FARNSWORTH HOUSE TOUR & CONCOURS THREE 14520 River Road, Plano, IL August 11Th 2-6PM

Total Page:16

File Type:pdf, Size:1020Kb

FARNSWORTH HOUSE TOUR & CONCOURS THREE 14520 River Road, Plano, IL August 11Th 2-6PM FARNSWORTH HOUSE TOUR & CONCOURS THREE 14520 River Road, Plano, IL August 11th 2-6PM The Chicago PCA has been given a very rare opportunity to have a private tour of the Farnsworth House. Club member Adam Kern brought this venue to my attention over 18 months ago. We have been working very hard with the Chicago Architecture Center (CAC) to put this event together. To give you all a better idea how important the Farnsworth House is Dan Cubric. One of our club members and member of the CAC has written a small introduction for this tour. Iconic – sounds familiar, doesn’t it? You get that phrase coined rarely on timeless design, often through architecture and automotive design. Architect Mies van der Rohe is no stranger to modern design, similarly to Ferdinand and Butzi, two others that we all in the club are familiar with their works. The Farnsworth House wears the icon badge proudly. An experimental concept for residential living at it’s time of build, it drove an era of design to a new level that still reads as modern today. Not far beyond the architectural metropolis of Chicago, only a short country drive away, lies this weekend retreat of a masterpiece along the Fox River outside of Plano, Illinois. Amongst the wooded shade and vibrant river flow, sits this National Historic Landmark that our Club will share site to hold our Concours and Social event. From its bold use of steel and glass, to its unselfish integration with the surrounding environment, this structure is a class by itself, and the perfect setting to incorporate our Porsche icons on August 11th. Grab your friends and put together a proper P-Car scenic country drive out to join in for this eventful occasion on the banks of the Fox River. This event is to be a very limited to only 100 attendees and is only $15 per person. The Concours group will be taking about 35 of those spots for their 3rd concours to be held on the grounds. Once the 100 spots are gone that is it. We will have a waiting list set up. This is one event you should not wait on registering online at Clubregistration.net https://clubregistration.net/events/signUp.cfm/event/10043 At 2PM, club members should plan on arriving and park in the visitor’s center parking area. A short scenic ½ mile walk to watch the Concours Team judge the contestant’s cars at the tennis courts. We will have some options available to our members with mobility issues. At 3PM the Concours awards will be passed out and some light refreshments will be served. At 4PM the Farnsworth house is ours for private tours and we will walk down a gravel road to see the house for the next 2 hours. I know that Plano looks like a long drive but it is only 1 hour from O’Hare. I will be putting out a newsletter together for those attending with sights to see and wonderful places to eat along the way. So, grab some club friends and make a day of it. Last thing I am working on is a very weather sensitive part of this event. If the weather is good and the lawn is not wet. We are hoping that we can have 10-15 members and their cars drive down the gravel road to have their cars photographed with the Farnsworth House as a background. Some of those spots are going to be awarded to the Concours winners. The rest are going to be awarded in a lottery to those that interested is supporting our Club Charity...SparkShop. The lottery winners will receive the original high-resolution files of their pictures and will have the option of doing whatever they want with them. Possibly blow them up for a beautiful picture on your wall of two Design Icons. See attached map below for details on arriving at the Farnsworth House. Please email Steve for questions and the details of the lottery if you are interested at [email protected]. Tennis court for Enter here for Visitors Center concours only concours entrance and parking participants only for all social participants.
