F R A N K L L O Y D W R I G H T B U I L D I N G C O N S E R VA N C Y

2017 ConferenCeSept. 13 – 17new York City

frank Lloyd Wright at 150

PreSenting SPonSor

frank Lloyd Wright at 150

2 Conference at a Glance3 Hotel Information4 General Information6 Board of Directors8 Daily Schedule12 Map of conference venues14 Architecture Notes25 Conference Attendees29 Online Auction and Raffle / Wright Spirit Awards30 Upcoming Events

Sponsors

HomeoWner/Site PartnerS

Dean Cardasis, Nancy Geary and the New Canaan Historical Society, Grace Farms Foundation, Pamela Inbasekaran and Daniel Maurer, Doug Milne and Houlihan Lawrence, National Trust for Historic Preservation, Tamar Podell and Cynthia Dames, Susan Leaming Pollish, Roland Reisley, Garrett Rittenberg, Jon and Wendy Smith, Tom and Alice Tisch, Owners of the Rayward House

SYmPoSium major SPonSor

major SuPPort SPeCiaL SPonSor

Brad and Cat LenHartOwners, Harold Price Jr. House

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Preferred HoteL Partner

THE MADDALENA GROUPAT MORGAN STANLEY

ConferenCe SuPPort

J. Charles CrystalworksLatham & Watkins LLP

Welcome

Welcome to New York and to the very special symposium and tours in celebration of the 150th anniversary of Wright’s birth. Scholar Neil Levine has assembled a particularly knowledgeable group of experts for the lectures and panel discussions that will be held at The Museum of Modern Art during the conference and in connection with the museum’s exhibition, Frank Lloyd Wright at 150: Unpacking the Archive. And, of course, there will be architectural tours to enjoy that will include a visit to Wright’s planned community, Usonia, and to the rarely seen Tirranna.

We have many to thank for these offerings. In addition to Professor Levine and the speakers whom he has assembled, I would like to extend thanks to the Conservancy staff, as well as to the homeowners who will be hosting our visits. Thanks are due as well to Kohn Pedersen Fox Associates, the presenting sponsor of the conference, to the Solomon R. Guggenheim Museum and Foundation, which has opened the museum for our Benefit, to MoMA, and to Morgan Stanley and the Maddalena Group for providing major support for the symposium. I would also like to thank each of you for your attendance and your support for our mis-sion to save Wright for present and future generations. Your participa-tion has been essential in ensuring the success of our endeavor.

Edith k. PayneBoard President

I’d like to personally welcome each of you to our 2017 conference as we celebrate Frank Lloyd Wright at 150. Whether you have been to many Conservancy conferences, or this is your first, we are delighted that you have joined us! We hope that you get inspired to become more involved with our mission to facilitate the preservation and maintenance of the remaining structures designed by Frank Lloyd Wright. The Conservancy is the only organization focused exclusively on the protection and preser-vation of all of Wright’s remaining buildings.

Please get to know the other attendees—members, Wright homeown-ers, public site administrators, and our dedicated board and staff, who can tell you more about our work in education, advocacy and technical services. I look forward to exploring the New York City area with you!

barbara Gordonexecutive director

The mission of the Frank Lloyd Wright Building Conservancy is to facilitate the preservation and maintenance of the remaining structures designed by Frank Lloyd Wright through education, advocacy and technical services. The Conservancy is a 501(c)(3) nonprofit based in Chicago.

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2017 Conference CommitteeEdith k. Payne, Co-ChairLarry Woodin, Co-Chairkyle Johnson, Leo koonmen, Tony Maddalena, Patrick J. Mahoney, Roland Reisley, Marsha Shyer

Symposium CommitteeNeil Levine, ChairRichard Longstreth, Dietrich Neumann, Jack Quinan

Conservancy Conference Committee Patrick J. Mahoney, Chairkyle Johnson, Tim Quigley, Jack Quinan, Sandra Shane-Dubow, Larry Woodin

F R A N K L L O Y D W R I G H T B U I L D I N G C O N S E R VA N C Y

Conference at a glanceNote: Italics note events not included in the general conference fee. You must present your badge indicating that you have registered to attend these events.

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tuesday, Sept. 12

4 – 8 p.m. Conference check-in at Omni berkshire Place, 17th Floor Terrace

Wednesday, Sept. 13

8 a.m. – 4 p.m. Pre-conference Tour: Glass House, Lee House II

6:30 – 7:45 p.m. Symposium keynote Address at MoMA

8 – 10 p.m. Leadership Circle Dinner at kPF

thursday, Sept. 14

9:15 a.m. – 5 p.m. Symposium sessions at MoMA

6:30 – 9 p.m. Homeowners and Public Sites Dinner at The Cornell Club

friday, Sept. 15

9 – 9:20 a.m. Annual Meeting of the Frank Lloyd Wright building Conservancy

9:30 a.m. – 12:30 p.m. Symposium session at MoMA

1:30 – 3:30 p.m. Group tours of Frank Lloyd Wright at 150: Unpacking the Archive exhibit at MoMA

Attendees will be assigned either 1:30 or 2:30 start time and must follow group as-signments. Exhibit tours will last one hour. Attendees are encouraged to spend more self-guided time exploring this large exhibit.

7 – 10 p.m. An Evening at the Guggenheim

Wright Spirit Awards presentation will begin promptly at 7 p.m. so please arrive on time. Doors open at 6:30 p.m.

Saturday, Sept. 16

8:30 a.m. – 8 p.m. General conference tour: Usonia, Hoffman House, Rayward House, Grace Farms

approx. 9:30 p.m. Arrival time back to hotels

Sunday, Sept. 178:30 a.m. – 3 p.m. Post-conference Tour: Richardson House, Christie House, James Rose Center

approx. 4:30 p.m. Drop-off at Newark Liberty International Airport

approx. 4:30 – 5:30 p.m.Arrive back to hotels

All tours for which transportation is provided depart from these hotels:

Conference Check-InOn arrival please visit us to check in for the conference. You will receive your conference and symposium booklets and your badge—which is your passport to conference events and gains you access to MoMA galleries all day Wednesday through Friday. Pre-conference tour attendees are requested to check in on Tuesday if possible.

