, when Wright overlaid two grids ill a tru tural ge m tryd rived from the terrain h broughtto resolution idea with which heha d been w ork in thr ughout the92 and owed the e d that wouldcome to fruition in Taliesin West.CCPioneer in Paradise Valley

Arizona Wrighr wa a p i neer -reenacting the I 0 perien e of his m ot h r family in the

inhabiting thetwo places Wisconsinand Arizona], you learYou have the open booofnature. On the one payou have efflorescencerichness, ease what comof great . well Isuppose actually it s aform of decay. Perhapsthis vegetation that groall over so abundantlyis a form of mold thatcomes upon more accurate elements the stofoundation of things.But when you get out heyou re back to thefoundation.Frank Lloyd Wright,

Hi Living Voice, 1954


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p a t h . Jn dlop 10 orne

n in - etdinecrned rem t

dirt rrack, rhee m i l e . \

atonpa n r3ml VI w 0 er/2- : Tall / II \Ve t . dIe

rizona Ite pt :lII ca / 12 IIlmagethe e p ge


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1\: Ta JeslI/ \ e t IJO/ll l t Ig /1ergoll l I l IdC /lrt /lot hed i l l t It pc. e.lrl) 1940 ,

pI ,devared n il pl r(emu abO'l:rhe uer t in rh r f j ~ I - 1hlI a 1 lnd alll: m ant to be II alkdthrough. ppr iI hing LInd 010 ingrhr llIgh rhl: omp ' al ng rhe pillyou enrer ttl grade, de tend :1 rw' rep, rurn and turn again, as' nd,rurn dm n th ' main p th , Ilh a \ allar h uldcr height our e. c iu tabO' ' li t Ie el (th rCl lin d lop.,0 tnll ,hr and ou em rg r grJd

gain; turnll1g n ht through I g ia,ou Ie I:cnd om a pl.nf rm elevated

nbo c rhe d lo r . . In ;1,lnpane >' siroll gnrden, ou tllrnrepeatedI , our e e dr. wn ro th borroll 'd iCIi f I ndlll rk' Inrh disl,lnr land ap . At T lie in

cst, lur ye i dir r d again anda Jin t ourh 1 unmin 1nd th c ItC

'


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14-A: Taliesht W st prow gardenlooki71g I sunken garden to terrace,garden 111 and cove, early /940s.Note ho w massed desert plat/ts andwalls f desert masonry capture thehill beyond-covered with similar 1 Ocksan d plants-as borrowed scenery.tate Historical ociety Wisconsin,

IT we allection, Whi H we) T P .Right apprentices onstructing a wall,/940. Ph to Pedro E Guerrero.


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harp-edged stone round d 'gg from thc wa he -were t in a

r y matri of con rete made fr md rt and t form the wall, of platf nn and truerure. he ro k floatin thi matri , heir positioning tarrling in it dynami m unrclated toth po itioning n would c pcet in awall prompting one t wondcr aboutth pro e e of their f rmati n.Wright said, H re in Ariz n


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I allcsin e t IS Idl1d Cdpe 1II/ lIIt tobe It a/h d throllgb. 111 a } 1f1anl eImll ~ < r d e n ) 011 tllm repeulLdl). (Jllr

e I drdltln f II l /wrrml ed l iew of/ond1ll lrb II e cll lanl IOl1d cope.PInHo IJeloL/ rIghi, 1 Iei top pposill page d 1940 11 Br ld lorrer,Bol/ol/I IIppo lle by Roberl I

ollrle I-rol1k 110 III \ \I n h ire/m l .


