FAMILY OWNED I.G. FARBEN OFFICES PETER BEHRENS FRANKFURT, GERMANY JOHNSON WAX BUILDING FRANK LLYOD WRIGHT RACINE, WISCONSIN

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1 FAMILY OWNED STATUES SYMBOLIZE FAMILY THE YOUNGEST OF THE JOHNSON FAMILY, HE WAS 36 YEARS OLD AND WANTED TO GIVE HIS COMPANY A MORE MODERN FAMILY FEEL. WRIGHT AT FIRST REFUSED THE PROJECT BECAUSE OF HIS PROPOSAL TO CREATE A SMALL URBAN AREA TO PUT IN OFFICES IN A GREEN AREA MORE DISTANT FROM THE CITY. IT WAS WRIGHT S WIFE OLGIVANNA WHO MANAGED TO CONVIENCE HIM. CONCEPT WAS TO INTERPRETE THE IDEA OF A AMERICAN DREAM WERE A WORKER WAS HAPPY IN HIS JOB, PEOPLE RELATE TO ONE ANOTHER, PEOPLE ARE EQUAL, UNITED AS ONE BIG FAMILY. THE PROPERTY BELONGED TO THE ROTHSCHILD FAMILY. THE I.G FARBEN BECAME AN INDISPENSABLE PART OF THE NAZI INDUSTRIAL BASE. DURING WAR WORLD II THE SURROUNDING NEIGHBOURHOOD WAS DEVASTED BUT THE BUILDING WAS LEFT LARGLY INTACTED. ALLIED TROOPS OCCUPIED THE AREA AND THE I.G. FARBEN BECAME THE AMERICAN HEADQUARTERS OF GENERAL DWIGHIT EISENHOWER. WAS A COMPANY BUT NOW A UNIVERSITY BY: ASHLEE ZAJAC AND JENIFFER MORENO

2 THE SITE THE SITE WAS PLACED IN THE OUTSKIRTS OF RACINE, IN A INDUSTRIAL ZONE. HE BELIEVED IN SHOULD PROJECT AS IT WAS A FORTRESS WITH HIGH BRICK WALLS, BLIND ENTERIES DAYLIGHT, AND SPACES FOLD INTO THEMSELVES INWARDS,AND SO ON. THE SITE WAS DELVELOPED ON THE LAND KNOWN AS THE GRUNEBURGGELANDE IN FRANKFURT S WESTEND DISTRICT.FRANKFURT WAS CHOSEN BECAUSE OF ITS CENTRALITY AND ITS ACCESSIBILITY BY AIR AND LAND.

3 THE CONCEPT FORTRESS ISOLATED SURROUNDING AREA ARCHITECTURE WALLS INWARD ADDRESSING THE RELATIONSHIP OF A HOSTILE AND UNHEALTHY ENVIRONMENT. DENIES THE BUILDING ENVIRONMENT FORTRESS-ISOLATED THE VIEW OF THE BUILDING AT THE REAR OF THE SITE IS MAXIMISED BY THE CURVED WALLS THAT AFFORD VISTAS TO THE OTHER BUILDINGS SEPERATED BY THE MAIN BUILDING BY PARKLAND AND THE POOL. DESIGN APPROACH FOR LARGE COMPLEXS OFFERS AN ALTERNATIVE TO THE HOLLOW RECTANGLE SCHEMES OF TIME AND INNNER COURTYARDS

4 THE MATERIALS IMPRESSIVE RED BRICK WALLS NEW SYSTEM OF REINFORCED CONCRETE & A STEEL MAYA. GERMAN COMMERICAL AND SCIENTIFIC MANPOWER A SYMBOL OF IRON AND STONE TONS OF STEEL FRAMES WITH BRICK INFILL

5 ELEVATION PLAN ASYMMETRICAL MORE HORIZONTAL TOWER WITH ROUNDED CORNERS TOWER IS TOTALLY ENCLOSED AND DOES NOT ALLOW FOR HORIZONTAL EXPANSION OF WORK SPACE NO ORNAMENTATION SYMMETRICAL SET BACK IN AND OUT MORE RHYTHM WINDOWS GEOMETRY FORMS SYSTEMATIC USE OF SLANTING RAFTERS WHICH SERVE TO DISRUPT THE OVERALL RECTILINEARITY NO ORNAMENTATION

6 LIGHT USE OF SKYLIGHTS REACH LIGHT IN A UNIFORM WAY TO ALL CORNERS NO WINDOWS ONLY LONG BLIND FACADES PUNCTURED BANDS OF WINDOWS DECREASING IN HEIGHT WITH EACH STORY. THE CORNERS GLAZED STRIPS INTERRUPTED FOR EMPHASIS. THE TOP STOREY IS LIT FROM THE SKYLIGHT, LOW CEILING

7 ENTRY THE ENTRY IS DONE THROUGH A LOW GARAGE ALSO A FEELING OF COMPRESSION AND RELEASE AS YOU WALK INTO THE BUILDING THE ENTRY IS AXIAL CENTER OF THE BUILDING COMPRISING A TEMPLE LIKE PORTICO STANDING INFRONT OF THE DOORS.

8 INTERIOR SPACES MORE OPEN SPACES MORE ABSTRACT FORMS MORE DECORATED DESIGN ALL FURNITURE NO RESTRICTED SPACE LARGE HALL AROUND WHICH OFFICES ARE ARRANGED TURNING THE WELL OF LIGHT INTO A VERY DYNAMIC SPACE BOTH BY THE BY THE THEATRICAL PLAY OF LIGHT.

9 PREVIOUS WORKS COONLEY HOUSE RIVERSIDE, ILLINOIS 1908 AEG TURBINE FACTORY BERLIN UNITY TEMPLE OAK, ILLINOIS 1906 CREMATORIUM HAGEN-DELSTERN,GERMANY ROBIE RESIDENCE CHICAGO 1909 CUNO HOUSE HAGEN,GERMANY

10 STRUCTURE UNIQUE STRUCTURAL EXPRESSION IN OPEN HALL SOURCES: Bruce Brooks Pfeiffer and Gerald Nordland, ed. Frank Lloyd Wright: In the Realm of Ideas. Carbondale and Edwardsville: Southern Illinois University Press, Werner Blaser and Monica Stucky. Drawings of Great Buildings. Boston: Birkhauser Verlag, FARBEN CREATED A MONUMENTAL, 240 METER WIDE ARC- SHAPED STRUCTURE WITH SIX INTERSECTING WINGS. THE CONCRETE STRUCTURE HAS A STEEL FRAME AND TRAVERTINE CLADDING.