FRANK LLOYD WRIGHT
The Fallingwater and Taliesin Color Palettes
Mill Run, Pennsylvania
Wright chose this light ocher color for the concrete walls because it is reminiscent of the sere (or dying)
leaves of the rhododendron surrounding Fallingwater.
EXTERIOR WALLSCovered Wagon
This palette features colors used at Frank Lloyd Wrights iconic Fallingwater and the colors of nature surrounding Fallingwater. They have been authenticated by the Western Pennsylvania Conservancy and drawn exclusively from the Voice of Color Collection.
Red Gumball233-7/PPG1187-7 (F4)
Lions Mane216-5/PPG1207-5 (F13)
Lava Gray554-6/PPG1038-6 (D29)
Covered Wagon319-5/PPG16-18 (SL18)
Cherokee RedATC-5/PPG13-02 (PT2)
Mountain Forest308-7/PPG1130-7 (B23)
Dusty Trail414-4/PPG1097-4 (D13)
Chocolate Truffl e523-7/PPG15-13 (DE13)
Color #ATC-5 I PPG13-02Frank Lloyd Wrights personal favorite color. It is perhaps the most famous color at Fallingwater, and was used to coat all of the homes metal and ironwork. Wright is said to have limited his use of Cherokee Red at Fallingwater to metal accents because steel and iron are products of iron ore created through fi re.
Color #319-5 I PPG16-18This light ocher represents the color on the concrete walls inside and outside Fallingwater. Wright chose this color because it is reminiscent of the sere (or dying) leaves of the rhododendron, which are in great abundance at the Fallingwater site.
Color #554-6 I PPG1038-6This lava gray trim coat is featured on the screens covering the windows at Fallingwater.
Color #216-5 I PPG1207-5Evident throughout Fallingwater, in the kitchenon the cabinets and countertopsand accent pillows on the cantilevered couches in the living room. This golden hue was chosen to accentuate the natural colors invading the house from the surrounding wilderness.
Color #512-7 I PPG1027-7This color was chosen to replicate the moss-covered tree trunks resulting from the majestic setting above Bear Run at Fallingwater.
Color #s 515-4 I PPG14-29, 516-3 I PPG14-22 and 525-5 I PPG1073-5Many of the interior walls, fl oors and structural elements at Fallingwater are built from rocks quarried near its isolated Western Pennsylvania site. These three colors represent the multi-colored stone seen throughout the house and property.
Color #233-7 I PPG1187-7This bright, red color is also drawn from another fabric at Fallingwater, specifi cally the additional accent pillows on the cantilevered couches.
Color #523-7 I PPG15-13In the winter, the fallen rhododendron leaves ripen to create the rich, chocolate-brown ground cover recalled by this color.
Color #414-4 I PPG1097-4This color was selected because it closely matches the fabric on the cantilevered couches in the living room. Plain, unpatterened furniture coverings were purposely chosen to complement window views of the natural setting at Fallingwater.
Color #308-7 I PPG1130-7Representative of the live rhododendron leaf that is seen extensively at Fallingwater. During the spring and summer, the vast bank of windows in the main living room at Fallingwater allow this rich green color to infi ltrate the living space.
Color #550-7 I PPG13-26This warm, blue shade is reminiscent of the famous, fast-rushingstream that continually crashes and fl ows beneath Fallingwater.
CHEROKEE RED - FALLINGWATERIt is perhaps the most famous
color at Fallingwater and used to coat most of the
homes metal and ironwork.The Meaning of the Colors of Fallingwater
516-3/PPG14-22 (D12, NT22)
TRIMSChocolate Truffl e
Frank Lloyd Wrights
Color was very important in conveying Frank Lloyd Wrights aesthetic of organic architecture as a unifi ed whole. He drew from
two sources in determining his palette for a given project: the nature of the site and the nature of the building materials. In the early
projects, particularly the Prairie houses that were constructed of brick and stucco, autumnal colors predominate: warm shades of red,
gold, brown and yellow-green. These restful yet intense colors were accented by a palette of related hues and created a harmonious,
unifi ed and serene environment for the client. At Fallingwater, Wright employed both a limited palette of color and a limited number of materials in his desire to create an organic and integrated whole.
