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Similar to the architecture of the house, the design of the lamp is at once simple in its form and tremendous in its visual power. The lamp’s strongly linear base matches the building’s impressive verticality, while its cantilevered square shade echoes the block configuration. Constructed from thin sheets of iron, the floor lamp also maintains a delicacy to balance the heaviness of the concrete. The shade’s frosted glass panels cast an atmospheric glow around the room, amplifying the feeling of having stepped into a temple that is simultaneously ancient and modern. The Millard House, also known as La Miniatura, located at 645 Prospect Crescent in Pasadena, sits on an acre of gardens and offers beautiful views.
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Architecture of the day, which by the mid-1920s was largely Spanish Revival of one kind or another, and from everything Wright had done up until then. Wright named the compound Taliesin, after a hero and poet of Welsh lore. Los Angeles was booming; the city’s population, 577,000 in 1920, would reach 1.2 million by the end of the decade.
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Though concrete was still considered a new material in the 1920s, especially for home construction, Wright believed it had promising potential for affordable housing. He created a block construction system with patterned surfaces, which lended a unique textural appearance to both the exteriors and interiors of his residences. The concrete—a combination of gravel, granite and sand from the site—was hand-cast in aluminum molds to create blocks measuring 16”x 16” x 3.5” that were then woven together with steel rods, giving the textile block houses their name. The Ennis House is unusually monumental and vertical for a Wright residence, but when the architect completed it in 1924 he immediately considered it his favorite. The present floor lamp was the ideal design to illuminate the space.
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Then, the right owners came along and saw the value of such a house full of history (and definitely an original piece of Frank Lloyd Wright architecture), and in 2015 bought it for a reported $6.8 million! The John Storer House found its family and currently remains a private residence. The restoration won several awards, and the John Storer House was once again on its way to the top.
Millard House, 1923
During the project, Wright and Barnsdall encountered a series of artistic differences. Wright was designing the Imperial Hotel in Japan at the same time and so allegedly left a lot of decisions to his son Lloyd Wright and the Austrian-born American soon-to-be-superstar architect Rudolph Schindler. Towards the end, Barnsdall fired Wright from the project and the house was finished by Schindler. The Hollyhock House, was commissioned by oil heiress Louise Aline Barnsdall and named after her favorite flower. The Hollyhock House was Wright’s first foray in Los Angeles and is the only of the eight houses here that you can tour. The Hollyhock House is part of a ambitious living and arts complex set on 36 acres that was to include an avant-garde theatre and cultural complex called Olive Grove.
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Current owner Konrad Pearce is the original owner’s grandson and is working to restore the house. Silver sold it in 2002, and it 2015 it sold again to a “preservation-minded buyer for what is expected to be a record price for a Wright house,” as reported by Curbed LA. They go on to say that the LA Times reported the final sale price as $6.8 million. In 1927, Barnsdall donated the residence and its surrounding 11 acres of land to the City of Los Angeles so that it could be used as a public park in memory of her father. Hollyhock House is now part of the Barnsdall Art Park Foundation, and the park is used for art classes, working studios, a gallery, and a theatre – returning full circle to Barnsdall’s original ambitions for the site.
The Freeman House located at 1962 Glencoe Way in Los Angeles is one of three textile block houses Wright designed in the Hollywood Hills in the 1920s. The regionalism of the houses, their response to the landscape, history and climate of Southern California, is at once their most powerful and most naive feature. Wright saw in pre-Columbian designs from Mexico the seed of a potential American architecture that didn’t rely on European precedent. Wright was especially keen on finding an alternative to L.A.’s ubiquitous Spanish-style buildings — to the red-tiled roofs that struck him as out of place here, that “give back the sunshine stained pink,” as he put it. The house was commissioned by Dr. John Storer, a homeopathic physician, who was a friend of Wright’s. The house is located on a steep hillside, and Wright designed it to take advantage of the views.
The pre-Columbian elements that Wright draped across the exterior of the Hollyhock House became integral to the next four houses he designed in Los Angeles. The houses relied on a new structural technique developed by Wright — with significant input from Lloyd, who would go on to become an accomplished L.A. Architect in his own right — that the elder architect compared to weaving, dubbing it “textile-block” construction.
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Barnsdall was already planning to move out of her house and donate it to the city of Los Angeles. In January 1923, Frank Lloyd Wright moved into an office at 8228 Fountain Ave., in what is now West Hollywood. He had finished one house in Los Angeles, for the oil heiress Aline Barnsdall.
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They are connected by a complex L-shaped stairwell that partly rests on the fireplace. The kitchen and ancillary areas form another low block crowned by another terrace at living-room level.
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Well, that lonely and ignored Storer House located on 8161 Hollywood Blvd caught Joel’s eye. He immediately started the renovation process to the original concept Mr. Wright had for this house of organic architecture. The renovation would be aided with the help of Mr. Wright’s grandson Eric Wright, as well as the then-president of the Los Angeles Conservancy.
The Sturges House is Usonian in style, uncluttered with only two bedrooms and one bath and less than 1,200 square feet. In fact, its 54-foot-long cantilevered terraces are almost larger than the living area. In the overhanging pergola roofline, you can see similarities to Fallingwater. A designated Los Angeles Historic-Cultural Monument, the Sturges House soars above a central brick core and is cantilevered beyond its base, creating a sense of motion and an elegant streamlined shape recalling a stately yacht. Walls of brick and horizontal bands of timeless redwood are its underpinnings.
Maintained by the University, the building was stabilized in 2005 and is undergoing additional renovations due to earthquake damage. Some may say this is Wright’s least famous of the four textile block homes. Perhaps that’s because from the street the house is seemingly hidden behind a system of Wright’s textile blocks, as the house itself sits on a steep hillside and the rest of the house extends to two additional levels down the slope. Wright’s resulting $10,000 commission (and, in a story that played out over and over again between Wright and his clients, the final bill went way over budget, at $23,000) takes full advantage of the precarious Hollywood Hills site. Perched atop a hill in the Los Feliz neighborhood, it is among the best residential examples of Mayan Revival architecture in the country. The Ennis House rises in stages, with over 27,000 blocks arranged across a concrete platform and buttressed by a retaining wall.
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