1. FRANK LLOYD WRIGHT
Born Frank Lincoln Wright
June 8, 1867
Richland Center,
Wisconsin, U.S.
Died April 9,
1959 (aged 91)
Phoenix, Arizona,
U.S.
Nationality American
2. • Frank Lloyd Wright (born Frank Lincoln Wright, June 8, 1867 – April 9, 1959) was an
American architect, interior designer, writer, and educator, who designed more than
1,000 structures, 532 of which were completed.
• Wright believed in designing structures that were in harmony with humanity and its
environment, a philosophy he called organic architecture.
• This philosophy was best exemplified by Fallingwater (1935), which has been called
"the best all-time work of American architecture".
• Wright was a leader of the Prairie School movement of architecture and developed
the concept of the Usonian home, his unique vision for urban planning in the United
States.
• Wright also designed many of the interior elements of his buildings, such as the
furniture and stained glass.
• He started working as a draftsman.
INTRODUCTION :
3. CHARACTERISTICS FEATURES :
1. Prairie Style
• His work with space and construction possibilities in these houses had an effect on the design of his
subsequent buildings.
• The typical characteristics of these free-standing houses were a broad, overhanging roof and
horizontal window bands. A free plan was developed around a central chimney.
• The building had low proportions (not very high), which was related to the ground. It had a gently
sloping roof. All these formed the characteristic features of domestic architecture.
• The introduction of all these exterior features helped to form a new language in architecture.
A. The first step was the development of the plan of the house which had a plenty of open spaces
separated from one another by simple architectural devices instead of partitions, walls or doors. This
was called the open plan.
B. The integration of building with nature was another innovation.
C. This helped Frank Lloyd Wright to develop the concept of organic architecture.
• The first project he executed was ‘Winslow House’ in Illinois in 1984. This was the first example of a
Prairie House.
2. Organic Architecture
• This school of thought holds that architecture should reflect nature and exhibit the same amount of
unity as prevails in nature.
• F. L. Wright and Louis Sullivan were the pioneers of organic architecture.
4. 3. Wright defined organic architecture as that in which all the parts are
related to the whole and the whole is related to the parts.
To explain the concept of unity in nature, the architect used a living organism as an
example:
• Harmony of the part in relation to the whole.
• The parts are made according to the function of the organism.
• The form of the organism decides the character of the organism.
• Applying these concepts , his building designs emphasize the following principles:
• Integration of parts to the whole.
• Design of parts controls the design of the whole.
4. Use of materials in organic architecture
• Wright had a deep knowledge of and a lot of respect for natural materials such as
wood and stone.
• These materials had hitherto been used in different ways – covered, painted,
plastered, and altered to suit any particular fashion or taste. But in his works, these
materials were always used in the natural form, by allowing for instance, the use of
masses of stone as the natural
• feature of the building.
5. 5. Other Features:
• Simple geometrical shapes.
• Strong horizontal lines.
• Hidden entries.
• He made innovative use of new building materials such as precast
concreteblocks, glass bricks and zinc cames (instead of the traditional
lead) for his leadlight windows.
6. Architect Frank Lloyd Wright
Location
Ohiopyle, (Bear
Run), Pennsylvania
Date 1934 , 1938, 1948
Building
Type
house
Constructi
on System
reinforced concrete, stone
Climate temperate
Style Expressionist Modern
ARCHITECTURAL WORKS :
1.FALLING WATER :
7. Introduction
• Falling water was designed by Frank Lloyd Wright for the Kaufmann family as a
vacation home in Mill Run Pennsylvania on Bear Run.
• The three floors utilize many cantilevers to mimic the protruding rock ledges
of the natural sandstone that is plentiful in this secluded valley and even used
as a major construction material in the building.
• The house is built on the stream, with the main floor extending over a
waterfall.
• Even the concrete of the cantilevers fits in with the surroundings as its color
matches the fallen rhododendron leaves. Wright succeeded in creating a
home that is not only in the serene Pennsylvania woods, but a part of it.
