The primary goal of this thesis is to provide owners and stewards of Usonian homes with as many possible resources to make informed maintenance and conservation decisions, believing that in giving these resources to those most involved with the process these extant Usonian homes will be preserved to the highest degree of integrity. It was vital that most of the information come from homeowner’s themselves, as they have the most current, in-depth and practical knowledge about common preservation concerns in the Usonian style of home. As a part of this goal first hand knowledge from the Usonian homeowners were collected, analyzed, and synthesized to develop a usable resource based on their experiences and additional research and recommendation from professionals in the field. The secondary goal of this project is to contribute to the current database of the Frank Lloyd Wright Building Conservancy on Usonian homes. The results of the survey will be included in the database and will contribute to their mission. The Frank Lloyd Wright Building Conservancy works to provide in-depth resources for homeowner’s as well as serves as one of the premier advocates for the preservation of Wright’s extant buildings. As such, they offer extensive practical preservation resources for all Wright homeowners. This paper, and the data collected from the survey, will serve to increase their knowledge base and, therefore, their ability to provide more in-depth resources to all homeowners, stewards, and scholars. / 0 / SPK / specialcollections@tulane.edu

For many years authors have repeated stories and myths about Frank Lloyd Wright, overstating purported influences and unjustly degrading periods of Wright’s work. Discrepancies in Wright’s own discourses have not made the task of characterizing him any easier. To better understand Wright’s works and influences, the focus must shift to those who have authored the narratives about Wright. Among the most important of these was Edgar Kaufmann jr. [sic]. Other early Wright commentators, such as Henry-Russell Hitchcock, Grant Carpenter Manson, and Bruno Zevi are usually mentioned before Kaufmann, but Kaufmann published more about Wright than any one else, until his death in 1989. Hitchcock worked on twenty-two books and articles about Wright, Manson on nine, and Zevi on seventeen. Kaufmann authored thirty works about Wright, more than Zevi and Manson combined. Kaufmann is generally referred to as the son of Fallingwater, but his Wrightian scholarship and design theory extended far beyond his role in bequeathing his family’s famous retreat. Kaufmann’s writing career spanned over three decades and included more than forty works, with topics about Wright, “Good Design,” skyscrapers, and the museum industry. His writings reveal a complex scholar who at times was led by the trends of his time, and who was not afraid to reevaluate and redefine his past work. From Kaufmann’s first article about Wright in Art News, to his work establishing Fallingwater’s tour program, he communicated Wright’s methods and analyzed his rhetoric. During Wright’s lifetime, Kaufmann followed his wishes for interpreting his work. But after Wright’s death, Kaufmann was swayed by a number of contemporary ideas, such as indeterminacy and systems. Most of Kaufmann’s writings focused on Wright’s later architecture, clarifying his rhetoric, discussing his influences and space, and telling the history of Fallingwater. Kaufmann is a key figure in the narrative about Wright because of his unique perspective as a student, a client, and a friend that no other historian can claim. Deciphering Kaufmann’s writings allows for an examination of one of the major voices behind Wright’s story. / text

