Posts tagged with "Frank Lloyd Wright":

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Frank Lloyd Wright cabin outside of Chicago faces demolition

For the second time in less than two years, a Frank Lloyd Wright–designed building is facing the wrecking ball. This time, the owners of the Wright-designed Booth Cottage in Glencoe, Illinois, a suburb of Chicago, filed for a demolition permit, according to the Frank Lloyd Wright Building Conservancy (FLWBC). The 1,755-square-foot cottage at 239 Franklin Road was originally built for attorney Sherman Booth in 1913 as a temporary home, while Booth helped develop the nearby Wright-designed Ravine Bluffs neighborhood in 1915—which included Booth’s permanent home. As the Chicago Tribune reported, 239 Franklin LLC purchased the modest, single-story, three-bedroom cottage in mid-May for $550,000, almost half of what was originally asked when the home went on the market in October 2017. The building sits on a much larger plot of land, and the FLWBC wrote that it expected the new owner wants to demolish the cottage so that they can build a larger home on the site. As the Tribune noted, while the Booth Cottage may seem unassuming, it bears Wright’s signature leaded windows and provided a template for the low-cost Usonian and model homes later in his career. The demolition permit application is reportedly incomplete at the time of writing, but once finished, there will likely be a 180-day review period triggered by the home’s historic status. While the home was declared a local landmark in 1996 by the Village of Glencoe, that doesn’t afford any protection against its demolition. If the cottage is torn down, it would follow the loss of the Lockridge Medical Clinic building in Whitefish, Montana, which was razed in January of last year for a three-story mixed-use complex. The loss of the Booth Cottage would also represent the first demolition of a Wright-designed residential building since 2004, when the W.S. Carr cottage in Grand Beach, Michigan, was torn down. On May 1, the nonprofit Landmarks Illinois had listed the Booth Cottage on their 2019 list of most endangered historic places in Illinois.
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Artist David Hartt brings multimedia installation to a Frank Lloyd Wright synagogue

David Hartt will be the first artist to intervene in the Frank Lloyd Wright–designed Beth Sholom Synagogue, located just outside of Philadelphia, when he installs his multimedia work into the National Historic Landmark this September. Using music, video, sculpture, and other materials, David Hartt: The Histories (Le Mancenillier) will interrogate the histories and presents of Black and Jewish diasporas in the United States and across the world. At the center of the exhibition is the 19th-century American composer Louis Moreau Gottschalk. Born to a Jewish father and Creole mother, Gottschalk left his native New Orleans for Paris to study music at just age 13. Blending European classical musical training with American traditions and Afro-Caribbean song, Gottschalk’s hybrid music predated ragtime and jazz by over half a century, and though relatively little known now, is foundational to music history both in the Americas and globally. Hartt will be traveling to New Orleans and Haiti to capture video and photography in an attempt to understand the impact of Caribbean culture on the music of Gottschalk, who lived across the Caribbean, and Central and South America. Hartt will also be appropriating the visual styles of contemporaneous painters like Martin Johnson Heade, who painted tropical flowers and birds, to create large-scale landscape tapestries that will both change the space visually and acoustically. Video monitors will be set up like figures in the space, with content engaging the synagogue’s architectural peculiarities, and tropical plants will be put into extant planters while orchids will be arranged to capture the leaking rainwater that now filters through the 60-year-old glass-topped sanctuary. It is fitting, then, that the parenthetical part of the title, names a tropical plant—the manchineel tree, nearly every part of which is toxic to humans (the "Histories" portion of the title is after the work of the ancient Greek historian Herodotus). “David’s poetic approach to the built environment reframes familiar ideas about site, history, and identity,” explained Cole Akers, the curator of the exhibition. “His installation in Beth Sholom's Frank Lloyd Wright–designed building will offer unexpected ways to experience the National Historic Landmark and reflect on the site's capacity to hold a generous, porous, and speculative concept of community.” Ethiopian pianist Girma Yifrashewa—who, like Gottschalk, trained in Europe and blends multiple global sonic traditions—will be scoring the exhibition with compositions by Gottschalk that will be played throughout in order to, according to a release from the synagogue's preservation foundation, “transform the space and invite audiences to linger in the immersive environment.” There will be additional musical performances by other artists throughout the exhibition’s run. Hartt's installation will be up from September 11 to December 19, 2019.
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Bruce Goff’s imaginative teaching lives on in Oklahoma