• Square footage: The main house uses 5,330 square feet. (2885 sq. ft.
interior; 2445 sq. ft. terraces) while the guest house uses 1,700 square. feet.
• Paint Colors: Wright's desire to create a unified and organic composition
limited the color palette at Fallingwater. Only two colors were used
throughout: a light ochre for the concrete and his signature Cherokee red for
the steel. PPG Pittsburgh Paints has worked with Fallingwater to develop eco-
friendly paints that withstand the environmental challenges of the site. They
have also created a series of colors inspired by the building and its
surroundings.
• It depicts Wright’s admiration towards Japanese art and architecture.
8. • The land on which the house is located has plenty of rocks at ground level, which served as
the foundation of the building.
• The area has a slightly bumpy relief, a forest of deciduous trees that remains virtually
untouched since only a footpath leading to the house, and Bear Creek, which is the cascade
of the house. Terrain of the site were removed rocks that make up the bottom of masonry
facades of the building, placed there to create a natural progression from rock to the
concrete floor of the parties to highlands.
• The rest of the facades is cream colored, contrasting with the color green or brown
(depending on the season). Another contrasting element of the house are orthogonal forms
that have overhangs and walls, imposing well as the house "architecture".
• The building bears a relationship with the environment that becomes of respect or
adaptation to the environment. Thus, the foundation of the house are the rocks of the place,
and some of them forged over the width of the first floor looming next to the fireplace.
• Much of the house is in overhang at the top of the creek.
• The engineers at Wright did not trust that this structure would stand and advised Wright to
rectify. The pride of this architect allowed him to give up being only a few metal pieces that
hold the cantilever, which is still standing after suffering the effects of a tornado.
• The house has two floors, extending horizontally with prominent overhangs and terraces,
however there is a core that grows vertically, which is the chimney.
CONCEPT
9. • Has some windows that extend vertically and passing from one plant to another, thus
demonstrating the forging.
• This vertical focus is the "heart" of the House of Cascade.
• On the north side of the house, the opposite of that "flies" over the stream, there are a
number of pergolas as an awning that elapse from the outer wall of stone up a slope that
rises on the road to entry. This site is known as the "Forest of the house.“
• Two pergolas describes an arc dodging the trunk of two trees. This resource Wright used it
to make it clear respect for nature with which the house is designed.
• The shadows that change the pergolas resemble those of the logs, an effect that causes the
shadow of the house is blurring in the trees.
• On the floor of the terrace of the office of Mr Kaufmann was left two holes to be passed by
two trees. They died during the construction of housing and were not carried out such
openings.
10. DESIGN
• The building, constructed in three levels, is built on a rock on a natural waterfall.
• Its composition is horizontal, although somewhat complex. The vertical axis is defined by the
chimney that stands out above the deck.
• The building grows from within outwards and is spreading according to the needs of its residents.
Therefore, it can be amended, as in the organic architecture building is conceived as a living thing
and that can change.
• Each floor is marked by wide overhangs that are projected asymmetrically in several directions.
• In fact terraces are bounded by smooth slabs of concrete.
• To adopt this solution, Wright was inspired by Japanese architecture.
• The exterior of the house has an intimate relationship with nature that surrounds it.
• The architect tried to use natural materials-wood, brick, rock, which achieved a greater integration
between the building and the forest that surrounds it.
• What really worries the architect is the habitability of the interior.
• The interior space should be comprehensive and free, and therefore tries to avoid at all possible limits.
• The large living area has a wall of glass that lets you enjoy the view of the waterfall, in addition
to receiving its relaxing rumor. The use of large windows eliminated the separation between the
rooms and outside.They have, among other functions, to reflect natural light and project it in an
indirect way into the interior.
• The upper terrace provides a more intimate to the house.
• With this work Wright gets the maximum freedom of expression while maintaining harmony with the
environment.
• With the integration of water, trees, rocks, sky and nature throughout the shelter closes a certain
romantic view of the house, but opens a new dimension to the space-time refuge of men.
