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Leonardo
From Paradox to Reality by Fritz RohrlichLeonardo, Vol. 22, No. 2 (1989), p. 273Published by: The MIT PressStable URL: http://www.jstor.org/stable/1575253 .
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FRANK LLOYD WRIGHT'S LARKIN BUILDING: MYTH AND FACT byJack Quinan. The Architectural
History Foundation and MIT Press, Cambridge, MA, U.S.A., 1987. 186
pp., illus. ISBN: 0-262-17004-3.
LOUIS H. SULLIVAN: THE BANKS by Lauren S. Weingarden. MIT Press, Cambridge, MA, U.S.A., 1987. 144
pp., illus. ISBN: 0-262-23130-1.
Reviewed by Eva Belik, 1610 Mulcahy, Rosenberg, TX, 77471, U.S.A.
The first book, by Jack Quinan, is an
abundantly illustrated documentation of a single building by Frank Lloyd Wright, the Larkin Building. In 1904, the Larkin Company commissioned
Wright to design the headquarters of their soap manufacturing and mail- order business in Buffalo, New York. Once an architectural masterpiece, the Larkin Building was torn down by the City of Buffalo in 1950. The author presents the building's history and its impact on modern architec- ture, including several appendices containing relevant support material. In the first chapter, "The Commis- sion", Quinan gives an entertaining account of Frank Lloyd Wright's first contact with the Larkin Company, in-
cluding personal letters between the chief executives. He also describes the working relationship, the process of compromise between the client's
requirements and the architect's no- tions. The next chapter discusses the
history of the Larkin Company, pro- viding key information for under-
standing the character of the com-
pany that the building was meant to reflect. In the third chapter, "Evolu- tion and Sources of Design", the author traces the development of new features such as the external location of staircases. He discusses different influences, including the initial in- fluence of Louis H. Sullivan, Wright's former employer. Technical data such as the materials used and air
purification and conditioning, as well as lighting and furniture design, are documented in the fourth chapter.
FRANK LLOYD WRIGHT'S LARKIN BUILDING: MYTH AND FACT byJack Quinan. The Architectural
History Foundation and MIT Press, Cambridge, MA, U.S.A., 1987. 186
pp., illus. ISBN: 0-262-17004-3.
LOUIS H. SULLIVAN: THE BANKS by Lauren S. Weingarden. MIT Press, Cambridge, MA, U.S.A., 1987. 144
pp., illus. ISBN: 0-262-23130-1.
Reviewed by Eva Belik, 1610 Mulcahy, Rosenberg, TX, 77471, U.S.A.
The first book, by Jack Quinan, is an
abundantly illustrated documentation of a single building by Frank Lloyd Wright, the Larkin Building. In 1904, the Larkin Company commissioned
Wright to design the headquarters of their soap manufacturing and mail- order business in Buffalo, New York. Once an architectural masterpiece, the Larkin Building was torn down by the City of Buffalo in 1950. The author presents the building's history and its impact on modern architec- ture, including several appendices containing relevant support material. In the first chapter, "The Commis- sion", Quinan gives an entertaining account of Frank Lloyd Wright's first contact with the Larkin Company, in-
cluding personal letters between the chief executives. He also describes the working relationship, the process of compromise between the client's
requirements and the architect's no- tions. The next chapter discusses the
history of the Larkin Company, pro- viding key information for under-
standing the character of the com-
pany that the building was meant to reflect. In the third chapter, "Evolu- tion and Sources of Design", the author traces the development of new features such as the external location of staircases. He discusses different influences, including the initial in- fluence of Louis H. Sullivan, Wright's former employer. Technical data such as the materials used and air
purification and conditioning, as well as lighting and furniture design, are documented in the fourth chapter.
FRANK LLOYD WRIGHT'S LARKIN BUILDING: MYTH AND FACT byJack Quinan. The Architectural
History Foundation and MIT Press, Cambridge, MA, U.S.A., 1987. 186
pp., illus. ISBN: 0-262-17004-3.
LOUIS H. SULLIVAN: THE BANKS by Lauren S. Weingarden. MIT Press, Cambridge, MA, U.S.A., 1987. 144
pp., illus. ISBN: 0-262-23130-1.
Reviewed by Eva Belik, 1610 Mulcahy, Rosenberg, TX, 77471, U.S.A.
