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May 12, 2019 - Frank Lloyd Wright Home and Studio located at 951 Chicago Ave., Oak Park, IL.
"In 1889 Wright completed the construction of a small two-story residence in Oak Park on the Western edges of Chicago. The building was the first over which Wright exerted complete artistic control. Designed as a home for his family, the Oak Park residence was a site of experimentation for the young architect during the twenty-year period he lived there. Wright revised the design of the building multiple times, continually refining ideas that would shape his work for decades to come.
The semi-rural village of Oak Park, where Wright built his home, offered a retreat from the hurried pace of city life. Named “Saint’s Rest” for its abundance of churches, Oak Park was originally settled in the 1830s by pioneering East Coast families. In its early years farming was the principal business of the village, however its proximity to Chicago soon attracted professional men and their families. Along its unpaved dirt streets sheltered by mature oaks and elms, prosperous families erected elaborate homes. Beyond the borders of the village farmland and open prairie stretched as far as the eye could see.
The Oak Park Home was the product of the nineteenth century culture from which Wright emerged. For its design, Wright drew upon many inspirational sources prevalent in the waning years of the nineteenth century. From his family background in Unitarianism Wright absorbed the ideas of the Transcendentalists, Ralph Waldo Emerson and Henry David Thoreau, who encouraged an honest life inspired by nature. The English Arts and Crafts movement, which promoted craftsmanship, simplicity and integrity in art, architecture and design, provided a powerful impetus to Wright’s principles. The household art movement, a distinct movement in middle-class home decoration, informed Wright’s earliest interiors. It aimed, as the name implies, to bring art into the home, and was primarily disseminated through books and articles written by tastemakers who believed that the home interior could exert moral influences upon its inhabitants. These various sources were tempered by the lessons and practices Wright learned under his mentors, Joseph Lyman Silsbee and Louis Sullivan.
For the exterior of his home, Wright adapted the picturesque Shingle style, fashionable for the vacation homes of wealthy East Coast families and favored by his previous employer, Silsbee. The stamp of Sullivan’s influence is apparent in the simplification and abstraction of the building and its plan. In contrast to what Wright described as “candle-snuffer roofs, turnip domes [and] corkscrew spires” of the surrounding houses, his home’s façade is defined by bold geometric shapes—a substantial triangular gable set upon a rectangular base, polygonal window bays, and the circular wall of the wide veranda.
Despite its modest scale, the interior of the home is an early indication of Wright’s desire to liberate space. On the ground floor Wright created a suite of rooms arranged around a central hearth and inglenook, a common feature of the Shingle style. The rooms flow together, connected by wide, open doorways hung with portieres that can be drawn for privacy. To compensate for the modest scale of the house, and to create an inspiring environment for his family, Wright incorporated artwork and objects that brought warmth and richness to the interiors. Unique furniture, Oriental rugs, potted palms, statues, paintings and Japanese prints filled the rooms, infusing them with a sense of the foreign, the exotic and the antique.
In 1895, to accommodate his growing family, Wright undertook his first major renovation of the Home. A new dining room and children’s playroom doubled the floor space. The design innovations pioneered by Wright at this time marked a significant development in the evolution of his style, bringing him closer to his ideal for the new American home.
The original dining room was converted into a study, and a new dining room replaced the former kitchen. The dining room is unified around a central oak table lit through a decorative panel above and with an alcove of leaded glass windows in patterns of conventionalized lotus flowers. The walls and ceiling are covered with honey-toned burlap; the floor and fireplace are lined with red terracotta tile.
The new dining room is a warm and intimate space to gather with family and friends. The Wrights entertained frequently, and were joined at their table by clients, artists, authors and international visitors. Such festive occasions, according to Wright’s son, John, gave the house the air of a “jolly carnival.”
The 1895 playroom on the second floor of the Home is one of the great spaces of Wright’s early career. Designed to inspire and nurture his six children, the room is a physical expression of Wright’s belief that, “For the same reason that we teach our children to speak the truth, or better still live the truth, their environment ought to be as truly beautiful as we are capable of making it.” Architectural details pioneered by Wright in this room would be developed and enhanced in numerous commissions throughout his career.
The high, barrel-vaulted ceiling rests on walls of Roman brick. At the center of the vault’s arc a skylight, shielded by wood grilles displaying stylized blossoms and seedpods, provides illumination. Striking cantilevered light fixtures of oak and glass, added after Wright’s 1905 trip to Japan, bathe the room in a warm ambient glow. On either side of the room, window bays of leaded glass with built-in window seats are at the height of the mature trees that surround the lot, placing Wright’s children in the leafy canopy of the trees outside.
Above the fireplace of Roman brick, a mural depicting the story of the Fisherman and the Genie from The Arabian Nights is painted on the plastered wall. An integral architectural feature within the room, the mural was designed by Wright and executed by his colleague, the artist Charles Corwin. It is a fascinating blend of decorative motifs; forms from exotic cultures—such as Egyptian winged scarabs—are combined with flat, geometric designs that echo the work of Wright’s international contemporaries, Charles Rennie Mackintosh and the Vienna Secessionists.