Most architecture students study design precedents or build upon knowledge gained in history courses, but one mid-century educator repeatedly told young minds instead: 
Do not try to remember.
Bruce Goff, a self-trained architect and long-time mentee of Frank Lloyd Wright, instilled this idea in his students at the University of Oklahoma (OU) during his tenure as chairman there from 1947 to 1955. Instead of copying the popular Beaux Arts and Bauhaus styles of the recent past, Goff wanted architects in training to express their own creativity and views of the world through designs that avoided architectural stereotypes and instead presented a radical future. This era of educational exploration and disruption became known as the American School of architecture. Historian and OU Visiting Associate Professor Dr. Luca Guido is the curator behind the exhibition, Renegades: Bruce Goff and the American School of Architecture at Bizzell. Now on view in OU’s Bizzell Memorial Library, it details the widespread influence of Goff’s personal teaching style and the program he built, which attracted students to the American Midwest from as far as Japan and South America. The exhibit features large-scale drawings by alumni, as well as uncovered models and writings from Goff’s students and colleagues like Herb Greene, Elizabeth Bauer Mock, Bart Prince, Mendel Glickman, and Jim Gardner, and Bob Bowlby, among others. Built from the school’s expansive American School archives, the show unveils former students' work that’s been so pristinely preserved and restored, it all looks like it was completed yesterday. Goff, who seemed to have encouraged serious attention to presentation, penmanship, and shading, left behind what Guido considers a “gold mine” of materials. Every framed assignment on view is a piece of art in and of itself—a testament to the architectural educator’s guidance. “Bruce Goff introduced a new architectural pedagogy,” Guido said, “and the School of Architecture at OU endeavored to develop the creative skills of the students as individuals rather than followers of any particular trend. The drawings represent the evidence of an extraordinary and, at the same time, little known page of the history of American contemporary architecture.” That history is one that OU is now trying more heavily to build upon. As one of just two architecture schools in Oklahoma, OU lures students from across the state, nearby Texas, and around the globe to the small town of Norman. It was considered a world-class institution during Goff’s years and still seeks to live up to that legacy today. Since becoming head of the school three years ago, Dean Hans E. Butzer has worked to re-elevate its status. “Our discussions over the past few years prove a symmetry between those defining aspects of the American School and the overarching strategic priorities of the Christopher C. Gibbs College of Architecture,” he said. “The work of the American School of the 1940s, ‘50s, and ‘60s may be described as contextual, resourceful, and experimental. Today, we have set the goal of graduating entrepreneurial students who design resilient cities, towns, and landscapes through the lens of social equity and environmental sustainability.” This idea is evident in the success of last year’s graduating class. As of fall 2018, one hundred percent of architecture students secured a full-time position within six months of graduation, according to Butzer. Only two, the faculty jokes, didn’t get hired. They instead went on to begin master’s degrees at the Harvard Graduate School of Design. When asked why OU graduates are so attractive to firms across the country, Butzer noted the work ethic and creative problem-solving skills they learned as students. Teaching students to speak up, stand out, and work hard can be traced back to Goff’s presence at the school and his own career as an eccentric architect who always put the client first and aimed to “go the extra mile,” according to Guido. His modus operandi was to first connect deeply with the client, ensuring the end result was strictly their vision. His objective was to never design a building he personally wanted to live in. Some of Goff’s most famous structures, the Ledbetter House in Norman, the ill-fated Bavinger House that was demolished in 2016, as well as the Bachman House in Chicago, took on forms reminiscent of Wright’s residential work—low-lying residential homes with surprisingly large interiors, cantilevered carports, and large windows—but they all displayed a curious amount of flamboyancy that was signature to Goff himself. The architecture of his early years, such as the historic Tulsa Club and the Art Deco-designed Boston Avenue Methodist Church, are celebrated landmarks in Tulsa and reveal Goff’s visual personality. Goff was also a champion of sustainable and site-specific construction; he often utilized local materials for his projects. Fittingly, Goff rejected the idea of having a personal style of architecture. Some of Goff’s mid-century work and the sketches of his students from this time seem to be inspired by Atomic Age tropes. Viewing them now, they’re so futuristic they probably seemed structurally unbuildable at the time, but the geometries that came out of the American School were forward-thinking and technically-advanced. During Goff’s leadership, architectural courses fell within OU’s College of Engineering where students were taught how to complete construction drawings and to specify materials. But in Goff’s classes, it was all about creativity. “Bruce Goff didn’t believe in critiques,” said Guido. “He wanted them completely free to propose what they wanted. The assignments were structured around abstract themes that allowed the students to express themselves in the best possible way because for Goff, there would be no little Corbusier's, no little Mies's, and even no little Goff's. He didn’t want his students to become followers of someone. He wanted them to abandon all memory of what came before them.” Renegades: Bruce Goff and the American School of Architecture at Bizzell is on view through July 29 and will turn into a comprehensive traveling exhibition this year with a stop at Texas A&M University in the fall. The OU Libraries also has plans to secure the preservation of the archives by making them part of the school's Western History Collection and digitizing select images for online research.
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Thieves steal Frank Lloyd Wright and Schindler furniture pieces around Los Angeles

