Латентність протодеконструктивізму в проєктному контенті Френка Ллойда Райта

Abstract

Аналізуючи творчість найбільш впливових зодчих середини ХХ ст., серед яких американський архітектор Френк Ллойд Райт, можна заявити про наявність в той час ідей, що були згодом оформлені та прописані трендовими архітекторами деконструктивістами в 90-ті та на початку 2000 рр. В середині ХХ ст. Ф. Райт продовжував розвивати принципи органічності в архітектурі, доповнюючи їх естетикою авангарду. Співставлення графічної та об’ємно-просторової морфології споруд, прийомів і засобів виразності контенту майстра архітектури ХХ ст. Френка Ллойда Райта за крайній період його творчості із патерном трендових деконструктивістів спонукає до висновків про присутність в його авторській філософії естетики протодеконструктивізму.

Analyzing the work of the most influential architects of the middle of the 20th century, including the American architect Frank Lloyd Wright, it is possible to declare the presence of ideas at that time, which were later designed and prescribed by trendy deconstructivist architects in the nineties and early 2000s. In the middle of the 20th century, F. Wright continued to develop the principles of organicity in architecture, supplementing them with avant-garde aesthetics. Comparison of the graphic and three-dimensional morphology of buildings, methods and means of expression of the content of the master of architecture of the 20th century Frank Lloyd Wright during the extreme period of his work with the pattern of trendy deconstructivists leads to conclusions about the presence of the aesthetics of proto-deconstructivism in his author’s philosophy. In his seventies, Wright experiments with the forms and graphic language of bricolage, which naturally transform into his philosophy of organic architecture. The objects proposed to be attributed to the period of proto-deconstructivism were created by Wright over a period of almost twenty years between 1937 and 1959. By its inner essence, the graphoplastic language of the projects was sharply avant-garde, so it was not always understandable for contemporaries. Architectural historian, critic and publicist Rainer Behnem, in the introductory article to his book “A View of Modern Architecture: The Age of Masters”, which was published during the postmodern era of the 80s, states the following “... in the last five years of his career, Wright created the meanest projects an old man could create” (Banham, 1975). Apologists of 20th century modernism Mies van der Rohe, Walter Gropius, Le Corbusier and Frank Wright, about whom Rainer Behnem wrote, felt in advance the stylistic flow that formed together with the avantgarde current and was defined by postmodern deconstructivism. When analyzing Wright’s projects from the point of view of the presence in them of the aesthetics of proto-deconstructivism, similarities with recognized characteristic patterns of architecture of this style are revealed. Wright’s author’s philosophy about the naturalness, that is, the organicity of architecture, was proto-deconstructivist and was formed in parallel with global metaphysical trends.