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  • The Pope-Leighey House is a striking example of Frank Lloyd Wright's work.

  • A cypress and brick masterpiece so connected to nature

  • it includes a kitchen window made for reaching out and picking herbs.

  • One of the highlights of this home is its unusual windows.

  • These features are a striking sign

  • of the way Frank Lloyd Wright rethought the relationship

  • between homes and natural light.

  • If you walk through the galley from the entry to the bedroom

  • you'll find light hung like pictures on the wall.

  • The most distinctive windows in this house, the perforated windows

  • are called clerestory windows at the top, an old technique Wright embraced.

  • They bring natural light into the room from ceiling height

  • preserving privacy and lighting the room more broadly.

  • The subtle effect echoes that of the recessed lighting he favored.

  • These perforations were designs Wright made as an evolution of his stained glass windows

  • like these ones in a 1921 house Wright built.

  • Each type of house like the Pope-Leighey house received their own unique design.

  • Later, he simplified even more with glass set into concrete blocks.

  • I could not believe that I found this model.

  • Like, I was just there earlier this week

  • and then when I programmed in the exact date and time

  • that I shot the specific clip, at the house

  • your model matched the light perfectly.

  • John Luttropp's painstakingly designed 3D model of the Pope Leighey House

  • lets anyone play around with light.

  • Then you can render a more realistic version that is super accurate.

  • If I shot the clip at 4:42, 4:29, the light was off, but if I put in 4:42

  • It was exactly correct.

  • I mean, did you know that would happen?

  • No, I had no idea that it was that accurate.

  • What I usually do is, I try to find at least the floor plan and the floor elevations

  • and then I'll dig around for photos too to get the details in.

  • So, for the design of those perforated windows

  • were you able to just look at pictures and then in sketch up

  • kind of carve out the proper pattern?

  • Yes, I found a very good drawing of it online that was to scale

  • and that I used as my basis for it.

  • These clerestory windows were combined with other perforated windows of the same design

  • like these in the child's bedroom.

  • And large, wall-sized windows that let in tons of light throughout the day.

  • But all this would have been just a design touch

  • if it weren't at the center of a broader attempt to make light part of the house.

  • I didn't think I was going to like the house as much as I did.

  • I thought, well, it doesn't look like it's a very big house, which it isn't.

  • But it also didn't look like it had very good layout

  • from what I could tell from just looking at floor plans

  • and a few bad photographs that were out there at the time.

  • But being in the house...

  • was such a different experience.

  • That entryway and then walk down into the living room.

  • The tiny but really functional kitchen; the office off to the side.

  • And the fireplace.

  • Wright always builds a fireplace to be this special thing

  • this place where people can gather around and in that house it really felt that way.

  • This house is what Wright called a “Usonian”, his model for a new American house.

  • As an architect, Wright was famous for legendary large projects from the Roble House...

  • to Tokyo's imperial hotel...

  • to the Johnson Wax headquarters.

  • After earlier experiments in affordable housing.

  • By the 1930s, he was seriously seeking to bring his principles to more people.

  • As he later wrote inThe Natural Househe believed in

  • “a building as dignified as a tree in the midst of nature.”

  • The Herbert Jacobs House in Madison, Wisconsin

  • is considered Wright's first Usonian

  • and a Time magazine article about Wright and that Jacobs House

  • inspired a DC area journalist to beg Wright to build him a Usonian too.

  • The Pope-Leighey house features many Wright trademarks

  • that help the distinctive windows

  • light the house

  • in God's waythe natural way

  • as nearly as possible in the daytime and at night as nearly like the day.”

  • One is clearing obstructions.

  • A relatively open floor plan lets light travel.

  • See how the living room and dining area connect?

  • Radiant floor heating means no radiators took up space or obstructing light.

  • Wright hated attics for a similar reason

  • so he recommended peopleget rid of the atticand, if they didn't

  • they use a “clerestory or lantern

  • Instead of a garage, this house features an open air carport as well.

  • Shade, via trellises, offered occupants flexibility.

  • And perhaps most importantly, the unadorned walls

  • no paint, no plaster, no curtains unless by special request

  • put the pattern of light at the center of the adornment for the house.

  • This was a stark break from a lot of design of the time

  • where relatively small windows were covered, walls were plastered, and floors were carpeted.

  • House Beautiful magazine put together demonstration homes in the plaza hotel.

  • They represented the prevailing aesthetic:

  • closed floor plan, carpet, lots of curtains, visible light fixtures

  • basically anything that blocked light.

  • Though the Usonian challenged trends.

  • It didn't become ubiquitous.

  • But the design meant light was as important a material as brick and wood.

  • Levittowns are some of the most famous suburban mass developments in the United States.

  • They were, in some ways, the antithesis of Wright's dream

  • of organic interaction between a house and nature.

  • But developers William and Alfred Levitt's open floor plan design

  • was inspired by Wright's approach.

  • TheThe Levittownerin particular, copied natural light design elements like carports

  • window walls, and even high windows.

  • But Wright's massive influence doesn't capture the scope of his philosophy.

  • He hoped that architects would prioritize

  • theproper orientation of the houseto make windows work well with the light.

  • How did you figure out the orientation?

  • The floor plan I had had the North arrow on it.

  • You know, that's always helpful.

  • The Pope Leighey house was actually moved to its current location in Alexandria, Virginia.

  • It was designed to face South, before being built facing North West

  • and then reoriented slightly during moves at Woodlawn.

  • The light creates a different house not only at different times of year.

  • But in different locations.

  • Frank Lloyd Wright didn't just consider the placement of the windows

  • but also the position of the stars.

The Pope-Leighey House is a striking example of Frank Lloyd Wright's work.

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Why Frank Lloyd Wright’s windows look like this

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    林宜悉 に公開 2022 年 05 月 03 日
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