Bøger af William Allin Storrer

From sprawling houses to compact bungalows and from world-famous museums to a still-working gas station, Frank Lloyd Wright's designs can be found in nearly every corner of the country. While the renowned architect passed away more than fifty years ago, researchers and enthusiasts are still uncovering structures that should be attributed to him. William Allin Storrer is one of the experts leading this charge, and his definitive guide, The Architecture of Frank Lloyd Wright, has long been the resource of choice for anyone interested in Wright. Thanks to the work of Storrer and his colleagues at the Rediscovering Wright Project, thirty-seven new sites have recently been identified as the work of Wright. Together with more photos, updated and expanded entries, and a new essay on the evolution of Wright's unparalleled architectural style, this new edition is the most comprehensive and authoritative catalog available. Organized chronologically, the catalog includes full-color photos, location information, and historical and architectural background for all of Wright's extant structures in the United States and abroad, as well as entries for works that have been demolished over the years. A geographic listing makes it easy for traveling Wright fans to find nearby structures and a new key indicates whether a site is open to the public. Publishing for Wright's sesquicentennial, this new edition will be a trusted companion for anyone embarking on their own journeys through the wonder and genius of Frank Lloyd Wright.

At the celebration dinner for the completion of the manuscript for The Architecture of Frank Lloyd Wright: A Complete Catalog, dean of architectural historians Henry-Russell Hitchcock pointedly told me that Frank Lloyd Wright would drive him through the streets of Evanston, River Forest and Oak Park, and Hyde Park, and would point to a building and often say, "I did that, but nobody will ever know." This book offers the 700 William Street houses as houses to which Wright pointed as he drove Hitchcock through the neighborhood so near the architect's home.Those who deny these homes as Wright's designs - yes, there are some - need to show where in River Forest there are any other homes to which Wright could have pointed. Failing that, these homes are by Frank Lloyd Wright, produced anonymously so as to conceal Wright's involvement at a time his scandalous affair with Mamah Borthwick Cheney, wife of a client, would have demonized the project.So enjoy the discovery of 27 new homes by America's creator of Prairie architecture as his American architecture, the first stage of his developing a Democratic American architecture.---William Allin Storrer, Ph.D.

Born in Bear Valley, Wisconsin, raised in nearby Richland Center, then Massachusetts before settling in south central Wisconsin, Frank Lloyd Wright always knew that he would be an architect. He wanted to create a Democratic American Architecture. With his Prairie homes, he achieved the first part of his goal, American Architecture. It was based upon geometry, the cruciform/pinwheel and square. With his Usonian houses, he created the next part, Democratic, thus achieving Democratic American Architecture. This was achieved by reducing the Prairie cruciform to a simple L.It is not easy for most to visualize in three dimensions, especially when one must do so from a two-dimensional plan. Yet Wright could visualize his idea for a building in three dimensions before he drew it in two.Two plans that, on paper, look identical, might be hugely different, depending on scale. SIZE MATTERS.For the author of this book, William Allin Storrer, Ph.D., the ability to visualize in three dimensions came when he took special tests with the Detroit Board of Education. Supposedly difficult spatial problems he solved quickly. But this ability didn't come into focus until he was enrolled in his doctoral program. For an architectural seminar, he was required to draw the plan of a "typical" building of each era in modern architecture: Greek, Roman, Medieval, Renaissance . . . First the Parthenon, then the Pantheon. Each fit the 11 x 8 1/2 inch paper. Seeking a perfect Gothic work, he discovered the cathedral of Amiens, France, Notre Dame D'Amiens, constructed in less than fifty years, a perfect example of Gothic. By the time he'd drawn the upper half of the east end, he'd filled the paper. Had he visualized the entire work in three dimensions, the full size of the cathedral would have been apparent and he'd have used a larger paper rather than tape pages together! SIZE MATTERS.Thus this book includes American houses and apartment buildings, for it is devoted to "the space within to be lived in," as Wright stated it. It is hoped that this will open new ways of envisioning Wright's monumental catalog of domestic works.