Recommended publications
  • Architectural Photography, the Farnsworth House, and the Opaque Discourse of Transparency SARAH M
    VOLUME 26 · 2015 JOURNAL OF THE SOUTHEAST CHAPTER OF THE SOCIETY OF ARCHITECTURAL HISTORIANS Volume 26 · 2015 1 Editors’ Note Articles 6 Madness and Method in the Junkerhaus: The Creation and Reception of a Singular Residence in Modern Germany MIKESCH MUECKE AND NATHANIEL ROBERT WALKER 22 Curtained Walls: Architectural Photography, the Farnsworth House, and the Opaque Discourse of Transparency SARAH M. DRELLER 40 The “Monster Problem”: Texas Architects Try to Keep it Cool Before Air Conditioning BETSY FREDERICK-ROTHWELL 54 Electrifying Entertainment: Social and Urban Modernization through Electricity in Savannah, Georgia JESSICA ARCHER Book Reviews 66 Cathleen Cummings, Decoding a Hindu Temple: Royalty and Religion in the Iconographic Program of the Virupaksha Temple, Pattadakal REVIEWED BY DAVID EFURD 68 Reiko Hillyer, Designing Dixie: Tourism, Memory, and Urban Space in the New South REVIEWED BY BARRY L. STIEFEL 70 Luis E, Carranza and Fernando L. Lara, Modern Architecture in Latin America: Art, Technology, and Utopia REVIEWED BY RAFAEL LONGORIA Field Notes 72 Preserving and Researching Modern Architecture Outside of the Canon: A View from the Field LYDIA MATTICE BRANDT 76 About SESAH ABSTRACTS Sarah M. Dreller Curtained Walls: Architectural Photography, the Farnsworth House, and the Opaque Discourse of Transparency Abstract This paper studies the creation, circulation, and reception of two groups of photographs of Ludwig Mies van der Rohe’s iconic Farnsworth House, both taken by Hedrich Blessing. The first set, produced for a 1951 Architectural Forum magazine cover story, features curtains carefully arranged according to the architect’s preferences; the Museum of Modern Art commis- sioned the second set in 1985 for a major Mies retrospective exhibition specifically because the show’s influential curator, Arthur Drexler, believed the curtains obscured Mies’ so-called “glass box” design.
    [Show full text]
  • National Register of Historic Places Registration Form
    B-4480 NPS Form 10-900 OMB No. 10024-0018 (Oct. 1990) United States Department of the Interior National Park Service National Register of Historic Places Registration Form This form is for use in nominating or requesting determinations for individual properties and districts. See instructions in How to Complete the National Register of Historic Places Registration Form (National Register Bulletin 16A). Complete each item by marking V in the appropriate box or by entering the information requested. If any item does not apply to the property being documented, enter "N/A" for "not applicable." For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. Place additional entries and narrative items on continuation sheets (NPS Form 10-900a). Use a typewriter, word process, or computer, to complete all items. 1. Name of Property historic name One Charles Center other names B-4480 2. Location street & number 100 North Charles Street Q not for publication city or town Baltimore • vicinity state Maryland code MP County Independent city code 510 zip code 21201 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this G3 nomination • request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property C3 meets • does not meet the National Register criteria. I recommend that this property be considered significant D nationally • statewide K locally.
    [Show full text]
  • Flooded at the Farnsworth House MICHAEL CADWELL the Ohio State University
    392 THE ART OF ARCHITECTURE/THE SCIENCE OF ARCHITECTURE Flooded at the Farnsworth House MICHAEL CADWELL The Ohio State University In 1988, nearly twenty years after his mentor’s the means by which this drama unfolded. Duckett’s death, the architect Edward A. Duckett remem- stick and his act of framing recall the central ar- bered an afternoon outing with Mies van der Rohe. chitectural activity of drawing: the stick, now a One time we were out at the Farnsworth House, pencil, describes a frame, now a building, which and Mies and several of us decided to walk down affords a particular view of the world. In this es- to the river’s edge. So we were cutting a path say, I will elaborate on the peculiar intertwining of through the weeds. I was leading and Mies was building, drawing, and nature at the Farnsworth right behind me. Right in front of me I saw a young House; how drawing erases a positivist approach possum. If you take a stick and put it under a young to building technology and how, in turn, a pro- possum’s tail, it will curl its tail around the stick found respect for the natural world deflects and, and you can hold it upside down. So I reached finally, absorbs the unifying thrust of perspective. down, picked up a branch, stuck it under this little possum’s tail and it caught onto it and I turned Approached by Dr. Farnsworth in the winter of around and showed it to Mies. Now, this animal is 1946/7 to design a weekend house, Mies responded thought by many to be one of the world’s ugliest, with uncharacteristic alacrity.
