2 comments about Frank Lloyd Wright's Robie House: The Illustrated Story of an Architectural Masterpiece.

1. Dieses Buch, wie sein Thema, wird wie ein Ziegelsteinouthouse aufgebaut. Unassailable Forschung. Gute Arbeit, Don.



2. This book is an excellent study, in marvelous detail
   and analysis, of one of Frank Lloyd Wright's masterpieces
   of architecture. Too often the words "artist" and
   "genius" only dimly suggest the true nature of the
   person or work being discussed; but this book with
   its keen and accurate delineations about Robie,
   the client and his desires, Wright, the architect/
   artist/genius and his desires, and the work of art
   itself -- the Robie House -- help one to fully
   understand the harmonious combination of elements
   which can come together in producing a masterpiece.
   The author of this work is Donald Hoffmann, and
   he has himself produced a work of magnificence
   in this full presentation of the design and execution
   of a "dream house." Hoffmann gives full and interesting
   accounts of Robie and of Wright as their two psyches
   come together to promote an "idealized" artwork which
   pleases both client and architect.
   The book also has wonderful footnotes filled
   with insightful comments and quotes. Here is
   an example of one:

   Louis H. Sullivan at the end of his life wrote
   quite beautifully that Wright was gifted with
   "an apprehension of the material,so delicate as
   to border on the mystic, and yet remain coordinate
   with those facts we call real life." (p. 31)

   The text itself is filled with suggestive and
   provocative commentary:

   Wright's ideal was the comprehensive and unified
   work of art, the *Gesamtkunstwerk. German culture
   fascinated him. He spoke of Bach and Beethoven
   as the two greatest architects, and he confessed
   his love for the old Germany of Goethe, Schiller,
   even Nietzsche. (p. 14)

   Wright stood almost alone in his intuition of
   the prairie. * * * Everything about the site
   suggested a long, low, stream-lined, ship-like
   house: the prairie, the nearby lake, the new
   sense of speed, * * * and the shape of the lot ,
   three times as long as it was wide. (p. 17)

   Radical and masculine, the Robie house would be
   built in a part of Chicago characteristically
   stern and urbane. (p. 13)
   -------------
   The book is filled with "160 carefully selected
   illustrations" --which include architectural
   drawings and many photos, both of the house,
   of Robie and his family, of Wright, and of some
   of Wright's other previous houses leading up to
   the Robie House. Hoffmann also did excellent
   research by gaining access to complete
   taped transcripts by Robie, and interviews with
   Robie's son, and others.

   There is something very compelling and involving
   to my sense perceptions about Wright's long, sleek,
   tiered approach to architecture, as well as the
   various designs of lamps and chairs and lights
   which he included in the house. But on seeing the
   photos of the dining room...and the rigid but
   beautiful "Gothic" like chairs, as well as the
   photos of the "stuff" that the Robie family
   cluttered the Spartan rooms with in their
   attempts to "customize" it to their living
   desires...the house seems incredibly beautiful,
   but not incredibly utilitarian: idealized, abstract,
   geometric beauty and organic harmony with the
   beauty and structure of Nature, but not necessarily
   "organic" in its relation to people and "common
   creature" comforts.

5 comments about Wright Space: Pattern and Meaning in Frank Lloyd Wright's Houses.

1. Nice book. The author has broken thru all the FLW complexity and clearly and methodically documented the Pattern and Meaning of FLW houses. The isomentric drawings are fantastic! I have been to several of his houses and I love them but could not pull together what the main concepts were. This book is also great for non-architects. I can now continue my passion of FLW research and see the "patterns". My goal is to transend the FLW concepts of "prospect/refuge" in architecture. My only complaint is that some of the black and white prictures are difficult to read. Color pictures would have been nice. Aside from this deficiency the book in my opinion is the best FLW available. I reccomend one read and study this book before visiting his works or reading anything else on FLW.



2. In this superb book, Hildebrand attempts no less than a definitive explanation of the method used by Wright to weave his architectural magic. Using the theories of "prospect and refuge" & "order and complexity" he
   sets out to establish what he calls the "pattern" that reveals itself in Wright's residential designs. Backed by detailed exposition, plans, diagrams and photos of specific examples he convincingly does just that: present the "pattern" that, to a greater or lesser degree, permeates Wright's work. Also covered are various detail items which are often, though with a lesser frequency, present.
   
