Frank lloyd wright- Taliesin East and Taliesin West, Guggenheim Museum, Falling waters, Shining Brow

Editor's Notes

• #3: In Chicago worked for architect Joseph Lyman Silsbee, where he first drafted his first building, “Unity Chapel”. ‘ Form and Function are One’, was adapted from Sullivan’s maxim ‘Form Follows Function
• #4: Utilized natural materials, skylights and walls of windows to embrace the nature. Proclaimed that shapes found in the environment should not only be integrated, but should become the basis of American architecture. A building is only organic when the exterior and interior exist in unison and both are in harmony with the character and nature of its purpose, its reason for existence, its location and the time of its creation.
• #6: Basic material was Yellow Limestone, quarried nearby A new method devised for laying up stones, that simulated the stratified layers in which it was naturally found 3. Lines of hills, the lines of roof Slope of hills, the slope of roof
• #8: Kitchen had a screen of tall and narrow windows separated by stone piers Dining area flowed into living room, lit by a band of high windows separated by narrow piers
• #10: This new plan was drafted with an influence of Japanese art. The plan was simil
• #13: workshops, farm buildings and the studio were spared Observation platform was inspired from his platform designed in “Baraboo”
• #16: The plush finishes of the interior add warmth, but provide a distinction between the interior and exterior.  The sprawling complex, inspired by Italian Villas, encompasses the Wright residence, his studio and drafting room, numerous additional residences guests and staff, a long wing of garages and carports and even animal shelters, which have now been adapted.   Complex arrangement of sandstone, stucco, glass and roofs, all colliding and sliding past one another. Despite its continual modification, it manages to retain a sense of unity through the preservation of roof material and pitches, and the use of a restrained pallet of materials that includes the sandstone native to the area, wood and raw stained plaster that has been mixed with river sand to provide a natural texture.
• #24: immersive architectural school based out of his own home and studio that housed the Taliesin Fellowship during the winter months.
• #25: 1,side elevation nd top view by wright s nd his apprentice 2.Hugh ferris sketches
• #26: directed the main axes of their central courtyards exactly toward a sacred mountain peak, which contained a cave shrine of the Minoan goddess of the earth. The sacred mountains were invariably cleft and horned, a good deal like Wright's mountain here. (mcdowel mountain) 2. petrogluphs- pictogram and logogram images created by removing part of a rock surface by incising, picking, carving, or abrading. Outside North America, scholars often use terms such as "carving", "engraving", or other descriptions of the technique to refer to such images. The central building group is essentially in the form of a cross with a large inverted equilateral triangle attached by its base to the central axis, or long arm of the cross, which runs northwest-southeast.
• #27: The main materials used in the construction of the Taliesin complex were multicolored volcanic rocks available on site, cement, white canvas and redwood. Overtime glass and plastic were incorporated into the site. The walls, parapets and substructures that comprise the complex were hand-built using volcanic rocks that were embedded in cement through a process called “desert masonry”. In this process the rocks were placed into a wooden form and cement was poured in and allowed to set. Once dried the wooden forms were stripped and reused to continue the wall as desired. The roofs of the office, drafting and garden room, three of several rooms that comprise the main complex, were made out of sheets of canvas that were stretched over large redwood trusses. However, due to the fact that the canvas used on the roofs needed constant replacement and repair, Wright began experimenting with different materials in order to find an appropriate replacement. Eventually, appropriate plastic materials that could hold up against the elements were incorporated into these structures.
• #28: Organic architecture is also translated into the all inclusive nature of Frank Lloyd Wright's design process. Materials, motifs, and basic ordering principles continue to repeat themselves throughout the building as a whole. The idea of organic architecture refers not only to the buildings' literal relationship to the natural surroundings, but how the buildings' design is carefully thought about as if it were a unified organism. Geometries throughout Wright's buildings build a central mood and theme. Essentially organic architecture is also the literal design of every element of a building: From the windows, to the floors, to the individual chairs intended to fill the space. Everything relates to one another, reflecting the symbiotic ordering systems of nature.  middle-income homes known as "Usonian Houses." The aesthetic precursor to the modern "ranch house," these sparse yet elegant houses employed several revolutionary design features such as solar heating, natural cooling and "carports" for automobile storage.  It was both a planning statement and a socio-political scheme by which each U.S. family would be given a one acre (4,000 m²) plot of land from the federal lands reserves, and a Wright-conceived community would be built anew from this. In a sense it was the exact opposite of transit-oriented development. 
• #29: he Garden room is a spacious, well-lit room designed and built by the architect and considered the showpiece of the whole complex. Located in the apprentice court, the Kiva is a masonry structure that served as a movie viewing area, concert hall, theater, apprentice lounge, library, storage, and currently as a classroom and conference room. Wright’s office was one of the first buildings constructed and serves as the “dominate architectural theme” for the complex These three areas form a group of interconnected buildings and are the core of the Taliesin West complex. A formal, triangular, outdoor space adjacent to the core of the complex. A craft and shop area located at the western end of the complex. ): A suite of rooms that served as the living quarters for the Wright’s.
• #30: ): A grouping of small rooms around a courtyard that served as living quarters for Wright’s apprentices. The Sun Cottage is a freestanding structure located east of the main complex. Originally called the “suntrap”, the cottage served as the initial living space for the Wright family. This living space was expanded in 1948 and renamed the Sun Cottage. In 1962 the area was enclosed and turned into a studio for apprentices. The theater is a half sunken, reinforced concrete and desert stone theater that extends from Wright’s office. ): The pavilion is a steel-reinforced building with a roof of rigid-steel frames and translucent plastic used to host meetings, performances, and exhibitions. The citrus grove and the realignment of the entrance drive to include a vertical stone monolith were the final improvements made to the complex before Wright died.
• #31: 1. Wright announced his return to the profession in dramatic fashion in 1935 with Fallingwater,
• #32: 1. in particular, because there are columns and beams to form porches, and the plates, the horizontal elements that stretch as terraces on the waterfall