2009 Annual Conference: Call for Papers
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During a career that extended over seventy years Frank Lloyd Wright designed more than 1,000 buildings, of which approximately 480 were realized. The many thousands of drawings that exist in various archives (The Frank Lloyd Wright Foundation; Avery Library at Columbia University; the Library of Congress; the Deutsches Architektur Museum, Frankfort) for buildings both built and unbuilt will be the subject of the 2009 Annual Conference of The Frank Lloyd Wright Building Conservancy, Wright in the Drafting Room: Drawings for the Built, the Unbuilt and the Visionary. Why drawings? Given the esteem that Wright enjoys as one of the greatest architects in history, it follows that his designs – especially the unbuilt – represent an unmatched trove of considerable interest and value – but, we might ask, to whom, and for what? Among the many interested constituencies are preservationists, architectural historians, architects, archivists, dealers, collectors, curators, homeowners, site directors and those who favor building Wright’s unbuilt designs. The Conservancy aspires to bring together representatives of these many points of view in a stimulating dialogue calculated to deepen our appreciation of Wright’s work through a close critical examination of its least known major asset. The drawings themselves represent the work of many studio hands for innumerable clients over the course of seven decades. The type and quality of the drawings vary considerably – many are outstanding works of art – but all are an extension of a single, brilliant creative mind. The Conservancy offers the theme of Wright’s built and unbuilt designs both as a celebration and an exploration of this unique body of material.
The 2009 Annual Conference of The Frank Lloyd Wright Building Conservancy seeks papers and discussions of Frank Lloyd Wright’s legacy of designs with particular attention to the employment of Wright’s drawings in the understanding and interpretation of his work and use of the archive in relation to the disposition of Wright’s unbuilt designs. The term archive is broadened in scope here to encompass not only the work of Wright and other architects, but all archives where it may be appropriate to the discussion. We suggest the following topics:
1. Given that Wright employed scores of draftsmen and women over seventy years, what constitutes an authentic Wright drawing? Who makes such a determination, and how do they do so? What is the role of connoisseurship today?
2. How, in some cases have Wright’s drawings reflected the transfer of an idea from an unrealized commission to one that is realized?
3. How did Wright’s drawings change in response to such forces as European Modernism, photography, developments in printing technology, changes in building materials and technologies and changes in drafting personnel?
4. Why did Wright occasionally produce drawings that appear to be visionary in nature?
5. Can drawings reveal the way that building designs took form in Wright’s mind?
6. To what extent, if any, does Wright’s unbuilt work represent a special circumstance in the history of architecture? How do Wright’s methods of drawing production compare to those of such peers as Le Corbusier or Mies?
7. What is the role of the archive in general, and in the preservation, stewardship and commercialization of images?
8. What should the role of the archive be in the following special circumstances (taking into account changes in building codes, availability of materials and desire for authenticity)?
- Completing a building begun in the architect’s lifetime;
- Adding to a building according to a plan prescribed by the architect but not done in his lifetime;
- Furnishing a structure after the fact and either following the original drawings or using furnishings from other houses or buildings; and
- Basing a design on an unbuilt project rather than following it precisely.
9. When did the idea of building posthumously begin, and why? What are the reasons for building posthumously today?
10. How do analogies with the other arts and literature bear on the disposition of Wright’s unbuilt designs?
General session presentations will be limited to 20 minutes, plus 10 minutes for questions. Speakers should plan to show no more than 20 images (as singles or pairs).
Individuals wishing to lead focus sessions are encouraged to center on case studies of work by Wright, with particular emphasis on conservation strategies. Focus sessions will be one hour in length and include audience participation.
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Proposals should be in the form of abstracts (no more than one or two pages) that outline the theme and development of the presentation. They must be accompanied by a one-page curriculum vitae and all contact information, including full name, affiliation, mailing address, email address, telephone and fax numbers. Please specify audiovisual needs. Consent to videotape and/or publish the presentation (for accepted proposals) should also be granted.
Proposals must be received by March 23, 2009 Notification will be sent out by May 1, 2009 Please direct questions and proposals (preferably by email) to:
Ron Scherubel
The Frank Lloyd Wright Building Conservancy
53 West Jackson Boulevard, Suite 1120
Chicago IL 60604
tel: 312.663.5500
fax: 312.663.5505
email: preservation-at-savewright-dot-org
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Isabel Martin Residence, Graycliff (1927). Photo Courtesy of Carl Schmitter
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Duncan House
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wikimedia.org
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