Someone has stolen key works of furniture designed by Frank Lloyd Wright and R.M. Schindler from a University of Southern California (USC) storage facility. The Los Angeles Times reports that a pair of lamps designed by Wright and a cushioned chair by Schindler disappeared from a South Los Angeles warehouse in 2012. The items, likely worth tens to hundreds of thousands of dollars, were brought to the storage facility from the Samuel Freeman House, a textile block–style home designed by Wright in 1923. According to The Times, the theft had gone unreported until recently, when a reader sent an anonymous letter to the newspaper detailing the suspected theft. The Samuel Freeman House is located on a slope in L.A.’s ritzy Hollywood Hills. It is designed to take advantage of the changing grade to make the three-story home appear from the street to be shorter than it actually is, according to the Frank Lloyd Wright Foundation website. Like the Ennis, Storer, and Millard homes, the Freeman Residence is built on a modular grid from thousands of 16-inch precast concrete blocks—12,000 in this case—designed by Wright to unify aesthetic expression and structural assembly. The resulting home cascades down its rugged site, revealing a partially-submerged bedroom level and descending terraces. Throughout its life as a private residence, the Freeman home hosted salons and other gatherings. In 1986, the owners donated the home to the USC School of Architecture. Like several other textile block homes, the structure was heavily damaged in the 1994 Northridge Earthquake; it was structurally stabilized by the university in 2005. The home is currently undergoing additional renovations due to the earthquake damage. The textile block homes were built using only the aforementioned blocks and with little in the way of shear walls, lateral structure, or other seismic safeguards. While Wright designed the initial structure, Schindler renovated and added to the residence in the decades after it was completed. See here for a full set of Historic American Building Survey drawings and other information on the Freeman House. Since USC acquired the home, it has been used extensively as an educational tool and venue. In 2000, as USC geared up to renovate the home, the items in question were moved to the storage facility. A few years later, the items had disappeared. According to The Times, the circumstances surrounding the stolen furniture are somewhat strange. First, the items were located in a locked room that could only be accessed by a limited number of people. There are no suspects as of yet, but it appears that whoever stole the pieces likely had previous access, as investigators have not uncovered signs of forced entry into the storage area. Second, despite word of the missing items reaching the upper levels of the USC School of Architecture administration, the theft went unreported to authorities for years. And then there’s the issue of a recently-auctioned textile block believed to belong to the home. According to The Times, one of the home’s original blocks recently fetched $5,000 in an online sale. It is believed that the slightly-damaged block was removed from the home’s garage, perhaps directly after the Northridge quake or during the renovations. To boot, several other furniture works by Schindler were recently stolen from another storage facility in Los Angeles, this one managed by the Friends of the Schindler House, a nonprofit that maintains Schindler’s former residence in West Hollywood, home to the MAK Center for Art and Architecture. It is unclear if the two thefts are connected. According to the report, the Los Angeles Police Department is conducting a preliminary investigation into the missing pieces.
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Karl Marx School wins the 2018 WMF/Knoll Modernism Prize

 
The restoration of the Karl Marx School, a Functionalist school in Villejuif, France, has won the 2018 World Monuments Fund (WMF)/Knoll Modernism Prize. The historic institution was brought back to its original condition by Agence Christiane Schmuckle-Mollard, a Paris-based restoration and design firm. “The Karl Marx School in Villejuif is one of the landmark school designs of the twentieth century,” said Barry Bergdoll, jury chair, in a statement. The building was listed as a National Historical Monument in France in 1996.

French architect André Lurçat designed the school that opened in 1933 and has remained continuously operational but suffered from poor maintenance. The renovation brought the structure up to modern building standards, conserved original materials, restored original colors, and added a new wing.

The prize is awarded biannually to restorations and adaptations of historically significant modernist buildings. The Karl Marx School is the sixth winner of the prize, and for the first time, the jury awarded a special mention to Harboe Architects' restoration of Unity Temple, in Oak Park, Illinois, designed by Frank Lloyd Wright. Besides Barry Bergdoll, the jury included Jean-Louis Cohen, Kenneth Frampton, Dietrich Neumann, Susan Macdonald, Theo Prudon, and Karen Stein. The prize will be awarded in a ceremony on December 4, 2018, at the Museum of Modern Art (MoMA) in New York City.
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Frank Lloyd Wright's Barton House opens to the public after a full restoration

After a $2-million total restoration, the Frank Lloyd Wright–designed George and Delta Barton House in Buffalo, New York, is once again open for visitors. The Barton House, built in 1903–1905 as one of six interconnected buildings on the Darwin D. Martin House residential compound, was Wright’s first East Coast commission and introduced the Prairie School to the public. The Barton House, a commission by millionaire Darwin D. Martin for his sister Delta Barton and her husband George, was a bit of a test-case for Wright; Martin was so impressed that he tapped Wright to later design the rest of the complex, including the larger Martin House. “The restoration of the Barton House not only invites visitors to enjoy and understand its significance as an icon of Wright’s Prairie style but also provides a window into the role of patronage in architecture,” said Martin House executive director Mary Roberts. “With his offering of the Barton House project, Martin gave Wright an opportunity to explore his strengths and creativity free from financial restraints, and its success sparked a long-lasting patron-artist relationship that resulted in some of Wright’s most important built and unbuilt works.” The Barton House restoration was some twenty years in the making and began with the founding of the Martin House Restoration Corporation (MHRC) in 1992. Renovations on the site began in 1996, and restoration of the Barton House proper began in September 2017 based on the research and plans produced by Buffalo’s HHL Architects. Only three of the six Martin House buildings currently remain standing. The Barton House, while an earlier piece of Wright’s portfolio, exhibits the unmistakable low-slung proportions, large, overhanging roof, and ribbon windows associated with the Prairie School style. The design of the house and use of gold-tinted brick in the fireplace and terracotta roof tiles share similar beats with Wright’s J.J. Walser Jr. House in Chicago, which opened the same year. The Martin House compound is open to public guided tours, but private tours are also available, and the Barton House is available to rent for private events.
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Frank Lloyd Wright's David and Gladys Wright House back on the market