Check-in at MoMA opens one hour before symposium sessions begin and closes one hour before sessions end. Once you have picked up your badge, you do not need to stop at the check-in desk each day.

Hours

Tuesday, Sept. 12 4 – 8 p.m.Omni Berkshire Place, 17th Floor Terrace

Wednesday, Sept. 13 3 – 7 p.m.MoMA, Lauder Building lobby

Thursday, Sept. 14 8 a.m. – 4 p.m.MoMA, Lauder Building lobby

Friday, Sept. 15 8 a.m. – 11:30 a.m.MoMA, Lauder Building lobby

Hotel information

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Omni Berkshire Place21 E. 52nd St. (52nd/Madison)212.753.5800Nearest MTA stops: E-M train at 5 Av/53 St or 6 train at 51 St/Lexington Ave (Note: for MTA from Omni to the Guggenheim and the Met, take the 6 train to 86 St)

The Empire Hotel44 W. 63rd St. (63rd/Broadway)212.265.7400Located across from Lincoln Center.Nearest MTA stops: 1 train at 66 St/Lin-coln Center or A-B-C-D-1 trains at 59 St/Columbus Circle.

Preferred HoteL Partner

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general informationTransportationBus transportation is provided only for Wednesday, Saturday and Sunday architecture tours. Transportation is not provided to MoMA or to any evening events. All city venues are easily accessible by foot, public transportation or taxi. Please see the map on p. 12 for locations.

LunchA box lunch and beverage will be provided to all attendees registered for the Saturday general conference tour, Wednesday pre-conference tour and Sunday post-conference tour. Lunch is not provided on Thursday or Friday.

Coffee breaksCoffee cannot be provided at the symposium sessions and is not allowed inside the Titus Theater at MoMA. Bottled water is allowed. There will be breaks between sessions but please plan ahead to get your morning coffee before arriving at MoMA. The second-floor coffee bar at MoMA opens at 9:30 a.m. and the cafés at MoMA open at 11 a.m.

What To WearAverage temperatures in New York City this time of year range from the low 70s to low 80s. Casual dress with light layers is recommended for tours. All tours are rain or shine. Please check the forecast before you travel and bring an umbrella and waterproof jacket if rain is in the forecast.

Please remember to wear comfortable, flat-soled walking shoes. Some sites have uneven, sloping or gravel terrain. Please do not wear high heels on any house tours. Shoe covers will be provided and required at several sites.

Business attire is recommended for the Thursday and Friday evening events. The Saturday evening event at Grace Farms is casual.

Safety at Grace FarmsPlease note for the Saturday tour: Grace Farms’ property includes significant variations in terrain (uneven, majority unpaved, natural or man-made objects, stones, rocks, etc.), wetlands and several deep ponds that are not fenced, and insects and tick-borne pathogens native to woodland areas. In addition, the River Building is constructed of clear glass walls, so that caution needs to be taken so that you do not walk into them. AccessibilityWhile we strive to make our tours accessible to all, please be advised that tour sites may not be able to accommodate all visitors.

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Photo PolicyExterior photography is permitted at all tour sites unless otherwise stated during the tour, provided it does not interfere with the tour schedule and is for private, non-commercial use only. Staff will advise when interior photography is permitted. Failure to abide by these policies may affect future access to private sites and the Conservancy’s ability to interact productively with the owners. Thank you for your cooperation.

PoliciesSymposium sessions may be age-appropriate for high school students and above. Conservancy tours cannot accommodate children under the age of 12. No pets are allowed at any of the symposium sessions, afternoon tours or evening events. No smoking is allowed on tours or at evening events.

SchedulePlease be aware that each symopsium session, tour and event will start at its scheduled time. Sessions, buses, tours and events will not be delayed waiting for latecomers. Please respect your fellow conference attendees by arriving on time for bus departures, and by following the instructions of bus staff and tour docents who must maintain a strict schedule.

AIA/CES Continuing Education CreditsWe are pleased to provide AIA continuing education credits for symposium sessions and afternoon tours. Please pick up Form C-1 at the check-in desk, check off the attended sessions, write in your AIA number, sign and return to Conservancy staff at the end of the conference. You may also mail or email the form to the Conservancy office by Sept. 29. Credit will not be provided if the form is not properly completed or is received after Sept. 29.

Conference FellowshipsAt this year’s conference we welcome the second recipients of the John G. Thorpe Young Professionals and Students Fellowship, established in memory of architect and preservation advocate John G. Thorpe to allow young practitioners or graduate students in architecture and preservation fields to attend the Conservancy conference at no cost. This year’s fellows are Catherine Deacon, a professional architect in South Africa pursuing a Master’s degree in preservation at the University of Minnesota, and Christopher Lock, a Master of Architecture student at the School of Architecture at Taliesin. We are also proud to welcome Emily Butler, head of preservation at Kentuck Knob and Master of Preservation student at Tulane University, as recipient of a fellowship from Keepers Preservation Education Fund (mainecf.org). Please join us in making this next generation of preservationists feel welcome. Contribute to the Thorpe Fellowship fund at savewright.org/make-a-donation or call 312.663.5500.

The annual meeting of the Frank Lloyd Wright Building Conservancy membership will take place Friday, Sept. 15 at 9 a.m. in The Roy and Niuta Titus Theater 1 at The Museum of Modern Art in New York City, as part of the annual conference. The nominating committee proposes the following slate to the membership for election to the board of directors.

new Board nominations

Barry Bergdoll is the Meyer Schapiro Professor of Modern Architectural History at Columbia Uni-versity and Curator in the Department of Architecture and Design at The Museum of Modern Art, where from 2007-13 he served as The Philip Johnson Chief Curator of Architecture and Design. At MoMA he has organized, curated and consulted on several major architecture exhibitions, includ-ing most recently (with Jennifer Gray), Frank Lloyd Wright at 150: Unpacking the Archive and in 2014 Frank Lloyd Wright and the City: Density vs. Dispersal. He is author or editor of numerous publications. He served as president of the Society of Architectural Historians from 2006-08 and Slade Professor of Fine Art at Cambridge University in winter 2011.