Abordé sous la forme d’une étude de cas, ce travail se situe à la croisée des trois domaines de recherche que sont l’architecturologie (l’étude du processus de création appliquée au domaine de l’architecture), l’histoire de l’architecture moderne et l’histoire du Japon moderne. Il se propose de cerner le processus de conception architecturale par lequel l’architecte tchèque naturalisé américain Antonin Raymond (1888-1976) a réalisé une synthèse entre un modernisme occidental emblématique des années 1920 et 1930 et l’habitat vernaculaire japonais, produit d’une tradition ancienne de la conception de l’espace et de la construction. Organisée en trois parties, la thèse s’ouvre sur une biographie présentant le parcours qui mène Raymond de sa Bohême natale jusqu’au Japon, en passant par les États-Unis. Elle se poursuit avec l’étude des circonstances dans lesquelles il s’établit en tant qu’architecte indépendant à Tokyo, en rendant compte de l’acquisition d’un certain nombre de moyens humains et techniques nécessaires à la pratique architecturale dans le contexte japonais. Enfin, une sélection de dix-sept villas réalisées à Tokyo et des destinations de villégiatures environnantes entre 1921 et 1938 est présentée. L’analyse architecturale détaillée de ces habitations réalisées pour une clientèle d’élite japonaise et occidentale permet d’observer les étapes du développement du processus de création architecturale qui ont permis à Antonin Raymond de proposer une architecture à dimension universelle ancrée dans un contexte local. Par le biais de l’architecture, ce travail illustre ainsi une partie des problématiques et des enjeux soulevés par le processus de modernisation qui caractérise l’histoire du Japon dans la première moitié du XXe siècle. / In the form of a case study, this thesis is set at the crossroads of history of modern architecture, history of modern Japan and architecturologie (the study of the creative process applied to the field architecture). The purpose of this research is to define the design process through which Czech born American architect Antonin Raymond (1888-1976) carried out a synthesis between some of the most iconic forms of 1920s and 1930s Western modernism, and Japanese vernacular residential architecture inherited from a long tradition of space conception and construction. The thesis is structured in three parts. Starting with a biographical account of the architect’s first 32 years, the first part deals with the educational and professional journey that led Raymond from his native Bohemia to Japan, via the United States. The second part explores the circumstances of his establishment as an independent architect in Japan, and examines the human and technical means he implemented in order to set up his professional practice in the Japanese context of the 1920s. The third part gives a detailed analysis of a selection of seventeen houses designed and built between 1921 and 1938 for members of the Japanese and international elite community in Tokyo and its surrounding resort destinations. The detailed architectural analysis of these works illustrates the various stages and dimensions of Raymond’s design process, and provides insight into his own proposal for an architecture encompassing both universal and local dimensions. Through the subject of architecture, this study deals with a number of problematics and challenges brought by the process of modernisation in Japan during the first half of the 20th century.

Constructed in his self-acknowledge hometown of Richland Center, Wisconsin, Frank Lloyd Wright was to work on the A.D. German Warehouse twice during his lifetime. Initially constructed between 1917 and 1921, financial woes on the part of the owner led to a shuttered building. In 1934 Wright worked on an adaptive reuse, but the plans were never to be implemented and German lost the building for good. A careful study of the history of the structure, foregoing todays computers for Wrights triangles, and an analysis of the frieze led me to my own adaptive reuse. The musical characteristics of harmony and countperpoint found powerful expression in the pairings of vertical and horizontal, light and dark, and new and old. These relational tensions resonated with the internal structure of the transformational geometry and created a powerful resolution between the enclosing massive forms of the original Warehouse and my new design. / Master of Architecture

Desde a década de 50, o ensino de arquitetura em São Paulo enfocou uma grande discussão de valores éticos e estéticos, tendo como centro difusor a Faculdade de Arquitetura da USP e como principal articulador Vilanova Artigas. Na época, duas linhas se divergiam no âmbito do discurso arquitetônico, dentro e fora da universidade: os racionalistas e os organicistas, ou como costumavam se declarar, os corbusianos e os wrightianos. Os dois grupos geraram no seio da discussão moderna nacional, debates interessantes que foram muitas vezes além do aspecto arquitetônico. Entre os declaradamente wrightianos estava o jovem Luiz Gastão de Castro Lima, formado pela FAU-USP em 1954, depois de ter cursado dois anos na Politécnica. A recuperação de sua produção acadêmica e arquitetônica, ainda que pautada na experiência relativa de uma trajetória individual, é capaz de ilustrar uma parte da história da arquitetura que ficou por muito tempo às margens da historiografia. / Since the 50\'s, the teaching of architecture in Sao Paulo has focused on a broad discussion of ethical and aesthetic values, having as its diffuser centre the Faculty of Architecture and Urbanism of Sao Paulo (FAU-USP), and as its main articulator Vilanova Artigas. At the time, two streams used to have different ideas about the architectural discourse: the racionalistas and organicistas, or as they used to call themselves, corbusianos and wrightianos. The discussions generated by these two groups have sometimes gone beyond the architectural aspect. Among the wrightianos was Luiz Gastão de Castro Lima, who graduated by FAU-USP in 1954 after two years studying at Polytechnic school. The recovery of his academic and architectural production is able to illustrate a part of the history of architecture that was, for a long time, kept on the edge of historiography.

