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Puliatti Joel - Frank Lloyd Wright on the West Coast

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Puliatti Joel Frank Lloyd Wright on the West Coast

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A prairie among the palms : the Stewart House, Montecito, 1909 -- A Mayan temple in Hollywood : the Barnsdall (Hollyhock) House, Los Angeles, 1917/21 -- Mayan monuments in concrete: four Southern California houses, 1923/24 -- From the coast to the desert : other Southern California houses -- A unique Usonian : the Buehler House, Orinda, 1948/49 -- From Carmel to the Central Valley : other Northern California houses -- A gift to these golden hills : the Marin County Civic Center, 1957/69 -- From commerce to religion : other public buildings in California -- North by Northwest : houses in Oregon and Washington -- Appendix : List of Frank Lloyd Wrights West Coast buildings open to the public.;Frank Lloyd Wright & rsquo;s buildings on the West Coast have not been thoroughly covered in print until now. Between 1909 and 1959, Wright designed a total of 38 structures up and down the West Coast, from Seattle to Southern California. These include well-known structures such as the Marin County Civic Center and Hollyhock House in Los Angeles, and many lesser-known gems such as the 1909 Stewart House near Santa Barbara. MARK ANTHONY WILSON is an architectural historian who has been writing and teaching about architecture for more than thirty-five years. He holds a B.A. in history from UC Berkeley and an M.A. in history and media from California State University, East Bay. He has written four previous books about architecture, including Julia Morgan: Architect of Beauty (Gibbs Smith, 2007) and Bernard Maybeck: Architect of Elegance (Gibbs Smith, 2011). His articles have appeared in the New York Times, Los Angeles Times, San Francisco Chronicle, Christian Science Monitor, USA Today, and elsewhere. Mark lives in Berkeley, California, with his wife, Ann, and his daughter, Elena. With more than 200 photographs by veteran architectural photographer Joel Puliatti and 50 archival images (many of which have never been seen in print before), this comprehensive survey of Wright & rsquo;s West Coast legacy features background information on the clients & rsquo; relationships with Wright, including insights gleaned from correspondence with the original owners and interviews with many of the current owners.

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Frank Lloyd Wright
on the West Coast
Mark Anthony Wilson
photography by Joel Puliatti
Frank Lloyd Wright on the West Coast Digital Edition 10 Text 2014 Mark Anthony - photo 1

Frank Lloyd Wright on the West Coast

Digital Edition 1.0

Text 2014 Mark Anthony Wilson

Photographs 2014 Joe Puliatti, unless otherwise noted

All rights reserved. No part of this book may be reproduced by any means whatsoever without written permission from the publisher, except brief portions quoted for purpose of review.

Gibbs Smith

P.O. Box 667

Layton, Utah 84041

Orders: 1.800.835.4993

www.gibbs-smith.com

ISBN: 978-1-4236-3448-5

This book is dedicated to my wife, Ann, and my daughter, Elena, who are my greatest inspiration.

Acknowledgments

First of all I want to thank my true friend and partner on this book, Joel Puliatti, whose superb photographs bring Frank Lloyd Wrights buildings to life in a way words by themselves could never do. His creative vision was an invaluable asset on this project. Next, I want to thank two people from the Frank Lloyd Wright Building Conservancy: Deborah Vick, who helped me with the initial contacts for many of the buildings in this book; and Larry Woodin, who showed us through Wrights houses in Washington, and provided critical input for the chapter on Wrights work in the Northwest.

Margo Stipe, archivist for the Frank Lloyd Wright Foundation, was very helpful in giving us permission to use some of Frank Lloyd Wrights blueprints and drawings, which grace several chapters in this book. Scot Zimmerman, photographer, was gracious in providing eight of his color photos for the book. Carol Acquaviva and Laurie Thompson at the Anne T. Kent California Room of the Marin County Free Library helped with my original research and obtaining archival images for the chapter on the Marin County Civic Center.

Crosby Doe, Realtor extraordinaire, was generous with his time in showing us through two of Wrights landmark homes featured in Chapter 4. Anthony Bruce of the Berkeley Architectural Heritage Association provided contact information for the owners of the Frank Lloyd Wright house in Berkeley. David Coffey, caretaker of the George Ablin House in Bakersfield, was also generous with his time, as was Bob Ray, executor of the Buehler Estate in Orinda. Renowned author T. C. Boyle did more than let us spend several hours in his lovely Wright home in Santa Barbara County; he provided wonderful personal commentary on his house as well as on Wright himself. Jeffrey Herr, curator of the Hollyhock House, spent many hours providing information on the history of that site and its original owner, Aline Barnsdall. Also, Trudi Sandmeier, at the USC School of Architecture, arranged access to the Freeman House and provided several archival images for that section of the book. And Dorothy Knight, Konrad Pearce, Eric Berger, Chuck Henderson, Mark Griggs, Ann Corrin, Marsha Vargas Handley, and Vicky Tway all provided archival images and/or family photos from their Wright-designed buildings.