   To the serious student of Wright's organic architecture, this book is an indispensible resource.



3. This is a great book, giving insight into Wright'd designs. Good pictures of details of some of his houses that are not found in other sources and really nice 3D exploded views of some of the more important ones.



4. Superb book with great insights into recurring design strategies that extended throughout his career. As a Frank Lloyd Wright homeowner and architect with extensive Wright research and visits to his other residential projects, I can attest to the power of the design strategies articulated in this book. The book is well written with beautiful illustrations. The only shortcoming of the book is the contemporary examples in the back of the book which pale in comparison to the great architectural works by Mr. Wright. All things considered this book is highly recommended for Wright enthusiasts and architects.



5. Four antithetic concepts: prospect/refuge and complexity/order from Appleton's book taken to describe Wright's houses. All in a boringly polite, restrained and repetitive academic language. Appleton's concepts are so powerful that get half a book just pointing them over and over by example, without adding much depth to the conversation, as I discovered. The only possible argument against that is that there isn't any depth there to be added besides the revelation of the pattern itself. It's a Zen slap. Maybe. But Zen slaps are shorter than 200p. Another thing that I found amusing was the pattern analysis of Mario Botta's house in Stabio, which resulted more or less in the conclusion that it follows the Wright pattern. Now this really had me question the effectiveness of the author's method for detecting pleasurable settings :)
   
   Now for the good things: the author researched quite a lot of material to get this book done, and as a result, there's a lot historical details that I found very interesting. Also some of the more lyrical, emotional descriptions are revealing (e.g. that of Fallingwater). The introductory chapters are quite revealing too. Also, there's an attempt to link Wright's emotional periods with evolution and preferences over prospect or refuge in its work.
   
   Too bad academics these days have to research a 4 pages full of interdisciplinary bibliography to get the required assets for their credibility in the academic world. The market certainly doesn't require that much of an effort. Normal people will just agree with you or not. My 2 cents.

No comments about Frank Lloyd Wright and the Johnson Wax Buildings.

3 comments about At Nature's Edge: Frank Lloyd Wright's Artist Studio.

1. In this book, Henry Whiting explores how Frank Lloyd Wright designed homes for the site and the clients and connected the design to the land, views and the cycles of the sun by using the example of his own well-loved home, a simple artist studio on a cliff orverlooking the Snake River in Idaho. The journey leads you to better understand and appreciate Frank Lloyd Wright's architecture in a way that is perfect as a first introduction or to complete an enthusiast's library. The publisher's design and presentation stands up to the author's thoughtful text.



2. In this fine book Henry Whiting, the second owner of Wright's Teater studio, gives us the history of this diminutive gem sited in desert terrain high above Idaho's Snake River. The background of noted landscape artist, Archie Boyd Teater, is given along with the the desire of his wife to have Wright design their studio. The difficulties of realizing the dream in this remote locale are given an in depth look. However, after years of parttime use the studio, at the end of the Teaters' lives, lay virtually abandoned and in dire need of a savior. Enter Henry Whiting. The how and why of the restoration and sensitive remodeling of the studio into a full time residence are presented. Wright purists may find some of the alterations made heresy, but the respect with which they were considered and the fine results should ameliorate the concerns of most.
   
   Well illustrated with original plans, presentation drawings and photos we also are given contemporary color photos and plans of the various revised areas. My only, albeit minor, quibble is the lack of side-by-side plans of the original and remodeled layout.
   
   All in all, a must have for the Wright enthusiast.



3. The historical info in this book is interesting (and it clearly shows what creeps the owners of the home were.) But there is a bit too much fluff the way the text is written, and I really could care less about the authors personal life..... The photos are very nice, however.

5 comments about Frank Lloyd Wright's California Houses (Wright at a Glance Series).

1. The book is so specific that just by reading it you could build the exact same house on your own in no time! Extensive info on all the residences including furniture set-ups. Lots and lots of quotes from the master himself. Descriptives will take you on a virtual reality tour.