Made available in DSpace on 2016-03-15T19:21:46Z (GMT). No. of bitstreams: 1 Turna Beck.pdf: 10326392 bytes, checksum: fdcb8d1f815aecd04b62aec2a61050e8 (MD5) Previous issue date: 2011-08-25 / Fundo Mackenzie de Pesquisa / This dissertation addresses, in its first part, the practice-based research problems in the academic research s architectural area. The purpose is to verify in what proportion research methods, that evolve non-textual analysis process, show up and to interpret them as academic elements of argumentation. The intention is to contribute to the reflection on academic knowledge production and its communication in practice-based areas X required patterns in the academic context. To set a boundary to this research, were analyzed Brazilian academic work (theses and dissertations) attended by about design methods and / or visual approach of the architectural work of Frank Lloyd Wright. Through these studies, a gap was identified: the lack of a deeper iconographic analysis about the influence of the Japanese art and architecture in the North American architect work. The second part of this dissertation, therefore, presents and emphasizes the role of images when the Japanese culture resonance on Frank Lloyd Wright's work is approached. The purpose of this effort has two-fold: the first one is to illustrate and to emphasize the importance of the visual or non-textual material employment, in the academic argumentation construction in the architectural area, which purposes are, for example, to detect or discuss projectual influences. The second intention is the contribution to supply the gap mentioned before, which is, the little attention given by Brazilian academic works about Japanese art s influence on Wright s work. The analysis of the academic works has helped to a better comprehension of which elements and resources, and how they must be employed in an academic research that has the practice-based characteristics. The construction of the exercise in the second part of this work uses the association of text and image, pointing, this way, to evidences that, if the use of non-textual resources, sometimes may be essential to the substantiation of an argumentation, on the other hand, this same argumentation cannot does without the text to be clearly enounced. / Esta pesquisa aborda, em sua primeira parte, a problemática da prática projetual na produção acadêmica na área de arquitetura. O objetivo é verificar em que medida comparecem métodos de pesquisa ligados a processos não textuais de análise e ponderar sobre seu papel como elementos de argumentação acadêmica. A intenção é contribuir para a reflexão sobre produção de conhecimento acadêmico e sua comunicação nas áreas de prática projetual X padrões exigidos no contexto acadêmico. Para limitar o âmbito da pesquisa foram analisados trabalhos acadêmicos brasileiros (teses e dissertações) que contassem com métodos projetuais e/ou visuais na abordagem da obra arquitetônica de Frank Lloyd Wright. Ao proceder com as leituras desses trabalhos foi identificada uma lacuna: a ausência de análises iconográficas mais aprofundadas sobre a ressonância da arte e arquitetura japonesa na obra do arquiteto norte-americano. A segunda parte deste trabalho, portanto, apresenta e enfatiza o papel das imagens quando se fala sobre a ressonância da cultura japonesa na obra de Wright. O objetivo deste esforço tem dupla intenção: a primeira é ilustrar e enfatizar a importância do emprego de material de natureza visual, e não-textual, na construção de argumentações acadêmicas na área de arquitetura, que visem, por exemplo, detectar ou discutir influências projetuais. A segunda é a contribuição para suprir a lacuna identificada acima, qual seja, a pouca atenção dada pelos trabalhos acadêmicos brasileiros sobre Frank Lloyd Wright à ressonância da arte japonesa em sua obra. A análise dos trabalhos acadêmicos buscou contribuir para a melhor compreensão da dinâmica entre os elementos e recursos textuais e não-textuais na elaboração da argumentação acadêmica. A construção do exercício na segunda parte do trabalho utiliza a associação de texto e imagem, apontando assim, para efeito desta investigação, indícios de que se a utilização de recursos não-textuais por vezes se mostra essencial na substanciação de uma argumentação, por outro lado, esta mesma argumentação não pode prescindir do texto para ser claramente enunciada.