It looked like Frank Lloyd Wright’s spiraling David and Gladys House in Phoenix, Arizona, had been saved from the wrecking ball back in June of last year, but a deal to donate the building to the Frank Lloyd Wright School of Architecture has reportedly fallen through. Now the house is back on the market for $13 million, over $10 million more than when it first went up for sale in 2012. After being purchased in 2012 by homebuilder and architecture aficionado Zach Rawling, it appeared that the house, built in 1952, would be restored and put to good use. Rawling donated the building to the Frank Lloyd Wright School of Architecture at Taliesin for use as a learning center and in-situ design studio, which kicked off during the 2017-2018 academic year. Although the school was able to produce videos with several well-known architects at the house and successfully complete the scheduled studios there, funding concerns seem to have scuttled the partnership. In a joint statement released in June of this year, Rawling and the school's dean Aaron Betsky announced that due to conflicting funding obligations and an uncertain timetable, the school and house would part ways.
The relationship between the School and the House is formally manifested in the David Wright House Collaborative Fund, a supporting organization of the Arizona Community Foundation. The principal focus of the David Wright House Collaborative Fund was to develop a vehicle to raise the $7-million endowment on which the pledge of the House for the benefit of the School was conditioned. Over the past year, we have learned that the fundraising timetables of both parties do not lend themselves to a joint campaign.
The original terms of the donation, which required that the school raise $7 million by 2020, proved difficult. Additionally, Phoenix residents reportedly weren’t thrilled over the potential conversion of the house into an educational facility and were worried about the traffic and noise the transformation would bring. Interested in buying a progenitor to the Guggenheim? You can put down your $12.9-million bids here. AN will follow up on this story when updates become available.
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Latinx artists explore modern architecture and indigenous space at the Whitney

The Whitney Museum exhibition Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art displays seven Latinx artists’ responses to the built environment through construction, land, and space. Curator Marcela Guerrero has brought together 80 recent works and site-specific installations by William Cordova, Livia Corona Benjamín, Jorge González, Guadalupe Maravilla, Claudia Peña Salinas, Ronny Quevedo, and Clarissa Tossin. The works display a wide range of references, from adaptations of pre-Columbian temples to migration routes. The title iincludes three words in Quechua, the most common indigenous language spoken today in the Americas. Each has multiple meanings: Pacha is the universe, time, space, nature, world; llaqta, place, country, community, town; and wasichay, to build or construct a house. Clarissa Tossin’s video, Ch’u Mayaa (Maya Blue) (2017), was shot at Frank Lloyd Wright’s Hollyhock House in Los Angeles. Tossin moves figures around the temple-like forms to a soundtrack of body sounds and pre-Columbian flutes while demonstrating the performative, ceremonial nature of Mayan (and Mayan revival) architecture. Tossin’s sculptures that surround the video are inspired by reliefs at the nearby Mayan Theater by Mexican artist Francisco Cornejo that referenced both Central America and Hollywood film productions. Ronny Quevedo’s father was a professional soccer player in Ecuador, and his Orders of Magnitude (desde Qoricancha) (2018), Errant Globe (2015), and Ulama, Ule, Olé (2012) use sports themes (here, ulama, a ball game) with imagery of a gym floor, ball courts, and constellations arranged in “maps.” Gold leaf refers to Spanish colonial invaders and is used to render migratory patterns visible, including his own; Quevedo’s family relocated from Ecuador to New York. In her photogram series, Infinite Rewrite (2018), Livia Corona Benjamín features Mexican grain silos or graneros del pueblo (silos for the people) built during the Compañía Nacional de Subsistencias Populares initiative from 1965-1999. A prototype design by architect Pedro Ramirez Vázquez could be built by farmers with local materials. However, the 4,000 silos that were built were abandoned, and the project ended in failure. These photos, made with multiple exposures that fracture the image almost like mosaics, show how the structures have since been adapted for other purposes: schools, churches, motels. In the gallery, the installation uses 12-foot-tall walls and a floor plan that echoes both the silos’ conical shapes and cruciform plazas. Ayacabo Guarocoel (2018) by Jorge Gonzalez combined Modernism and Puerto Rican Taino (indigenous Caribbean) vernacular in this site-specific installation of a full-height windowed gallery looking eastward. The accordion roof is the mid-century element while the walls are enea (cattail) and dried clay, used in bohíos (huts) and in furniture. He has also made benches specifically for the exhibition. Another site-specific installation sits on the outdoor fifth-floor terrace called huaca (sacred geometries) (2018), by William Cordova, and uses wood with a stainless-steel gate. It references Huaca Huantille, a temple from the Ichma culture (1100–1400 AD) in Peru that predates the Inca. Before it became an official heritage site in 2001, the temple was claimed by squatters who improvised shelters out of scaffolding (the artist grew up nearby). Seen from the balconies above, you can see why Cordova calls it a “non-monument.” Claudia Peña Salinas’s installation—composed of Cueyatl (2017), Tlaloc MNA (2018), Chalchiuhtlicue MNA (2018) and more—refers to and reinterprets archeological objects at the National Anthropology Museum in Mexico City. The layout is based on the mythical Aztec paradise of Tlacocan. Together, these artworks form provocative insights and interpretations of the architectural landscape and cultural heritage across Mesoamerica and offer tantalizing insights into the contemporary power of indigenous work. Pacha, Llaqta, Washichay: Indigenous Space, Modern Architecture, New Art will run at the Whitney through September 30, 2018.
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Rarely-seen Frank Lloyd Wright home opens for annual tours

