Wright in Hollywood : visions of a new architecture
著者
書誌事項
Wright in Hollywood : visions of a new architecture
Architectural History Foundation , MIT Press, c1994
大学図書館所蔵 全8件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
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注記
Includes bibliographical references (p. 239-265) and index
内容説明・目次
内容説明
The textile-block system was a fascinating experiment that Frank Lloyd Wright conducted from about 1922 to 1932 as part of his quest to find a new system of construction using a standardized building material based on the idea of twentieth-century machine technology. Robert Sweeney has meticulously researched the textile block system, providing a case-by-case account of each project, commenting on Wright's clients, collaborators, and contractors, and positioning Wright's experiment firmly within the larger historical context of concrete block technology. Sweeney traces the forms of several of the early concrete block projects to Wright's own earlier work, clarifies an array of important technical challenges the architect faced, and notes the numerous block shapes required for executionThe concrete block experiment was firmly rooted in the concept of architectural simplification that Wright established at the outset of his career. It was begun in Hollywood, where he was living at the time, but was part of a larger vision with global application. Wright pursued the concept with a sense of mission, designing approximately thirty projects through the decade.
Sweeney shows, however that this technical evolution can be explained in just three designs: the canonical Millard house of February 1923; and in two unexecuted projects, the Community Playhouse, "Little Dipper," for Aline Barnsdall, and in designs for a resort hotel for the Arizona desert.Although Wright began with structure, Sweeney points out that he was primarily interested in form: technology of assembly was only a path to architectural creation. As the structural system matured - a process coinciding with the evolution of the minimalist International Style in Europe - the buildings became increasingly architectonic; forms were simplified, and the initial fascination with ornament all but disappeared.Robert L. Sweeney is Executive Director of the R. M. Shindler House in Los Angeles. His comprehensive annotated bibliography on Wright was published in 1978.
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