Take a 360° Virtual Tour of Taliesin, Frank Lloyd Wright’s Personal Home & Studio

360 tour taliesin2

You can learn a lot about an archi­tect from look­ing at the build­ings they designed, and you can learn even more by look­ing at the build­ings they lived in, but you can learn the most of all from Frank Lloyd Wright’s Tal­iesin. For that best-known of all Amer­i­can archi­tects, this house stands still today not just as his home but as one of his notable works, and as the stu­dio in which he designed oth­er notable works (includ­ing Falling­wa­ter). Wright’s enthu­si­asts make pil­grim­ages out to Spring Green, Wis­con­sin to pay their respects to this sin­gu­lar house on a hill, which offers tours from May through Octo­ber.

For those less inclined toward archi­tec­tur­al pil­grim­ages, we have this HD 360-degree “vir­tu­al vis­it” of Tal­iesin (also known as Tal­iesin East since 1937, when Wright built a Tal­iesin West in Scotts­dale, Ari­zona). “The cen­ter of Frank Lloyd Wright’s world was Tal­iesin East,” write the online tour’s devel­op­ers. “It was his home, work­shop, archi­tec­tur­al lab­o­ra­to­ry and inspi­ra­tion for near­ly all his life.” In the com­fort of your web brows­er, you can “expe­ri­ence what he saw dai­ly, sur­round­ed by Asian art, expan­sive views of Wisconsin’s rolling hills, his own court­yard gar­dens and a space to relax before a fire watched over by a por­trait of his moth­er.”

You can also get a view of “the actu­al draft­ing tables where Wright designed his most famous build­ings” and the draw­ings on them, all while “staff his­to­ri­an Keiran Mur­phy shares the his­to­ry, the per­son­al sto­ries and points out spe­cial objects in the room” (if you choose to keep the “tour guide” option turned on). And Tal­iesin cer­tain­ly does­n’t lack his­to­ry, either per­son­al or archi­tec­tur­al. Wright built its first iter­a­tion in 1911, and it last­ed until a para­noid ser­vant burnt it down in 1941, axe-mur­der­ing sev­en peo­ple there (includ­ing Wright’s live-in ladyfriend and her chil­dren) in the process. Wright, who’d been away at the time of the tragedy, recov­ered from the shock of it all, then set to work on Tal­iesin II, though he did­n’t real­ly live in it until after he returned from his work on Toky­o’s Impe­r­i­al Hotel in 1922.

Three years lat­er, anoth­er fire (this time prob­a­bly due to an elec­tri­cal prob­lem) bad­ly dam­aged the house again, neces­si­tat­ing the design of a Tal­iesin III, which he could begin only after dig­ging him­self out of a finan­cial hole in 1928. It is more or less that Tal­iesin that you can see today, whether you vis­it in per­son or through the inter­net. If you feel suf­fi­cient­ly inspired as a result, you could even apply to study at the Frank Lloyd Wright School of Archi­tec­ture locat­ed there. While the house won’t like­ly turn you into an archi­tec­tur­al genius just by osmo­sis, at least you can rest assured that it has prob­a­bly put its most dra­mat­ic dis­as­ters behind it.

Relat­ed Con­tent:

Frank Lloyd Wright Reflects on Cre­ativ­i­ty, Nature and Reli­gion in Rare 1957 Audio

The Mod­ernist Gas Sta­tions of Frank Lloyd Wright and Mies van der Rohe

Frank Lloyd Wright’s Falling­wa­ter Ani­mat­ed

Col­in Mar­shall writes on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Watch Stewart Brand’s 6‑Part Series How Buildings Learn, With Music by Brian Eno

Stew­art Brand came onto the cul­tur­al scene dur­ing the 1960s, help­ing to stage the Acid Tests made famous by Ken Kesey and the Mer­ry Pranksters, and lat­er launch­ing the influ­en­tial Whole Earth Cat­a­log (some­thing Steve Jobs described as “Google in paper­back form, 35 years before Google came along”). He also vig­or­ous­ly cam­paigned in 1966 to have NASA release a pho­to­graph show­ing the entire­ty of Earth from space — some­thing we take for grant­ed now, but fired human­i­ty’s imag­i­na­tion back then.