2. "Frank Lloyd Wright's California Houses," by Carla Lind, is one of a series of "mini-books" by the author, each of which focuses on a particular facet of this great architect's work. This volume focuses on a remarkable group of homes designed by Wright between 1917 and 1927.

   Like other volumes in this series, this book combines a brief but informative text with a wealth of full-color photos. Lind also includes a bibliography, a chronology, black-and-white historical photos, and sidebar quotes from various sources.

   The photos of the California houses capture many interior and exterior details. These marvelous homes reflect the spirit of the pre-Columbian civilizations of Mexico and Central America; in fact, they look like modern versions of ancient Mayan temples. It is amazing to look at the patterned concrete blocks, the innovative use of glass, and the other distinctive features of these homes.

   Wright's California homes are majestic, yet inviting buildings that have a timeless beauty and grace to them. This little book is a wonderful tribute to these great homes.




3. the lack of floor plans of engineering drawings makes this more of a fanzine for the textile block houses. nice photos and text though. look elsewhere for informaiton useful to designers, students or architects.



4. These little books are pretty much a joke. Not much information or photos (it is a tiny, thin book.)



5. I'm a semi-retired architect from the mid west and while in CA, I took the time to look at Wright's "Textile Block" houses, it was worth the trip
   I had met Wright many years ago and had always liked his creative approach, that gives you an idea of my age
   The "Textile Block" houses are in varying states of repair and disrepair and are not accessible, except from the street
   The book fills in some of the gaps and I wish that it was in a larger scale and had more
   The color is welcome since a lot of Wright's work is often seen only in black and white
   I'm going to buy a 2nd copy for my son

2 comments about A House for Life: Bringing the Spirit of Frank Lloyd Wright into Your Home.

1. OK, interesting to some, but more of Rattenbury's live and influence from Wright. This is not a must buy. Find it in the library and have a read. Save your $$$.



2. I learned a lot about John Rattenbury and found it very interesting.
   The houses he built are unbelievable

1 comments about Frank Lloyd Wright's Imperial Hotel (Dover Books on Architecture).

1. This book is about the Imperial hotel built by Frank Lloyd Wright in Tokyo during the Meiji era. It has been quite famous after the Kanto Big Earthquake in 1923 because it was not collapsed by the earthquake.

1 comments about Frank Lloyd Wright : America's Master Architect (Tiny Folio).

1. 
   This mini-book for the gnome's coffee table contains superb color photos, plus occasional color artist's renderings, of Wright's exteriors, interiors, and accessories from all periods of his life; it even includes items from his art collection.
   
   Informative mini-essays in each of 7 chapters plus Introduction precede the pix; includes glossary and index. Lotsa pages in this "Big Little Book" format -- a sleeper!

5 comments about Light Screens: The Complete Leaded Glass Windows of Frank Lloyd Wright.

1. This book is a wonderful companion to the traveling exhibition of the same name, but it also stands on its own if you can't make it to the exhibit.

   Sloan's approach -- a chronological study of the evolution of Wright's glass design -- will be appreciated by scholars of the architect's career.

   Additionally, I found the images pleasing in scope. The book includes an extensive mix of drawings (wall plans, window plans, and more), color close-ups (with plain backgrounds and with real-life backgrounds shot from the interior), in-house shots that show how the windows blend with the interiors, and shots of the exteriors.

   The book is well-researched and insightful, a collection of beautiful images and a serious study of a master.




2. Finally, a documentation of all of Wright's windows in one place. A priceless addition to the libraries of Wright fans and scholars, this is it-- the end-all, be-all. The package is beautiful. The illustrations are not only COMPLETE, they are extensive and varied. And finally, the text is an extensive analysis by none other than Julie Sloan. The table of contents reveals the scope of her expertise, and each chapter proves its strength.



3. The "cover" image shown with this book is flipped 180 degrees from its actual orientation. To see the book in its actual design, go to www.lightscreens.com ... both the hardcover catalog to the exhibition and what I call the "Big Book" (the slipcased 400-pager) are there. (The paperback catalog is available only in the museums where the exhibition is mounted.)