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L:II r illh Caplt.1lil d th v ord narure: ;llure should he p 'lIed \ ith .1c. pm ll nor be I I dbut b l I e all rhat , an learn of

od e will I am fr m the body 001, whi h we all ::lture. fhis

rem:Hk i, pure Emerson, who hadwritten imilar w rd II I re rhan 1 0y or nrli r: The n ble r mini lr}

n, ru r i 10 tand a the. pparltlonf ; d. To C1,ht nawr held rh

k I the ri t ordermg 0 humanlif ; nnture \ as an I e.l, an origin. Iur inspirari n fr m , hi h r Iraft ar t and ivilizati n. right saw

ti p ,rrist-him.c1f, f( r . dlllpi s11. rure's proph l O lnd an : I S . moralf r e , ho, e la k wa to reve. I hm

lec mighl cr at m, murion thar, ere h.lrm () n l l i rh 1I n i e r .11prin ipl... ltI a e i t for u alone hvirtu f ( rm. The artt r \ ork \ athus lh> r vclorion of th prill ipi v hi h shall mok ur ) iallivingb'alltiflll bouse organi all Ir u ,

Th e id oe; w r v II d I pedb 1900 and full , o r k d LIt bI 12, h 11 ri III fir t n tru ted

lie in. right hat e n: cd olllef rhe c i IC,l in hI earlle t te t ,h r hi le t and the L hinc( I 4 ) . n I An:hitect, r hil lure,and Ihe liem J ); h d v lop drh m in ,. Philosophy of Fine Art(I 00); and he e pre. s d Ih m m 'r

full an I he jar 1n o Prinr: nInterpretation I 12). th e f urp rmit one t 0110\\ r h ~ e 0-luri n \ rtght Idea n naluranti r hil lllr rom the till1t: ht:open d his own pm ti e rhr ugh theorigin:ll llilstru tion of ali 'in. InTh j,lpan S Print: 11 1m 'rprct, oon,

righr mplo cd japan , ar t a aehi Ie through whi h t pres hi

o' n phil oph of n:Hure, art, andar hite tun:; it i n 'nrial re. -r forIInder tandlllg hi intention, in land-ap ar hir IIII '. The C o} di.,tilhand 'p . nd., upon earli r r XL and

lay rh oundntion (or his (uturwriting n lh subject. th ' hearrf th right' idea of on-

vemionali/nri n, the proc' v herebne dr;l' our the mner nature f rhe

Illateflal , orld (a pro es \ right

equared, tth ivdizatlon): Real i\ ihz. ri n m ,111 for u a n ht om: nti nalillng uf uu r rigin.1 r,He

arur . ju r .,u -h onvenri nali7ing athe lr u arli , m } scs on n3nJrni r nns.

T fI ht, land al e wa oftenall ill1perf J 'r, outward m:lnifl tationof n:lture; the ta k r lh . ar 'hiteet

n r bring th ou r r in -I( er c n-formit}' with the inn r Idenl , i tsnature, or mial h.u llrefl tic..Thi a aunt for s mmg incon. I ren ie b tw n t t and at hLener ri n o( 11 ture, 011 Ih onehand, and hIS imp) irion of ar hil .

LUral forll1upol1 Lnd.cap, 011 thth r. Thi tIi rincrion is n I ( oh iou'

I m r modern readers for n. lure,111d I. ndcapc are commonl quared.

ri hr had t nrempt for v h. ( hec,lIed .. ( l ine , nr imental ~ l i n


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[ u r I

Talir 11/ f t. 1940, looking northeasttow rd tbe prow ardell. hoto Pedro E. ,1It rrero.

turc wcr imp rt nt nly for thhint th y pro idcd t thcir innern turc prc di n thcir und r ingtru rur . Thi tructlJr i what heought to I rif in hi land apeand buildin .

tru rur i [h

imitat daliasin West, 40, above, laking northtall rd tbe drafting studio, prow garden,and garden rOO on tl) far rightPIJot Pedro u rr ro

bout ni1l1als nd gra and tre sandout-of-door ncr,lIy oppo cdt rev I n e for nc turc a an internalideal, th very n: \ture f od.