Desde a década de 50, o ensino de arquitetura em São Paulo enfocou uma grande discussão de valores éticos e estéticos, tendo como centro difusor a Faculdade de Arquitetura da USP e como principal articulador Vilanova Artigas. Na época, duas linhas se divergiam no âmbito do discurso arquitetônico, dentro e fora da universidade: os racionalistas e os organicistas, ou como costumavam se declarar, os corbusianos e os wrightianos. Os dois grupos geraram no seio da discussão moderna nacional, debates interessantes que foram muitas vezes além do aspecto arquitetônico. Entre os declaradamente wrightianos estava o jovem Luiz Gastão de Castro Lima, formado pela FAU-USP em 1954, depois de ter cursado dois anos na Politécnica. A recuperação de sua produção acadêmica e arquitetônica, ainda que pautada na experiência relativa de uma trajetória individual, é capaz de ilustrar uma parte da história da arquitetura que ficou por muito tempo às margens da historiografia. / Since the 50\'s, the teaching of architecture in Sao Paulo has focused on a broad discussion of ethical and aesthetic values, having as its diffuser centre the Faculty of Architecture and Urbanism of Sao Paulo (FAU-USP), and as its main articulator Vilanova Artigas. At the time, two streams used to have different ideas about the architectural discourse: the racionalistas and organicistas, or as they used to call themselves, corbusianos and wrightianos. The discussions generated by these two groups have sometimes gone beyond the architectural aspect. Among the wrightianos was Luiz Gastão de Castro Lima, who graduated by FAU-USP in 1954 after two years studying at Polytechnic school. The recovery of his academic and architectural production is able to illustrate a part of the history of architecture that was, for a long time, kept on the edge of historiography.

Thesis--Darmstadt. / Added t.p. with thesis statement. Vita. Includes bibliographical references (p. 257-286).

While political praise and condemnation of Disney is commonplace in the literature, my research will focus instead on the origination of Disney's design plan for Disneyland and the theoretical and physical connections between key historical figures and the finished product. I will not consider what Disneyland means to the world today---that is a subject many others have covered, some even brilliantly; instead, I will consider what social concepts contributed to the initial design in an attempt to see the underlying values at work in this post-modern utopia. In this thesis, I intend to show that Walt Disney's initial design for Disneyland was influenced by Ebenezer Howard's Garden City concept. In addition to Howard's vision, Disney also incorporated concepts from Frank Lloyd Wright's architecture and Henry Ford's mass market manufacturing theories. I do not intend to claim that these are the only influences on Disney's initial plan for his amusement park, but I will show that the physical layout of the park reflects Howard's Garden City plan, the architecture considers some of Wright's designs, and the way the park is run incorporates some of the ideas of Henry Ford. I have purposely avoided any works that consider the corporate aspects of Disney and the current Disney Corporation. Instead, I have focused my research on the intentions surrounding Disney's initial design plan. My position is that Disney's parks are real, successful, and expanding internationally - not mere fantasy like earlier 19th social reformers whose actual accomplishments are relatively small and have not been not sustainable locally or internationally. Disney realized the importance of a TEMPORARY place rather than a PERMANENT residence. Disney understood the literal definition of utopia to mean "no where" and therefore did not create a utopia that was a real place. Both Howard and Disney sought to offer a utopia. Howard had hopes of revitalizing the social order with his new cities, and Disney hoped to offer the average family a place where they could have fun and enjoy one another in a safe and entertaining environment.

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