Exhibition at MoMA examines Frank Lloyd Wright's thinking about the growing American city
The First Art Newspaper on the Net    Established in 1996 Tuesday, September 23, 2025


Exhibition at MoMA examines Frank Lloyd Wright's thinking about the growing American city
Frank Lloyd Wright. H. C. Price Company Tower, Bartlesville, Oklahoma, 1952–56. Apprentices working on the model in the Taliesin drafting room. Spring Green, Wisconsin, c. 1952. Gelatin silver print on paper, 7 3/4 x 9 1/2” (19.7 x 24.1 cm). The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York).



NEW YORK, NY.- The Museum of Modern Art presents Frank Lloyd Wright and the City: Density vs. Dispersal, which celebrates the recent joint acquisition of Frank Lloyd Wright’s extensive archive by MoMA and Columbia University’s Avery Architectural and Fine Arts Library, on view from February 1 to June 1, 2014. Frank Lloyd Wright (1867–1959)—perhaps the most influential American architect of the 20th century—was deeply ambivalent about cities. For decades, Wright was seen as the prophet of America’s post–World War II suburban sprawl, yet the dispersed cities that he envisaged were also carefully planned—quite distinct from the disorganized landscapes that often developed instead. Paradoxically, Wright was also a lifelong prophet of the race for height that has played out around the world. Through an initial selection of drawings, films, and large-scale architectural models, the exhibition examines the tension in Wright’s thinking about the growing American city from the 1920s to the 1950s, when he worked simultaneously on radical new forms for the skyscraper and on a comprehensive plan for the urbanization of the American landscape titled ―Broadacre City.‖ The exhibition is organized by Barry Bergdoll, Acting Chief Curator of Architecture and Design, MoMA, and Carole Ann Fabian, Director, Avery Architectural and Fine Arts Library, with Janet Parks, Curator of Drawings & Archives, Avery Architectural and Fine Arts Library, and Phoebe Springstubb, Curatorial Assistant, Department of Architecture and Design, MoMA.

On view is Wright’s 1934–35 manifesto project, for what he called ―Broadacre City,‖ which embodied his quest for a city of private houses set in nature and spread across the countryside. He believed that advances in technology had rendered obsolete the dense cities created by industry and immigration in the late 19th and early 20th centuries. Distributed along a rectilinear grid, these one-acre homesteads were to be combined with small-scale manufacturing, community centers, and local farming, and interspersed with parklands to form a carpet-like pattern of urbanization. Visitors encounter the spectacular 12-foot-by-12-foot model of this plan, which merges one of the earliest schemes for a highway flyover with an expansive, agrarian domain. Promoted and updated throughout Wright’s life, the model toured the country for several years in the 1930s, beginning with a display at New York City’s Rockefeller Center. It is juxtaposed with the monumental models and drawings produced of his skyscraper visions: the six-foot tall model of his 1913 San Francisco Call Building; the model of his only built residential tower, the Price Tower, in Bartlesville, Oklahoma of 1952–56; and the eight-foot drawings of the Mile High tower project.

This dispersed vision is paired with Wright's innovative structural experiments for building the vertical city, which engaged questions of urban density and sought to bring light and landscape settings to tall buildings. His ambitions grew from a 24-story design for the offices of the San Francisco Call newspaper (1913) to the 548-story, mile-high tower he envisioned in Chicago (1956)—a building large enough to house the entire population of Broadacre City. Wright’s proposal for the San Francisco Call Building celebrates verticality: repeated piers emphasize the height, drawing the eye up to a startlingly cantilevered cornice pierced with slots that frame the sky and allow daylight to wash the facades for dramatic effect. His design for the National Life Insurance Company Building (1924–5) features a tower clad entirely in glass, setting aside the load-bearing frame of the Call Building to experiment with the curtain wall and other new building technologies. The project reveals Wright as a key participant in international debates on the possibility of cladding a tall building with a transparent glass facade, rather than cladding it in ornamental masonry for decorative effect.