In 1898 Wright built a new Studio wing with funds secured through a commission with the Luxfer Prism Company. The Studio faced Chicago Avenue and was connected to his residence by a corridor. Clad in wood shingles and brick, the Studio exterior is consistent with the earlier home. However, the long, horizontal profile, a key feature of Wright’s mature Prairie buildings, sets it apart. Adjacent to the entrance, a stone plaque announces to the world, “Frank Lloyd Wright, Architect.” Decorative embellishments and figural sculptures set off the building’s artistic character and impressed arriving clients.
The reception hall serves as the entrance to the Studio. A waiting room for clients and a place for Wright to review architectural plans with contractors, this low-ceilinged space connects the main areas of the Studio—a library, a small office, and the dramatic two-story drafting room, the creative heart of the building.
The studio staff worked on drafting tables and stools designed by Wright in rooms decorated with eclectic displays of artwork and objects. Japanese prints, casts of classical sculptures, as well as models and drawings executed in the drafting room, filled the interiors of the Studio. In Wright’s home the integration of art and architecture served to nurture and intellectually sustain his family. In the Studio, these same elements served a further purpose, the marketing of Wright’s artistic identity to his clients and the public at large.
In September of 1909, Wright left America for Europe to work on the publication of a substantial monograph of his buildings and projects, the majority of which had been designed in his Oak Park Studio. The result was the Wasmuth Portfolio (Berlin, 1910), which introduced Wright's work to Europe and influenced a generation of international architects. Wright remained abroad for a year, returning to Oak Park in the fall of 1910. He immediately began plans for a new home and studio, Taliesin, which he would build in the verdant hills of Spring Green, Wisconsin. Wright’s Oak Park Studio closed in 1910, though Wright himself returned occasionally to meet with his wife Catherine who remained with the couple's youngest children at the Oak Park Home and Studio until 1918. The Home and Studio was the birthplace of Wright's vision for a new American architecture. Wright designed over 150 projects in his Oak Park Studio, establishing his legacy as a great and visionary architect.
Previous text from the following website: flwright.org/researchexplore/homeandstudio
In summer Zurich’s weather is unbeatable, it’s not cold nor hot, just right :) In other words you can basically wear whatever you want starting from jackets to bikini tops all will do!
Spending my day strolling through the old town by the Limmat river i wore my favorite Roberta Biagi jeans with studs at the bottom. The top by Love Culture which i bought during my stay in Miami has a great cut and can be worn on it’s own over a bikini as well!
Shoes: Adrienne Vittadini
Jeans: Roberta Biagi
Top: Love Culture
Bag: Dior
Bracelet: Hermes collier de chien
Necklace: Pearls with butterfly detail by Love by N
SEGNI DI CONFINE
Martedì 10 novembre 2009, alle ore 18,00 a Roma, presso lo Studio Arte Fuori Centro, via Ercole Bombelli 22, si inaugura la mostra Segni di confine. Quaranta artisti per il muro di Berlino a cura di Ivana D’Agostino e Loredana Rea. L’esposizione rimarrà aperta fino al 27 novembre, secondo il seguente orario: dal martedì al venerdì dalle 17,00 alle 20,00.
L’evento espositivo è inserito in una più ampia programmazione culturale promossa dal Comune di Roma in occasione del ventesimo anniversario del crollo del Muro di Berlino nel 1989, che ha rappresentato non solo la fine della separazione forzosa della città e con essa delle due Germanie, ma anche la fine della Cortina di Ferro e idealmente la riunione dell’Europa.
Il suo smantellamento ha significato dunque un impatto emotivo e sociale forte per i valori ideali di libertà, unione dei popoli, comprensione e tolleranza ad esso inevitabilmente connessi.
La mostra proposta dall’Associazione Culturale Fuori Centro è stata pensata con l’intento di sottolineare questi aspetti salienti sottesi al significato assunto nell’immaginario collettivo dalla presenza del Muro, tanto che anche nell’allestimento il richiamo al muro e alla sua demolizione, a ciò che ha rappresentato venti anni fa e a ciò che rappresenta ancora adesso è il nucleo intorno cui si sono organizzati gli interventi degli artisti invitati: Minou Amirsoleimani, Renzo Bellanca, Rosetta Berardi, Franca Bernardi, Pietro Celani, Luisa Colella, Maria Rita De Giorgio, Antonio De Pietro, Adriano Di Giacomo, Mimmo Di Laora, Gabriella Di Trani, Cosimo Epicoco, Annamaria Gelmi, Rosaria Gini, Salvatore Giunta, Paolo Gobbi, Iginio Iurilli, Vincenzo Ludovici, Marco Maffei, Giuliano Mammoli, Teresa Mancini, Venanzio Manciocchi, Dario Molinaro, Franco Marrocco, Carola Masini, Cosetta Mastragostino, Rita Mele, Gloria Pastore, Antonio Picardi, Teresa Pollidori, Roberta Pugno, Fernando Rea, Rosella Restante, Marcello Rossetti, Alba Savoi, Elena Sevi, Annamaria Suppa, Gerry Turano, Oriano Zampieri.