    [Show full text]
  • Forumjournal VOL
    ForumJournal VOL. 32, NO. 3 Heritage in the Landscape Contents NATIONAL TRUST FOR HISTORIC PRESERVATION VOL. 32, NO. 3 PAUL EDMONDSON President & CEO Cultural Landscapes and the National Register KATHERINE MALONE-FRANCE BARBARA WYATT ...............................................3 Chief Preservation Officer TABITHA ALMQUIST Chief Administrative Officer Large-Landscape Conservation: A New Frontier THOMPSON M. MAYES for Cultural Heritage Chief Legal Officer & BRENDA BARRETT ............................................. 13 General Counsel PATRICIA WOODWORTH Honoring and Preserving Hawaiian Cultural Interim Chief Financial Officer Landscapes GEOFF HANDY Chief Marketing Officer BY DAVIANNA PŌMAIKA‘I MCGREGOR .............................22 PRESERVATION Stewarding and Activating the Landscape LEADERSHIP FORUM of the Farnsworth House SUSAN WEST MONTGOMERY SCOTT MEHAFFEY. .30 Vice President, Preservation Resources Tribal Heritage at the Grand Canyon: RHONDA SINCAVAGE Director, Publications and Protecting a Large Ethnographic Landscape Programs to Sustain Living Traditions SANDI BURTSEVA BRIAN R. TURNER .............................................. 41 Content Manager KERRI RUBMAN Assistant Editor Meshing Conservation and Preservation Goals PRIYA CHHAYA with the National Register Associate Director, ELIZABETH DURFEE HENGEN AND JENNIFER GOODMAN .............50 Publications and Programs MARY BUTLER Adapting to Maintain a Timeless Garden at Filoli Creative Director KARA NEWPORT . 61 Cover: Beach Ridges on the Shore of Cape Krusenstern, part of Cape Krusenstern National Monument in Alaska PHOTO COURTESY OF NATIONAL PARK SERVICE Forum Journal, a publication of the National Trust for Historic Preservation (ISSN 1536-1012), is published by the Preservation Resources Department at the National Trust for Historic Preservation, 2600 Virginia Avenue, NW, Suite 1100, Washington, DC 20037 as a benefit of National Trust Forum The National Trust for Historic Preservation works to save America’s historic places for membership.
    [Show full text]
  • List of Illinois Recordations Under HABS, HAER, HALS, HIBS, and HIER (As of April 2021)
    List of Illinois Recordations under HABS, HAER, HALS, HIBS, and HIER (as of April 2021) HABS = Historic American Buildings Survey HAER = Historic American Engineering Record HALS = Historic American Landscapes Survey HIBS = Historic Illinois Building Survey (also denotes the former Illinois Historic American Buildings Survey) HIER = Historic Illinois Engineering Record (also denotes the former Illinois Historic American Engineering Record) Adams County • Fall Creek Station vicinity, Fall Creek Bridge (HABS IL-267) • Meyer, Lock & Dam 20 Service Bridge Extension Removal (HIER) • Payson, Congregational Church, Park Drive & State Route 96 (HABS IL-265) • Payson, Congregational Church Parsonage (HABS IL-266) • Quincy, Chicago, Burlington & Quincy Railroad, Freight Office, Second & Broadway Streets (HAER IL-10) • Quincy, Ernest M. Wood Office and Studio, 126 North Eighth Street (HABS IL-339) • Quincy, Governor John Wood House, 425 South Twelfth Street (HABS IL-188) • Quincy, Illinois Soldiers and Sailors’ Home (Illinois Veterans’ Home) (HIBS A-2012-1) • Quincy, Knoyer Farmhouse (HABS IL-246) • Quincy, Quincy Civic Center/Blocks 28 & 39 (HIBS A-1991-1) • Quincy, Quincy College, Francis Hall, 1800 College Avenue (HABS IL-1181) • Quincy, Quincy National Cemetery, Thirty-sixth and Maine Streets (HALS IL-5) • Quincy, St. Mary Hospital, 1415 Broadway (HIBS A-2017-1) • Quincy, Upper Mississippi River 9-Foot Channel Project, Lock & Dam No. 21 (HAER IL-30) • Quincy, Villa Kathrine, 532 Gardner Expressway (HABS IL-338) • Quincy, Washington Park (buildings), Maine, Fourth, Hampshire, & Fifth Streets (HABS IL-1122) Alexander County • Cairo, Cairo Bridge, spanning Ohio River (HAER IL-36) • Cairo, Peter T. Langan House (HABS IL-218) • Cairo, Store Building, 509 Commercial Avenue (HABS IL-25-21) • Fayville, Keating House, U.S.
