• Journal of architectural history
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• v.14 no.3 s.43
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• pp.89-102
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• 2005

Frank Lloyd Wright and Mies van der Rohe are two of the most influential architects in modern architecture. In spite of the different values in their architectural lives, the design of high-rise building had been a continuous matter of primary concern for them. The purpose of this study is to compare the architectural characteristics of the two master architects in terms of building form, structure, function, and envelop skin. glass. Both of them shared with the principle of organic architecture even in the design of high-rise buildings. However, the specific approaches to realize it in high-rise buildings are significantly different. Although they emphasized the integration of building form and structure, Wright regarded the reinforced concrete structure as an organic form-giver, while Mies introduced the steel skeleton structure only as an efficient and flexible building frame. As primary finishing materials for high-rise buildings, glass was used for functional purpose by Wright, but for visual purpose by Mies.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.8
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• pp.31-41
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• 2018

This research examines pioneering works of two representative Western modern architects which played a significant role in constructing modernity in the early 20th century: Frank Lloyd Wright's Florida Southern College and Ludwig Mies van der Rohe's Illinois Institute of Technology. These two campuses were constructed and developed at the similar period by two named architects, and these were considered the collections of iconic modern buildings in the States. However, design approaches and principles of these buildings were totally opposite ways: Frank Lloyd Wright's Florida Southern College was in the roof of organic architecture drawn from a great Chinese sage, Laotze, which have more five hundred years history. On the other hand, Ludwig Mies van der Rohe's Illinois Institute of Technology was well embodied the International Style which originated from European tradition in the early 20th century, and Mies was one of the leaders of the International Style. These different approaches could be understood in the discussion of the meaning of the Greek concept of paradoxa which was mentioned by a German philosopher Martin Heidegger. Comparing the paradoxical gestures of these two campuses can reveal the truth of each campus master plans and expand the discourse of modern architectures.

• Korean Institute of Interior Design Journal
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• v.25 no.4
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• pp.35-42
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• 2016

The purpose of this study is the analyze the spatial structure and housing component of the prairie style house of Frank Lloyd Wright during the Prairie Era which is between 1893-1910. The research results can be summarized as follows 1) In spite of European style influences which were fashionable at the time, Wright tried to attempt altering the space and form of his works (houses) from his unique architectural style. 2) All solid walls which are usually inside the square prairie and the cross floor plans were removed for interaction between the outside and inside spaces in a house creating an organic space. So the inside space of the house feels wider than the original space because of the available natural light. 3) Frank Lloyd Wright's early works were similar to the homes built at that time. However, as time passed, he remembered and was influenced by the Frobel's educational system blocks he played with as a child as well as the surrounding Midwestern USA prairies where he grew up. 4) The early prairie floor plan was square divided into nine equal parts which is classic floor planning. Wright, however, created his new unique architectural style. His style has developed into the prairie style and various floor plans. 5) Wright introduced a 3-dimensional architectural form of composition (cantilever, long eaves, etc.) to express symmetry and horizontal lines of the house. 6) Rather than emphasizing vertical lines in his works, Wright began emphasizing more horizontal lines like the horizontal lines of the actual prairies. This meant the surrounding environment of a house is always in nature.

• Korean Institute of Interior Design Journal
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• no.21
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• pp.76-88
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• 1999

The purpose of this study is to research the Andrea Palladio's villa design, theory and its application influenced on the early frank Lloyd Wright's houses. the results of this study are as follows: (1) The early Frank Loyod Wright's houses composed nine division composition as well as three division compositiov. (2) According to the cross axis masses projected into the right and left. Although houses composed largely three division composition, they came to two extremes composition with two centers. As a result the early houses developed Prairie Houses that the fireplace was placed on the center of space and the symmetrical space arranged around the cross type.

• KIEAE Journal
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• v.10 no.3
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• pp.17-26
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• 2010

This study aims at exploring the characteristics of the Usonian houses of Frank Lloyd Wright from an ecological viewpoint. After considering the definition and application of ecological architecture through literature review, 28 Usonian houses were selected and analyzed for the study. Also, nine Usonian houses, which clearly have ecological and historical importance, were visited and more thoroughly analyzed. The result shows that Usonian houses are ecological in terms of 1) the relationship among nature, landscape and house, 2) the orientation, natural light and natural ventilation, 3) the use of natural local materials including wood, stones and bricks, 4) the use of floor heating (the On-dol system inKorea), 5) the human scale, 6) the use of the board and batten unit (an early system of prefabrication), and 7) the openness and flexibility of floor plans.