11. • The ceilings of the rooms are low, reaching only up to 6'4" in some places, in
order to direct the eye horizontally to look outside.
• The beauty of these spaces is found in their extensions towards nature, done with
long cantilevered terraces.
• Shooting out at a series of right angles, the terraces add an element of sculpture
to the houses aside from their function.
• The terraces form a complex, overriding horizontal force with their protrusions
that liberated space with their risen planes parallel to the ground.
• In order to support them, Wright worked with engineers Mendel Glickman and
William Wesley Peters. Their solution was in the materials.
• The house took on "a definite masonry form" that related to the site, and for the
terraces they decided on a reinforced-concrete structure.
• The exterior of Fallingwater enforces a strong horizontal pattern with the bricks
and long terraces.
• The windows on the facade have also have a special condition where they open
up at the corners, breaking the box of the house and opening it to the vast
outdoors.
• The perfection of these details perfected the house itself, and the house tends to
have structural problems that need constant maintenance due to its location.
12. • Inside the House of the Cascade we find rooms for their unique distribution, location and finishes.
• Upon entering the house through the main entrance, located on the north face, we access to a small
room with function hall located under the stairs leading to the second floor.
• After that room is entered in the living room, the largest carrier of the house from which you can
enjoy a splendid view of the forest surrounding the house.
• Upon entering, compared to face is what is called the "Music Corner", whose etymology is unknown,
to the right is the area with sofas and behind the "Music Corner" is the "stairway of water", so
named because low to a small platform that stands beside the stream.
• To lower it is necessary to open a sliding glass screens.
• The steps of the stairway of water "are hanging around in traction wires attached to the first forged.
• The walls of the room, like the rest of the house, are equal to the outside, with parts of stone
masonry of the place.
• The soil is brown stone and the roof has a design that wraps the lamps included in it, designed
expressly for this house.
• As you enter the dining room on your right is the fireplace, surrounded by natural
rocks that crop out of the ground.
• To his left is the "ball of wine," a red circular container fitted with a hinge that allows placing it on the
fire to warm the drink contains.
• On both sides of the room there is a door that leads to a terrace.
• The side that is in turn an outside staircase that leads to the terrace from the bedroom of
the son of the Kaufmann.
• To the left of the fireplace is the door that leads into the kitchen, a bedroom smaller
• than the living room with furniture designed by Wright and exclusive to this house, as happens with
the rest of furniture in the house. Among the door of the kitchen and the staircase is the dining table,
built to the north wall of the living room.
SPACES
13. • On the second floor there are two bedrooms, two bathrooms and the office of Mr.
Kaufmann, as well as three terraces and stairs that lead to the lookout on the third
floor.
• As access to this plant comes in a small hallway that distributes the units.
• Kaufmann's son's bedroom is on the corner of the music "on the first floor,
which has a small bathroom.
• To the east of this bedroom is the terrace of the individual child, in which there
is an outside staircase that goes down to the first floor.
• On the area chairs the living room, the bedroom is of
marriage, which has a small bathroom and a large terrace which extends cantilever
in a southerly direction.
• In the western part of the second floor is the office of Mr Kaufmann. In this room
there is a bed and a staircase that leads to the lookout on the second floor.
• The fireplace comes in the bedroom of marriage as in the office. In this last room is
the glass window that extends up to run the kitchen.
• In the west wall of the study there is a door that leads to the terrace of the same,
which originally had two trees facing the forged.
14. Structure
The type of structure of the house is aporticado in particular, because there are columns
and beams to form porches, and the plates, the horizontal elements that stretch as terraces
on the waterfall, were made with concrete. Some walls and other vertical elements that
define the spaces of the house, the Like the floor, were lined with native stone from the
site. Also you can see some details of the house in steel and wood.
Materials
The materials used for the construction of this house were: concrete, stone rugosa, native
stone, wood and steel.
