• 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.

• Korean Institute of Interior Design Journal
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• v.25 no.2
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• pp.163-174
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• 2016

The purpose of this study is to reveal the space composition of fireplace and common features of both Prairie and Usonian House found within Wingspread House. This house is the last and largest Prairie house and zoned house built in a Usonian period. However, this house is not an independent work, but rather Wright's evolutionary experiments of fireplace from his early works and his pursuit of Usonian ideal. This paper can be summarized as follows: 1) Living room has been transformed to allow spatial continuity towards exterior view and access and between neighboring rooms by removing doors and inglenook. At the Wingspread house Wright has introduced a freestanding fireplace in a living room with higher and prominent roof structure, therefore the space became a focal point as well as the central space of the entire house. 2) Wingspread and Coonley house have gallery space in common, but they have different settings in the living room composition. Also the living room and gallery space of Wingspread and Usonian houses have prospect and refuge principle by expansion and compression. 3) Wingspread house is a successful combination of Prairie and Usonian style to meet client's requirements in space composition and Wright's technology and economical experiments. This study is intended to reevaluate the significance of this house bridging his two great residential periods.

• 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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• v.27 no.1
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• pp.109-116
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• 2018

Prairie style houses in first stages of Frank Lloyd Wright's architecture activity pay a leading role in the process of house modernization as reflecting social and economic circumstances of the time based on traditional house style of the States. Wright's first work after retiring from L. Sullivan's office, Winslow house in 1983 is pioneering work predicting prairie house. This is because this house has only one modern architecture language of Wright and follow no style prevailing of the time. So, a researcher analyse Winslow house within the framework of functional thinking and new formative value creation in the modernization process of western house. Through this, The goal of this study is to find out modern characteristics and the meaning of Winslow house in modernization process prior to the 1900s. Firstly, the followings are modern characteristics of Winslow house. First, Winslow house has original planning breaking from custom based on modern functional and reasonable thoughts, and has practical space reflecting resident's inner demand. Second, Winslow house has modern new plastic value through original exterior breaking from custom and integrated shape of inner-outer space and structure. Secondly, the followings are the meaning of Winslow house in modernization process prior to the 1900s. First, Wright intend to suggest directions of residence modernization through Winslow house before designing Prairie style houses in earnest. Second, mixing of modern vocabulary and eclecticism show a sign of residence modernization process on the time. Third, inner-outer flowing space, opening space concept of Winslow house has innovative meanings predicting spacial characteristics of modern architecture.

• 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.

• Korean Institute of Interior Design Journal
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• no.38
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• pp.108-115
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• 2003

Between 1890-1914, the fundamental changes of the housing in United Sates of America were provoked to attempt the housing developments to adapt modern social system. The worthy of notice is that F L. Wright's Prairie House had been tested and built during the period as 'the first and second era' Despite the transition period in America, this represents that Wright's Prairie House series were developed. There are possibilities that some of the reformers assertion for Housing Development, on behalf of Arts & Crafts Movement, led to Wright's early house inner space design. For this reason, this study is to examine Ideologies that Wright has been accepted between the turning point of America's Arts & Crafts Movement and Hull House Circle. In terms of the ideologies acceptance, the study is also to examine how to be represented his inner space design characteristics. As the result, between'Simplification'housing development and the traditional housing In America, F L. Wright sublimated his own architectural aesthetic as accepting all functional elements to consider inevitability in this period, such as the association between economical and rational space, the plan to led on free plane, the spatial side and the stability of family life and the community, through the unification space having the consecutiveness.

• 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 Institute of Interior Design Journal
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• no.17
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• pp.181-186
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• 1998

Grid serves as an auxiliary instrument that explains design logically and objectively when you designing an interior. But grid is unacceptable to the space which is produced by designer who wants to express a design subjectively. Because grid makes usual and standardized space without flexibility. Changing and developing a fundamental unit with modern touch is going to be a way compensate for the weakpoint Also versatile grid unit can support the designer's subjective intention. This study focuses on the limits of Wright's house which show interior space aestheically through grid planing. In this paper Wright's uniqe interior space pattern will be examined through the selection of some of his works specifically the Prairies and Usonians whose transforming is noticable as Wright house and analysis about formation process of grid planning characteristics and spaces is continued. With all this analysis I'm, going to look over Wright's philosophy and pattern that is usually intended by his grid planning.

• Korean Institute of Interior Design Journal
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• no.5
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• pp.45-52
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• 1995

Frank Lloyd Wright, a master of the 20th Century Ar-chitecture, contributed tremendously in creating a wholly new form of American architecture called Prairie Style. His idea behind the development of the building structur-al system, organic relationships between inner and outer space, horizontal vertical lines, and idea of extending and expanding interior spaces came from nature. He had completed over 390 projects throughout his life and 90% of those projects were residential design. The most typical characteristic shared by many of his residential design was that each design element, whether it is functional or aesthetical, has close relationship to or-ganic nature, human scale, theoretical floor plants, and maximum emphasis on horizontal lines in respect to na-ture. His concept of "flow of spaces" reformed common the-ory of room next to room in a enclosed space. His sense of "wall" was no longer the side of a box. Careful selec-tion of finishing materials, colors, and natural images en-hance the design as well. F.L. Wright was an artist, designer, and architect who believed the exterior space should have direct relationship to the interior space. His architectural philosophy was not only to design exterior of architecture but also to ful-fill his space through the careful development of interior elements such as furniture, and lighting fixture. Even the patterns for leaded glass windows were designed to have unified appearance from outside to inside of the house. The objective of this study was to analyze floor plans, spatial organizations, and interior design elements of the houses which represent the best of F.L. Wright's design principles and philosophy behind Prairie Style. The meth-od used to collect informations for this study was based on books, articles, journals, and actual site visits. actual site visits.

• Korean Institute of Interior Design Journal
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• v.13 no.5
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• pp.11-20
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• 2004

F. L. Wright was, from his early days, influenced by Japanese Culture and endeavored his original concept of orgonic orchitecture. In his 1st Golden Age, he devoted to establish an architectural concept of Organism which was proved by the theories of New Science and also had been universal in ancient Orient. Later, in his 2nd Golden Age, he tried to embody his unique concept in prairie houses and office buildings. The organic structure and spatial unit that actually applied to these works, were good examples of realization of the simplicity and continuity which he found out in Japanese culture. This paper is to study on the influence of Japanese culture on a course of Wright's embodying his organic architecture, and to study on a way of its realization in his works. To be concrete, main contents of the study are as follows; 1) the relationship between Wright's integrate perception and the orientalism 2) the influence of the traditional Japanese painting like woodblock prints and the aesthetic theory of the traditional Japanese pictorial art on Wright's design principles 3) the influence of Wright's experiences in Japan on his design principles 4) the influence of Wright's analysis of the traditional Japanese dwelling on his design principles 5) the course of Wright's embodying his organic architecture concept, and the way of its realization in his works.