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The billiards and playroom open into a small passage, and doors near the center of the building to an enclosed garden on the south side of the building. Another door from the playroom opens into the courtyard on the east end of the site. On the second floor are the entry hall at the top of the central stairway, the living room (west end) and the dining room (east end). Built-in inglenook bench cabinetry originally separated the entry hallway from the living room. The west end of the living room contains a "prow" with art glass windows and two art glass doors that open onto the west porch beneath the cantilevered roof.
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Also reconstructed was the original inglenook surrounding the living room fireplace, as well as cabinetry in the dining room and children’s playroom. The following year, an extensive restoration plan was announced by the Trust, and a massive fundraising campaign was kicked off that would raise millions of dollars to fund the complete restoration of the home and property. SAH Archipedia tells the story of the United States through its buildings, landscapes, and cities. This freely available resource empowers the public with authoritative knowledge that deepens their understanding and appreciation of the built environment. At the time Robie House was commissioned in 1908, the lots surrounding the house's site were mostly vacant except for the lots immediately to the north on Woodlawn Avenue, which were filled with large homes.
Remixing residential space
Wright punctured the chimney above the central fireplace that defines the living and dining areas so that the room reads as a continuous space, ringed on all sides by stained-glass windows and doors. These display geometric patterns, a riot of dynamic angles and sharp polygons of colour that are abstractions of various plant forms. A guest room, the kitchen, and servants’ quarters are situated to the north of the living and dining area.
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The base gracefully steps down as it extends out from the home and blends with the surrounding landscape. The walls are capped with a concrete coping that clearly defines the edge. Integrated into the base walls are a series of planters and pots that allow vegetation to spill over the edges and soften the hard lines of the brick and concrete.
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As is seen in many of Wright's project, the entrance of the house is not clearly distinguishable at first glance due to the fact that Wright believed the procession towards the house should involve a journey. Wright also expressed the importance of the hearth in a home with a fireplace that separated the living and dining room that is open to the ceiling above the mantelpiece for the billiard room and playroom. In 1958, developer William Zeckendorf purchased the property and donated it to the University of Chicago, which used it as offices and offered tours on occasion. In 1997, the University turned the property over to the National Trust for Historic Preservation and the Frank Lloyd Wright Home and Studio Foundation (now the Frank Lloyd Wright Preservation Trust), to manage the house as a historic site. The house has since undergone meticulous restoration by Harboe Architects as part of an ongoing preservation campaign.
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American houses being built at the time were taking cues from European styles such as Gothic Revival, French Empire, and Italianate. But Wright found these decorative styles unsuited to the flat and broad prairie landscapes of America's Midwest. The Wilber family was the last family to live in the home, as it was then sold to the Chicago Theological Seminary. They converted it into dormitories and a dining hall for the students and owned it for more than 30 years. There were several attempts made by the seminary to demolish it and build new dormitories, but the public and Wright himself pushed back against these plans. The city of Chicago formed a new Commission on Chicago Landmarks because of the controversy and declared Robie House a Chicago Landmark on September 15, 1971.
Timeline
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These decks could not be built in wood, in fact, they are held by two hidden steel beams that extend the length of the main block. A game room and billiard room make up this level, separated by a fireplace. In both spaces, Wright chose to showcase the system of structural beams in the ceiling, to give a greater sense of altitude to the rooms. Robie house is located on a corner lot in the neighborhood of Hyde Park, near the University of Chicago. He wanted a house free of enclosed spaces in the form of “blocks” for fire protection and without the decorative elements, such as curtains or rugs, etc.
The entry to the car court and garage is on 58th street, catty-corner from the primary entry. Typically, when designing homes, we keep a comfortable proximity between the driveway and the home's entry. This way, if guests come over, they can park in the driveway and still enter the home through the house's entry. Wright intended guests to park on the street and not to enter the car court.
Best-selling children's author Blue Balliett discusses the communicative elements of architecture in Frank Lloyd Wright's Robie House. The Robie family only lived in the house for 14 months before unrelated financial problems forced them to sell it. Wright Plus proceeds support the restoration, preservation and education programs of the Frank Lloyd Wright Trust.
He was an entrepreneur and an inventor, and, as the owner of bicycle and automobile companies, he required—among other oddities—a three-car garage, which was exceedingly rare in 1910. The site of the house, near the University of Chicago (from which Robie’s wife had graduated), comprised the equivalent of three city lots, the elongated shape of which allowed Wright to create an attenuated horizontal composition. Ludwig Mies van der Rohe, among other great 20th Century architects, claimed Wright was a major influence on their careers. Mies van der Rohe later visited the Robie House and Wright's home (Taliesin) in Spring Green, Wisconsin. I was fortunate to travel to the Louvre in 2012 and spent multiple days at the museum.
In 1991, the house was recognized by the American Institute of Architects as one of the ten most significant structures of the twentieth century. Today the Robie House stands as an important part of America’s cultural heritage, a powerful declaration of Wright’s uncompromising vision for a new American architecture. Completed in 1910, the house Wright designed for Frederick C. Robie is the consummate expression of his Prairie style. The house is conceived as an integral whole—site and structure, interior and exterior, furniture, ornament and architecture, each element is connected. Unrelentingly horizontal in its elevation and a dynamic configuration of sliding planes in its plan, the Robie House is the most innovative and forward thinking of all Wright’s Prairie houses.
As a result of financial problems incurred by both the death of his father and the deterioration of his marriage, Robie was forced to sell the house after merely fourteen months. Robie’s financial troubles may explain why the plan to furnish the entire house with Wright-designed furniture was never completed. Wall-mounted brass light sconces, suspended glass globe lights, and semi-concealed lay lights combine original and recreated light fixtures, affording a luminous mixture of incandescent and natural light. Newly on display are several pieces of original furniture, including the house’s dining table and chairs, on loan from the Smart Museum of Art at the University of Chicago, on whose campus the Robie House is located.
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