Frank Lloyd Wright developed the concept of organic architecture which aims to harmoniously integrate buildings with their natural surroundings. Some key properties of organic architecture include promoting harmony between man-made structures and nature, blending interiors and exteriors, and creating buildings that complement the environment. Wright's winter homes Taliesin West in Arizona and Taliesin in Wisconsin exemplify his theories of organic architecture.

1. ORGANIC ARCHITECTURE
Organic Architecture is a term that American
architect Frank Lloyd Wright (1867-1959) used
to describe his environmentally integrated
approach to architectural design.
Organic architecture strives to unify space, to
blend interiors and exteriors, and create a
harmonic built environment that is not
separate or dominant from nature but part of
a unified whole.
Wright's own homes, Taliesin in Spring Green,
Wisconsin and Taliesin West in Arizona,
exemplify the architect's theories of organic
architecture and lifestyle.
Taleisin west
Taleisin spring

2. ORGANIC ARCHITECTURE
Although the word organic usually refers plants or animals or anything related to nature
but his interpretation was an idea which was to promote harmony between man made
structure and nature around through design approach as unified composition
FLW Believed that building should complement its environment, building should work
as a cohesive organism.

3. •Promotes harmony between man made structure and the nature
•It is achieved by integrating building and surroundings
•Main objective is to cause no harm to nature through our design
•Every structure is unique and unrepeatable
•Organic architecture began its great modern journey in USA
•Inspired by the proverb "Form follows Function”
•Outward appearances resemble inner purposes
•Organic architecture not only addresses environmental concerns but also expresses
individuality
ORGANIC ARCHITECTURE

4. Taleisin west

5. Taleisin west

6. Taleisin west
•It is located in the middle of 600 acres of beautiful Sonoran desert in the state of
Arizona.
•Taliesin West was architect Frank Lloyd Wright's winter home and school in the
desert from 1937 until his death in 1959 at the age of 91. Today it is the main
campus of The School of Architecture at Taliesin and houses the Frank Lloyd Wright
Foundation.
CONCEPT
•Taliesin West was built to coexist in harmony with its desert environment,
using local materials such as rocks and sand in the design of the
structure and substance of the desert that surrounds the entire complex by
its structural diversity are combining into a single Complete.
•Wright wrote: “Our new desert camp belonged to the Arizona desert as
though it had stood there during creation.”

8. Built with local materials, rocks
and desert sand of the desert
wash.
For the structural frame of redwood timber was
used, as for the ceiling beams and frames.
The rich red hue form the redwood timber roof along
with the earthy, sandy hues from the concrete and the
stone façade creates a close natural relationship
between the house and landscape

9. Translucent canvas to act as a roof later
replaced by plastic due to heat
Bring Natural light to interor
Usage of stone

10. FRANK LLOYD WRIGHT ( 1867-1959)
Styles
•Organic Architecure
•Prairie Style
Frank Lloyd Wright was an American architect, interior designer, writer, and
educator, whose creative period spanned more than 70 years, designing more than
1,000 structures, of which 532 were completed

11. FRANK LLOYD WRIGHT ( 1867-1959)
BASIC PRINCIPLES
•Organic colours
•Organic shapes
•Integration of building with natural surroundings
•Strong horizontal lines and hidden entries
Guggenheim museum,Newyork

12. FRANK LLOYD WRIGHT THOUGHTS
Every great architect is – necessarily – a great poet. He must be a great original
interpreter of his time, his day, his age.”
“There should be as many (styles) of houses as there are kinds (styles) of people
and as many differentiations as there are different individuals. A man who has
individuality has a right to its expression and his own environment.”
“A building should appear to grow easily from its site and be shaped to harmonize
with its surroundings if Nature is manifest there.”

13. “No house should ever be on a hill or on anything. It should be of the hill.
Belonging to it. Hill and house should live together each the happier for the
other.”
“The good building is not one that hurts the landscape, but one which makes the
landscape more beautiful than it was before the building was built.”
FRANK LLOYD WRIGHT THOUGHTS

14. FAM0US BUILDINGS
Falling water(Kaufmann Residence)
Robie House
Guggenheim Museum
Unity Temple ,Oakpark

15. Robie House
Prairie style
The Robie house of 1910 iis generally
considered to Wright’s best Prairie style
work.
•Dominated horizontal axis
•Banded windows(horizontal series
of three windows or more)
•Spacious and open interior plan
•The exterior is dominated by low
hipped roof.
•Simple building materials(mainly
brick ,wood)
Banded Windows
Low hipped roof
ROBIE HOUSE AND PRAIRIE STYLE

16. ROBIE HOUSE AND PRAIRIE STYLE
•Strong horizontal lines
•Hidden entries
•Simple geomatric shapes were followed in robbie house

17. FALLING WATER 1937
Falling water is a house built over the waterfall
The history of Fallingwater began in 1936,
when Pittsburgh department store owner
Edgar J. Kaufmann hired Wright to design a
weekend retreat for his family, on land in
Mill Run.
Incorporating much of what was already
on the site, including rocks, trees, and a
rushing creek, the house was set amid
5,000 acres of natural wilderness that juts
out over a waterfall on Bear Run.

18. FLW Told them he want wanted to live with the waterfalls,to make them
part of everyday life .
Breaking water could constantly be heard through the entire house

19. The contouring of the house without disturbing existing terrain of rocks and free flow of stream

20. Suspended staircase
An important symbolic function of this
stairway is to connect the house to the stream
The cantilevered reinforced concrete
balconies that extend out over the falls.
Such cantilevers were a relatively new design element in
the 1930s, and reinforced concrete technology itself had
not progressed much beyond simple, direct bearing
configurations
The connection with nature by liberal use of
glass
“corner turning windows” without mullions
causes corners to vanish.
The house has no walls facing the falls, only a
central stone core for the fireplaces and stone
columns. This provides elongated vistas leading
the eye out to the horizon and the woods.

22. Wright even bows to nature by bending a trellis beam to
accommodate a pre-existing tree
FALLING WATER 1937

23. MATERIALS USED
FALLING WATER 1937

24. GUGGENHEIM MUSEUM,NEWYORK
Solomon R. Guggenheim Museum was the last major project designed and built by
Frank Lloyd Wright between 1943 until it opened to the public in 1959, six months
after his death, making it one of his longest works in creation along with one of his
most popular projects.

25. The exterior of the Guggenheim Museum is a stacked white cylinder of reinfored
concrete.
GUGGENHEIM MUSEUM,NEWYORK

26. "one great space on a continuous floor,"
•Walking inside, a visitor's first intake is a huge
atrium, rising 92' in height to an expansive
glass dome.
•Along the sides of this atrium is a continuous
ramp uncoiling upwards six stories for more
than one-quarter of a mile, allowing for one
floor to flow into another.
•The ramp also creates a procession in which a
visitor experiences the art displayed along the
walls as they climb upwards towards the sky.
The design of the museum as one continuous
floor with the levels of ramps overlooking the
open atrium also allowed for the interaction of
people on different levels, enhancing the
design in section.
GUGGENHEIM MUSEUM,NEWYORK

27. The skylight in the center of the museum
•Besides the circulation layout Wright
envisioned, the interior is extremely
controlled, having visitors almost entirely
removed from visual contact with the
outside and placed in a selfcontained
world removed from the public space of
the street.
•Two-way pedestrian traffic

28. The curved walls of the interior were intended so that paintings had to be tilted
backward, "as on the artist's easel." This was unsuccessful because the paintings
were still very difficult to display because of the concavity of the walls,
and because of this before its opening 21 artists signed a letter protesting about
their display of work in such a space.
In 1992 the museum built an addition that was
designed by Gwathmey Siegel & Associates
Architects that Wright had originally
intended. The architects analyzed Wright's
original sketches and from his ideas
they created a 10-story limestone tower that
had flat walls that were more appropriate for
the display of art.
GUGGENHEIM MUSEUM,NEWYORK