   Others have referred to the photographs as "bland." Well, I'd have to agree where the museums that own Wright windows are concerned; Wright intended to "bring the outside in," but museums for some reason insist on photographing his windows against a white background. Since I took most of the photographs in these books, let me tell you that I always photographed them with their backgrounds - the landscapes in the middle and long distance - integral to the windows themselves, as Wright intended.

   The drawings are smaller than Wright made them because any 9x12 book is smaller than Wright's drawings. And as for "came" vs. "leaded," the latter term is a commonly used generalization to describe any glass held in a metal matrix ... Wright usually used copper or brass came, but not exclusively.

   Since the book is in print after 20 years of research, the fact that its designer didn't meet the first reviewer's expectations or desires is beside the point. Until now there's been no definitive overview of Wright's stained glass. We should rejoice that this books exists ... and I do. Why do I rejoice? Beause I took most of the photos in the book (I'm the ALL of ALL/JLS in the credits) and I know how difficult it was to gain access to the [lived-in] homes of Wright homeowners, so I celebrate the fact that the author's been able to share this work with the world. It would otherwise be inaccessible.




4. This is a very well researched, well presented analysis of FLW's windows. It speaks for itself. The pictures are well chosen and do a very good job of illustrating the books themes and analysis.



5. Gee for this good of an indepth book it's missing some of Mr. Wrights art glass work. It appears to the author SLOAN of the book that Mr. Wright's executed art glass ended in 1924. HOW UNTRUE. What about the artglass in the Southern Florida University chapel? Or what about the Greek church in Madison Wisconsin? or what about the 1954 Beth Shalom Synagogue in Elkins Park, PA....the artglass above the pulpit??? GEE GOOD research on the rest of it though.....lots of detail but she didn't do a good job on the rest of it.....by the way a sketch in Wright's drawings was done for the Greek Church in Madison, Wisc. originally to be christian "figurines"...the only sketch by Wright in artglass that was realistic other than his unexecuted "waterlilies" artglass that is known of and printed in color form today on rugs and prints. And gee I didn't even spend time to research this data, it was all known to me as an architect, & enthusiast. I'm also a member of the FLLW conservancy, FLLW Home & studio, Taliesin Fellows, and Taliesin Associates member.
   
   The NY church mentioned above has artglass over the pulpit, the Florida campus 'little chapel' narthex is entirely artglass, as is the little dome inside the now public area of the Guggenheim in NY. I also haven't seen personally but have heard there is artglass even at Marin county building in the ceiling domes. I hope someday to go out there and look for myself. I'm sure I missed a few others herein but that was my main point of the book.
   
   Sloan went in-depth into the history of the early period but missed the very early co-authored commissions and she incorrectly came to a 'conclusion' with her 'matrix's" of charts showing 'shapes he used in artglass' and the periods used.
   
   I doubt if she went out and actually saw alot of the 'Wright buildings' of the 40's and late 50's which have artglass in them. Her remark in the book prologue that no 'artglass' of FLLW's designs was ever executed after 1923 with the Charles Ennis home in LA.
   Wrong! A mere mentioning at the very end of the book isn't good enough in it's few dedicated pages - those buildings needed to be given much more attention and also being written about. The original patterns FLLW designed for the Madison Unitarian Meeting House even though unexecuted , he still did an interesting design on the built windows of the pulpit also. To envision what the church pulpit glass may have looked like one needs to travel to Spring Green, WI and see the St. Johns Catholic Church that was designed by Taliesin Architects, and see the pulpit there, artglass done by Susan Jacobs Lockhart of Taliesin.
   
   SAINT JOHN CATHOLIC CHURCH, 608-588-2028
   253 NORTH WASHINGTON STREET, SPRING GREEN WI 53588
   
   Sloan should stick to what she is good at -'research', and not draw her own conclusions or show anything more than presenting the data itself and sticking to the artglass subject which she seemed to do well at. Some minor errors but overall an informative and well done book with alot of new material and seldom seen photos and artglass designs, details, and background. I consider this the starter book for enthusiasts and for well read researchers they will have to wait a little while until some newer evidence comes out that will reshape the front-end of her books findings.
   