Molly Murphy, general director of the Gordon House in Oregon, provided much historical information, and an archival photo, for the section on that residence. Julie Cain, project coordinator for Stanford Heritage Services, was most generous in showing us through the Hanna House on the Stanford University campus as well as providing historical facts, and Daniel Hartwig at the Stanford University Archives helped me find archival images for that building.

Numerous friends gave their opinions and comments on various sections of this book. My thanks especially to Rheanna Bagley for her enthusiasm, input, and suggestions throughout this project. Tren Bender was also supportive during the early phases of this book. And of course the owners of the dozens of Frank Lloyd Wright buildings included in these pages have my sincere appreciation and gratitude for sharing their beautiful sites with me and Joel, as well as providing interesting information about the history of their buildings.

My brother, John Wilson, provided valuable contact information for some of the Southern California sites. Tom Myers provided contact information and property profiles for several of the California houses. My editor at Gibbs Smith, Bob Cooper, was most helpful whenever I asked his opinion about certain aspects of my manuscript, and offered many suggestions for information that would enhance readers understanding of Wrights work.

Finally, I want to thank my wife, Ann, and my daughter, Elena, for their patience and ideas throughout this project, and for their belief in me and this book. I quite literally could not have finished this endeavor without their loving support.

Millard House Pasadena California 192324 view from garden with guesthouse - photo 2

Millard House, Pasadena, California (192324), view from garden with guesthouse toward main house.

Introduction

There also is a sort of style imported from the Middle West and consisting chiefly of plate glass and horizontal lines, which enjoys a wide vogue and a quite inexplicable reputation for originality.

Horace G. Simpson, San Francisco architect, about Frank Lloyd Wrights influence, 1916

M ost Americans with any interest in architecture are familiar with Frank Lloyd Wrights most famous buildings east of the Mississippi River. Wrights iconic structures, like the Robie House in Chicago (1909), Fallingwater in western Pennsylvania (1936), and the Guggenheim Museum in New York City (1959), are included in almost every art history textbook that covers twentieth-century architecture. The high points of Wrights career have been publicized in a number of popular documentaries in recent years, such as Ken Burnss Frank Lloyd Wright, broadcast on PBS in 1998, and The Homes of Frank Lloyd Wright, shown on A&E in 1996. Scores of books have been published about Wrights architecture and his personal life since his death a few weeks before his 92nd birthday in 1959.

Yet comparatively few architecture buffs are familiar with Frank Lloyd Wrights West Coast buildings. With the notable exception of the Marin County Civic Center in San Rafael (1959), few people have seen images of Wrights work on the West Coast. Between 1909 and 1959, Wright designed and completed a total of 36 structures that were built on 28 sites up and down the West Coast, from Southern California to suburban Seattle. Thirty-four of these buildings remain intact in their original picturesque settings, with few if any alterations.

Wrights West Coast oeuvre includes lesser-known gems such as the George and Emily Stewart House in Santa Barbara County, a Prairie-style masterpiece built the same year as the Robie House; the Mrs. Clinton Walker House in Carmel (1948), which played a central role in the 1959 film A Summer Place ; the Mayan-style Charles Ennis House in Los Angeles (1924), used in the 1975 film The Day of the Locust ; and the Anderton Court Shops, a Space Agestyle shopping center in Beverly Hills (1952).

Wright created his own word to describe his California residential architecture: Romanza. This term implied that his California residences were designed to blend in with their romantic settings in individual ways, taking into account the unique beauty of each site. These sites included the redwood- and live oakcovered hills in the San Francisco Bay Area, the scrub brushcrested dunes of Southern California deserts, the palm trees and lush flowers of the Hollywood Hills, the semitropical coastal vegetation of Santa Barbara, and the golden rolling hills of the Central Valley. In each of these sites, Wright used local building materials whenever feasible, in keeping with his emphasis on giving his architecture an organic quality, so that it seems to become a part of nature rather than trying to dominate it. These natural materials included pink Sonoma stone facing along exterior walls; polished redwood paneling in living rooms, dining rooms, and ceilings, as well as for framing doors and windows; stucco covering along exterior walls in Southern California; and yellow or red brick facing around entrances in Northern California.

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