An unregulated building boom in the 1920s in New York and Chicago resulted in an unprecedented urban density that Wright described as ―congestion.‖ In response, he devised the Skyscraper Regulation—a set of design rules governing the lateral and vertical growth of American cities. By regulating the location and height of tall buildings, Wright sought to optimize light and views and to minimize the effects of closely spaced tall buildings that were turning urban streets into shadowy canyons. Wright’s Skyscraper Regulation was his last attempt to address the inherited city. He would turn instead to devising a set of regulations for an entirely new and dispersed urban fabric (Broadacre City), in which the unit of the city block was exchanged for the farmed acre.

In 1927, Wright’s design for the financially troubled Church of St. Mark’s-in-the-Bowery dramatically transformed the building by having the floors project outward from a single central core plunged deep into the ground. The concrete floors tapered toward the periphery, which he compared to the structural concept of the ―taproot‖ of a tree. This ―taproot‖ structure was finally tested in built form in the S.C. Johnson & Son Research Laboratory Tower (1943–50) in Racine, Wisconsin. In 1956, Wright unveiled a 26-foot-tall rendering of a gleaming, vertiginously tapered skyscraper—which he said would house 100,000 employees of the state of Illinois. The mile-high tower adopts the ―taproot‖ structure he had articulated 30 years before, in which a skyscraper’s vertical ascent is stabilized by a foundation plunged deep into the ground. Both a polemic and a rationalized proposal for the future of tall buildings, the Mile High marks the definitive return of Wright’s tower to the city. The Mile High embodies Wright’s paradoxical attitude toward the American city: meant to condense the experience of urban life and work within a single telescoping form, freeing the ground for the realization of Broadacre, holding in tension two idealized images of the city—its extraordinary vertical reach and its extreme horizontal extension.










Today's News

February 2, 2014

First-ever large-scale presentation of Marcel Wanders’ work opens at Stedelijk Museum

Exhibition of romantic landscapes from Britain and Germany opens at The Courtauld Gallery

Exhibition at MoMA examines Frank Lloyd Wright's thinking about the growing American city

"Francisco de Zurbarán: Master of Spain's Golden Age" opens at Bozar in Brussels

The Norton presents a major exhibition on Andy Warhol's first superstar, "Baby" Jane Holzer

Sotheby's reveals the world of one of the great collectors of our time: Stanley J. Seeger

"The Color of Life: Japanese Paintings from the Price Collection" opens at LACMA

National Portrait Gallery announces £3,200,000 raised so far to save Sir Anthony Van Dyck self-portrait

Fashion and Textile Museum announces important survey of textiles as a popular art form

25 Parisian galleries create a new event that confirms the place of Paris as capital of tribal arts

Berlin-based Scottish artist Susan Philipsz opens installation at Hamburger Bahnhof

Italian police find John Paul II relic discarded by thieves who stole it from a small church in Italy

Brancolini Grimaldi's Director Camilla Grimaldi will carry on the gallery's activity as sole director and owner

Bonhams U.S. 2013 world records demonstrate strength across markets

Colored glass rarities hit & surpass their marks at Jeffrey S. Evans & Associates Glass Auction

State Museum announces acquisition of 21 new artworks from Native American artists in New York

Wellin Museum explores shifting borders of fine art and documentary photography in portraiture

Frohawk Two Feathers' second solo exhibition with Morgan Lehman opens in New York

Michael Snow's first exhibition in the United States in over four decades opens in Philadelphia

Van Abbemuseum announces temporary presentation of Honoré de Balzac statue

Brown's Hotel launches Saturday Mayfair art tours

'Missing women' loom over India's art fair




Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 




Founder:
Ignacio Villarreal
(1941 - 2019)


Editor: Ofelia Zurbia Betancourt

Art Director: Juan José Sepúlveda Ramírez

Royalville Communications, Inc
produces:

ignaciovillarreal.org facundocabral-elfinal.org
Founder's Site. Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful