The National Endowment for the Humanities (NEH) recently announced $29 million in awards for 215 projects across the country relating to all things humanities, from education programs to cultural preservation, film, exhibitions, virtual reality, and architecture. Some highlights of the grant recipients include the Frank Lloyd Wright Foundation, which received $50,000 for storage improvements for its collections housed at Taliesin West; the Chicago Architecture Foundation, which received $170,000 for k-12 workshops on the development of the skyscraper; and the University of Illinois Urbana-Champaign, which received $10,000 for saving the School of Architecture design project archives. Lawrence Technological University was awarded $7,000 for improving the storage environment in its Albert Kahn library collection while the University of Puerto Rico, Rio Piedras, got $9,938 for a rare books assessment including influential texts on the history of architecture, aesthetic theory, and visual representation in European art. Old Sturbridge Village, a living museum located in Massachusetts, received $9,794 for the preservation assessment of various structures. “NEH grants help strengthen and sustain American cultural life in communities, at museums, libraries, and historic sites, and in classrooms,” said NEH Chairman Jon Parrish Peede. “As the nation prepares to commemorate its 250th anniversary in 2026, NEH is proud to help lay the foundations for public engagement with America’s past by funding projects that safeguard cultural heritage and advance our understanding of the events, ideas, and people that have shaped our nation. The NEH awarded these peer-reviewed grants in addition to $48 million in annual operating support that goes to the national network of state and territorial humanities councils during the fiscal year. The organization also gave grants to cultural projects South by Somewhere, a television series created in Durham, N.C., on the foodways, history, and culture of the American South, as well as to Louisiana State University and A&M College in Baton Rouge for the development of a VESPACE (Virtually Early-Modern Spectacles and Publics, Active and Collaborative Environment) project on the fair theatre in 18th-century Paris. In addition, the NEH engaged in a $1 million partnership with the National Trust for Historic Preservation to support the preservation of America’s Historically Black Colleges and Universities.
Posts tagged with "Frank Lloyd Wright Foundation":
In collaboration with the Scottsdale, Arizona-based Frank Lloyd Wright Foundation (FLWF), the Frank Lloyd Wright School of Architecture (FLWSA) has raised more than $2 million dollars from 317 contributors. To comply with new accreditation requirements, the school is in the process of becoming an independent subsidiary of the foundation. The funds are an important milestone on the FLWSA's journey towards financial stability. The FLWSA was founded by Wright in 1932 at Taliesin, his home in Spring Green, Wisconsin. The school, with a current enrollment of 19 students in its M.Arch program, is now dually located at Taliesin and Taliesin West, in Scottsdale. In 2011, the Higher Learning Commission (HLC) changed its accreditation requirements, stipulating that it will no longer grant accreditation to schools which operate under umbrella institutions with "multifaceted missions." The FLWF, whose purpose is to "preserve Taliesin and Taliesin West for future generations, and enrich society through an understanding of Frank Lloyd Wright’s ideas, architecture, and design,” is helping the school on its mission. As part of the agreement, the foundation will loan the school classroom and residential facilities at Taliesin and Taliesin West. The FLWF will put $1.4 million over four years towards the operating costs of the school, in addition to a $7 million investment over the same period. FLWSA's dean, Aaron Betsky, outlined the direction the school will take: “We have been hard at work with the Foundation’s staff and Board to ensure the School’s future not just in financial and organizational terms, but also by improving its curriculum and by developing programs that continue Wright’s legacy in organic architecture and learning by doing in ways that answer to our needs for a more sustainable, open, and beautiful human-made environment.” Students will design and build desert shelters, as well as take newly added courses in digital fabrication, design, and theory. The school has a four year partnership with the mining towns of Miami and Globe, Arizona. Students will carry out community–based projects in those communities and in similar towns near Taliesin. To solidify accreditation, the foundation and the school board will prepare a "Change of Control" application for the HLC to review in June 2016. If the HLC approves, the foundation will file documents with state and federal agencies to legally recognize the school as an independent subsidiary of the foundation. If all goes smoothly, the process is expected to be complete by early 2017.
The search for a new leader of Frank Lloyd Wright's School of Architecture concluded today, as the Frank Lloyd Wright Foundation named Aaron Betsky the new dean in charge of Taliesin. Betsky previously served as director of the Cincinnati Art Museum, but stepped down from that position in January 2014. He was previously the director of the Netherlands Architecture Institute, and he directed the 11th International Architecture Exhibition at the Venice Biennale in 2008. He has authored numerous books on art and architecture and continues to blog for Architect. Split between campuses in Spring Green, Wisconsin and Scottsdale, Arizona, the Frank Lloyd Wright School of Architecture is in the middle of a fundraising campaign that could decide the future of the school's accreditation. Facing new rules from the Higher Learning Commission, officials from the institution said they must raise at least $2 million before the end of 2015, or the school will lose its standing once those new rules take effect in 2017. Betsky will "set the intellectual tone or the School," according to a press release, but he will also have to help tackle the school's financial challenges. "Frank Lloyd Wright's architecture broke the box and opened vistas toward a democratic landscape; he made organic architecture and built with, rather than on, the land before anybody talked about sustainable architecture," Betsky said in a statement. "I look forward to continuing the tradition of experimental architecture he did so much to define." The future of that tradition, however, remains uncertain. In December Sean Malone, president of the Frank Lloyd Wright Foundation, said the school would remain committed to design education even if they are no longer able to award accredited degrees after 2017. With Betsky at the helm that mission appears intact; the Foundation said they will continue to award degrees at their Taliesin East and Taliesin West campuses either way, perhaps in partnership with accredited institutions. "We wanted a bold thinker and a talented leader," Malone said in a statement, "and we found both in Aaron." Betsky, who was born in Montana but grew up in the Netherlands, succeeds Victor Sidy, who returns to his private architectural practice. Betsky assumes the role of dean immediately.
In August, the Frank Lloyd Wright School of Architecture found its accreditation in jeopardy, following a rules change by their regional accrediting board, the Higher Learning Commission (HLC). Now the institution needs to raise $2 million before the end of 2015, or it will lose its standing once the new rules take effect in 2017. The challenge lies in establishing the school as an entity fully independent of its parent company, the Frank Lloyd Wright Foundation. HLC, apparently targeting for-profit universities, said it would no longer offer credit to schools that are part of institutions whose “missions extend beyond academics.” As part of a foundation that also advocates for preservation and engages in non-academic pursuits, the Frank Lloyd Wright school found itself in violation of these new rules. Now the plan is to spin off the school, which earned accreditation in 1992, into a financially independent entity. To do that, the school's administrators say they need to scrounge at least $1 million in cash and pledges by March 27, and then another $1 million by the end of 2015. If they meet that goal, the Frank Lloyd Wright Foundation has agreed to make a one-time gift of $7 million. "This campaign is the only opportunity to save the Frank Lloyd Wright School of Architecture as we know it," said Maura Grogan, chair of the school’s board of governors, in a press release. If they don't reach their fundraising goal, President Sean Malone told AN the school "would remain deeply dedicated to shaping architectural education," but would lose its ability to offer accredited degrees after 2017. They could still team up with accredited institutions to offer such credentials, but their standalone certifications would carry considerably less weight in the professional world. Malone said the rules change had the unintended effect of risking the school's standing due to its unique status as a financially dependent subsidiary of a larger foundation. "It was an imperfect storm," Malone said. “Right now we're very hopeful and focused on bringing in people who believe in this cause." The Frank Lloyd Wright School of Architecture offers a professional M.Arch degree program with a focus on hands-on studio experience at its two campuses: Taliesin West in Scottsdale, Arizona, and Taliesin in Spring Green, Wisconsin.
Frank Lloyd Wright, who founded the Taliesin Fellowship in 1932, can't be pleased about the latest news from the school. Architectural Record reported that in 2017 the Taliesin School of Architecture—which currently offers Masters of Architecture degrees at its campuses in Scottsdale, Arizona and Spring Green, Wisconsin—will lose its NAAB accreditation. According to Record, the Higher Learning Commission (HLC), a regional accrediting body, said it won't extend credit to schools that are part of institutions whose "missions extend beyond academics." That's exactly the case with the school and the Frank Lloyd Wright Foundation. But the foundation was unwilling to turn the school into an independent body because of a variety of fundraising-related issues. The school earned accreditation in 1992. Taliesin, according to Sean Malone, president and CEO of the Frank Lloyd Wright Foundation, will now "focus on programs that don’t require accreditation, including a post-professional program that has been in the works since last year." The school may also partner with an accredited institution in the future. Students at the school—which promotes "learning by doing"—concentrate their studies on classes, studios, trips, projects, and workshops. They live on each campus and round out their studies by building and living in experimental "desert shelters" at Taliesin West and in "prairie shelters" at Taliesin. Fall and Winter terms take place at the Arizona campus while Summer terms are held in Wisconsin. Taliesin West is currently making plans for a massive restoration by Harboe Architects.
After almost eight decades of constant use, Taliesin West is ready for a makeover. The Scottsdale, Arizona site was Frank Lloyd Wright’s winter home, studio, and architecture school. Today, the campus houses the Frank Lloyd Wright School of Architecture and is also a popular tourist destination, with over 100,000 visitors annually. Now, time, climate, and footsteps have taken their toll on the landmark. A combination of heavy use and the complex's desert environment have left Taliesin West in need of significant restoration, as well as accessibility, sustainability, and safety upgrades. As a first step towards remaking Taliesin West, the Frank Lloyd Wright Foundation has selected Chicago firm Harboe Architects to prepare a preservation master plan of the site. “[T. Gunny] Harboe and his firm rose to the top of a truly extraordinary field,” Frank Lloyd Wright Foundation CEO and President Sean Malone said. The selection committee—which included Frank Lloyd Wright Foundation staff leadership, its Preservation Committee, and a Preservation Oversight Committee made up of five outside experts—chose Harboe Architects from among more than forty contenders. “Harboe had such a remarkable understanding of Wright’s work and this particular project,” Malone said. Harboe will undertake a year-long study of Taliesin West, a National Historic Landmark site constructed between 1937 and 1959, to determine the scope of the restoration (including cost and timeline). Through research, multiple site visits, and a cultural and structural history of the location, the preservation team will answer two questions: what needs to be restored and why. “Why is a really exciting question,” Malone explained. “Part of the project is [defining a] preservation philosophy. Then once we make those decisions, that’s going to drive the decision about how.” Besides Harboe, the team also includes Michael Henry, of Watson and Henry Associates, and Dorothy Krotzer, of Building Conservation Associates. Harboe’s team faces particular challenges in preserving a site that was never meant to be static. “Taliesin West is more complicated than a lot of sites because change over time was an inherent part of the story,” Malone said. Unlike other Wright sites (except Taliesin, the architect’s Wisconsin home and studio), the Scottsdale campus was not built for one particular time. Instead, it was designed as a laboratory, a space within which ideas about architecture could develop and change. “It’s a living place. Its evolution is part of its history,” Malone said.
Fifty-four years after Frank Lloyd Wright’s death, the village of Wraxall, England just killed plans to build one of the architect’s designs. Last August, Dr. Hugh Pratt, a local parish councillor, petitioned the planning board to build a Wright-inspired house on greenbelt land. Some area residents argued that the building would elevate the community’s aesthetics, but others worried that the house would set a precedent for further intrusions into the greenbelt. Opponents also expressed concern that Wright’s design is out of keeping with present-day sensibilities. “A design from the 1940s is not what a contemporary and innovative eco-friendly architect would propose. Even with some modern refinements, it’s a museum piece,” one commenter wrote online in response to Pratt’s planning application, which rejected in December 2013, according to the Bristol Post. Wraxall representative Bob Cook took offense at the the proposal and Wright's legacy, according to the Post. "I do not see why we should allow this odd American-designed house in our countryside," he told the newspaper. "Outside of the USA and Japan there is not one Frank Lloyd Wright–designed house. He can't be that influential if the rest of the world doesn't want them. It would be so wrong to allow this house to be built in our beautiful green belt." Like many of Wright’s houses, the Dr. Hugh & Mrs. Judith Pratt Residence is long and low, with horizontal courses of rough-hewn stone dominating the north elevation. The south side of the house is primarily glass. Drawings show the structure nestled into hillocks surrounding an artificial lake. In plan, the house is a series of overlapping circles. The largest circle embraces the building’s forecourt and main entry, plus a carport, an oblong living/dining space, and the circular kitchen. A semi-circular study projects off the end of the living/dining area closest to the kitchen. Off the opposite end of the open-plan space is a circular library. A hallway adjacent to the library leads to the private wing of the house, with three smaller bedrooms and, at the far end, a circular master suite. The Pratt Residence is unusual in several respects. The design on which it’s based, the House for Dr. & Mrs. O’Keeffe, was intended for a site in Santa Barbara, California—seemingly a far cry from Wraxall, England. If Pratt had been successful in securing permission to build, the house would have been the last of Wright’s posthumous works to be built with the blessing of the Frank Lloyd Wright Foundation. The Foundation program through which Pratt acquired the rights to the design—as well as the assistance of a member of the Taliesin Fellowship—was discontinued in June 2010, over growing concerns about the program’s impact on Wright’s legacy. Frank Lloyd Wright Foundation President and CEO Sean Malone argued that the shift in site from Santa Barbara to England was not as radical as it seemed. Malone’s noted that Stephen Nemtin, the Wright-trained architect charged with transforming O’Keefe House into the Pratt Residence, was satisfied that Wraxall and the original site shared many key characteristics. “Stephen visited the proposed site at Tyntesfield Springs personally to assess if the site is suitable for this design,” Malone said. “He determined that the site has the desirable balance of water, mature trees, and open views which are essential for this design—and concluded that the site is entirely appropriate and will provide the right landscape setting for the building.” (Nemtin died in August 2013, after completing a full set of drawings for the Pratt Residence.) According to the Bristol Post, Dr. Pratt is considering an appeal to the decision. But no additional unbuilt projects will follow in the wake of the Pratt Residence, in part because the cutting edge of architecture today hardly resembles that of sixty years ago. “We believe projects built during Wright’s time maintain his legacy, but projects constructed after his death are different. They have to be different to meet contemporary building codes and in using contemporary materials and technologies,” Malone said. “Moreover, they are different because they can’t possibly reflect what Wright might have done during the important phase of taking the project from initial design to execution.” Wright’s first drafts were famously conceptual. With the pool of surviving Wright apprentices dwindling, predicting how the master architect would have completed a project becomes more a matter of guesswork than informed artistic interpretation. In addition, Malone said, the certification of designs as Wright-inspired can lead to misunderstanding. “We don’t want to suggest there are ‘new’ Frank Lloyd Wright buildings,” he explained. “It seems pretty obvious, but there can be confusion. So moving forward, we do not authorize, support, sponsor, or in any way encourage construction of unbuilt projects.”