• Korean Institute of Interior Design Journal
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• v.15 no.4 s.57
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• pp.115-122
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• 2006

The purpose of this study is to investigate the design principles of organic integration on furniture design by Frank Lloyd Wright. He consistently pursued organic principles in interior design, furniture and equipments. He insisted that every elements of a building can be integrated into architecture as if architecture can be a part of the nature. The study surveyed and analyzed the examples of furniture design in Wright houses from the viewpoints of spacial and formal integration as well as organic evolution. The study finds the characteristics of organic integration on furniture design as follows. He designed built-in furniture as an important part of the house, which seemed to grow up from the architecture design and a part of a building. He also designed and arranged free-standing furniture as spacial device in open floor plan. Moreover, furniture design repeated same geometry, modules, and proportion system of house design in order to integrate Into the building. In addition, material and color of furniture follow those of architecture. Wright's furniture design had changed from heavy forms in his early prairie houses to light and practical shapes in his Usonian period.

• Korean Architects
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• s.540
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• pp.94-101
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• 2014

• Journal of the Korean Institute of Rural Architecture
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• v.18 no.3
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• pp.1-8
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• 2016

Frank Lloyd Wright(1867-1959) had the confident concept that architecture should be at home in nature. His architecture was meant to bear an intimate relation to the earth and the sky, and should look as though it began there at the ground and contrasted with the sky. In handling all the details of house design elements, his efforts for being married to the ground was to conceive the void of the sky. This study is to research his thinking process and its development to the earth and the sky, and to analyze how such thought could reflect his houses. The mass of house are divided into three parts such as the foundation or base, body, and roof. These parts are respectively related to the earth and the sky. This study goes on regarding them as an analytical framework. The subjects of study are the Prairie houses in the early 20th century and the Usonian houses after 1930's. As results of this study, the earlier foundation as a platform appeared as a base and water table, and a strong baseline pressed the structures into the soil in the Prairie houses. The direct contact of wood and brick to ground were dominant details after Wiley house(1934). The base was almost invisible to the eye in the Usonian houses. Secondly, the pierlike shapes and delicate friezes of walls were anchored to the ground, and horizontal bands as trims or copings also got close to the earth. These characters had disappeared after the Allen house(1917), all components including exterior walls had been unified with the grid patterns in the Usonian houses. Thirdly, the overhanging cantilever roof had got to the earthbound by the reflection of shadow as well as their evident horizontal. He lowered the roof, lengthened and brought it closer to the ground. In this way, Frank Lloyd Wright intended his houses to be at home in nature. And also he tried to bind the houses to the earth and contrasted them with the sky. The houses would perform their highest function in relation to the earth and sky.

• Journal of the Korea Furniture Society
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• v.20 no.2
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• pp.154-165
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• 2009

Frank Lloyd Wright is an architect who established the concept of organic architecture and in his organic architectures, he applied studies on the inflow, growth and development of natural elements of shapes, pursued naturalism in the shapes and functions and connected them organically with each other. His furniture as appeared in his constructions shows geometric plasticity based on naturalism and achieves an integration of shapes, materials and functions while forming a space. The organic nature from the viewpoint of digital which is a new concept of the 21st century is greatly affecting construction and furniture designs. Designs having new organic concepts are emerging in furniture which is organically related with construction to achieve organic harmony with new plastic spaces. Therefore, studies on Wright are more significant as a cornerstone for new theories under development.

• Korean Institute of Interior Design Journal
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• v.27 no.3
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• pp.90-99
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• 2018

The purpose of this study is to study how F.L. Wright reflected the climatic properties and materials of the region into creative ways of designing his architecture. The research method examined the design methods and use of materials by Wright in existing research literature and compares the space plans of housing works in Arizona. The research results will be summarized as follows : 1) For two-story houses, pilotis was used to avoid the hot air and the walls on the ground floor were often planned as thick wall. 2) In the fifties, F.L. Wright's design method changed in a circle from the vertical and horizontal lines. 3) F.L.Wright's Architectural form concepts and design concepts were extracted from local symbolic forms and natural forms. 4) F.L.Wright avoided Arizona's direct light but Indirect sunlight enters into the interior space. 5)External space was expressed as a closed space, while internal space was expressed as an open space. It's like an organic space. 6) Most of the housing materials used are stone and cement from rough deserts, and wood with low heat conductivity and thick concrete blocks to prevent the sunlight from rising above.