Wright 2
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Frank Lloyd Wright (1869-1959)
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Wright e a modernidade
• Wright é uma das forças que animam a modernidade, expressando-se dentro do seu individualismo e da universalidade da civilização industrial. Ao lado daqueles que enfrentam a evidência de uma progressiva privatização do indivíduo pela perda dos símbolos coletivos.
• Para Wright a via solitária é do individualismo e anti-intelectualismo. – une-se a Ruskin e Morris em defesa do ideal de harmonia entre a natureza e o artista.
• Wright acredita na democracia americana, livre do peso da cultura européia, pode realizar uma arte plenamente criativa, é liberal e sua solidão é uma forma de liberdade.
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Arquitetura é criação
• O problema é diferenciar a arquitetura americana da arquitetura européia, não há dificuldade em ser um artista gênio, em fazer a obra prima.
• A América é para Wright, um imenso espaço disponível para o exercício da criação.
• O arquiteto é um pioneiro, com a missão de construir a feição original de um país.
• Propõe a arquitetura orgânica, termo que sintetiza uma analogia geral e poética que aproxima fatos sociais da lógica da biologia. A vitalidade das conquistas científicas iluminaria as teorias do crescimento da sociedade.
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Arquitetura orgânica• A arquitetura interessa as relações entre organismo, função e o
princípio da vitalidade. A arquitetura guiada pelo princípio orgânico cresce de dentro para fora, em harmonia com o meio, integra interior e exterior rompendo os limites da caixa mediante do jogo livre de paredes.
• Para Wright a arquitetura não depende da história nasce da relação com o entorno, não se interessa pela história, mas, pelo atemporal.
• O princípio fundamental da arquitetura orgânica é de que o processo da construção deve ser natural como o crescimento.
• O termo orgânico forma um sistema de concepção do espaço como um campo de forças, não como uma relação de grandezas, a arte forma um sistema entre realidade natural e humana.
• A inovação de Wright consiste em situar a arquitetura como resultado da ação do sujeito e não na produção de objetos.
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Chicago Século XIX
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State Street in 1907
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Chicago 1910
Oak Park
Chicago
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1909
Plano Daniel Burnhan
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Riverside
Oak Park
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INICIAÇÃO
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Casa americana de fazenda
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Louis Sullivan
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Louis Sullivan/ Frank Lloyd Wright
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First Harold Bradley House (1909), Louis Sullivan.
Louis Sullivan, detalhe Guaranty Building, Buffalo, New York
•Superfícies lisas - trabalhadas Acabamentos de interiores / ornamento = Sulivan
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Estrutura gaiola_ Le baron Jeney x construção por volumes e superfícies
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Interpretação Bruno Zevi
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Edifício Larkin, Bufallo
Buffalo, New York, 1904
Demolido em 1950
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Composição: massa volumétrica e a fragmentação
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Unity Temple, Oak Park, 1904-06
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Unity Temple,
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Corte Unity Temple, Oak Park, 1904-06
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A fase da Pradaria - 1890-1916
• Pontos que caracterizam as casas da pradaria, Chicago:
• Interior e exterior com senso de unidade: reduz as partes necessárias ao mínimo (salas e cômodos). Faz estes em conjunto subdividindo-os por meio de artifícios de luz, permeadas por vistas abertas para a paisagem.
• Associação da construção com o sítio, ênfase com os planos paralelos do terreno, as paredes são paralelas ao melhor lado do terreno, conexão com a vida doméstica.
• Caixa eliminada e alargamento do espaço interno, uso de proporções humanas como base. Harmonização entre exterior e interior. “ O cômodo fechado não é a expressão essencial da arquitetura”.
• Construção sobre uma base elevada, fundação visível.
• Redução da quantidade de materiais, utilizar os ornamentos dentro da natureza dos materiais, este uso expressa claramente a concepção do edifício.
• Incorporação dos equipamentos hidráulicos-sanitários, aquecimento, eletricidade atendendo aos princípios da arquitetura orgânica.
• Incorporar os maquinismos se possível, evitar linhas retas diretas (volumetria cúbica quebrada).
• Eliminar o decorador.
• Wright, todavia, insistia na autoridade dos materiais e métodos tradicionais na fase das casa da pradaria.
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Casa Winslow - 1893- obra de transição
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Casa Winslow
Fachada Pública - simétrica centrada eixo
Fachada dos Fundos - assimétrica entrada lateral
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Nathan Moore House
Oak Park, 1895 / rebuilt 1924
Richardson - Arquiteto precursor,
influencia Wright nos primeiros
telhados da pradaria.
L. Sullivan e M Richardson - Estilo
assimétrico para ambientes
domésticos (Inspirados em N. B.
Shaw, arquiteto inglês, seguidor de W.
Morris).
Estilo Simétrico para Instituições
Públicas.
As Massas que constituem
volumes demarcados.
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Nathan Moore House,
Oak Park, 1895 / rebuilt 1924
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Nathan Moore House,
Oak Park, 1895 / rebuilt 1924
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A. Heurtley House,
Oak Park, 1902
Frank Thomas
House, Oak Park
1901
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William Martin House, Oak Park, Ill
Casa da pradaria - a beleza é ressaltada por formas e elementos
construtivos: telhados leves, prolongados (em balanço) e terraços
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Willits House, 1901
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Deslocamento do ponto central
Linha horizontal: linha da vida doméstica, verticalidade (monumentalidade
rejeitada por Wright),
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Robie House, 1908-1910
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Lógicas de mensuração geométrico
Exploração das propriedades físico-
mecânicas da estrutura
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•Linguagem linear - Linha para demarcar ângulos, decompor os volumes não em planos, mas, em superfícies, nós focais, a utilização dos materiais, dinâmica espacial.
