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The Towers of Frank Lloyd Wright Author(S): Michael Mostoller Source: Journal of Architectural Education (1984-), Vol

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The Towers of Frank Lloyd Wright Author(S): Michael Mostoller Source: Journal of Architectural Education (1984-), Vol The Towers of Frank Lloyd Wright Author(s): Michael Mostoller Source: Journal of Architectural Education (1984-), Vol. 38, No. 2 (Winter, 1985), pp. 13-17 Published by: Wiley on behalf of the Association of Collegiate Schools of Architecture, Inc. Stable URL: http://www.jstor.org/stable/1424813 . Accessed: 01/08/2013 21:09 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Wiley and Association of Collegiate Schools of Architecture, Inc. are collaborating with JSTOR to digitize, preserve and extend access to Journal of Architectural Education (1984-). http://www.jstor.org This content downloaded from 132.206.27.24 on Thu, 1 Aug 2013 21:09:38 PM All use subject to JSTOR Terms and Conditions The Towers of Frank Lloyd Wright MichaelMostoller is an architectpracticing in TheNational Life Insurance Company group was culation-serviceelement rises higher than the NewYork City. He has taughtat Rensselaer to be locatedin Water Tower Square in Chicago. twopart rectangles fronting on it so thatthey PolytechnicInstitute, Harvard & ColumbiaUni- Thecomerstone of theWater Tower was laidon see to growout of it. Eachrectangular part is versityand is nowan Associate Professor of March25, 1867,the year of Wright'sbirth. W. slab-likein shapeand is similarto hisPress Architectureat the New Jersey Institute of Tech- W. Boyington,the architect, created a Gothic Buildingof 1911. Infact the NationalLife solu- nology. fantasyof massivestone that has lasted to this tionsets fourPress-like buildings alongside each day-outlivingboth the Great Fire and the ram- otherto forma largerfigure. Weare witnessing a newboom in skyscraper pantgrowth on MichiganAvenue that A. W. buildingthat parallels the great eras of the Johnson,Wright's patron of the '20s,saw com- Thisact of groupingto forma newconfigured 1920sand 1960s. Yet the current work still ingand that was fully achieved in the 1970s towerpattemis an originalcontribution to the leavesunattended the formation of meaningful withthe gigantic Water Tower Place shopping, dilemmaof cityand tower. It solves the abso- conceptsof thecity and the tower. Fundamental hotel,office and residential complex. Of course, lutelyessential problem of officework and light questionsof the cityand the tower considered Wright's1920s project was notbuilt. That this whichconstantly influenced this type by positing togetherare left unaddressed inthe current is so is a greattragedy, for as we shallsee, it a maximumwidth dimension; while grouping speculativecraze: (1) Shouldthe tower dominate was designedat thetime when Wright's archi- thesenecessary individual elements into a new or be subordinateto the city, (2) Shouldit orga- tecturaland urbanistic impulses considered the buildingtype. This larger, crenellated form' nizethe cityand/or its partsor shouldit be cityas a dense,built-up place of buildings, facedthe green Square and its Water Tower, organizedby it, (3) Howcan a cityof many blocks,and streets and squares. andpreserved a solid edge to thespace. It went independentlysited towers create a viableurban beyondthe earlier Press Building solution which realm("a living city"), and (4) Howcan the Wright'sstrategy at thistime can be recon- hadsimply fitted a tallbuilding on a givencity towerand the city create a workof artof the structed.If we observetogether the ground level lot.While the NationalLife is admittedlya much twentiethcentury? perspective,Fig. 1, andthe axometric, Fig. 2, largerblock scale proposition, ittoo accepted we canconsider Wright's volumetric and urban theconstraints of blockand street essential to Aninteresting model for an analysis of these idea.The building consists of fourrectangular thecontinuity and spatial definition of an urban issuescan be foundin the work of ourgreatest volumes-set in parallelseries with the short place.Its layering in shallow revetments on the Americanarchitect, Frank Lloyd Wright-partic- facestoward the Square. They are linked at the towerfaces and the towers to backwall mass- ularlyhis work in the 1920sfor the National Life backthird point by an interconnectingcorridor ingsallowed the space of thesquare to pene- InsuranceBuilding in Chicagoand St. Mark'sin serviceand vertical circulation element. This cir- tratedeep into the building, and yet, be bound the Bouweriein NewYork City. In addition to thesetwo specific projects, the architecture and constructionof thetower in hiswork was a leit- motifof his