Getting inside Frank Lloyd Wright’s only design in South Carolina’s Lowcountry is not an easy feat. The legendary architect’s C. Leigh Stevens House on Auldbrass Plantation in Yemassee was previously only open for public tours every two years, but that’s changing. The Beaufort County Open Land Trust, which manages the site, announced this week that tours of the house will be given now on an annual basis, with the first round of tours scheduled for November 10-11. Tickets go on sale August 9 for $175 each. Built in 1939 for Michigan industrialist C. Leigh Stevens, Wright famously designed the residential structure without any right angles. He was supposedly inspired by the lean of the live oak trees found throughout the local region. Hexagonal shapes and inward-sloping walls define the main features of the house and the surrounding slender, one-story structures, including the caretaker’s residence, barn stables, kennels, and cabins—all linked by esplanades and largely clad in brick and local cypress. An elongated swimming pool and bathhouse were also constructed for the complex. The 4,000-acre plantation sits on the Combahee River in Yemassee, about an hour west of Edisto Island and 1.5 hours south of Charleston. The plantation fell into disrepair in the 1960s after Stevens passed away and was purchased by Hollywood producer Joel Silver in 1987. Over the last three decades, Silver has worked with the architect’s grandson, Eric Lloyd Wright, to restore the site to its original elegance and complete Wright’s vision for several other never-realized buildings planned for the complex. Before buying Auldbrass, Silver restored Storer House, one of Wright’s Mayan Revival style textile-block houses in Los Angeles. Auldbrass Plantation was placed on the National Register of Historic Places in 1976 and is one of only two buildings Wright designed in South Carolina. The other is an additional residential project called Broad Margin upstate in Greenville.
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Frank Lloyd Wright’s fully-restored Ennis House is for sale for $23 million

Following an extensive, more than a decade-long restoration, Frank Lloyd Wright’s Ennis House in Los Angeles is for sale.  The 5,500-square-foot neo-Mayan hilltop house was designed by Wright in 1923 and is on the market for a cool $23 million. The home is the last and largest of Wright’s “textile block” homes in Los Angeles. The home was last listed for sale in 2009 for $15 million following a slew of upgrades and renovations, a figure that eventually fell to a mere $4.5 million in the fallout of the 2008 economic collapse. In 2011 the home finally sold to business executive Ron Burkle, the current owner. The home was previously owned by the Ennis House Foundation, which sold the property to Burkle with a requirement that it be open to public tours for at least 12 days per year, a stipulation that will follow the house as it changes hands once again. After the 2011 purchase, Burkle spent the next six years fully restoring the home with help from Wright’s grandson Eric Lloyd Wright, who was the historic preservation consultant for the project. Matt Construction executed the restoration work on the house, a project that involved structurally stabilizing the house as well as replacing nearly 4,000 of the home’s 27,000 textile concrete blocks. The building was also re-roofed during the restoration, and the home’s interior wood floors, ceilings, and art glass windows were restored.  Prior to the restoration work, the home had sat in horrible shape after suffering extensive structural damage following the 1994 Northridge earthquake. In 2005, torrential rains in L.A. caused much of the roof damage and interior deterioration that the latest restoration corrected.  The home is famous for being shown in a variety of films, including Blade Runner and House on Haunted Hill. The home was originally commissioned for Charles and Mabel Ennis and is currently listed on the market by Beverly Hill-based realtors Branden and Rayni Williams of Hilton & Hyland. 
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In Venice, Chinese studio reimagines Frank Lloyd Wright's Broadacre City as an e-commerce hub