Dur­ing the 1970s and beyond, Brand found­ed CoEvo­lu­tion Quar­ter­ly, a suc­ces­sor to the Whole Earth Cat­a­log; The WELL (“Whole Earth ‘Lec­tron­ic Link”), “a pro­to­typ­i­cal, wide-rang­ing online com­mu­ni­ty for intel­li­gent, informed par­tic­i­pants the world over;” and even­tu­al­ly The Long Now Foun­da­tion, whose work we’ve high­light­ed here before. When not cre­at­ing new insti­tu­tions, he has poured his cre­ative ener­gies into books and films.

Above you can watch How Build­ings Learn, Brand’s six-part BBC TV series from 1997, which comes com­plete with music by Bri­an Eno. Based on his illus­trat­ed book shar­ing the same titlethe TV series offers a cri­tique of mod­ernist approach­es to archi­tec­ture (think Buck­min­ster Fuller, Frank Gehry, and Le Cor­busier) and instead argues for “an organ­ic kind of build­ing, based on four walls, which is easy to change and expand and grow as the ide­al form of build­ing.”

Brand made the series avail­able on his Youtube chan­nel, with these words: “Any­body is wel­come to use any­thing from this series in any way they like… Hack away. Do cred­it the BBC, who put con­sid­er­able time and tal­ent into the project.” And he added the note­wor­thy foot­note: “this was one of the first tele­vi­sion pro­duc­tions made entire­ly in dig­i­tal— shot dig­i­tal, edit­ed dig­i­tal.”

Find the first three parts above, and the remain­ing parts below:

You can find How Build­ings Learn added to our list of Free Doc­u­men­taries, a sub­set of our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

Relat­ed Con­tent:

The His­to­ry of West­ern Archi­tec­ture: From Ancient Greece to Roco­co (A Free Online Course)

The Acid Test Reels: Ken Kesey & The Grate­ful Dead’s Sound­track for the 1960s Famous LSD Par­ties

Ken Kesey’s First LSD Trip Ani­mat­ed

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Hōshi: A Short Film on the 1300-Year-Old Hotel Run by the Same Japanese Family for 46 Generations

Hōshi is a ryokan (a Japan­ese tra­di­tion­al inn) locat­ed in Komat­su, Japan, and it holds the dis­tinc­tion of being the 2nd old­est hotel in the world, and “the old­est still run­ning fam­i­ly busi­ness in the world” (per Wikipedia). Built in 718 AD, the ryokan has been oper­at­ed by the same fam­i­ly for 46 con­sec­u­tive gen­er­a­tions. Count them. 46 gen­er­a­tions.

Japan is a coun­try with deep tra­di­tions. And when you’re born into a fam­i­ly that’s the care­tak­er of a 1300-year-old insti­tu­tion, you find your­self strug­gling with issues most of us can’t imag­ine. That’s par­tic­u­lar­ly true when you’re the daugh­ter of the Hōshi fam­i­ly, a mod­ern woman who wants to break free from tra­di­tion. And yet his­to­ry and strong fam­i­ly expec­ta­tions keep call­ing her back.

The sto­ry of Hōshi ryokan is poignant­ly told in a short doc­u­men­tary above. It was shot in 2014 by the Ger­man film­mak­er Fritz Schu­mann.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

285 Free Doc­u­men­taries Online

Ear­ly Japan­ese Ani­ma­tions: The Ori­gins of Ani­me (1917–1931)

Hand-Col­ored Pho­tographs of 19th Cen­tu­ry Japan

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Watch a Timelapse Video Showing the Creation of New York City’s Skyline: 1500 to Present

Next month, when you step into one of the “five spe­cial ele­va­tors ser­vic­ing the obser­va­to­ry atop the new 1 World Trade Cen­ter,” you will get a pret­ty great view. Though it’s not the view you might ini­tial­ly imag­ine. The New York Times describes what you’ll see:

From the moment the doors close until they reopen 47 sec­onds lat­er on the 102nd floor, a seem­ing­ly three-dimen­sion­al time-lapse panora­ma will unfold on three walls of the ele­va­tor cabs, as if one were wit­ness­ing 515 years of his­to­ry unfold­ing at the tip of Man­hat­tan Island.

