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| Frank Lloyd Wright poster © Roy R. Behrens (2017) |
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In the Iowa City Press-Citizen (Iowa City IA), on April 21, 1932 (p. 8), there was an entry in Charles B. Driscoll's column "The World and All," in which he reported on a recent experience in New York with American architect Frank Lloyd Wright. Here's an excerpt—
Recently I attended a delightful party in honor of Frank Lloyd Wright at the studio of Barry Faulkner in East Seventy-Second Street. I found the guest of honor one of the most distinguished gentlemen I have met in moons.
Barry Faulkner's studio? Really. Those who know about the origins of the WWI American Army Camouflage will recognize that name. Faulkner, from New Hampshire, was Abbott H. Thayer's cousin. In collaboration with his friend, Iowa-born sculptor Sherry Edmundson Fry, he co-founded the American Camouflage Corps, comprised of civilian artists and architects.
Driscoll continues—
To Mr. Wright, I ventured to put this question: "Why do your building designs so persistently emphasize the horizontal line?"
I had observed in pictures of the buildings designed by Wright the long roofline, the veranda or porch paralleling the roofline, and other efforts to squelch the vertical.
"Because," he replied, "the horizontal is the restful line, the line of repose and domesticity. It is what we need in this country."
"Then you must not think well of our New York architecture, with its emphasis on the vertical?" I asked.
"Is there architecture in New York?" replied the distinguished guest.
And I went hunting for another sandwich.