27. 2. Solomon R. Guggenheim Museum:
Architect Frank Lloyd Wright
Location New York, New York
Date 1956 to 1959
Building
Type
art museum
Construc
tion Syste
m
concrete
Climate temperate
Style Modern
28. Introduction
• The Guggenheim Museum in New York is the first museum established by the Solomon R.
Guggenheim Foundation, dedicated to modern art. Founded in 1937 in Upper East Side, NY, it
is the best known of all the museums of the foundation, and is often called simply "The
Guggenheim".
• Between 1943 and 1956, the start of construction suffered numerous delays due to changes
in the conditions of the site, regulations related to construction, changes in the agenda of the
museum and the increased costs of construction materials, but finally, on August 16, 1956
the work of earthmoving could begin.
• Guggenheim died before construction was completed in 1959, but when Wright died in April
1959, construction was finished, leaving only some final details. Six months later, on October
21, the museum opened its doors to the public.
• The achievement not only testified to Wright's architectural genius, but to the adventurous
spirit that characterized its founder, Solomon R. Guggenheim.
• In 1992 the building was complimented with a rectangular tower, higher than the original
spiral. This modification to Wright's original design created a strong controversy.
• The Wright building has proved unpopular in some criticisms made by artists who feel that
the building overshadows the works exhibited there and that it is difficult to properly hang
the paintings.
29. Concept
• The building itself became a work of art.
• From the street, the building looks like a white ribbon rolled into a
cylindrical shape, slightly wider at the top than at the bottom.
Internally, the galleries form a spiral.
• Thus, the visitor sees the work as you walk up the illuminated spiral
ramp.
• Its design was inspired by a "Ziggurat" Babylonian temple
pyramid, inverted.
30. Frank L.Wright Opinion
• When asked why he chose a ramp rather than conventional floors, Wright replied
that the ramp was more welcoming to visitors, it was better to rise to the upper
levels and to descend slowly around an open patio, always having the option to
go up or down from all levels of the ramp, and finally, arriving at the exit at the
lowest level.
• Wright added that in most conventional museums, the public had to go through
lengthy galleries when ending their visit, with the sole aim of leaving.
• Why do you think that the walls of the Solomon R. Guggenheim are slightly tilted
to the outside? Because its founder and architect thought that the paintings in a
gently sloping wall can be seen with a better light and better than if they were
hung in an absolute vertical position.
• This is the main feature of our building, the assumptions on which the project
was conceived. It is a new idea, but it can serve as a precedent of great
importance for the future.
31. Spaces
• The Museum Guggenhein exhibits a great difference to the buildings in the vicinity because
of its spiral shape, marked by the mergeing of triangles, ovals, arcs, circles and squares,
which correspond to the concept of organic architecture used by Frank Lloyd Wright in his
designs.
• The tour begins at the entrance and slowly leads visitors to a path where the artworks are
exposed along a spiral ramp lit by a large skylight at its zenith divided in the shape of a
citrus fruit.
• Wright directs visitors via a ramp to the top of the building, and down a gentle helicoidal
ramp so that almost without realizing it, the work set out at different levels is
interconnected, yet distinct from one another by a small transitional space that is almost
imperceptible.
• If we stop for a moment and look toward the center of the spiral we realize how impressive
this building is, reminiscent of a snail, which allows us to see the center of the rotunda and
various levels of exposure of the spiral ramp downward.
• A more detailed observation shows the interaction of geometric shapes subtly positioned,
dominated by triangles, ovals (including the columns), arcs, circles and squares.
• The paths around the great central emptiness promote the reflection upon and the
enjoyment of the art.
• The provision of semi-open exhibition halls gives visitors an overview of the entire building
from any point up the central aisle. Also, it calls attention to the mosaic on the ground floor.
• In the conquest of the static regularity of geometric design and combined with the
plasticity of nature.
32. Structure
This building has a spiral structure featuring a large exhibition hall lit by a skylight.
Materials
• The materials used in its construction were basically precast concrete blocks.
• The white paint used on the internal walls makes the works of art stand out.
• The skylight is supported by steel joints.