For less than four sec­onds, [the Twin Tow­ers dev­as­tat­ed on 9/11] will loom into view on one wall of the cab. Then, in a quick dis­solve, they will evanesce.

The time­lapse ani­ma­tion, shown in a small­er for­mat above, was designed by the Het­tema Group in Pasade­na, CA, and Blur Stu­dio of Cul­ver City, CA. Hope you enjoy the ear­ly pre­view.

h/t Robin

via NYTimes

Fol­low us on Face­book, Twit­ter, Google Plus and LinkedIn and  share intel­li­gent media with your friends. Or bet­ter yet, sign up for our dai­ly email and get a dai­ly dose of Open Cul­ture in your inbox.

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Watch Björk’s 6 Favorite TED Talks, From the Mushroom Death Suit to the Virtual Choir

Björk_-_Hurricane_Festival

Image by Zach Klein

Singer-song­writer Björk, cur­rent­ly enjoy­ing a career ret­ro­spec­tive at the Muse­um of Mod­ern Art, cel­e­brat­ed TED’s bil­lionth video view with a playlist of six trea­sured TED Talks. What do her choic­es say about her?

In this talk, artist Jae Rhim Lee mod­els her Mush­room Death Suit, a kicky lit­tle snug­gy designed to decom­pose and reme­di­ate tox­ins from corpses before they leech back into the soil or sky. Despite Björk’s fond­ness for out­ré fash­ion, I’m pret­ty sure this choice goes beyond the mere­ly sar­to­r­i­al.

For more infor­ma­tion, or to get in line for a mush­room suit of your own, see the Infin­i­ty Bur­ial Project.

Con­tin­u­ing with the mush­room / fash­ion theme, Björk next turns to design­er Suzanne Lee, who demon­strates how she grows sus­tain­able tex­tiles from kom­bucha mush­rooms. The result­ing mate­r­i­al may var­i­ous­ly resem­ble paper or flex­i­ble veg­etable leather. It is extreme­ly recep­tive to nat­ur­al dyes, but not water repel­lent, so bring a non-kom­bucha-based change of clothes in case you get caught in the rain.

For more infor­ma­tion on Lee’s home­grown, super green fab­ric, vis­it Bio­Cou­ture.

Björk’s clear­ly got a soft spot for things that grow: mush­rooms, mush­room-based fab­ric, and now…building mate­ri­als? Pro­fes­sor of Exper­i­men­tal Archi­tec­ture Rachel Arm­strong’s plan for self-regen­er­at­ing build­ings involves pro­to­cols, or “lit­tle fat­ty bags” that behave like liv­ing things despite an absence of DNA. I’m still not sure how it works, but as long as the lit­tle fat­ty bags are not added to my own ever-grow­ing edi­fice, I’m down.

For more infor­ma­tion on what Dr. Arm­strong refers to as bot­tom up con­struc­tion (includ­ing a scheme to keep Venice from sink­ing) see Black Sky Think­ing.

Björk’s next choice takes a turn for the seri­ous… with games. Game Design­er Bren­da Romero began explor­ing the heavy duty emo­tion­al pos­si­bil­i­ties of the medi­um when her 9‑year-old daugh­ter returned from school with a less than nuanced under­stand­ing of the Mid­dle Pas­sage. The suc­cess of that exper­i­ment inspired her to cre­ate games that spur play­ers to engage on a deep­er lev­el with thorny his­tor­i­cal sub­jects. (The Trail of Tears required 50,000 indi­vid­ual red­dish-brown pieces).