   For non-architects who do books....CLUE: next time do more thorough research 'suppositions' since it makes your efforts and detailed work look shabby for so lengthy of detailed data excerpted in your book. Good luck next time and PLEASE add a GOOD redone 2nd edition.

4 comments about Frank Lloyd Wright Glass.

1. Although lavishly illustrated, this title has more than just pretty pictures. Frank Lloyd Wright Glass offers a close up examination of some of Wright's greatest achievements, structural and decorative, discussing what they have meant to those who have followed. It looks through the window of architecture to see the broader cultural horizon, profiling specific sites to illustrate Wright's ideas and his legacy.



2. This book deserves more than five stars for overall excellence and its ability to extend your appreciation of how glass can improve our ability to enjoy public buildings and homes. The photographs and essays could not have been better, more in point, or easy to understand.

   If you are like me, you feel that Frank Lloyd Wright's use of glass was one of his most distinctive and attractive features. He employed glass to create a "quality of repose" by diffusing light, and using "window curtains" to separate spaces without denying light by employing patterns in the glass. In doing this, he wanted to create a "vista without, vista within." For many of his urban homes (especially those in Oak Park, Illinois), there was no opportunity to have much of a vista without. In those circumstances, he emphasized creating internal vistas, and using access to the sky through skylights and elevated windows for the external ones. In the S.C. Johnson Administrative Building, he relied on pyrex glass to let the light enter while providing structural support. The geometric shapes (often in color) on his art glass also added eye appeal. The book contains many wonderful designs such as his famous tree of life and of hollyhocks. Glass was also an integral part of his lighting fixtures, which often evoke Japanese lanterns.

   The bulk of Mr. Wright's buildings are in private hands, which you cannot visit very easily to see the insides. So much of the beautiful use of glass is hidden except in the external windows viewable from ground level. This book is a remarkable resource to overcome that handicap. If you are like me, you will come away especially impressed with the Dana-Thomas house glass in Springfield, Illinois.

   The book is superb for beautifully displaying and exploring these many dimensions of Mr. Wright's use of glass.

   After you finish enjoying this volume, I suggest that you think about how you could use some of Mr. Wright's ideas to make where you live more filled with vistas and repose. For example, can you use cellophane and constuction paper to create art glass effects when placed atop windows?

   See the light in more beautiful ways!




3. This book contains fantastic full-color photos spanning Wright's career and use of art glass. Unfortunately, the text and editing are dreadful, one has to plod through most of the paragraphs. The writer appears to have been attempting to pack as many words into each sentence as possible; she also has several pet phrases, such as "proof, if proof were needed" that are over-used the first time they appear. A few factual errors are also scattered throughout the book that should have been caught in the editing process (e.g., on page 83 she places the Dana-Thomas house in Chicago [its in Springfield, Illinois]). I still recommend buying the book solely for the photos. If you are interested in reading a history of Wright, there are many more well-written books in press. Five stars for the photos, one star for the text.



4. The dust jacket and the hard cover have the same big color cover photo and a smaller color photo on the back. What's key about the photos is that it's not all just pictures of glass designed by Wright. Most of the photos are of glass in the context of where it is in the home, either imbedded in the wall or in furniture or as part of the building. A number of the photos show how the light affects the building.
   
   I love FLW photo books when they're large like this one is. I always hope they'll take full advantage of the size and offer as many full page photos as possible. In this case the majority of the pages have a white paper border with only 14 full page photos, all color except one that is of Wright. I didn't think I'd be interested in a book just of his glass but the way they are photographed, most in the context of the building, it really does give you a detailed view of the impact Wright had on his buildings by designing even the glass. This books reminds you that much of the glass he designed were windows, not just lamps or a part of furniture. This makes it an excellent supplement to a collection of large FLW photo books of his various buildings. The text is a bit dry. It takes up about a sixth of the book which isn't bad. The author really does let the photographs speak for themselves in terms of giving them much more space than she gives her writing. Because of her focus on glass you see a lot of detail that is never shown in most large FLW photo books. There are only 4 black and white photos and only 2 drawings.
   
   This is a book well worth owning, particularly if you are really into Wright's work and would like to see detail that you pretty much don't find anywhere else. Certainly, it's worth obtaining if you can get it for less than the asking price.