H r i th fundam ntal diff 1 -cnc h twccn Wright and land par hit r J n J n n. Th rw friendag r cd t ha t n at ur h uld b thauth rit f d ign, ut th d i-agreed on the pI per interpretationo that allth n . n en narurali ti


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ir I of building t 1 1 , and gar-d n in a highl phi ri 3 d playhlo k ithin a ingl rth nalgrid. h n h d ], red,


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I.. I m f 3 13nd 'ape r,uher th.ln lthe procc e tbat haped it lIndal -109 rru ture, he rJn tnto trouhle,

b tr:tl.lI 0 , a XM:d r I it li nI an Important d \'i f r \ X n ~ h lme. n > f fu. iog the real. nd thl' it al.Ab. lnlcti n i a pI of impli inlands ap e feature ~ l n p p l f g ,wayd 1 th3 t do n t ) Il tl i bu t to rheintended meaning, and 'mphn izing. igniri ln t d tnil. Thr llIgh abstl'3 ri n

I n entionahzatiol1 as h hadailed it in earl rC.T ri ht ughl

to prc the unity of 111111. 1 s n >Ind Ul \ ar d app 31'311 in theperf cd ' I unded form of th knollIn the h ill gard nand th tcp Jlcdge

ur t .lpp ar as jf rhl') \ 'rt' layered


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b dr ck revealed, but their edgIraight r than one ould finJ inn.tllre. btr.cti n I tarkorm, aid ri r ln in 1 7. Inat tracti n it i thctru rurc f palt rIl of tbe thing th:)( m s clear,tripp J of all re. listi ffc L, divc t df an r e l i ~ l hats v r. r i ~ h t

often ju tap cd th Itl al and thr .1 flh tra tt: I land Jp form andgi\ n form, the ultivaretl nd thev lid: cantilevered terra I. over \ ildlope b 10\ . rai d g. rd 11 n pr

:Inti the dc crt; hillt p gard nndo. d I . \ all ,ll1d the frc l gr

i I1g gra . b yond Cig 22 , I ,14- ). E pericn ing, II I h ntra tlog Ih r h ight n th UI r ciation 0;1 h. Ju tapo d in Ih mind eye, sthey w re in Wright lifc, the aliI. insh. rp n the perception of their twland apes; hill garden and pro\ arden .ue equi alcnts c h .In ah.tr. Ii n, a re-prc mati n f th r gion.fo r ri hI, alNra Ii n al m anta progrc. i ge 1m In/Jti n f ut\ .1fd f nn , n I. h helie cd rho tnatural earur r lind r1ain ban mial g omcrry. He r te,for rnpl f hm, ,1 Japane can i I gra p. form h a r hingund rneath or it ss nti I gc m tr

B thc gm. p of g m tric f nnand CI1 I. fits mb I alu, h has

1/ 11 1:. Taliesil WI t /99 . f Xcr frau- Blow I Sl { terra eal d gardell nml / < 4

P I nrly to u ge t certa in humanideas, 11100d , and sentiments-as forin t. n c: the cir Ie, infinity; th rriangl,

~ t r u t u r l unity the spire, aspirnri nrhe piral, or Jni progr ; thequar , Inle >rit . . Throtl th subtledif r ntiation of the e elementalg Olll tn form, and < en e ofIlh >Irl mb 1- < lue, f rm c uld hrna I t signif . right cmpl ) cdthl tcl a II I b th huildin Jnd garden. arden., om c\er ilr diffcr II Irom luilding in n r I CI: the


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22-A: Terrace outside Wright s Taliesin,Wis OIlS itt, study cantilevered overwooded landscape b low f 8 S fl te Historical ociety of Wisc llSin,Howe ollee/ioll, Whi x3) 48219.

emb Jy both real and id aliz d natur .Land cap f ture may be repre entation f the world but they are al th world it If physical reality andidea together the sour e of taphorand metaphor. A tree an b a treeand The Tree; a path b th path andThe Path. he round mound may ban ab traction o f a hill but it i al a hill not m rely r pI mati n.Th fll i n f th I al and th id alin Wright land cap ontributeth ir aestheti and ymboli power.