Learn more about Romero’s ana­log games at The Mechan­ic is the Mes­sage.

Remem­ber those 50,000 indi­vid­ual pieces? As pho­tog­ra­ph­er Aaron Huey doc­u­ment­ed life on Pine Ridge Reser­va­tion, he was hum­bled by hear­ing him­self referred to as “wasichu,” a Lako­ta word that can be trans­lat­ed as “non-Indi­an.” Huey decid­ed not to shy away from its more point­ed trans­la­tion: “the one who takes the best meat for him­self.” His TED Talk is an impas­sioned his­to­ry les­son that begins in 1824 with the cre­ation of the Bureau of Indi­an Affairs and ends in an activist chal­lenge.

Proof that Björk is not entire­ly about the quirk.

See Huey’s pho­tos from the Nation­al Geo­graph­ic cov­er sto­ry, “In the Spir­it of Crazy Horse.”

Björk opts to close things on a musi­cal note with excerpts from com­pos­er Eric Whitacre’s “Lux Aurumque” and “Sleep” per­formed by a crowd­sourced vir­tu­al choir. Its members—they swell to 1999 for “Sleep”—record their parts alone at home, then upload them to be mixed into some­thing son­i­cal­ly and spir­i­tu­al­ly greater than the sum of its parts.

Lis­ten to “Sleep” in its entire­ty here.

Relat­ed Con­tent:

Hear the Album Björk Record­ed as an 11-Year-Old: Fea­tures Cov­er Art Pro­vid­ed By Her Mom (1977)

A Young Björk Decon­structs (Phys­i­cal­ly & The­o­ret­i­cal­ly) a Tele­vi­sion in a Delight­ful Retro Video

Björk and Sir David Atten­bor­ough Team Up in a New Doc­u­men­tary About Music and Tech­nol­o­gy

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

The Modernist Gas Stations of Frank Lloyd Wright and Mies van der Rohe

1024px-LindholmServiceStation

Just a few miles from where I live on Los Ange­les’ Olympic Boule­vard stands the Helios House, which, the name notwith­stand­ing, is a gas sta­tion — and quite a strik­ing one. Made of stain­less steel tri­an­gles, it looks like a piece of very ear­ly com­put­er-gen­er­at­ed imagery brought into the mod­ern phys­i­cal world. The Helios House intro­duced me to the con­cept of the archi­tec­tural­ly for­ward gas sta­tion, but, built in 2007, it actu­al­ly came late to the game: wit­ness, for instance, Frank Lloyd Wright’s 1956 R.W. Lind­holm Ser­vice Sta­tion in Clo­quet, Min­neso­ta (above and below).

LloydWrightGasStation,Cloquet

“In the ear­ly 1930s, Wright began devel­op­ing con­cepts for Broad­acre City, a city spread out to the point where it would be ‘every­where and nowhere,’” we wrote when we first post­ed about the build­ing in 2011.

“The design for the Lind­holm gas sta­tion came direct­ly from this con­cep­tu­al project.” Alas, writes The Atlantic’s Daniel From­son, Wright’s ambi­tious design did­n’t catch on: “Cer­tain ele­ments, such as gas pumps hang­ing from an over­head canopy—intended to boost effi­cien­cy and save space—were pro­hib­it­ed by Clo­quet fire bylaws (although, coin­ci­den­tal­ly, hang­ing pumps even­tu­al­ly became pop­u­lar in Japan). The unortho­dox sta­tion was also esti­mat­ed by one trade pub­li­ca­tion to have cost two to three times as much as a stan­dard design.”