Ken Breisch is an associate professor in the School of Architecture at the University of Southern California. He holds a Ph.D. in art history from the University of Michigan and is the former director and founder of USC’s Graduate Program in Heritage Conservation. He has taught at SCI-Arc, the University of Delaware and the University of Texas at Austin. His books include Henry Hobson Richardson and the Small Public Library in America (MIT Press, 1997) and The Los An-geles Central Library: Building an Architectural Icon, 1872-1933 (Getty Research Institute, 2016). His book for the Library of Congress and W. W. Norton, entitled American Libraries: 1730-1950, will be published in September 2017. Breisch is a past president of the Society of Architectural Historians and served as a member of the Vernacular Architecture Forum.

Jeffrey Herr has been opening the mail at Hollyhock House since 2005, including those letters addressed to Ms. Holly Hock. Author of the property’s National Historic Landmark nomination (designated 2007), he manages the interpretation of Hollyhock House, conducts research and recently directed a four-year restoration, reopening it to the public in 2015. Herr has a graduate degree in art history. Previous roles include curator at the Los Angeles Municipal Art Gallery and director at the Banning Residence Museum in Wilmington, California. He has also supervised the conservation of Simon Rodia’s Towers in Watts since 2010. Editor of Landmark L.A.: Historic Cultural Monuments of Los Angeles and curator of numerous exhibitions, he represents Holly-hock House on the Frank Lloyd Wright World Heritage Council and was the recipient of a Wright Spirit Award in 2016.

Daniel R. Nichols, AIA, is a partner at Ragan Design Group Architects, LLC, a South Jersey-based architecture firm focused on commercial, municipal and multi-family projects. Dan’s interest in architecture grew from his “discovery” of Frank Lloyd Wright at the age of 10 in a 1956 Arizona Highways magazine, eventually leading him to earn a Bachelor of Architecture degree at Carnegie Mellon. He is a member of the Cherry Hill (New Jersey) Historical Commission, where he has been an advocate for the preservation of notable 20th-century buildings, assisting in the effort to find preservation- minded buyers for local houses designed by Louis Kahn and Malcolm Wells. Dan and his wife Christine Denario are the current owners of Wright’s J.A. Sweeton House (1950), which they have been gradually restoring since 2008.

Thomas Rodgers is a commercial real estate appraiser, living and working in Oak Park, Illinois. His real estate practice is conducted under the name Altgeld Appraisal, Ltd., in reference to a late 19th-century political figure in Illinois. Tom primarily appraises commercial real estate, but as a particular specialty he has appraised more than 20 homes designed by Frank Lloyd Wright. He has also undertaken numerous assignments valuing the impact of historic preservation easements, including properties in Pittsburgh, Cleveland, Detroit and Chicago. He has been a docent with the Chicago Architecture Foundation since 1989. He has also been a member of the Frank Lloyd Wright Building Conservancy and the Frank Lloyd Wright Trust for well over a decade.

annual meeting

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Board of directors

nominations for additional termsThe nominating committee proposes the following slate of current board members for their second three-year terms: Chuck Henderson, Scott Jarson, Neil LevineFor a third three-year term: Diane Belden, T. Gunny Harboe, Mary Roberts

The Conservancy extends its sincere thanks to John Blew, Dale Allen Gyure, Richard Longstreth and Lynda Waggoner, who will be leaving the board in September, and Bruce Judd, who left the board in April.

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executive Committee PRESIDENT Edith K. Payne Former owner, Richardson House Retired Judge, Superior Court of New Jersey

FIRST vICE PRESIDENT Ron Scherubel Retired vice President and General Counsel, Sara Lee Foods Retired Executive Director, Frank Lloyd Wright building Conservancy

SECOND vICE PRESIDENT Richard Longstreth Director, Graduate Program in Historic Preservation, George Washington University

SECRETARy Lynda S. Waggoner vice President, Western Pennsylvania Conservancy Director, Fallingwater

TREASURER Mary F. Roberts Executive Director, Martin House Restoration Corporation

Chuck Henderson Owner, Mrs. Clinton Walker House

Larry Woodin Executive Director and Founder, EcoHome Foundation President, Gold Standard Capital Group

members at Large

Diane Belden Senior Sales Representative, Tai Ping Carpets Americas Inc.

John Blew Retired Partner, k & L Gates LLP

Daniel Chrzanowski Owner, John J. and Syd Dobkins House Visual Artist

Ronald P. Duplack Partner, Rieck and Crotty, PC

Dale Allen Gyure Professor of Architecture, Lawrence Technological University

T. Gunny Harboe, FAIA Founder and Principal, Harboe Architects, PC

Scott Jarson Co-founder and President, azarchiteture/Jarson & Jarson Real Estate

Neil Levine Emmet blakeney Gleason Research Professor of History of Art and Architecture, Harvard University

Susan Jacobs Lockhart Member, board of Trustees, Frank Lloyd Wright Foundation

Patrick J. Mahoney, AIA vice President, Graycliff Conservancy Lauer-Manguso & Associates Architects

George Meyer vice President, Operations, Irvine Company Commercial Property Management Executive

Vincent Michael Executive Director, San Antonio Conservation Society

Scott W. Perkins Director of Preservation, Fallingwater

Fred Prozzillo Director of Preservation, Frank Lloyd Wright Foundation

Tim Quigley Principal, Quigley Architects

Sandra Shane-DuBow Member, board of Directors, Taliesin Preservation Inc. Member, board of Governors, Frank Lloyd Wright School of Architecture

Marsha Shyer Owner, brandes House Marketing and Communications Professional

executive directorbarbara Gordon Staff Joel Hoglund Communications and Events Director Kristen Patzer General Manager John H. Waters Preservation Programs Manager

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daily Schedule

tueSdaY SePt. 12

4 – 8 p.m. Conference check-in Omni berkshire Place, 17th Floor Terrace

Pick up your conference badge and take in the view over St. Patrick’s Cathedral. you do not have to be a guest at the Omni to access the terrace for check-in. Pre-conference tour attendees are requested to check in tuesday if possible.