The first book, by Jack Quinan, is an
abundantly illustrated documentation of a single building by Frank Lloyd Wright, the Larkin Building. In 1904, the Larkin Company commissioned
Wright to design the headquarters of their soap manufacturing and mail- order business in Buffalo, New York. Once an architectural masterpiece, the Larkin Building was torn down by the City of Buffalo in 1950. The author presents the building's history and its impact on modern architec- ture, including several appendices containing relevant support material. In the first chapter, "The Commis- sion", Quinan gives an entertaining account of Frank Lloyd Wright's first contact with the Larkin Company, in-
cluding personal letters between the chief executives. He also describes the working relationship, the process of compromise between the client's
requirements and the architect's no- tions. The next chapter discusses the
history of the Larkin Company, pro- viding key information for under-
standing the character of the com-
pany that the building was meant to reflect. In the third chapter, "Evolu- tion and Sources of Design", the author traces the development of new features such as the external location of staircases. He discusses different influences, including the initial in- fluence of Louis H. Sullivan, Wright's former employer. Technical data such as the materials used and air
purification and conditioning, as well as lighting and furniture design, are documented in the fourth chapter. Chapter 5 focuses on the symbolic content of the building in its sculp- tural decoration and layout of work-
ing areas and departments within the
Chapter 5 focuses on the symbolic content of the building in its sculp- tural decoration and layout of work-
ing areas and departments within the
Chapter 5 focuses on the symbolic content of the building in its sculp- tural decoration and layout of work-
ing areas and departments within the
six-story complex, reflecting the ide-
ology of the Larkin Company leaders. The positive and negative critical eval- uations of the building are detailed in Chapter 6. Finally, the last chapter ex-
plains the demolition, brought on by unfavorable economic conditions. Quinan states that the three aims of his book are "to bring back to life [the Larkin Administration Building] as nearly as possible and in form use- ful to anyone studying Wright's work", "to recreate the context of the
building in both a historical and archi- tectural sense" and "to review and comment on the critical evaluations of the building over the years."
The second book, by Lauren S.
Weingarden, documents eight rural banks that Louis H. Sullivan designed between 1906 and 1920. The book consists of three parts. In the first
part, entitled "Historical Survey", the author reviews the banks as a group. She discusses topics such as the criti- cal legacy of the banks, the colors, the notion that 'form follows function' and Sullivan's shift from 'transcenden- tal idealism' to 'pragmatist realism'. The second part contains color plates illustrating some of the ideas dis- cussed in the first part, for example the 'jewel box' character of Sullivan's banks. In the third part, "A Catalogue of the Banks", Weingarden describes the banks individually, providing tech- nical and chronological details as well as a critical evaluation. Weingarden's aims in this book are "to restore the
original integrity of Sullivan's designs for rural town banks" and to "high- light in each bank a different facet of Sullivan's approach to the mid- western rural bank".
Both books document achieve- ments in architecture of the early twentieth century. Before his own move from domestic to public archi- tecture, Frank Lloyd Wright worked as a chief draftsman for Sullivan's firm. In the preliminary drawings of the Larkin Building, Wright used arches and decorations reminiscent of Sullivan's banks, but these were eliminated in the final design. The two books together provide a direct comparison of the different styles and concerns of Wright and Sullivan. Both Quinan and Weingarden are
practicing art historians. Although
six-story complex, reflecting the ide-
ology of the Larkin Company leaders. The positive and negative critical eval- uations of the building are detailed in Chapter 6. Finally, the last chapter ex-
plains the demolition, brought on by unfavorable economic conditions. Quinan states that the three aims of his book are "to bring back to life [the Larkin Administration Building] as nearly as possible and in form use- ful to anyone studying Wright's work", "to recreate the context of the
building in both a historical and archi- tectural sense" and "to review and comment on the critical evaluations of the building over the years."
The second book, by Lauren S.
Weingarden, documents eight rural banks that Louis H. Sullivan designed between 1906 and 1920. The book consists of three parts. In the first
part, entitled "Historical Survey", the author reviews the banks as a group. She discusses topics such as the criti- cal legacy of the banks, the colors, the notion that 'form follows function' and Sullivan's shift from 'transcenden- tal idealism' to 'pragmatist realism'. The second part contains color plates illustrating some of the ideas dis- cussed in the first part, for example the 'jewel box' character of Sullivan's banks. In the third part, "A Catalogue of the Banks", Weingarden describes the banks individually, providing tech- nical and chronological details as well as a critical evaluation. Weingarden's aims in this book are "to restore the
original integrity of Sullivan's designs for rural town banks" and to "high- light in each bank a different facet of Sullivan's approach to the mid- western rural bank".