The story goes like this: In 1949 an engineer named A.K. Chahroudi commissioned Frank Lloyd Wright to design a home on Petra Island in Lake Mahopac, New York, which Chahroudi owned. But the $50,000 price tag on the 5,000 square foot house was more than Chahroudi could afford, so Wright designed him a smaller, more affordable cottage elsewhere on the island. Fast forward to 1996 when Joseph Massaro, a sheet metal contractor, bought the island for $700,000, a sale that also included Wright's original yet unfinished plans. Though he says he only intended to spruce up the existing cottage and not build anything new, one can hardly fault Massaro for wanting to follow through on a home Wright once said would eclipse Falling Water. In 2000 Massaro sold his business and hired Thomas A. Heinz, an architect and Wright historian, to complete and update the design, a move that incensed the Frank Lloyd Wright Foundation, who promptly sued him, stating he couldn't claim the house was a true Wright, but was only "inspired" by him. Massaro was able to complete the house in 2004, fending off lawsuits by stating his intent not to sell. Now, however, he's ruffled the Wright Foundation's feathers once again by putting the house on the market for $19.9 million, 11-acre island included. Even though the house is not recognized by the Foundation, that hasn't stopped Massaro from listing it as a true Wright. In a statement to the Los Angeles Times he said, “You hear these purists that talk about how no unbuilt Frank Lloyd Wright house should ever be built because Frank Lloyd Wright isn’t here anymore. And then you take a look at this masterpiece of his—I’m sure Frank would rather have it built than not built at all." That may be true, but those purists are an outspoken bunch, citing four details in Massaro's house that Wright would never have approved of had he been alive to see its construction. First, the decorative "rubblestone," a Wright trademark, is not flush in Massaro's home, but protrude from the wall—a major Wright no-no. Second, the home's 26 skylights are domed, not flat, a choice Massaro apparently made citing flat skylights' propensity to leak (sealants, anyone?). Third, an exterior stairway that appears in several of Wright's original drawings was nixed by Massaro, as it would have landed in three feet of water due to the island's changed coastline. Lastly, Wrightians claim that the copper fascia are too shallow, a seemingly petty point of contention, but as Wright house owner Rich Herber pointed out, "It's the small details we'll never know about." To be fair, Massaro seems to have tried to stay as true to Wright's original intentions as possible. When the late Walter Cronkite, who knew Wright personally, visited the property he said, "I feel Frank in this house." Whether or not it's technically authentic and officially condoned by the Foundation, or the result of a Wright/Heinz collaboration, the world is probably a better and more beautiful place for the existence of the Massaro House, which interested buyers can arrange to visit to through Ahahlife.com. All images courtesy Ahahlife.
A Long-Awaited Tribute: Frank Lloyd Wright’s Usonian House and Pavilion Guggenheim Museum 1071 Fifth Avenue Through February 13, 2013 In the years just before Frank Lloyd Wright’s Guggenheim Museum forever altered the face Fifth Avenue, the directors of the museum went on a charm offensive. In 1953, they presented the exhibition Sixty Years of Living Architecture: The Work of Frank Lloyd Wright. The show introduced Wright’s Usonian House to New Yorkers by building the Prairie-style home on the construction site of where the architect’s tour de force museum would soon rise. Now through February 13 the museum presents a scaled-down version of the exhibition, which originally included the Usonian and a dramatic Wright-designed pavilion holding models, drawings, and watercolors by the master. This exhibition, A Long-Awaited Tribute: Frank Lloyd Wright’s Usonian House and Pavilion, celebrates the two structures that won over a somewhat skeptical New York audience to the work of America’s modern master.