8 a.m. Pre-conference tour bus loads at The Empire Hotel

8:15 a.m. Pre-conference tour bus loads at Omni berkshire Place Hotel

If you are unable to pick up your conference badge on Tuesday, check in with Conservancy staff at boarding.

8:30 a.m. – 4 p.m. Pre-conference tour to Glass House and Lee House

Pre-registered attendees only. box lunch included. Glass House tour includes .75-mile walking.

3 – 7 p.m. Conference check-in MoMA, Lauder building lobby

5:30 p.m. Theater opens for keynote

6:30 – 7:45 p.m. keynote Address with barry bergdoll Titus Theater 1, MoMA

8 – 10 p.m. Leadership Circle Dinner at kPF Enter at 20 W. 43rd St.

By invitation to Leadership, Clerestory and Visionary Circle members only. Transportation not provided. kPF is 10 blocks from MoMA, straight down 5th Ave. See map p. 12.

WedneSdaY SePt. 13

Free Access to The Museum of Modern Art

General conference registration includes free access to moma galleries, including the Wright exhibit, during regular hours Wednesday through Friday. Just show your conference badge at the museum admission line.

HoursWed. 10:30 a.m. – 5:30 p.m.Thu. 10:30 a.m. – 5:30 p.m.Fri. 10:30 a.m. – 9 p.m.

SuPPorted BY

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8 a.m. – 4 p.m. Conference check-in MoMA, Lauder building lobby

8:30 a.m. Theater opens for symposium

Please note that coffee will not be provided during the symposium and is not allowed inside the Titus The-ater. bottled water is allowed inside the theater. The second-floor coffee bar at MoMA opens at 9:30 a.m. and the cafés at MoMA open at 11 a.m. but there are numerous cafés in the Midtown area.

9:30 a.m. – 12:30 p.m. Symposium session 1 Titus Theater 1, MoMA

12:30 – 2 p.m. Lunch break

Lunch is not provided. There are numerous options in the Midtown area (see p. 12)

2 – 5 p.m. Symposium session 2 Titus Theater 1, MoMA

6:30 – 9 p.m. Homeowners and Public Sites Dinner Meeting The Cornell Club 6 E. 44th St.

Pre-registered attendees only. Transportation is not provided. Two drink tickets will be provided for use only during cocktail hour, so be sure to arrive on time. The plated, three-course dinner will include choice of entrée. Wine will be served with dinner.

6:15 p.m. Room opens6:30 – 7:30 p.m. Cocktail hour (two drinks included)7:30 – 8:15 p.m. Dinner8:15 – 9 p.m. Presentation with Carole Ann Fabian, Director of the Avery Architectural and Fine Arts Library

SuPPorted BY

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See symposium program book for complete schedule

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8 a.m. – 11:30 a.m. Conference check-in MoMA, Lauder building lobby

8:30 a.m. Theater opens for symposium

9 a.m. – 9:20 a.m. Annual Meeting of the Frank Lloyd Wright building Conservancy

board President Edith k. Payne leads an update on the Conservancy and conducts new board elections.

9:30 a.m. – 12:30 p.m. Symposium session 3

12:30 – 1:30 p.m. Lunch break

Lunch is not provided. Those assigned to the first tour time of the Wright exhibit, please plan your lunch accordingly to arrive on time.

1:30 – 3:30 p.m. Frank Lloyd Wright at 150: Unpacking the Archive Tours MoMA, 3rd floor

All general conference registrants will be assigned a tour time at either 1:30 p.m. or 2:30 p.m. indicated on their conference badge. Each group will meet with dif-ferent curators and specialists of select sections of the exhibit for one hour, but we encourage spending more self-guided time in this large exhibit. The museum is open until 9 p.m. on Friday.

7 – 10 p.m. An Evening at the Guggenheim

Pre-registered attendees only. Transportation is not provided. business attire is recommended. Enter at the Auditorium entrance on 5th Ave. off 88th St. Please arrive on time; the program will begin promptly at 7 p.m. Please note that the museum is in change-over; gallery ramps will be closed but there will be elevator access to a high floor.

6:30 p.m. Auditorium opens7 – 7:45 p.m. Presentation by Neil Levine and Wright Spirit Awards7:45 – 9:45 p.m. Dinner reception in the Rotunda

SuPPorted BY

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fridaY SePt. 15

Little House II Living Room Reconstruction at the Metropolitan Museum of Art

The Met is open until 9 p.m. on Fridays—the perfect opportunity for a visit to the reconstructed living room from the Wright-designed Francis Little House II, built in Minnesota in 1912 and demolished in 1971. The Met is located at 1000 5th Ave. (at 82nd St.)

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8:30 – 9 a.m. Tour buses load at Omni berkshire Place

bus departures will be staggered. The last bus will depart at 9 a.m. board only with your full group—there will be no saved seats. only those with full general conference registration may go on the tour.

8:35 – 8:45 a.m. Tour bus loads at The Empire

One bus will load at The Empire and depart at 8:45 a.m. to pick up more passengers at the Omni.

9 a.m. – 5 p.m. General conference tour of Usonia, Hoffman House, Rayward House

box lunch included. Tour is rain or shine. Our two-hour visit to Usonia will include walking on streets with an incline and a steep driveway with no handrail. Travel times between sites can be more than an hour.

5:30 – 8 p.m. Tour and dinner at Grace Farms

approx. 9:30 p.m. Arrival time back to hotels

SaturdaY SePt. 16

8:30 – 9 a.m. Post-conference tour bus loads at Omni berkshire Place

bus departures will be staggered. only the first bus, departing omni at 8:45 a.m. will stop at the airport.

8:50 – 9 a.m. Post-conference tour bus loads at The Empire Hotel

This bus will stop at the airport.

9 a.m. – 3 p.m. Post-conference tour to Richardson House, Christie House, James Rose Center

Pre-registered attendees only. box lunch included.

approx. 4:30 p.m. First bus stops at Newark Liberty International Airport

approx. 4:30 – 5:30 p.m. Arrival time back to hotels

SundaY SePt. 17

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Select Area Lunch Options

Café 2 and Terrace 5, MoMA (second and fifth floors)

Pret A Manger, 1350 6th Ave.

