"May be the best book on Wright ever written, with the exception of the master's own incomparable autobiography." — New York Times Book Review Despite the vast literature about Frank Lloyd Wright, noted Wright scholar Donald Hoffmann contends that observations about Wright commonly fail to reach any understanding of his art and few commentaries deal with the principles of his architecture. What inspired his work? How did his architecture mature? What are the dynamics of its characteristic expression? Why will the formative principles always be valid? The answers to these and other questions about Wright's architectural philosophy, ideals and methods can be found in this superb treatment, enhanced with 127 photos, plans, and illustrations of a host of Wright masterworks. Among these are the Robie house, the Winslow house, Fallingwater, Hollyhock House, the Larkin Building, Unity Temple, Taliesin, the Guggenheim Museum, the Johnson Wax Building, and many more. Expertly analyzing Wright's approach to siting, furnishing, landscaping, and other details, Mr. Hoffmann has written an insightful guide to the concepts that gave Wright's architecture "not only its extraordinary vigor of structure and form, expression and meaning, but its surprising continuity." The book will be essential reading for all Wright fans and anyone interested in the evolution of modern architecture.
Using about 100 pages of text and copious illustrations, this book explains the famous architecture of Frank Lloyd Wright in terms of a few basic principles. These, in particular, are the use of the horizontal line as an expression of the American prairie and the overhanging roof as an expression of the highest purpose of a building in a challenging climate, which is to provide shelter. Secondary features of Wright's architecture are then explained in terms of these principles. For example, walls of windows on the second floor are said to make the roof appear as if it is floating above the walls, emphasizing its importance as the sheltering element.
Later in Wright's career, he began design buildings the American West and New York. It is less clear how these fundamental principles, developed in the context of the prairie, apply in these locations. For example, why is the horizontal still so strongly emphasized in the Guggenheim Museum? Nevertheless, I found that his book gave a good exposition of Wright's main ideas in the context of his prairie architecture. I would, however, have enjoyed the book more if it weren't written in such a breathless style of hero worship.