gas_station_nuns_island_v210212_sm7

But Wright does­n’t stand alone among the mod­ernist mas­ters in hav­ing done gas-sta­tion work. Lud­wig Mies van der Rohe, anoth­er archi­tect with a pen­chant for reimag­in­ing the ele­ments of the city, put his hand (or at least those of some­one in his office ) to the task in 1969, com­ing up with the char­ac­ter­is­ti­cal­ly stripped-down Nuns’ Island gas sta­tion in the mid­dle of Mon­tre­al’s Saint Lawrence Riv­er. Unlike the Lind­holm Ser­vice Sta­tion, it no longer per­forms its intend­ed func­tion, but it does have a repur­posed future as a com­mu­ni­ty cen­ter. His oth­er gas sta­tion, put up at the cam­pus of the Illi­nois Insti­tute of Tech­nol­o­gy where he head­ed the depart­ment of archi­tec­ture, has­n’t sur­vived at all.

Nuns Island

But Oob­ject includes it in their list of the top fif­teen mod­ernist gas sta­tions, which fea­tures build­ings by Nor­man Fos­ter and Arne Jacob­sen and should make fine fur­ther read­ing if you’ve enjoyed this post. See also Fla­vor­wire’s list of the world’s most beau­ti­ful gas sta­tions, which names not only Wright and Mies van der Rohe’s work, but the Helios House, a few pieces of swoop­ing mid­cen­tu­ry glo­ry in Los Ange­les and Scan­di­navia, and a “Teapot Dome Ser­vice Sta­tion” shaped like exact­ly that. If you’re going to pay today’s gas prices, after all, you might as well fill up under an aes­thet­i­cal­ly notable struc­ture.

Relat­ed Con­tent:

Frank Lloyd Wright Reflects on Cre­ativ­i­ty, Nature and Reli­gion in Rare 1957 Audio

The His­to­ry of West­ern Archi­tec­ture: From Ancient Greece to Roco­co (A Free Online Course)

Frank Lloyd Wright’s Falling­wa­ter Ani­mat­ed

Col­in Mar­shall writes on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, and the video series The City in Cin­e­maFol­low him on Twit­ter at @colinmarshall or on Face­book.

Watch an Animated Buckminster Fuller Tell Studs Terkel All About “the Geodesic Life”

Will human­i­ty ever pro­duce anoth­er mind quite like Buck­min­ster Fuller’s? It does­n’t seem to have done so thus far. Even in Fuller’s own time, peo­ple could­n’t quite believe the intel­lec­tu­al idio­syn­crasy of the inven­tor who came up with the geo­des­ic dome, the Dymax­ion Car, and much, much more. “Time and again,” he once said, “I am asked, ‘who else do you know who thinks the way you do, or does what you do?’ I find it very strange to have to answer, ‘I don’t know any­body else.’ It’s not because I think of myself as unique, but sim­ply because I did choose a very dif­fer­ent grand strat­e­gy.”

Fuller — or Bucky, his pre­ferred nick­name — says more about that grand strat­e­gy and the expe­ri­ences that led him to devel­op it in the inter­views, con­duct­ed by Studs Terkel in 1965 and 1970, from which that quote comes. You can hear it in the video above, which brings the mate­r­i­al to life by visu­al­iz­ing the ele­ments of Fuller’s life and ideas through the hand of ani­ma­tor Jen­nifer Yoo. The video recent­ly debuted as part of The Exper­i­menters, a three-episode series meant to ani­mate the words of thinkers like Fuller, Jane Goodall, and Richard Feyn­man, con­cen­trat­ing on “the inspi­ra­tions from each of their per­son­al lives that helped influ­ence their careers and earth-chang­ing dis­cov­er­ies.”

Fuller enthu­si­asts have always insist­ed that his ideas have only grown more rel­e­vant with time, but now that the ear­ly 21st cen­tu­ry has found us rethink­ing the way we live — how we do it and how we make spaces to do it in being per­haps Fuller’s most abid­ing obses­sion — his engage­ment with the con­cept of “con­tin­u­al­ly doing more with less” real­ly does sound smarter than ever. If you enjoy the patch of Buck­y’s uni­verse The Exper­i­menters expos­es, con­sid­er chas­ing these four min­utes of “Buck­min­ster Fuller on the Geo­des­ic Life” with 42 hours of his video lec­ture series Every­thing I Know. The man did­n’t just think dif­fer­ent­ly from the rest of us, after all — he also thought a lot more.