    [Show full text]
  • Detroit Modern Lafayette/Elmwood Park Tour
    Detroit Modern Lafayette/Elmwood Park Tour DETROIT MODERN Lafayette Park/Elmwood Park Biking Tour Tour begins at the Gratiot Avenue entrance to the Dequindre Cut and ends with a ride heading north on the Dequindre Cut from East Lafayette Street. Conceived in 1946 as the Gratiot Redevelopment Project, Lafayette Park was Detroit’s first residential urban renewal project. The nation’s pioneering effort under the Housing Act of 1949; it was the first phase of a larger housing redevelopment plan for Detroit. Construction began at the 129-acre site in 1956. The site plan for Lafayette Park was developed through a collabora- tive effort among Herbert Greenwald, developer; Ludwig Mies van der Rohe, architect; Ludwig Hilberseimer, city planner; and Alfred Caldwell, landscape architect. Greenwald had a vision of creating a modern urban neighborhood with the amenities of a suburb. Bounded by East Lafayette, Rivard, Antietam and Orleans Streets, Lafayette Park is based on the ‘super- block’ plan that Mies van der Rohe and Hilberseimer devised in the mid-1950s. The 13-acre, city-owned park is surrounded by eight separate housing components, a school and a shopping center. Mies van de Rohe designed the high-rise Pavilion Apartment buildings, the twin Lafayette Towers, and the low-rise townhouses and court houses in the International style for which he is famous. They are his only works in Michigan and the largest collection of Mies van de Rohe-designed residential buildings in the world. Caldwell’s Prairie style landscape uses native trees, curving pathways, and spacious meadows to create natural looking landscapes that contrast with the simplicity of the buildings and the density of the city.
    [Show full text]
  • Farnsworth House™ Plano, Illinois, USA
    Farnsworth House™ Plano, Illinois, USA Booklet available on: Das Heft ist verfügbar auf: Livret disponible sur: Folleto disponible en: Folheto disponível em: A füzet elérhető: Architecture.LEGO.com 21009_.indd 1 02/03/2011 12:22 PM Ludwig Mies van der Rohe Ludwig Mies van der Rohe, born Maria Ludwig Michael Mies (March 27, 1886 – August 17, 1969) was an architect and designer. Mies has long been considered one of the most important architects of the 20th century. In Europe, before World War II, Mies emerged as one of the most innovative leaders of the Modern Movement, producing visionary projects and executing a number of small but critically significant buildings. After emigrating to the United States in 1938, he transformed the architectonic expression of the steel frame in American architecture and left a nearly unmatched legacy of teaching and building. Born in Aachen, Germany, Mies began his architectural career as an apprentice at the studio of Peter Behrens from 1908 to 1912. There he was exposed to progressive German culture, working alongside Walter Gropius and Le Corbusier. Determined to establish a new architectural style that could represent modern times just as Classical and Gothic had done for their own eras, Mies began to develop projects that, though most remained unbuilt, rocketed him to fame as a progressive architect. His dramatic modernist debut was his stunning competition proposal for the all-glass Friedricstrasse skyscraper in 1921. He continued with a whole series of pioneering projects, including the temporary German Pavilion for the Barcelona exposition (often called the Barcelona Pavilion) in 1929.