Xi’an Famous Foods, 37 W. 54th St.

The Halal Guys, 53rd and 6th St.

Foodbella, 3 E. 53st St.

Le Pain Quotidien, 7 E. 53rd St.

Fig and Olive, 10 E. 52nd St.

Mangia, 50 W. 57th St.

Dig Inn, 40 W. 55th St.

Connolly’s Pub, 43 W. 54th St.

Conference Venues

The Museum of Modern Art11 W. 53rd St. (Btwn 5th/6th)

Omni Berkshire Place21 E. 52nd St. (at Madison)

The Empire Hotel44 W. 63rd St. (at Broadway)

KPFEnter at 20 W. 43rd St. (Btwn 5th/6th)

The Cornell Club6 E. 44th St. (Btwn 6th/Madison)

Guggenheim Museum1071 5th Ave. (at 88th)

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The exhibition com-prises approximately 450 works made from the 1890s through the 1950s, including a number of works that have rarely or never been publicly exhibited.

Frank Lloyd Wright was one of the most prolific and renowned architects of the 20th century, a radical designer and intellectual who embraced new technologies and materials, pioneered do-it-yourself construction systems as well as avant-garde experimentation, and ad-vanced original theories with regards to nature, urban planning, and social politics.

Marking the 150th anniversary of the American architect’s birth on June 8, 1867, MoMA pres-ents Frank Lloyd Wright at 150: Unpacking the Archive, a major exhibition that critically engages his multifaceted practice. The exhibi-tion comprises approximately 450 works made from the 1890s through the 1950s, includ-ing architectural drawings, models, building fragments, films, television broadcasts, print media, furniture, tableware, textiles, paintings, photographs and scrapbooks, along with a number of works that have rarely or never been publicly exhibited.

Structured as an anthology rather than a comprehensive, monographic presentation of Wright’s work, the exhibition is divided into 12 sections, each of which investigates a key object or cluster of objects from the Frank Lloyd Wright Foundation Archives, interpreting and contextualizing it, and juxtaposing it with other works from the Archives, from MoMA, or from outside collections. The exhibition seeks to open up Wright’s work to critical inquiry and debate, and to introduce experts and general audiences alike to new angles and interpreta-tions of this extraordinary architect. – The Museum of Modern Art

Frank Lloyd Wright at 150: Unpacking the Archive is organized by The Museum of Mod-ern Art, New York, and Avery Architectural & Fine Arts Library, Columbia University

Frank Lloyd Wright at 150: Unpacking the ArchiveThe Museum of Modern Art • Friday, Sept. 15

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Philip Johnson lived in the Glass House from 1949 until his death in 2005. The house is best understood as a pavilion for viewing the sur-rounding landscape. Invisible from the road, it sits on a promontory overlooking a pond with views toward the woods beyond. The house is 55 feet long and 33 feet wide, with 1,815 square feet. Each of the four exterior walls is punctuated by a centrally located glass door that opens onto the landscape.

The house, which ushered the International Style into residential American architecture, is iconic because of its innovative use of materials and its seamless integration into the landscape. Since its completion in 1949, the building and decor have not strayed from their original design. As detailed in the floor plan, the placement of furniture throughout the house is precise. A rug defines the living room area, while seating around a low table anchors the space. Most of the furniture came from John-son’s New York apartment, designed in 1930 by Mies van der Rohe. Mies designed the now iconic daybed specifically for Johnson.

Johnson designed the Painting Gallery (1965) to house the collection of large-scale modern paintings that he and David Whitney collected. Works by Frank Stella, Andy Warhol, Robert Rauschenberg, David Salle, Cindy Sherman and Julian Schnabel are represented in the permanent collection. The exterior of the Paint-ing Gallery is a grass-covered mound, topped by a low parapet with a monumental stone

entrance. The parapet traces the interior plan of three circles in various diameters. In each of the circular rooms, there is a rotating “poster-rack” for displaying two paintings per spindle.

Johnson’s Sculpture Gallery (1970) comprises a series of squares set at 45-degree angles to each other. Staircases spiral down past a series of bays, which contain sculptures by Michael Heizer, Robert Rauschenberg, George Segal, John Chamber-lain, Frank Stella, Bruce Nauman, Robert Mor-ris and Andrew Lord. The building’s glass ceiling is sup-ported by tubular steel rafters that contain cold cathode lighting. – Adapted from theglasshouse.org

the glass House (Philip johnson, 1949) New Canaan, CT • Wednesday, Sept. 13 • Pre-conference tour

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architecture notes

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Kohn Pedersen Fox Associates (KPF) is a uni-fied architectural practice focused on the design of buildings of all types and scales, in all geo-graphic regions. Its projects, which span more than 40 countries, include the world’s tallest towers, longest spans, most varied programs and inventive forms.

The firm’s New York headquarters occupies three floors of the historic 11 West 42nd Street building overlooking Bryant Park and the New York Public Library. The building was designed by York & Sawyer and completed in 1927. The main offices are on the sixth floor, with model-building and support spaces on the 8th floor and a large studio and additional support space on the 18th floor. The office is set up as a flexible, democratic environment that facilitates KPF’s collaborative process. Open in plan with break-out and gathering spaces, it embodies the firm’s principles. The full length of the main

studio is a pin-up wall covered in a self-healing Forbo Cork covered in a pin-able fabric for presenting ideas and sharing solutions. The use of natural materials, daylighting sensors and harvesting, and outdoor views contribute to the office’s LEED Gold certification.

kohn Pedersen fox associatesNew York, NY • Leadership Circle Dinner

This house’s original owner and designer was John Black Lee, an architect affiliated with the Harvard Five, a group of architects that includ-ed Philip Johnson and Marcel Breuer. Lee’s axi-ally symmetrical, one-story structure features a large open space, about 30 feet square, with a central fireplace, living room and compact island kitchen. The current owners bought the property from Lee in 1990 and commissioned Toshiko Mori to renovate it. Mori made subtle but significant alterations that included raising the central roof by about 18 inches and replac-ing wood columns with stainless steel.