Relat­ed Con­tent:

Bet­ter Liv­ing Through Buck­min­ster Fuller’s Utopi­an Designs: Revis­it the Dymax­ion Car, House, and Map

Every­thing I Know: 42 Hours of Buck­min­ster Fuller’s Vision­ary Lec­tures Free Online (1975)

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture as well as the video series The City in Cin­e­ma and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

On the Importance of the Creative Brief: Frank Gehry, Maira Kalman & Others Explain its Essential Role

Every project starts with a brief. 

From the layman’s per­spec­tive, the project above starts with a bit of self-mythol­o­giz­ing.

Bas­sett & Part­ners, the “award-win­ning, dis­rup­tive brand and design strat­e­gy firm” and mak­er of the video above, seems not to sub­scribe to TED-Ed’s prac­tice of edu­cat­ing view­ers from the get-go.

A cou­ple of min­utes in, I hit pause in order to do a lit­tle research on the word “brief.”

I’m famil­iar with male under­pants (though tech­ni­cal­ly those are plur­al, even if the gar­ment is sin­gu­lar).

I have the aver­age movie­go­ers han­dle on the mean­ing of legal briefs.

And now I know what the not­ed archi­tects, illus­tra­tor, design­er, and ad execs are talk­ing about above! If only they’d referred to it as an ele­va­tor pitch, I’d have been on board from the start. Of course, why would they? Only those of us who want to sound all Hol­ly­wood call it that.

What­ev­er you call it, it’s a con­cise state­ment that gets right to the heart of what you—or your project—are about. No his­to­ry. No cam­paign plans or cita­tions. Just a whole lot of pas­sion and truth tight­ly packed into a small ves­sel.

Archi­tect David Rock­well defines a brief as a short-form com­mu­ni­ca­tion tool from a client.

Art Direc­tor John Jay says its pur­pose is to inspire the cre­atives…

…with­out (as per ad exec John Boil­er) dic­tat­ing cre­ative terms. Of all the inter­vie­wees, the truck­er hat­ted Boil­er exudes the schmoozi­est, most off-putting Hol­ly­wood vibe. I’d rather do lunch with Frank Gehry. Does this make me guilty of com­par­ing apples to oranges, when direc­tor (and “dis­rup­tive brand and design” strate­gist) Tom Bas­sett lev­eled the play­ing field by giv­ing them equal time?

Per­haps if Boil­er had hum­bled him­self by shar­ing an expe­ri­ence as heart­break­ing as Gehry’s ill-fat­ed Eisen­how­er Memo­r­i­al. (Skip ahead to the 16:16 mark if you want to hear how out­side opin­ion can pound con­text, research, poet­ry, and many months of thought­ful work to a heap of rub­ble.)

I love Maira Kalman, but remain unclear as to whether she’s field­ing or sub­mit­ting briefs. If the lat­ter, how do those dif­fer from book pro­pos­als?

What if the emo­tion, cre­ativ­i­ty, and enthu­si­as­tic research that went into Nike’s 1996 Olympics ads result­ed in an equal­ly fierce cam­paign to end hunger in a coun­try with no Olympic teams?

What if the clien­t’s prob­lem was can­cer? Could the brief demand a cure? That sounds sim­ple.

Let us acknowl­edge that most grand scale visions require a fleet of under­lings to come to fruition. I won­der what plumbers and elec­tri­cians would make of see­ing their con­tri­bu­tions described in such poet­ic terms.  Nev­er under­es­ti­mate the pow­er of a sound­track.

Relat­ed Con­tent:

David Byrne: How Archi­tec­ture Helped Music Evolve

Bauhaus, Mod­ernism & Oth­er Design Move­ments Explained by New Ani­mat­ed Video Series

Ayun Hal­l­i­day is an author, home­school­er, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

 

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