personalstruggle for a newway of thinkingabout architecture. His lifelong search fora newarchitecture based upon natural form, innovativestructural technique and modular designwas reflectedin hiswork on thetall building.Each project was part of a theoretical developmentthat extended throughout his long career,symbolizing his constant battle for 'organic'architecture. There are lessons then, of urbanism,construction and design in the towers of FrankLloyd Wright. TheNational Life Insurance Project of 1920-24 standsat themidpoint of hiscareer and as well, at a certainbalance point in histhinking of the cityand tower. It fused a revolutionaryarchitec- tonicvision of space,structure and form with a conceptof an urbanrealm that was an active andvibrant city. uliii ?? Wright'searlier work on thetower accepted givenand constricted urban sites, as we shall 1. observelater. The National Life project allowed himto the workin go beyond prefatory many 1 Project:National Life Insurance Co. Chicago,Skyscraper, Chi- 2 Project:National Life Insurance Co. Chicago,Skyscraper, Chi- importantways. cago, Illinois,1924. Groundlevel perspective. (Hitchcock, cago, Illinois,1924. Axonometric.(Wright, An American #263) Architecture,p. 117) Winter1985, JAE 38/2 This content downloaded from 132.206.27.24 on Thu, 1 Aug 2013 21:09:38 PM All use subject to JSTOR Terms and Conditions '"" ;^:*^-*;~~~~~~~~~~~~~~~~~~~~~~.';T^.;.^\ '.<.' , , . ? * '-. '...' . '.' . ~ 1-"?.?? ?;*"". " '"" '.: . ***? 1 ?:'.:i: : t, . : ..-'":" :~;~~~~~~~~~~"1~.; _?.....:. ?. ,: 0'0 ' * : X1!:?~~~~~~~~'ca-;i;: s s . b:: . ..... ...... ? .-' 3 "Skyscraperproperly related to streets,"1931 Sketch. lB (Wright,An American Architecture, pp. 130-131) byit. Oneither end of the blockthe slab side at a middlescale (the lower scale being the win- preservedthe street spaces as well. dowmodule) to shapethe faces and comers of each'facade.' The result was completely three- Thusa subtleinteractional balance occurred dimensionalinfeeling. The bottom floors were betweenthe scale of theslab, the scale of the 0 carvedaway under the cantilever to createa '..- andthe urban ,?--55;;""" ..- configuration setting.Neither city senseof thestreet and of entryto shops.The *.D. norbuilding dominated, they coalesced into a slabsstepped back into two great masses along *.. newentity. The height was keptrelatively low as theirown sides while remaining constant on the well, to a denialof reference,elim- leading point WaterTower Park front to createa dynamicvol- .,' ... inatingthe tower as a dominatingdistant focal umetricsense. Finally, the great core of the pointin the city. By creating a configurationof structurerose above all, with a treatmentof linkedindividual elements Wright hinted at the structuralrelief at thetop. resolutionof theanarchy that results from the simultaneityof independently conceived and Wright'sgrasp of thespectrum of architectonic competitivetower elements. developmentfrom detail to wholewas carried throughcompletely at NationalLife. The 'build- Afterthe configured tower invention of 1920-24 ing'was no longera bunchof elements,nor a Wrighttwice later attempted to achievethis syn- base-middle-topformula, nor a massenlivened thesisof building,height, street and open withdetail. It was a three-dimensionalspace- space.The first was in 1926(and updated in webthat fused inner and outer skin and mass 4 Romeoand Juliet windmill for MissesLloyd Jones, Hillside, in a of 1931) series hypotheticaldrawings of intowhat would have been a shimmering,som- Spring Green, , 1896 Photo (Wright,A Testament, twourban blocks, Fig. 3. Twogeneral types berwork of art. p. 31) wereshown: a perimeterblock pattem that cre- atedan innercourt, and a street-alley-streetpat- Wrightmay have sensed this achievement and tern.In both cases the ground plan was created theextent to whichit wentbeyond all prior work bybuildings of sixto tenstories which formed a on thetower-he showedit to 'LieberMeister' base.Two towers were placed on diagonalcor- LouisH. Sullivanshortly before he died.As nersof eachblock. Shops were placed at the Wrightrecalled, "Gratefully I remember-and secondlevel, served by an arcade.The arcades proudlytoo-that Sullivan said: "I had faith that bridgedthe streets at thecomers. Vehicular it wouldcome. It is a workof greatart. I knew trafficwas restrictedto groundlevel. A subway- whatI wastalking about these years-you ??,*rL; trainsystem was placedunderground forming a see?"Wright dedicated the design to Sullivan L?: three-levelmovement system. andseized the mantleof his mentorin skyscra- f?* wasthe true master. But r . perdesign-Sullivan *?'i ti Thisurban vision extended the 1920-24propo- Wrightwould have to waitthirty
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