40. Architect
Frank Lloyd
Wright
Location Chicago, Illinois
Date 1909
Building
Type
large house
Construc
tion Syst
em
brick and steel
Climate temperate
Style
Prairie Style
exemplar
3. ROBIE HOUSE:
41. • The last and best of the houses in Wright's prairie era, the Robie House,
seems designed for a plain, rather than the narrow corner lot where it is
located in Hyde Park, a suburb of Chicago.
• At the time it was built, its elongated horizontal profile seemed an
exceedingly strange appearance among its conventional and vertical
neighbors.
• One reason for the huge success of this house lies in the explicit
requirements of the customer.
• He wanted a house free of enclosed spaces in the form of "blocks" for
fire protection and without the decorative elements, such as curtains or
rugs, etc. As an engineer, Frederick C. Robie wanted a house that also
functioned like a well-oiled machine. That it is situated on an angular plot
in large part explains its form, which is very similar to other "Prairie
Houses".
INTRODUCTION
42. CONCEPT
The house was designed for Frederick C. Robie, a bicycle manufacturer, who did not
want a home done in the typical Victorian style. Robie desired a modern
floorplan and needed a garage, and a playroom for children. He also required
that his home be fire-proof, yet retained an open floor plan free of closed,
box-like rooms that would prevent the
uniformity of decoration and design.
DESIGN
Foreign:
• The house has no facade, conventional windows, nor a prinicpal entrance or
front door. It occupies almost the entire plot; what little free space left is
incorporated in the overall composition with dedcorative walls and gardens.
• The horizontal feel of the edifice is reinforced by the window sills and stone
thresholds, as well as by the thin mortart joints of the brick work.
43. Compositional method:
• The method of composition Wright utilized at the time consisted of organizing
symmetric forms in assymetric groupings.
• The basis of the composition is a long two-story block, with apparently symmetrical
porches, each featuring a sloped roof, at each end.
• On the first floor of the south facade, which faces the street, there is a row of large
doors opening onto a large balcony that projects outward from the house.
• The balcony provides shade to a series of similar windows on the ground floor.
• The symmetry is an illusion, because the elevated terrace of the western end of the
house is balanced by the wall of the courtyard to opening to service the eastern end.
But it is only one factor in a more complex equation.
• Above the main block, the second floor features bedrooms with windows and
covered balconies, creating the conflicting dynamic that sets the entire composition
in motion. On one side emerges a large vertical chimney that anchors all the
horizontal levels below. Further, at the eastern end of the building, a sloping deck
covers a wing dedicated to a 3 car garage and service personnel entrance.
44. SPACES
• Wright rejected the popular view that indoor spaces should be closed and isolated from each
other. In contrast, he designed the house so that the space in each room or hall was open to
the other, so that the feeling in the house was one of immense light and space.
• To differentiate one area from another, Wright resorted to lightweight divisions or different
height ceilings, avoiding unnecessary solid room divisions. So Wright was the first to establish
the difference between "defined spaces" and "closed spaces".
• The significance of Wright's design of the Robie House is that he neglected the conventional
ideation of a house as a box containing a smaller "boxes" for rooms. By contrast, the interior
space is fluid and transparent, allowing the entry of light without obstructing the view.
• This "explosion of the box" produces the effect of walls unfolding to reveal large, vast spaces.
The floor composition is based on two adjacent horizontal bars that are mixed in a central
space, anchored by the vertical column of the fireplace, around which the rooms are
arranged and interconnected.
• The design draws on the wide terraces and eaves to achieve a solid and strong, yet
lightweight and hollow appearance. This concept of eaves and large terraces was used later
by Wright in the Casade House.
• The house is divided into two wings, keeping the public areas toward the street and the
service areas near the innermost sections of the house.
• Ground Floor:
o A game room and billiard room make up this level, separated by a fireplace. In both spaces,
Wright chose to showcase the system of structural beams in the ceiling, to give a greater
sense of altitude to the rooms.
45. o This level also houses the utility equipment, laundry, pantry space, and a 3-car garage.
o Access to the house is at this level, with access to the main living area via stairs.