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Mrs. Thomas Gale House, Oak Park, IL, 1909
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Obras, procedimentos de projeto e viagens:
• Viagem ao Japão em 1893, verificação dos espaços regionais, flexíveis, contínuos entre ambiente e em relação ao exterior, espaços modulados (tatame 90X180 cm);
• Atividade no Japão, construção do Hotel Imperial, (destruído). Wright aprendeu um método de ensino que aplicou em Taliesin, no deserto do Arizona, oposto ao da Bauhaus (fase formalista e da nova objetividade), voltado para vida cotidiana, centrado na relação mestre e discípulo, experiência superior, comunhão com a natureza, nos materiais e processos formativos;
• Atividade de ensino e pesquisa desenvolvidos em Taliesin, onde os alunos aprendem não só a projetar e construir, mas a compreender o espírito dos materiais e a espacialidade concreta do local.
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Taliesin, Spring Green, WI
Designed 1911-1959 Wright's home
in Wisconsin
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Hotel Imperial, Japão, 1915-
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Millard House,
"La Miniatura," Pasadena, 1923
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Millard House,
"La Miniatura," Pasadena, 1923
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Ennis House, Los Angeles, CA, 1923
Hollyrock house
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Obras primas: anos 1930-1950
• Casa da Cascata, 1936
• Complexo do Laboratório Johnson, 1936/39
• Taliensin West, 1938
• Museu Guggenheim, 1959, Nova York
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A Casa da Cascata, Fallingwater house ou Casa Kaufmann
perto de Pittsburgh, Pensilvania, 1936.
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Wright Cannot Be Wrong
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Relação com a paisagem e senso de unidade interna. O espaço interior
contínuo entre diversos ambientes, a horizontalidade.
Planta aberta, caixa quebrada (volume externo) que possibilita ótima
relação entre interior e exterior da construção.
Recurso a estratégias construtivas, luz, sombra, ventilação, claridade.
Materiais: pedra, tijolo, madeira, utilizados de acordo com suas
propriedades e aparência, uso das cores naturais.
Concreto - flexibilidade, maleabilidade.
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Em busca de novas
perspectivas Wright
funda o Ocotillo Desert
Camp, Arizona, em 1929,
prossegue na formulação
de Usonia, sua visão
estética da paisagem
humana no continente
norte-americano
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Taliesin West , 1937
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Torre Price
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Laboratórios Johnson, Wiscosin
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Exploração das propriedades plásticas
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Partidos que exploram formas circulares de Wright
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Anos 30 e 40: casas usonianas
• Wright acredita que uma cultura igualitária surgiria espontaneamente nos EUA. Enfatizava o individualismo necessário para realização de uma forma dispersa e nova.
• Horizontalidade é a alinha de força da terra, da ação da vida humana e do repouso. A horizontalidade domina o exterior é realçada pela ausência de delimitações no interior.
• O estilo horizontal de viver promove a interação e livre mobilidade. A verticalidade acentua a hierarquia, o isolamento e a ambição.
• A casa não deve ser um espaço rígido que condiciona a existência, mas um meio de contato com a realidade. O espaço tem que possibilitar ser definido pelo indivíduo que o usufrui.
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Casa Winckler & Goetsher, 1939, Michigan
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Problema Habitação
• Planta conforme as necessidades e condicionantes do contexto –planta livre – flexível
• Espaço interior a marca central da chaminé - fogo purificador
• Interpenetração de volumes e Superfícies planas descontínuas
• Emprego de materiais naturais
• Espaço interior em relação com o terreno
• Atração ao orgânico: quer dizer vida / desenvolvimento / dinamismo
• Wright - conjunto orgânico x abstração
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Busca do espaço contínuo
Livre vinculação e lógicas de mensuração geométrico-proporcionais
Arquitetura orgânica: partido é resultado de uma relação de forças
num campo de força da relação com o entorno, não é uma relação de
grandezas e medidas.
Para Wright arquitetura é resultado de ação do sujeito...
.
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Casa Hanna, Stanford
Califórnia, 1936
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Busca do espaço contínuo
From the very beginning my T-square and triangle were an easy media of
expression for my geometrical sense of things. F. L. Wright
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Plantas de casas usonianas
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Casa Price Sr, 1955, Arizona
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Repercussão na Europa
• Em 1910 um de um prof. Estética faz uma
exposição sobre sobre Frank Lloyd Wright e
difunde suas idéias, que são apropriadas por
movimentos como neoplasticismo ou The Stijl,
Grupo G, Mies Van der Rohe, entre outros.
• Na Europa, substituem as linhas que
expressavam forças semelhantes às naturais,
pela utilização dos planos, cuja força expressiva
é dada pela definição no espaço e pelo
dinamismo dos volumes que determinam.
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A superfície: a fragmentação do volume
deslocamento do centro no The Stijl
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A superfície, a fragmentação do volume, a
elementarização da construção pelo The Stijl
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Pavilhão Lowndes, Petrópolis, RJ,
M.M. Roberto 1941-42.
Casa Rio Branco Paranhos, SP, 1942-43.
Garagem de Barcos do Santa Paula Iate Clube, São Paulo,
João Batista Vilanova Artigas, 1961.
Brasil- MMM Roberto e Vilanova Artigas
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• Referencias bibliográficas principais:ZEVI, Bruno. Frank Lloyd Wright. Barcelona, GG, 1985
Françoise Choay, O Urbanismo. Editora Perspectiva
CURTIS, William J.R. Modern Arquitecture Since 1900.
Phaidon Press
• Texto “A solidão moderna” de texto de Sophia Telles
na Revista AU
AULA CLARA MIRANDA DAUUFES- 2008