Un grande muro sarà costruito nella galleria, disposto diagonalmente per consentire la visione fronte/retro. La doppia visione del muro stabilisce duplici considerazioni sugli effetti della sua caduta. Certamente la positività consiste nella riunificazione della Germania, la qualcosa ha tuttavia messo a nudo le contraddizioni della crescita culturale ma, soprattutto economica, diversificata tra l’Est e l’Ovest. Da qui tutto il disagio di cui siamo a conoscenza e gli esodi massicci con le conseguenze per l’Europa che tutti conosciamo.
La visione fronte/retro del muro e, per esteso, di ogni problema, pone in essere il progetto calandolo al centro di un dibattito culturale capace di vedere, soprattutto in
una proiezione storica, sia le luci che le ombre.
Galleria Studio Arte Fuori Centro
Via E. Bombelli, 22 - 00149 Roma
info@artefuoricentro.it - www.artefuoricentro.it -
Tel. 06.5578101
In summer Zurich’s weather is unbeatable, it’s not cold nor hot, just right :) In other words you can basically wear whatever you want starting from jackets to bikini tops all will do!
Spending my day strolling through the old town by the Limmat river i wore my favorite Roberta Biagi jeans with studs at the bottom. The top by Love Culture which i bought during my stay in Miami has a great cut and can be worn on it’s own over a bikini as well!
Shoes: Adrienne Vittadini
Jeans: Roberta Biagi
Top: Love Culture
Bag: Dior
Bracelet: Hermes collier de chien
Necklace: Pearls with butterfly detail by Love by N
I dropped in on my son's recording session on Sunday in Dumbo and took this shot
left to right: jonathan on guitar, lucian on bass, julian on drums
(fantastic studio -- 8th floor looking right down on the East River...)
From the Impose Records press release:
IMPOSE SIGNS FIASCO
They're not out of high school but they've already been through the press circus. They've never gone on a major tour but their Brooklyn shows at DIY spaces still hit overflow capacity. You could blame it on the hype, but Fiasco never would've left their parents' basement if these kids were just another garage band.
Born and raised in Brooklyn, NY, Jonathan Edelstein (guitar/vocals), Lucian Buscemi (bass/vocals) and Julian Bennett Holmes (drums) hit a universal nerve in the noise rock continuum; it's a sonic sweet spot that apparently has everything for everyone. Spin called them a "hormone-drenched Sonic Youth", "youthful-sounding Slint" that had "classic indie rock aesthetic a la Pavement." New York Magazine decided on "Flipper, Minor Threat, Bad Brains." We personally signed them because we loved the math rock and hardcore influences of the early 90s they recall - and were born in.
The trio formed in 2005 at the tender age of 14 and by 2007 they self-released-–and consequently sold-out two pressings of--their debut full-length, God Loves Fiasco, on their own imprint Beautiful Records. They also play regularly throughout the tristate area with their DIY brethren - 2008 alone has seen them share the stage with No Age, Casiotone for the Painfully Alone, High Places, Pony Tail, Parts & Labor, Kimya Dawson, Aa, Yacht and label mates Team Robespierre, to name a few.
Currently in the studio with producer Billy Pavone (Aa, O'Death, Dragons of Zynth), Fiasco will release their instrumental sophomore record, Native Canadians, in a special vinyl + CD packaging. The spastic anthems that recall their heavy rock antecedents are still fully present, but Canadians also showcases Fiasco's technical prowess and instinctual sense of melody and arrangement. It's an early collector's classic for a band burning with possibility and currently blowing up.
Press inquiries, please e-mail: derek@solidpr.com
Format: Glass plate negative.
Rights Info: No known restrictions on publication.
Repository: Tyrrell Photographic Collection, Powerhouse Museum www.powerhousemuseum.com/collection/database/collection=The_Tyrrell_Photographic
Part Of: Powerhouse Museum Collection
General information about the Powerhouse Museum Collection is available at www.powerhousemuseum.com/collection/database
Persistent URL: http://www.powerhousemuseum.com/collection/database/?irn=28373
Acquisition credit line: Gift of Australian Consolidated Press under the Taxation Incentives for the Arts Scheme, 1985
I get Flickr mail, in this case from the woman in the studded outfit above (to be honest, I think this is an excellent basis for a superhero costume: practical, and fashionably deadly). She confesses that she and her friend don't have a lot of chances to dress up nattily, and wonders if I might have pictures of the two of them. The smartphone pictures, apparently, don't do the night justice. As it happens, if this is you, then yes, I do, and you look great.
Gemini and Scorpio's Meet Me in Paris Clandestine Cabaret party is a fine occasion for raiding the closets, and the crowd, comfortably filling the new secret loft location in Brooklyn, is especially well turned out. As for the rest, well, smartphone pictures don't ever really do proper justice. Then again, my camera really sucks at phone calls.
Other clandestine cabareters take note: I'll be posting a large gallery of unprocessed shots to Facebook next week (usually I'm quicker, but I'll be out of town for a few days, and thus away from my computer).