Both books document achieve- ments in architecture of the early twentieth century. Before his own move from domestic to public archi- tecture, Frank Lloyd Wright worked as a chief draftsman for Sullivan's firm. In the preliminary drawings of the Larkin Building, Wright used arches and decorations reminiscent of Sullivan's banks, but these were eliminated in the final design. The two books together provide a direct comparison of the different styles and concerns of Wright and Sullivan. Both Quinan and Weingarden are
practicing art historians. Although
six-story complex, reflecting the ide-
ology of the Larkin Company leaders. The positive and negative critical eval- uations of the building are detailed in Chapter 6. Finally, the last chapter ex-
plains the demolition, brought on by unfavorable economic conditions. Quinan states that the three aims of his book are "to bring back to life [the Larkin Administration Building] as nearly as possible and in form use- ful to anyone studying Wright's work", "to recreate the context of the
building in both a historical and archi- tectural sense" and "to review and comment on the critical evaluations of the building over the years."
The second book, by Lauren S.
Weingarden, documents eight rural banks that Louis H. Sullivan designed between 1906 and 1920. The book consists of three parts. In the first
part, entitled "Historical Survey", the author reviews the banks as a group. She discusses topics such as the criti- cal legacy of the banks, the colors, the notion that 'form follows function' and Sullivan's shift from 'transcenden- tal idealism' to 'pragmatist realism'. The second part contains color plates illustrating some of the ideas dis- cussed in the first part, for example the 'jewel box' character of Sullivan's banks. In the third part, "A Catalogue of the Banks", Weingarden describes the banks individually, providing tech- nical and chronological details as well as a critical evaluation. Weingarden's aims in this book are "to restore the
original integrity of Sullivan's designs for rural town banks" and to "high- light in each bank a different facet of Sullivan's approach to the mid- western rural bank".
Both books document achieve- ments in architecture of the early twentieth century. Before his own move from domestic to public archi- tecture, Frank Lloyd Wright worked as a chief draftsman for Sullivan's firm. In the preliminary drawings of the Larkin Building, Wright used arches and decorations reminiscent of Sullivan's banks, but these were eliminated in the final design. The two books together provide a direct comparison of the different styles and concerns of Wright and Sullivan. Both Quinan and Weingarden are
practicing art historians. Although the analysis of their respective sub-
jects may seem similar, the presenta- tion of each author is quite different. Quinan discusses both the positive and the negative aspects of the Larkin
the analysis of their respective sub-
jects may seem similar, the presenta- tion of each author is quite different. Quinan discusses both the positive and the negative aspects of the Larkin
the analysis of their respective sub-
jects may seem similar, the presenta- tion of each author is quite different. Quinan discusses both the positive and the negative aspects of the Larkin
building and Wright himself. For
example, he points out discrepancies between Wright's autobiography and the facts found in his drawings and sketches. As to the externally located staircases, one can see in the prelimi- nary drawings how this unusual idea evolved; however, Wright wrote that this idea came to him in 'a flash'. The author always tries to uncover the cir- cumstances to justify the discrepan- cies. His approach is skeptical and objective, but sensitive to the circum- stances. Weingarden discusses more of the philosophy and 'hidden mean-
ing' in Sullivan's work. Some readers, however, may feel a lack of concrete statements and clear definitions of the abstract concepts.
FROM PARADOX TO REALITY by Fritz Rohrlich. Cambridge Univer- sity Press, Cambridge, U.K., 1988. 238 pp. Trade, ?25.00/$34.50. ISBN: 0-521-30749-X.
"I am offering the reader a guided tour to the two new fundamental
conceptual structures of twentieth- century physical science: relativity and quantum mechanics. This is not a physics text; nor is it an account of the latest discoveries intended to dazzle the public. It is a basis for dis- cussion of surprising new concepts and of the necessities that led to them" (from the author's preface). Intended for non-scientists, this clearly written text is cleverly organ- ized and satisfyingly complete in its intention to promote understanding and stimulate discussion.