Buildings were cnrral an I integral toWright and they were his primary meansof integrating varied land ape featureinto a unified composition. nc C3nllotimagin Wright a the d igner of aplac lik courhead in England wherethe main vent the park in the valleyi a parat w rid from th hOLl Wright s lands ape are al 0 inconceivable without the tructures thatorder the I:1nd cape even a th y re pondto it. The terrae and gardens of Talie inel113nat outward from the dwelling;th I V i trtl: Land ca p

ugg t d the f I m f th buildingth iz and pia nt f windowl t n imp ibl to ay wherbuildin nd and I nd ape b gin

Thi point wa brought home to mewhile working on the pI .ent e ay.d ribe Wright approach to land capde ign a distin r fr hi building iimp ibl Again and ain f lindmy If in ide th building lookingout to di tant view of hill lake treesand building following the plane ofinterior floor t e teri r terrace thenout ide tl acing th line of wall. androofs as they. lid inro t rrain in a fusi n

f building and earth. Wright s worki part f a larg r tradition of archi

tur that mbra e th id a ofland ap and building a ontinu-

u wher building int riors are liklands ape wh lh real and thid al are alway in dynami l n i n.


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he . ame prin iple. guidedright' d i n f building and

land ape.; loth were ar hireccur .Planr r mat rial that hould b, ma nd 'r upcd ea h rd ingr il rru n ture-that i it n rural b t to h I ir fullb aur lila . rin a an elman ak r a maple. he formaliryn ry r harmonize the e gro\ ingthing ith man' urrounding i

u hr and fund in th ar hit turalf rhe n, th di i i n, Ih

n ur, th arrang mem. ri htapplied Ih prin ipl I land cape in hr ugh ut hi areer' fromth> hi h walled n ure of the garden' in hi pr. iri - tyl hue >, to the wer \ all end in the hill gardenIi in ro rhe wall rai ed abovethe de'ert ar aliein We r; all arcorganiz d by rhe geomctry of theplan thr ugh di i ion, en ure, and:Hrang Illenlo At the Talie. in , placewh r h w rk d ov . a long p ri dand c ' rr d [h m .r c ncrol bllildin(lnd land c p gradll< Ily m rg d.On find one If a Wri ht wa withJapan ' r hit lumped td r rmine wher rhe garden lea ef and th arden be in toOdelighred wirh rhe pr blem to attempr

t Ive it.

nu and mutabiliry.r Tali in e t, ri ht fll ed g 0 -

II I rri and movement space' the zigand za re n t irre ular but rru rur d b th line of t\ 0 orthogonalrid. tati' eternal geom try and

d namic r 'anic tru ture are heldin delib rate ren i n.

right under to d land cape ad nami ,a ubjeer [ on tant han eand r weh a am ng th primarlife prin ipl of hi rgani ar hite -

Hi \ n home at Tali in inn in and riz n


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c n crucri< n 0 er half ,\ cenrur) , -h m dium illumin lling, dan -ing,

and xt ndlll th tha tor u codal\ rh) mu r have done for righrhUll If. lr i n thu\A to reau, ..d id u r huild our ch c In orm, (eeling and111 ,lI1l11g; ther arc Id as 111 rhc


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1/11( \ hisloll IJlm is Pro e sorf f 111 calle ArdJlteclllrcalld Regl 1171PI IJ /II l11g at he assaclw ItsIII 1IIIIIe o( ec/m logy. ]hi drticleI m I cerpl mill her cb 7pter II Irank L d ri ht: I: i n or an

Amen an I 3nth ape, ( 22-1edi ted by DLlLl l t Dt, 1 ng llarr I\br m lid dl71l .elltre (o rAr Jlle tllrt , I 6 .

right ntributlon l ,hi tradi-ti V tra rU l r believedth. c r hitl: cure-of buildtng andI.nd ap ---

FLW Architecture of Lanscape 2

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