In 2006, a tree crashed through the roof, pro-viding the impetus for an addition containing a master bedroom, a more spacious kitchen and a formal dining area. The owners approached Tokyo-based Kengo Kuma for his first com-mission in the United States. Kuma designed a transparent, L-shaped addition supported on attenuated columns. The interior is almost en-tirely open, with stainless steel mesh screens to differentiate spaces. An 18-foot-long glass-en-closed walkway links the structures. – Adapted from Joann Gonchar, Architectural Record Thank you to Susan Leaming Pollish

john Black Lee House ii (john Black Lee, 1956; kengo kuma addition, 2010)New Canaan, CT • Wednesday, Sept. 13 • Pre-conference tour

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Solomon R. Guggenheim commissioned Wright to design an art museum in 1943, but 13 years passed before ground was broken. The design and construction of the museum required more than 700 drawings and an additional six sets of construction documents. Wright waged exhaus-tive battles with New York City officials, whose outdated building codes had no relevance to his design. The museum opened shortly after Wright’s death in 1959.

Wright’s plan provided for several spaces: the main gallery; an adjoining, smaller circular structure—the monitor building, as Wright called it—for administrative offices; and an an-nex, which was completed in a modified form in 1968 by Wright’s associate William Wesley Peters. Wright called the gradually opening, cast-concrete form a ziggurat. The design is purely sculptural, free of surface embel-lishments. The curving, streamlined exterior establishes a pattern of wall and void that corresponds to changes in level on the interior. Inside the main gallery, a quarter-mile-long, cantilevered ramp curves continuously as it rises 75-feet to the roof. A 12-sided, web-pat-terned domed skylight covers the building and floods the interior with natural light. Works of art are displayed on the ground floor and in the 74 circular bays that line the walls of the ramp. The lower-level auditorium Wright designed accommodates 300 people.

In 1989, construction began on a 10-story tow-er to provide an additional 31,000 square feet of exhibition space at the rear of the building. The expansion also added a 10,000-square-foot underground vault for administrative offices. In 1990, the museum closed for restoration, reopening in 1992 with new roofs, laminated, light-filtering glass in the skylights, a new cafe and an expanded store. The monitor building was opened as the Thannhauser Building to the public as an exhibition space. In 2008 another multiyear restoration was completed and the building was designated a National Historic Landmark. – From Wright Sites

Solomon r. guggenheim museum (Wright, 1943)New York, NY • Friday, Sept. 15 • Conservancy Benefit

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Intended as a lodge and pool house for Jack Irwin (ambassador to France) and his wife Jane Wat-son (daughter of IBM’s founder), the Pavilion was designed by Landis Gores, Philip Johnson’s associ-ate on the Glass House and one of the Harvard Five architects. It was situated near the Irwins’ more con-ventional house. Composed of glass and redwood, it draws inspiration from Wright and Mies, with enor-mous hinged glass facades and dramatic cantilevers. Inside is a floor-to-ceiling Prairie-style fireplace and horizontal redwood paneling. The Jens Risom Room, named for the Danish-American furniture designer and longtime New Canaan resident, contains original pieces by Risom. Though it was slated for demolition in 2005 when the property was sold to create a public park, the Pavilion was saved and ultimately restored and is now operated by the New Canaan Historical Society. Thank you to New Canaan Historical Society

gores Pavilion (Landis gores, 1957)New Canaan, CT • Saturday, Sept. 16

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Located on a two-plus acre lot overlooking Long Island Sound, the Hoffman House is the third design Wright proposed on this site for Manhattan Mercedes dealer Max Hoff-man. Hoffman considered Wright’s first design too large. The second was planned with a diamond-shaped module and oriented to the eastern view of the Sound. This plan still did not satisfy Hoffman and was followed by the third, built design.

The house is made up of three wings surround-ing an entrance court. To the south is a carport and caretaker’s suite. To the north is a wing added by Taliesin Associated Architects in 1972 containing a formal dining room, family room, new kitchen and servants’ quarters. To the east is the main wing of the house. This wing’s design is based on the “in-line” Usonian

plan. A large living and dining area is at the north end, with bedrooms in a straight line off a gallery to the south. The massing of the hipped-roofed living area is reminiscent of Wright’s early Prairie School work, particularly the Hillside School Assembly Room of 1902. The details are more typical of Wright’s later work, with butt-glazed corner windows in the living room, Philippine mahogany woodwork, masonry of finely laid granite and roof fascias of decoratively detailed copper. Flagstone ter-races surround the living area and step down to a lawn that stretches to the Sound on the northeast. Hoffman also commission Wright to design his auto showroom in Manhattan in 1954. This space was surreptitiously demol-ished in 2013. – John H. Waters, AIAThank you to Tom and Alice Tisch

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maximilian Hoffman House (Wright, 1955)Rye, NY • Saturday, Sept. 16

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In the mid-1940s a group of New Yorkers, all in their 20s, came together with the goal of creating a community outside of New York City. Led by David Henken, their hope was to own their own houses and raise families in an environment that was more connected to nature than the city al-lowed. In 1940 Henken attended a retrospective of Wright’s work at The Museum of Modern Art. There he saw in Broadacre City and Usonia I (Wright’s unbuilt proposal for a community in East Lansing, Michigan) concepts that affirmed his own ideas of a cooperative residential development.

By 1946 the Usonia Homes Coop-erative engaged Wright to design the masterplan for what would become a 96-acre tract. The development was to be made up of individually designed houses on sites of more than one acre. Wright’s role as con-sulting architect for the cooperative also included approving architects for houses he did not design. All houses were to be designed in accor-dance with Wright’s ideas of organic architecture. Between 1949 and 1962, 47 houses were built in the development. Thirteen of these were by David Henken. Henken’s associ-ate and fellow Usonia homeowner Aaron Resnick also designed 13 houses. Five houses were designed by Kaneji Domoto.

