Frank Lloyd Wright, Hollyhock House, and Olive Hill, 1914-1924

1979 ◽  
Vol 38 (1) ◽  
pp. 15-33
Author(s):  
Kathryn Smith
Keyword(s):  
Los Angeles ◽  
Motion Picture ◽  
Master Plan ◽  
Frank Lloyd Wright ◽  
Apartment Building ◽  
Block System ◽  
Hollyhock House ◽  
Textile Block

The decade 1914-1924 was crucial in the career of Frank Lloyd Wright. He was at work on two major projects, the Imperial Hotel in Tokyo and the Barnsdall commission for Olive Hill in Los Angeles. The Imperial Hotel, although vast and impressive in its grandeur as a finished building supervised closely by Wright, is not as revealing as the Barnsdall commission of the process of transition that these years represent. During the decade Aline Barnsdall called upon Wright to design for her 45 buildings, of which 2 were major theaters (one for Chicago, one for Olive Hill); 2 were her own residences (one for Olive Hill, one for Beverly Hills); 16 were stores; 21 were houses; 1 was an apartment building; 1 an entrance pavilion; 1 a motion picture theater; and 1 a playhouse-kindergarten. In addition, he designed a master plan for her property that included the majority of these buildings and anticipated his later theories of planning as developed in Broadacre City. These buildings span the range of Wright's designs from the late Prairie House to the fully worked out textile block system for concrete.

Introduction

2018 ◽  
Author(s):  
Steven Cohan
Keyword(s):  
Los Angeles ◽  
Motion Picture ◽  
Motion Picture Industry ◽  
Theoretical Argument ◽  
Historical Overview ◽  
Silent Era

The introduction provides the theoretical argument of the book. It explains why the backstudio picture is not a cycle but a genre in its own right, and how the genre depicts Hollywood as a geographic place in Los Angeles, as an industry, and as a symbol. It goes on to show how the backstudio picture has historically served to brand the motion picture industry as “Hollywood,” working in much the same way as consumer brands do today. Additionally, the introduction provides a historical overview of the genre, focusing on its four major cycles of production, from the silent era to the present day. Finally, it briefly describes the content of the seven chapters.

scholarly journals PATHWAYS TO RESILIENCE: TRANSFORMING TRAUMA THROUGH THE POWER OF NETWORKS

2019 ◽  
Vol 3 (Supplement_1) ◽  
pp. S804-S804
Author(s):  
Connie Corley ◽  
Maureen Feldman ◽  
Scott Kaiser
Keyword(s):  
Older Adults ◽  
At Risk ◽  
Los Angeles ◽  
Motion Picture ◽  
Holocaust Survivors ◽  
Age Groups ◽  
Coalition Building ◽  
Gang Members ◽  
Vulnerable Children ◽  
Residential Settings

Abstract Resilience has been examined in various age groups, initially focused on vulnerable children and more recently in enhancement of resilience in various age groups and in response to trauma. Based on studies of resilience in Holocaust survivors and intergenerational engagement to promote resilience in former gang members and isolated older adults, Corley’s 3E model of Experience, Expression and Engagement is discussed in terms of multiple studies and the implications for forming and strengthening networks in communities at risk. This includes initiating creative coalition-building endeavors to address loneliness in residential settings for older adults evolving from a project funded to the Motion Picture and Television Fund in Los Angeles from the AARP Foundation.

A Model House and a House's Model: Reexamining Frank Lloyd Wright's House on the Mesa Project

2005 ◽  
Vol 64 (4) ◽  
pp. 522-551
Author(s):  
Robert Wojtowicz
Keyword(s):  
University Of Pennsylvania ◽  
General Context ◽  
Special Importance ◽  
Frank Lloyd Wright ◽  
Machine Age ◽  
Photographic Evidence ◽  
Technical Innovations ◽  
Textile Block ◽  
Lewis Mumford ◽  
The University

This article examines Frank Lloyd Wright's House on the Mesa project, which, despite its familiarity to most historians of twentieth-century architecture, has never been thoroughly studied within the general context of Wright's expansive oeuvre and the specific circumstances of the Museum of Modern Art's 1932 Modern Architecture: International Exhibition. Numerous drawings for the project survive in the Frank Lloyd Wright Archives at Taliesin West, although only photographic evidence survives of the original model. Scattered references to the project appear in Wright's writings, most notably his correspondence with wealthy Denver businessman George Cranmer, whose family served as a kind of inspirational muse for the architect. Of special importance is a letter from Wright to critic Lewis Mumford recently discovered in the Lewis Mumford Papers at the University of Pennsylvania. Handwritten on the back of a photograph of the project's model, Wright's letter sheds new light on some of the project's technical innovations, which included textile-block walls, cantilevered roofs, and stepped casements. Less a response to the International Style, as is commonly held, the project was Wright's model of individualized, machine-age luxury for a merit-based democracy.