Frank Lloyd Wright proposed the revolutionary suburban utopia Broadacre City in the 1930s. He could not have expected it to inspire artists designing the campus of an online shopping website in China more than eighty years later. China-based Drawing Architecture Studio exhibited a series of panoramic drawings called Taobao Village – Smallacre City at the Venice Architecture Biennale this year, which is a speculative design for the headquarters of Taobao, a Chinese consumer-to-consumer retail platform that garners 580 million monthly active users. Drawing Architecture Studio is a Beijing-based art, architecture and urban research practice cofounded by architect Han Li and designer Yan Hu. In Broadacre City, Wright envisioned that American cities would no longer be centralized and limited to a central business district. Instead, families, each given a one-acre plot of land, would be self-sufficient households commuting mostly with the automobile. His concepts are especially relevant today in China where the rural and urban divide highlights many problems of inequality and inefficiency. The Chinese drawing studio combines Wright’s ideals and a fresh perspective from modern China. The masterplan of Broadacre is used as the basis on which the village of Taobao, the Alibaba-owned, popular e-commerce website, is imagined. According to the architects, their proposal tries to speculate how Taobao and the Internet will contribute to China’s goal to integrate urban and rural economies. The village consists of transport infrastructure and distribution networks of the online shopping empire. Bridges, roads and conveyer belts cross over and intersect each other, constructing a layered, lively cityscape enclosing both the enterprise and the rural-urban complex. The illustrations employ elements from both the East and the West. The composition of the village is symmetrical and organized along a straight axis, recalling the organization of Beijing’s Forbidden City. Eclectic, Western-classical building motifs used in rural Chinese villages alongside traditional Buddhist statues and Chinoiserie columns are depicted in the illustrations. The drawings are part of the exhibition titled Building a future countryside in the Pavilion of China at the Venice Architecture Biennale.
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Visiting this famous Frank Lloyd Wright home? For some fancy wine, you (maybe) can

The owners of a famous Frank Lloyd Wright home in California are sick and tired of architecture aficionados walking up to their property to glimpse the beauty within. But, with the right bottle of wine, the Millard House's residents may let curious visitors have a look around. Wright built the Millard House (or La Miniatura) for George and Alice Millard in 1924. The structure was Wright's first attempt at modular building, but the house is far from ordinary. Its signature concrete facade and courtyard walls are covered in a textile pattern, which helps it blend into the steep but lush site. The Pasadena home, one of five concrete block abodes the architect designed in southern California, was added to the National Register of Historic Places in 1976. In addition to its beauty, La Miniatura exemplifies a turning point in Wright's practice as he expanded beyond the Prairie Style for which he had become known. Naturally, people are all about Wright and his work, and in the past, it was possible to wander up to the property, undisturbed. Last week, though, reader Ken Saylor sent The Architect's Newspaper (AN) a picture of a note outside La Miniatura taken by his sister, Michelle, on a recent visit. The missive reads as follows:
Dear Tourist, Thank you for your interest in Frank Lloyd Wright's La Miniatura. This is a privately owned residence and is not open for tours. Please do not wander past the driveway as you will be disturbing human and canine residents who are enjoying their privacy. Photographs can be taken from the driveway as well as through the fence on Rosemont. If for some reason you feel strongly that these rules can't possibly apply to you because *you* are so special that you must be entitled to a tour, then you are welcome to leave a bottle of wine, along with your full name and contact information, and your request will be considered. Medium to full-bodied California Pinot Noir with strong notes of fruit and spices, such as Foxen, Hocus Pocus, and/or Husch, preferred. Thank you and have a nice day!
A "Private Property" sign appears to be hung just below the note, for good measure. AN reached out to the Los Angeles County Assessor's Office to learn the identity of the oenophile owners. (The county doesn't list owners in its online property database.) While the owners request full transparency on behalf of potential visitors, they've chosen to hide their identities behind a LLC. Records show the home is owned Acme Int Capital Mgmt, which is registered to an address in nearby San Marino, California. The property has changed hands three times in the past decade. It last sold in 2015 for $3.65 million. Efforts to contact the owners were unsuccessful.