    [Show full text]
  • The Umbrella Diagram Ludwig Mies Van Der Rohe, Farnsworth House
    Lecture 3: Ludwig Mies van der Rohe, Farnsworth House, Plano, Illinois 1946-51 The Umbrella Diagram Ludwig Mies van der Rohe, Farnsworth House S. Hambright Drawing Canonical Ideas in Architecture UofA Lecture 3: Ludwig Mies van der Rohe, Farnsworth House, Plano, Illinois 1946-51 “Less is more” or “Less is a bore” “Roland Barthes’s citation of ‘the boring’ as a locus of resistance…” “the Farnsworth House reveals important deviations from the modernist conventions of the open plan and the expression of structure.” Andy Warhol Campbell’s Soup Cans 1962 According to Barthes, how is ‘boring’ good? What does he mean by ‘locus of resistance.’ S. Hambright Drawing Canonical Ideas in Architecture UofA Lecture 3: Ludwig Mies van der Rohe, Farnsworth House, Plano, Illinois 1946-51 Le Corbusier : Maison Dom-ino and the Maison Citrohan “…the Farnsworth House marks one of the beginnings of the breakdown of the classical part-to-whole unity of the house.” S. Hambright Drawing Canonical Ideas in Architecture UofA Lecture 3: Ludwig Mies van der Rohe, Farnsworth House, Plano, Illinois 1946-51 Gerrit Rietveld: Schroeder House, Utrecht, Netherlands “…these were still single, definable entities.” S. Hambright Drawing Canonical Ideas in Architecture UofA Lecture 3: Ludwig Mies van der Rohe, Farnsworth House, Plano, Illinois 1946-51 Mies van der Rohe, Concrete Country House, 1923, Germany “…these were still single, definable entities.” S. Hambright Drawing Canonical Ideas in Architecture UofA Lecture 3: Ludwig Mies van der Rohe, Farnsworth House, Plano, Illinois 1946-51 Mies van der Rohe, Brick country House, 1924, Neubabelsberg, Germany “…these were still single, definable entities.” S.
    [Show full text]
  • Mies Van Der Rohe Collection Florence Knoll Collection Ludwig Mies Van Der Rohe Collection
    Ludwig Mies van der Rohe Collection Florence Knoll Collection Ludwig Mies van der Rohe Collection From his work on the German Pavilion in Barcelona to the Tugendhat House in Brno, the Seagram Building in New York to the Farnsworth House in Illinois, Ludwig Mies van der Rohe defined an architectural vocabulary for the modern world in terms that are clear and honest. For his famous 1929 German Pavilion, Mies designed the classic Barcelona® chair and ottoman. Subsequently, in 1930, he created the Brno and MR Collections for the Tugendhat House in Brno, Czechoslovakia. These pieces mirror the groundbreaking simplicity of their original environments, with simple profiles, clean lines and meticulous attention to detail. They demonstrate the Bauhaus approach to combining industrial materials and modern forms. In 2004, KnollStudio introduced the Krefeld™ Collection, designed by Mies in 1927 for a residence in Krefeld, Germany, but never produced. Developed in collaboration with The Museum of Modern Art, the Krefeld Collection offers beautifully proportioned pieces that reflect Mies’ fondness of traditional furniture types. After emigrating to the United States in 1937, Mies formed a lasting friendship with a young student, Florence Knoll, who in 1948 acquired exclusive rights to produce the Barcelona Collection. Knoll subsequently acquired the remainder of Mies’ furniture designs, pieces that have taken their place among the most profoundly original furniture designs of the twentieth century. One day, Florence Knoll and Gordon Bunshaft, a leading partner in the architectural firm Skidmore, Owings & Merrill, were leaving the office of a large commercial client. “Where would they be without us?” she jokingly asked.