City of Los Angeles Water Quality Compliance Master Plan for Urban Runoff

2008 ◽  
Vol 2008 (10) ◽  
pp. 5683-5701
Author(s):  
R. Iranpour ◽  
H.H.J. Cox ◽  
K. Weston ◽  
N. Emami ◽  
H. Dekermenjian ◽  
...  
Keyword(s):  
Water Quality ◽  
Los Angeles ◽  
Urban Runoff ◽  
Master Plan

Hollywood Studios

2014 ◽  
Author(s):  
Peter Lev
Keyword(s):  
Los Angeles ◽  
Motion Picture ◽  
Film Industry ◽  
The United States ◽  
Entertainment Industry ◽  
Natural Light ◽  
Gradual Change ◽  
American Film ◽  
Early 21St Century ◽  
American Film Industry

“Studio” and “Hollywood” are interestingly complex terms. “Studio” originally meant a room with abundant natural light. The first motion picture studios were large, glass-walled rooms designed for filming with natural light. The term “studio” expanded to refer to a motion picture production facility, and then it expanded again to mean a company that made motion pictures. By the late 1920s the best-known American studios were large, vertically integrated corporations that produced, distributed, and exhibited films: Paramount, MGM, Fox, Warner Bros., and RKO. Columbia, Universal, and United Artists were also considered major studios, though they owned few or no theaters, and there were smaller B-movie companies such as Monogram and Republic. “Hollywood” refers to a neighborhood north and west of downtown Los Angeles where a number of movie companies settled when they left the East Coast for California in the 1910s. This term has expanded in meaning as well; it now means all film production in the Los Angeles area, and even by synecdoche the entire American film industry. From about 1920 to 1950, film was the dominant entertainment industry in the United States, and the eight major studios firmly controlled this medium. The studios’ top executives, sometimes called “moguls” to emphasize their power, supervised thousands of employees and decided what films were made, how they were made, and how they were released. This is often called the “studio period,” or the “classic period,” or the “golden age of Hollywood.” After 1950 there was a gradual change to independent production as directors, producers, stars, and agents took over the creative aspects of filmmaking, with the studios mainly responsible for financing and distribution. Eventually, the Hollywood film studios expanded to other fields such as television, cable, music, home video, theme parks, and Internet, and they were bought or merged with larger corporations. The giant media conglomerates of the early 21st century (Disney, Time Warner, News Corp., Viacom, Comcast, and Sony) resemble the studios of old in their domination of the entertainment industry. This article will concentrate on the studio period, especially the economic and institutional histories of the eight major studios. However, since almost all of these companies still exist, and they are still called studios, some entries will discuss what happened to the American film industry and to the individual companies since the 1950s.

Ports of Long Beach / Los Angeles Transportation Master Plan

Ports '01 ◽  
2001 ◽  
Author(s):  
Kerry Cartwright ◽  
Larry Cottrill ◽  
Gary Hamrick ◽  
Larry Nye ◽  
Michael Leue
Keyword(s):  
Los Angeles ◽  
Master Plan ◽  
Long Beach

Seamless Continuity versus the Nature of Materials

2012 ◽  
Vol 71 (1) ◽  
pp. 78-108
Author(s):  
Joseph M. Siry
Keyword(s):  
New York ◽  
Los Angeles ◽  
Kansas City ◽  
Steel Frame ◽  
Frank Lloyd Wright ◽  
Guggenheim Museum ◽  
Modernist Architecture ◽  
Richard Neutra ◽  
Community Church ◽  
Aesthetic Ideal

Gunite, or concrete shot through a hose, helped to shape twentieth-century modernist architecture, yet its history is largely unwritten. In 1927–29 Richard Neutra pioneered the architectural use of Gunite in the Lovell House in Los Angeles. Frank Lloyd Wright praised Neutra's house, and he later used Gunite with a light steel frame in his Community Church in Kansas City, Missouri (1939–42). In Wright's next public commission, the Solomon R. Guggenheim Museum (1943–59) in New York City, he proposed that the great spiral gallery be wholly of Gunite set on a pre-stressed steel frame, in order to achieve his ideal of plasticity and continuity; the material was used to form the Guggenheim's exterior walls as built. In Seamless Continuity versus the Nature of Materials: Gunite and Frank Lloyd Wright's Guggenheim Museum, Joseph M. Siry narrates the manner in which the design of the Guggenheim's wood formwork, its joints, and the choice of its exterior coating challenged Wright and his collaborators to achieve a form for the spiral that was consistent with his aesthetic ideal.

Port of Los Angeles Port-wide Transportation Master Plan

Ports 2007 ◽  
2007 ◽  
Author(s):  
Sue Lai ◽  
Dina Aryan-Zahlan ◽  
Michael Leue
Keyword(s):  
Los Angeles ◽  
Master Plan ◽  
Port Of Los Angeles
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