PICASSO'S GUERNICA Ellen C. Oppler, ed. W. W. Norton &
Company Ltd., London, U.K., 1988. 284 pp., illus. Trade, ?21.50/$36.00; paper, ?6.95/$19.95. ISBN: 0-393- 01950-0.
If there is one work of art that can be said to embody the twentieth century, that work is Guernica. Oppler has
brought together a great com- pendium covering every aspect of the past and present of this painting. This is essentially a scholarly work intended as a reference tool for art
building and Wright himself. For
example, he points out discrepancies between Wright's autobiography and the facts found in his drawings and sketches. As to the externally located staircases, one can see in the prelimi- nary drawings how this unusual idea evolved; however, Wright wrote that this idea came to him in 'a flash'. The author always tries to uncover the cir- cumstances to justify the discrepan- cies. His approach is skeptical and objective, but sensitive to the circum- stances. Weingarden discusses more of the philosophy and 'hidden mean-
ing' in Sullivan's work. Some readers, however, may feel a lack of concrete statements and clear definitions of the abstract concepts.
FROM PARADOX TO REALITY by Fritz Rohrlich. Cambridge Univer- sity Press, Cambridge, U.K., 1988. 238 pp. Trade, ?25.00/$34.50. ISBN: 0-521-30749-X.
"I am offering the reader a guided tour to the two new fundamental
conceptual structures of twentieth- century physical science: relativity and quantum mechanics. This is not a physics text; nor is it an account of the latest discoveries intended to dazzle the public. It is a basis for dis- cussion of surprising new concepts and of the necessities that led to them" (from the author's preface). Intended for non-scientists, this clearly written text is cleverly organ- ized and satisfyingly complete in its intention to promote understanding and stimulate discussion.
PICASSO'S GUERNICA Ellen C. Oppler, ed. W. W. Norton &
Company Ltd., London, U.K., 1988. 284 pp., illus. Trade, ?21.50/$36.00; paper, ?6.95/$19.95. ISBN: 0-393- 01950-0.
If there is one work of art that can be said to embody the twentieth century, that work is Guernica. Oppler has
brought together a great com- pendium covering every aspect of the past and present of this painting. This is essentially a scholarly work intended as a reference tool for art
building and Wright himself. For
example, he points out discrepancies between Wright's autobiography and the facts found in his drawings and sketches. As to the externally located staircases, one can see in the prelimi- nary drawings how this unusual idea evolved; however, Wright wrote that this idea came to him in 'a flash'. The author always tries to uncover the cir- cumstances to justify the discrepan- cies. His approach is skeptical and objective, but sensitive to the circum- stances. Weingarden discusses more of the philosophy and 'hidden mean-
ing' in Sullivan's work. Some readers, however, may feel a lack of concrete statements and clear definitions of the abstract concepts.
FROM PARADOX TO REALITY by Fritz Rohrlich. Cambridge Univer- sity Press, Cambridge, U.K., 1988. 238 pp. Trade, ?25.00/$34.50. ISBN: 0-521-30749-X.
"I am offering the reader a guided tour to the two new fundamental
conceptual structures of twentieth- century physical science: relativity and quantum mechanics. This is not a physics text; nor is it an account of the latest discoveries intended to dazzle the public. It is a basis for dis- cussion of surprising new concepts and of the necessities that led to them" (from the author's preface). Intended for non-scientists, this clearly written text is cleverly organ- ized and satisfyingly complete in its intention to promote understanding and stimulate discussion.
PICASSO'S GUERNICA Ellen C. Oppler, ed. W. W. Norton &
Company Ltd., London, U.K., 1988. 284 pp., illus. Trade, ?21.50/$36.00; paper, ?6.95/$19.95. ISBN: 0-393- 01950-0.
If there is one work of art that can be said to embody the twentieth century, that work is Guernica. Oppler has
brought together a great com- pendium covering every aspect of the past and present of this painting. This is essentially a scholarly work intended as a reference tool for art historians and the like, and as such it will be invaluable. My one complaint is that no space could be found for
historians and the like, and as such it will be invaluable. My one complaint is that no space could be found for
historians and the like, and as such it will be invaluable. My one complaint is that no space could be found for
Current Literature 273 Current Literature 273 Current Literature 273
This content downloaded from 91.229.248.152 on Tue, 17 Jun 2014 18:44:05 PMAll use subject to JSTOR Terms and Conditions