    [Show full text]
  • DCPL-2013-RFQ-0004 Attachment A
    Attachment A NPS Form 10-900 OMB No. 10024-0018 (Oct. 1990) United States Department of the Interior National Park Service National Register of Historic Places Registration Form This form is for use in nominating or requesting determinations for individual properties and districts. See instructions in How to Complete the National Register of Historic Places Registration Form (National Register Bulletin 16A). Complete each item by marking “x” in the appropriate box or by entering the information requested. If any item does not apply to the property being documented, enter “N/A” for “not applicable.” For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. Place additional entries and narrative items on continuation sheets (NPS Form 10-900a). Use a typewriter, word processor, or computer, to complete all items. 1. Name of Property historic name Martin Luther King Memorial Library other names 2. Location street & number 9th and G Streets, NW not for publication city or town Washington, D.C. vicinity state District of Columbia code DC county code 001 zip code 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this nomination request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property meets does not meet the National Register criteria. I recommend that this property be considered significant nationally statewide locally.
    [Show full text]
  • Farnsworth and the Anatomy of Occupation1
    Farnsworth and the Anatomy of Occupation1 Farnsworth and the Anatomy of Occupation1 Dr Lynn Churchill, Curtin University of Technology, Perth, Western Australia. Abstract: In 1953, two years after the completion of her weekend house, on the isolated banks of the Fox River, Plano, Illinois, Dr. Edith Farnsworth complained “[…] I feel like a prowling animal, always on the alert […] the house is […] like an X-ray.”2 Despite these remarks and intriguingly, Farnsworth lived in her house for nearly twenty years, lodging in an awkward denouncement of it that she expressed through litigation, in published interviews and later in her memoirs. Also intriguing and likely a consequence of her belligerent occupation is Farnsworth’s lingering attachment to the Pantheon of modern architecture. Had she abandoned it, perhaps Farnsworth’s connection would have been lost. Clearly, while admirers revere the ‘look’ of this house as a modern icon, Farnsworth’s lived experience was different. Within the austerity of the glass box she was exposed physically and mentally to the forces of nature, to the critical gaze of the exterior world and to her amplified sense of self all of which affected her sensations. She endured loss: physical, psychological, economic and social. She was publicly humiliated, her reputation became one of a difficult and foolish woman with the concurrent court cases of 1951, which Mies won, leaving Farnsworth tarnished. Driven by the question of ‘why’ Farnsworth ‘suffered’ the house for so long, and informed by Georges Bataille’s theory of the General Economy, this paper speculates on ‘what’ it was that Farnsworth, an intelligent, professional, middle aged (in 1945) and single woman gained from her occupation: the relationship between Farnsworth’s body and the house in terms of bodily sacrifice, transformation and glory.
    [Show full text]
  • Ludwig Mies Van Der Rohe 1 Ludwig Mies Van Der Rohe
    Ludwig Mies van der Rohe 1 Ludwig Mies van der Rohe Ludwig Mies van der Rohe Born Ludwig MiesMarch 27, 1886Aachen, North Rhine-Westphalia, Germany Died August 17, 1969 (aged 83)Chicago, Illinois, USA Nationality German 1886-1944/American 1944-1969 Awards Order Pour le Mérite (1959) Royal Gold Medal (1959) AIA Gold Medal (1960) Presidential Medal of Freedom (1963) Work Buildings Barcelona Pavilion Tugendhat House Crown Hall Farnsworth House 860-880 Lake Shore Drive Seagram Building New National Gallery Toronto-Dominion Centre Ludwig Mies van der Rohe (March 27, 1886 – August 17, 1969) was a German architect.[1] He is commonly referred to and addressed by his surname, Mies, by his colleagues, students, writers, and others. Ludwig Mies van der Rohe, along with Walter Gropius and Le Corbusier, is widely regarded as one of the pioneering masters of Modern architecture. Mies, like many of his post World War I contemporaries, sought to establish a new architectural style that could represent modern times just as Classical and Gothic did for their own eras. He created an influential 20th century architectural style, stated with extreme clarity and simplicity. His mature buildings made use of modern materials such as industrial steel and plate glass to define interior spaces. He strived towards an architecture with a minimal framework of structural order balanced against the implied freedom of free-flowing open space. He called his buildings "skin and bones" architecture. He sought a rational approach that would guide the creative process of architectural design. He is often associated with the aphorisms "less is more" and "God is in the details".
    [Show full text]