Frank Lloyd Wright's Chinese Voyages: Travels, Studies, Collections in the Pursuit of Organic Architecture

Abstract

This study primarily investigates the Chinese voyages of the renowned architect Frank Lloyd Wright (1867-1959) in his quest for organic architecture. While extensive research has been conducted on Wright's influence from Japan, his connections with China have been largely overlooked in scholarly discourse. It is notably underrecognized among Wright scholars that Wright visited China in 1918, marking the beginning of a new chapter in his engagement with Chinese philosophy, art, and culture over the subsequent four decades of his career. This scholarly gap underscores the significant contribution of this research to the field of Wright studies. This dissertation will examine three principal aspects of Wright's influences from China, reflecting three distinct phases of his engagement with Chinese culture: his travels to China in 1918, his study of Chinese philosophy, particularly through the works of Dr. Ku Hung Ming (1857-1928) and his book The Spirit of the Chinese People (1915), and his collection and integration of Chinese artworks into his architectural designs. Through archival research and a detailed examination of his 1943 autobiography, we will initially reconstruct the historical facts surrounding Wright's six-week journey to China in 1918. This investigation will include an analysis of the details and motivations behind this remarkable trip, drawing upon the limited historical evidence available. Building upon this foundation, we will assess the significance of Wright's immersive experience in China for his design philosophy, serving as an empirical basis for the subsequent analysis. During his 1918 travels in China, Wright notably became acquainted with Dr. Ku Hung Ming, a distinguished Chinese scholar, and his theory concerning the Chinese spirit. Our research will then examine the significance of Ku's theory for Wright and explore its potential theoretical connections to Wright's design philosophy, considering that Wright frequently referenced Ku on multiple occasions. Lastly, our study will focus on the specific strategies employed by Wright to integrate the Chinese artworks he collected into his architectural designs, potentially influenced by his experiences in China and his interactions with Dr. Ku. To facilitate our analysis, we will examine three iconic examples from both Taliesin Wisconsin and Taliesin West, where the majority of Wright's Chinese artworks were stored and displayed. These examples include the Bodhisattva statues, glazed tiles, and 'Foo Dogs' sculptures at Taliesin Wisconsin, as well as the "Studio Buddha," Han-style jars, and Shiwan friezes at Taliesin West. The analysis will be supported by data collected from on-site field studies. By comparing the integration of Chinese artworks between the two Taliesins, we aim to uncover the increasing significance of these Chinese artworks to Wright, reflecting his deepening understanding of Chinese art and culture from Taliesin Wisconsin to Taliesin West.