• Second level:
o The second floor of the house is composed of the kitchen and the servants quarters.
But undoubtedly the most interesting rooms are the living and dining rooms,
separated by the fireplace, but visually connected.
o These rooms feature a wide space without walls that obstruct the visual from the
outside, which recalls the vast spread of the prairie and at the same time allows the
diffusion of light from the inside.
o However, the eaves are designed such that they protect the inhabitants privacy from
prying eyes in the street.
o Here, climb the central staircase, which leads to one of the most famous domestic
interiors of the twentieth century: a large loft, long and low, as the living room of a
boat, gaily lit by skylights opening to the noon sun.
o The space is divided into two areas, the living and dining areas, which symbolize the
most familiar elements of living and roots the house to the earth.
o The chimney, which has a massive presence in the central space, is not an obstruction
since it is possible to maintain the continuity of the roof structure around a central
opening. In turn, the ceiling is divided into panels, each equipped with two types of
electric lighting: glass globes on each side of the higher central zone and bulbs hidden
behind racks of wood, in the lower side zones.
46. o On both ends of this space the two long galleries form triangular areas that are
more intimate, for relaxing or eating.
o These spaces are barely visible from the outside due to the intense shade thrown
by the extensive flying eaves.
o These decks could not be built in wood, in fact, they are held by two hidden steel
beams that extend the length of the main block.
• Third level:
The bedrooms are at this level, overlooking the house in a sort of tower-style.
MATERIALS
• The house is clad in Roman brick and limestone.
• To achieve those enormous eaves, Wright pioneered the use of steel in the structure of the
house by using two main beams that run lengthwise along the same axis as the fireplace.
Wright chose to cover the sides of the beams, leaving a high cieling area in the center,
which has the effect of creating the illusion of vast vertical space.
• The use of wood strips arranged perpendicularly to the direction of the room and
rhythmically placed lights reduce the feeling of a long narrow space. Two angled rooms at
the ends further reinforce the idea that space is extended outward.
47. FURNITURE
• All the furniture was designed by Wright; the dining table and chairs housed in
the dining area were exceedingly popular.
• The table rests on four columns at each corner with lanterns and colored glass
containers for floral arrangements.
• This design stemmed from an obvious issue: the chandeliers and floral
centerpieces that are usually placed in the center of the table are a visual
barrier between the hosts and guests.
• Here, however, the decor and lighting are located on the corners, leaving the
center of the table completely free.
55. Architect Frank Lloyd Wright
Location Bartlesville, Oklahoma
Date 1952 to 1956
Building
Type
vertical multifamily housing
Constructi
on System
reinforced concrete with
cantilevered floors
Climate temperate
Style Modern
4. PRICE TOWER:
56. INTRODUCTION
• The Price Tower is one of three projects that Wright performed on Oklahoma ,
commissioned by Harold C. Price, founder of the HC Price Company. In the same city,
Bartlesville, built the house Harold Price Jr.
• The third building in Oklahoma was Westhope , in Tulsa, for his cousin Richard Lloyd
Jones.
• Prodigal materials and details the Price Tower is the tallest of those by the renowned
architect and accompanies the project Johnson Wax Building as one of its two vertical
structures standing.
• The Price Tower is included in the National Register of Historic Places and is one of the 17
most significant examples of the architecture of Frank Lloyd Wright as the American
Institute of Architects. He has also received the AIA Award for twenty five years of
existence.
• Historical
o The HC Price Company sold the Price Tower Phillips Petroleum in 1981 after moving to
Dallas. Lawyers for the new owners felt that the building did not meet the necessary
security conditions and was used only as a warehouse until in 2000 the building was
donated to the Price Tower Arts Center, a museum of art, architecture and design.
o In 2002 Zaha Hadid, winner of the Pritzker Prize, was commissioned to design a museum
for the expansion of Price Tower Arts Center.
57. CONCEPT
• Completed in 1956, the project was based on an originally designed to St.
