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With the Hollyhock and the Imperial Hotel, Wright introduced decorative motifs in concrete and stone, patterned off of ancient Mayan ruins. The carved concrete became part of the structure of the house, not just decoration. On the inside, we get Wright’s masterful intertwining of space, light and material. The narrow entryway opens into an expansive living room, with high ceilings and natural light flowing in from a band of wood-framed doors.
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Upstairs is the master bedroom, a terrace, and a balcony that overlooks the living room and double space for viewing the outdoor terrace. On the ground floor under the living room, dining room, open to the terrace by the pool, the kitchen and the room service is situated, as well as storage spaces. The openings on the top floor are minimal for the intense heat of California not overheat the interior.
Frank Lloyd Wright’s La Miniatura, The Millard House
All of Wright’s concrete homes have required some level of restoration. Set on a hilly site, one entered the Millard House from the second floor into a grand two-floor living space. Below were the kitchen and servant's bedroom, as well as a ground level terrace that opened off of the dining room.
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Zander took to restoring the property with the help of architects Marmol Radziner. The home is in fact part of his "collection" of architectural masterpieces, which includes the Schaffer Residence designed by Frank Lloyd Wright protege John Lautner, and the 1906 Arts & Crafts-style Duncan-Irwin House designed by Greene & Greene. Unsurprisingly, Zander was struck by Wright's beautiful design and knew that he had to own it, even with the costs that would come with restoring the home to its ideal state. "They just ruin you for anything else. Once you experience how intelligently designed they are, how much integrity they have, you can't live any other way." While beautiful, the blocks have proven to be far from sturdy and reliable over the years. All of Wright's concrete homes have required some level of restoration.
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After his trip to Japan he returned with renewed motivation to improve the system of concrete blocks. Its aim was to unite the architecture of its material and method of construction. Millard House, also known as La Miniatura, is one of the four textile block houses designed by Frank Lloyd Wright.
Alice and George Millard House
The three-dimensional texture of the block breaks the monotony of the flat walls and added a play of light and shadows in exterior walls and interior walls. Corner block designed for Alice Millard House had in outstanding and well-defined edges origin have been lost because of wear caused by exposure to the elements. The color and texture of the concrete resembling rocky canyon landscape where the house sits. With the choice of this material Wright wants to melt the building with its surroundings. Each textile block is formed by casting concrete in a wooden mold, which provides the relief pattern of the face side on one side and a smooth appearance on the inside wall. The Millard House is a two-story structure with a flat roof and walls of concrete blocks.
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Last year’s celebration of his 150th birthday suggests the architect is perhaps more popular today than he was during his lifetime—an era when he was arguably the world’s most famous architect. The facade on Prospect Crescent has an appearance of vertical lines shadow reminiscent of the books of Mr. Millard, husband of the client of the project. The entrance is somewhat delayed and is configured based on Mayan-inspired lines. When you approach the house seems almost as if he had just discovered a Mayan building in the woods. From the entrance is the door of the house which is reached by a road. Regarding the Lower Street, which has more traffic, the house is camouflaged behind large eucalyptus.
The variety and texture added beauty to the otherwise inexpensive, mass-produced elements. Lloyd Wright, the construction supervisor on the main house, created a detached studio at Millard's request two years later. It provided a place to display her antiques as well as another bedroom, kitchen and dining room -- bringing the property's living space to 4,200 square feet.
Steel rods cast inside the joints of the blocks themselves and the whole brought into some broad, practical scheme of general treatment, why would it not be fit for a new phase of our modern architecture? The exterior features a symmetrical pattern of a large, central cross with small squares in the corners; interior surfaces are smooth. Some of the blocks are solid, some perforated, in order to allow light to filter through the massive walls.
A concrete wall can extend indefinitely, without joints, frames or other structural punctuation. The answer was to use concrete blocks, which could be treated as a repeating element. The entrance is located on the middle floor of the house, which is the principal. In this lies the guest bedroom and the living room, double height, which includes the central fireplace and a large balcony.
The home represents Wright’s first foray into modular building, and his efforts to break away from the “prairie house” architectural style that had become synonymous with his name. He turned to concrete as his new building material in 1906 when Alice Millard commissioned him to construct her second home on a lush green site located in Pasadena. Wright challenged himself to only create something beautiful from what he called “the cheapest (and ugliest) thing in the building world”, and to develop a new low-cost flexible building system with the same material.
While the design was a departure from Wright’s Prairie House architecture for which he had become known, it was consistent with his lifelong love of natural materials and belief that buildings should complement their surroundings. Wright was commissioned to build Millard House by Alice Millard, a rare-book dealer for whom Wright had built a home in Highland Park, Illinois in 1906. Seeking to integrate the Millard House with the land, Wright designed the home to cling to the lot's steep ravine, nestled it among the trees, and fabricated the home's concrete blocks using sand, gravel and minerals found on the property.
In 1969, Millard House was ranked as one of the 12 most significant landmarks in the Los Angeles area by a panel of ten distinguished citizens and architecture experts. The San Francisco area is also home to eight of them, including two of his most important works. You'll also find several houses, a church, and a medical clinic in some of the most unexpected places. Given Wright's tendency to resist others' inputs, we can only imagine the discussions that preceded including of an ornate fire screen, wooden doors and 18th-century Delft tiles in the bathrooms. The house is most often called the Millard House, but it also has the name La Miniatura.
The home represents Wright's first foray into modular building, and his efforts to break away from the "prairie house" architectural style that had become synonymous with his name. 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. Circulation in the house revolves around a central chimney, with the main entry at the middle level of three, and all three bedrooms in the main house stacked to face Prospect Crescent.
This time around the home is selling for a mere $4.5 million dollars. The work that's gone into the home has surely lent to the hefty price tag, and as they say "location, location, location" — La Miniatura is sited in the heart of Pasadena within a lush, green and quiet residential block overlooking the Arroyo Secco Park. The home is also in good architectural company, located just a few blocks from Greene and Greene's famed Gamble House, as well as a few of the brothers' other homes. If you're in the market for some serious real estate, we think this is a good bet.
Steel joined this inner mold boards and block it becomes much wider, in a practical scheme of the overall treatment. It would be cheaper… steel enter the inertial mass as a strong tensor. … He had used the box somewhat like texture on the upper walls of Midway Gardens. If you could eliminate the mortar would make the whole mechanical structure. I thought I could and started “The Miniature” – Frank Lloyd Wright.
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