Wright himself designed three houses. The Friedman House was designed in 1948. Its plan is a series of interlocking circular forms, built of local stone and cast concrete. The Serlin House, designed in 1949, is an in-line Usonian house, built of stone and cypress. David Henken served as general contractor for the Serlin House. The 1951 Reisley House is still lived in by original Wright client Roland Reisley. – John H. Waters, AIA Thank you to Usonia Homes

usonia Homes – a Cooperative (1944) Pleasantville, NY • Saturday, Sept. 16

From top: The circular Sol Friedman House (Wright, 1948) and benjamin Henken House (David Henken, 1949) will be viewed from the outside during the Usonia tour.

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In October of 1950, Roland and Ronny Reisley contacted Wright, asking him to design a house for them. He accepted the commission and the Reisleys received final drawings for their new house in August 1951. Site excavation began the following month.

Based on a triangular module, the Reisley House is the last of the houses in the Usonia develop-ment to be designed by Wright. The masonry is of stone from the site and granite quarried nearby. The wood is cypress. The house’s distinctive dentilated cypress fascia was a cost-saving alternative; Wright had originally wanted the roof to be of copper with a copper fascia. Upon completion of the initial phase of construction, the Reisleys moved into the house in June 1952. The initial phase included the approximately hexagonal living/dining area, the workspace/kitchen, master bedroom and study. This phase also included the carport with its striking cantilevered roof.

By 1954 the Reisleys were in a position to add to the house. The new wing to the southeast follows the slope of the hill on which the house stands. It was completed in the spring of 1957, in time for the birth of the Reisleys’ third child. The addition contains, adjacent to the living room, a more spacious dining area. From the dining room a gallery leads to three bedrooms and a playroom. In contrast to the tinted concrete floors of the initial section of the house, the floors of the addition are of terrazzo. – John H. Waters, AIA Thank you to Roland Reisley

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roland reisley House (Wright, 1951)Usonia • Saturday, Sept. 16

Designed by David Henken for his sister and brother-in-law, Judeth and Odif Podell, this house was first occupied by the Podells in September of 1949. Judeth, a social service secretary, served on the Usonia Coop-erative’s founding board as secretary and membership chair. Odif, an industrial engineer, served as chair of the education committee.

The house that Henken designed for them contains several common attributes of Wright’s Usonian hous-es. These include the use of a 120-degree module, ex-posed concrete block for exterior and interior walls, and the reduction of the depth of the eave thickness as the eave cantilevers away from the wall below. This reduction is highlighted in a portion of the eave where the roof stops several feet short of an acute angle, but the stepped fascia boards continue, free of the roof, to close the angle’s point. The house is still in the Podell family. – John H. Waters, AIA Thank you to Tamar Podell and Cynthia Dames

odif Podell House (david Henken, 1949)Usonia • Saturday, Sept. 16

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Designed for Australia native John Rayward, this house faces east across the Noroton River. Its location is reflected in the house’s alternate name, Tirranna, an Australian aboriginal word for “running waters.” Terraces, one of which contains a semi-circular pool, step up from the river to the house. The original section of the house focuses on a hemicycle overlooking the river. This hemicycle contains the main communal spaces of the original house: its living and dining areas, as well as the kitchen and master bedroom (now a study). A wing to the north of the hemicycle contains a carport and the wing angled to the southwest contains three bedrooms. In 1957 Wright also designed a playhouse for the Raywards’ daughters (now an outdoor seating area) to the northeast.

The Rayward House has grown considerably over time. The first additions to the house were designed in 1958. At the end of the original bedroom wing an additional wing of bedrooms was added. This wing terminates with a master suite topped with an observatory. To the north of the original carport a curved pergola con-nects the house to servant and guest space, a greenhouse, and additional carport space. In 1965-68 a significant addition was designed by John deKoven Hill and William Wesley Peters of Taliesin Associated Architects. This addition includes a family room that connects the earlier living room with the master bedroom wing, creating an enclosed courtyard overlooked by the dining room, an enlarged kitchen, the new family room and the bedroom wings. A four-year restoration was completed in 1996 by the late owners, Ted and Vada Stanley. The house is currently on the market and seeking a new owner. – John H. Waters, AIAThank you to the owners and to Doug Milne and Amy Hornyak of Houlihan Lawrence

john rayward House, tirranna (Wright, 1955)New Canaan, CT • Saturday, Sept. 16

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Grace Farms Foundation, a nonprofit that sup-ports initiatives in the areas of nature, arts, jus-tice, community and faith, selected the Tokyo-based firm SANAA to design a new community center on its bucolic 80-acre property shortly before principals Kazuyo Sejima and Ryue Nishizawa won the Pritzker Prize for Architec-ture in 2010. Known as the River because of the way it meanders through the rolling terrain, the building seamlessly integrates into the natural setting. The River begins on a knoll and flows down the long, gentle slope in a series of bends, forming pond-like spaces on its journey (a 43-foot change in grade).

Structurally, the building of glass, concrete, steel and wood is in essence a single long roof that seems to float 10 to 14 feet above the ground. The walkways, courtyards and glass-wrapped volumes that form beneath the roof are remarkably transparent and invite people to engage with expansive natural surroundings.

SANAA’s goal was to make the architecture of the River become part of the landscape without drawing attention to itself, or even feeling like a building. Under the continuous roof are five

transparent glass-enclosed volumes that can host a variety of activities and events, while maintaining a constant sense of the surround-ing natural environment. In sequence, they are the Sanctuary, a 700-person indoor amphithe-ater; the Library; the Commons, a community space with communal tables built from trees harvested on-site; the Pavilion, a reception space where visitors can enjoy a cup of tea or listen to intimate musical performances; and the Court, a partially below-grade gymnasium and recreation space.

Since its completion in 2015, the project has won more than a dozen design awards, includ-ing the 2017 AIA National Architecture Honor Award and the Mies Crown Hall Americas Prize. Thank you to Grace Farms Foundation

grace farms (Sanaa, 2015)New Canaan, CT • Saturday, Sept. 16 • Presentation, tour and dinner

“Our goal with the River is to make the architecture become part of the landscape.”–SANAA principal Kazuyo Sejima

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Stuart Richardson started out studying architec-ture but was forced by the Depression to take a job in insurance. In 1941 he and his wife Elisa-beth commissioned Wright to design a house. By the fall of that year they were ready to start construction, but the United States’ entry into World War II put an end to that idea. The Rich-ardsons sold the lot for which Wright’s design was created, and in 1948 they bought the Glen Ridge lot where the house was built.

The Richardsons and daughters Edith and Mar-got moved into the house in 1951, living there until 1972. The house was bought by Edith Payne and her late husband John in 1996. The Paynes undertook an extensive restoration with Tarantino Studio as architects. The current owners purchased the house in 2016.

The design of the house is based on a hexago-nal module, but its major forms are triangular. This is particularly noticeable in the living room at the southwestern apex of the house. This room is bound by triangular masonry masses at its three corners, eliminating acute angles. The southwestern mass is the fireplace, the eastern mass holds storage and the mass on the northwest contains utilities. The workspace and dining area wrap around the northeastern mass, helping to break down the boundary be-tween the triangular living room and the rest of the house. To the northeast, past the entry hall, are three bedrooms and a study. The bedroom wing is terminated by a fireplace in the master bedroom. – John H. Waters, AIAThank you to Pamela Inbasekaran and Daniel Maurer

Stuart richardson House (Wright, 1941)Glen Ridge, NJ • Sunday, Sept. 17 • Post-conference tour

Dubbed the ‘James Dean of landscape architecture,’ James Rose (1913-1991) was one of the most radical figures in the history of mid-century landscape design. A landscape architect who was as skilled with words as he was with plants and Fiberglas, Rose incisively critiqued the patterns of post-war suburban land use, while creating alternative designs for integrated houses and gardens that incorporated a conservation ethic

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james rose Center (james rose, 1953)Ridgewood, NJ • Sunday, Sept. 17 Post-conference tour

Set in a densely wooded area, the basic plan of the Christie House has similarities to early L-shaped Usonians such as the first Jacobs House and the Pope-Leighey House, but is larger and more elaborate in overall form. On the west side of the house the carport penetrates the exterior angle of the L form. At the inner, east end of the carport is the glazed entry loggia. The highly transparent loggia looks into both the carport and the interior, more private angle of the L. This interior angle is oriented toward a clearing that slopes down from the house. This view is to the northeast, giving the fully glazed wall of the living room an unusual northern exposure. Light also enters the living room through south-facing casement windows and a clerestory. The house’s orientation gives the kitchen and dining area direct south light.

These south windows are shaded by deep, overhanging eaves.

The entry loggia connects the main living wing to the bedroom wing to the north. The gallery leading to the bedrooms has a glazed, east-facing wall facing the interior angle of the house, with the bedrooms facing the exterior of the L. This is another unusual feature of the plan, unlike other L-shaped Usonians, where the bedrooms typically face inward. As origi-nally built, the bedroom wing was approxi-mately two-thirds of its intended length, with smaller bedrooms combined into one larger master bedroom. The wing was enlarged to its intended length in 1994 by TarantinoStudio. – John H. Waters, AIAThank you to Garrett Rittenberg

james Christie House (Wright, 1940)Bernardsville, NJ • Sunday, Sept. 17 • Post-conference tour

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into a modern design aesthetic. Inspired by ki-netic and constructivist modern sculpture, Rose called his house-and-garden fusions, “Space Sculptures with Shelters.” Along with Garrett Eckbo and Dan Kiley, Rose helped usher the profession of landscape architecture into the modern era in the 1930s. In a short three-year span following his 1937 expulsion from Har-vard University, Rose published 19 articles that established a modern model for the profession and explored the nature of landscape design in the modern era. After the war he produced four innovative books. Rose created landscapes (often including houses) mostly throughout the eastern United States, but his most famous work was his own home in Ridgewood, New Jersey—now the James Rose Center for Landscape Architectural

Research and Design—a living demonstration of his approach to domestic design as the cho-reography of continuous indoor-outdoor spatial experience and a never-ending process of change and development. – Dean Cardasis, from James Rose (Masters of Modern Landscape Design Series)

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Raffle and Online Auction Online AuctionInstead of the silent auction typically set up during the conference, the Conser-vancy’s annual fundraiser is an online auction open to all members. Auction items range from artwork and collectibles to dinners and overnight stays in Wright-designed houses. Just follow the steps to create an account at charityauction.bid/FLWBCauction2017 then click ‘catalog’ to view items. Bidding closes Saturday, Sept. 16, 9 p.m. EST.

Raffle TicketsRaffle tickets will be sold on the conference tour for $100 each. Multiple prizes valued at more than $2,600 will be drawn at the end of the tour day at Grace Farms.

Introduced in 1991, the Wright Spirit Award recognizes efforts of extraordinary individuals and organizations who have preserved the legacy of Frank Lloyd Wright. This year’s recipients will be recognized in the Professional category for their roles in bringing the Frank Lloyd Wright Archive to New York. Awards will be presented Friday, Sept. 15, at the Guggenheim.

bARRy bERGDOLLMeyer Schapiro Professor of Art History and Archaeology, Columbia University; Curator, Department of Architecture

and Design, MoMA

CAROLE ANN FAbIANDirector, Avery Architectural

and Fine Arts Library, Columbia University

JANET PARkSCurator of Drawings and

Archives, Avery Architectural and Fine Arts Library (Retired)

Wright Spirit awards

Raffle prizes include a two-night stay in the Lockhart Cottage at Taliesin West, with meals served in the Fellowship Dining Room and a behind-the-scenes tour (exp. Oct. 31, 2018); dinner for four at the Rebhuhn House on Long Island (Oct. – May, 2018); and general registration for one with one night hotel for the Conservancy’s 2018 conference in Madison (Oct. 10-14).

2018 events Out and About Wrightmay 4 – 6des moines, iowaThe Lamberson House in Oskaloosa will be featured on our annual spring tour.

annual Conference oct. 10 – 14monona terracemadison, Wisconsin

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The Great Living Creative SpiritWright ' s legacy in japan . NoV. ii–

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F R A N K L L O Y D W R I G H T B U I L D I N G C O N S E R VA N C Y 53 W. Jackson blvd. Suite 1120 | Chicago, IL 60604 | savewright.org