Mark's design, the Bowery New York , but once built on the prairies of
Oklahoma Wright called this building "the tree that escaped the crowded forest
"reference to the origin of the project.
• The central metaphor of "Prairie Skyscraper" is a tree whose trunk is
represented by the solid core of building services. Branches, concrete floors
cantilever protruding from the center, allowing to decrease its thickness at least
3 inches.
• Project St. Mark's Wright was based on a design made in 1920 for a four towers
cantilevered to St Mark's, in downtown New York.
• As a result of the Great Depression that hit the United States during that
decade, the project was shelved and adapted by Wright in 1952 for the Price
Company.
• Therefore Wright began his "tree" of "crowded forest" of the Manhattan skyline
and placed on the Oklahoma prairie where still standing with few "neighbors"
highs around.
58. SPACES
• The 67 meter high tower is divided into 19 floors.
• One of the quadrants, southwest, was assigned to departments double height
and the remaining three offices.
• The quadrant for residential use changes shape compared to those devoted to
offices, offering more according to their function spaces and being noticed by the forged
externally surrounded by vertical elements that give dynamism to the entire building.
• Most plants harboring three offices and half of a duplex apartment.
• The original project was undertaken to St Mark apartment, but at the Price Tower
should be multipurpose spaces, a building with offices, shops and apartments.
• The HC Price Company was the primary tenant occupying the top two
floors of the tower, the remaining offices and apartments double height
would become a source of revenue for the company.
• The offices were occupied by professionals, will also be installed in a plant
the Public Service Company of Oklahoma.
• Opened stores offering high-end products, a beauty salon was installed.
• The sixteenth floor was occupied by a police station and penthouse office suite
included Mr. Harold Price with high ceiling and a private terrace.
59. STRUCTURE
• This building was the first experiment Wright for a multipurpose tower, a tall, thin, rich
structure in detail, whose purpose was to combine business offices, shops and apartments.
Price Tower is the only skyscraper architect.
• The Price tower is supported by a central trunk whose axes divide the inside of the vertical
tower in four separate quadrants forming four elevator shafts which are anchored to the
ground by deep foundation, like a tree and its main root.
• The nineteen floors of the building are projected cantilevered from this central core, like the
branches of a tree. The outer walls hang floors and are coated with "leaves" in copper.
• None of the exterior walls are structural, horizontal screens are just resting on cantilevered
floors.
• The ground floor resembles a cast bronze plaque inlaid with logo Price Company, from which
emerges a network of parallelograms in which all exterior walls, interior partitions, doors
and built-ins are placed.
• Equilateral triangle
• The overall geometric element arises from the equilateral triangle, and all lighting fixtures
and vents are based in this way while the angled walls and built-ins are based on fractions or
multiples of triangular module.
• A Wright liked the triangle "... chavism allows the flexibility of provision for human
movement is not permitted by the box ....".
• Each floor has a curious geometry as "pinwheel" light fixtures, stairs, pillars and canopies are
assembled at sharp angles. Even the parking stormwater drainage has three sides.
60. MATERIALS
• The materials used by Wight were innovative for a skyscraper 50s Concrete walls, floors
pigmented concrete, aluminum windows and doors, with reliefs of patinated copper.
• The cutting of aluminum windows and arrangement of colored plants have a visual
continuity of the whole design.
• Because the exterior walls needed no columns to support the weight, Wright was able
to develop his imagination on the facade covering with embossed copper panels with
geometric figures of his own invention which he gave a greenish color, bands of
windows and angular fins copper, such as leaves, protect rooms from the sun.
DATA
• The structure of reinforced concrete cantilever part of a central core, with a concrete
facade and copper. The crystals of external windows are tinted gold with aluminum frames.
• The design is based on a modulus of diamond 30 ° -60 ° and 60 ° -60 °, triangles are used
as a pattern throughout the building and can be seen even printed on the floor.
• The copper grids shading windows has a width of 50 cm and are placed vertically and
horizontally in the southwest quadrant in the other three.