Lynda WaggonerVice President and Director of Fallingwater
WALLWright Lemon White
Frank Lloyd WrightFrank Lloyd Wright (1867 - 1959) is arguably Americas greatest architect and among the worlds most gifted. A man of boundless energy, he designed over 1,000 projects and authored nearly 20 books as well as hundreds of articles, letters, and speeches. Early on, Wright defi ned the principles of what he called an organic architecture and championed it throughout his 74 year career. Appropriate to time, place and man, an organic architecture ...proceeds, persists, creates according to the nature of man and his circumstances as they both change.
Wrights designs included residences, shops, hotels, religious structures, skyscrapers, civic centers, amusement parks, bridges, and museums. Believing the architect should create total environments, he also designed art glass windows, furniture, fabrics, lamps, carpets, china, statuary, urns, and tiles. Graphic, landscape and automobile designs are also found within his body of work.
Thus, we have a formidable design legacy in Frank Lloyd Wrights work and an extensive written record setting forth the principles that defi ned and supported it. To share this legacy is our privilege.
BOOKS You may like...Frank Lloyd Wright, An Autobiography,Frank Lloyd Wright
Frank Lloyd Wrights Taliesin and Taliesin West, Kathryn Smith
Frank Lloyd Wright: In the Realm of Ideas,Bruce Brooks Pfeiffer & Gerald Nordland
The Essential Frank Lloyd Wright: Critical Writings on Architecture, Bruce Brooks Pfeiffer
Light Screens - the Leaded Glass of Frank Lloyd Wright, Julie L. Sloan
Frank Lloyd Wrights Romance with Nature, Lynda Waggoner
Frank Lloyd Wrights Fallingwater, Carla Lind
The Fallingwater Cookbook, Elsie Hendersons Recipes and Memories, Suzanna Martinson with Jane Citron and Robert Sendall
The style of Frank Lloyd Wright is timeless. To achieve a contemporary look and keep withWrights design principles, here are a few TIPS to keep in mind.
Consider the TOTALITY OF YOUR ROOM/HOME rather than a single element. Account for your lighting, furnishings, carpeting and fabrics when redesigning your room.
Wright Cornfi eld TanFLLW785/113-3 (*)
Consider FORM AND FUNCTION, treating them as one, when making design decisions.
Utilize nature as an infl uence include NATURAL MATERIALS and elements and incorporate the architectural style of your home into the overall design.
FRONT WALLWright Cornfi eld TanFLLW785/113-3 (*)MIDDLE WALLWright Deep Rust
FLLW370/PPG1065-6 (B6)REAR WALL
Wright Lemon WhiteFLLW917/PPG1111-2 (B18)
Incorporate NATURAL LIGHTING as much as possible both with the use of light fi xtures in the room as well as in the design of the windows in your home. A strategically placed stained glass window creates not only a gorgeous focal point but also provides an ever-evolving prism of color into the room.
HORIZONTAL LINES and GEOGRAPHIC PATTERNS in your color scheme on small fabric items such as table runners, placements and throw pillows are signatures of Wrights style and give the room a cohesive look.
Wright Grey TanFLLW840/PPG1098-4 (D14)
Work with a NATURE-INFLUENCED palette of baked earthen tones. Any color defi ned by the landscape may be used along with the few exceptions of pastels Wright favored and that are featured in this card.
BUILT-IN FURNITURE, SLAT-BACK CHAIRS, CANTILEVERED TABLES and any furniture with interesting GEOMETRY are all elements of Wrights design philosophy. Refi nishing existing built-in furniture is an inexpensive way to redesign a room and would be a nod to Wrights style.
AVOID ORNAMENTATIONS; Remember that Wright valued form and function over excessive styles and unnecessary elements.
WALLSWright Autumn Green
Wright Lemon WhiteFLLW917/PPG1111-2 (B18)
Frank Lloyd Wrights
ORIGINAL TALIESIN COLOR PALETTEThe NeutralsSeventeen neutrals were offered, with varying undertones of pink, yellow, green, and blue - ensuring there would be a neutral to pair with virtually any combination of other colors, no matter what their hue or tone.
THE PASTELSPastels might be seen as unlikely hues for Wright, since he was known to lean heavily towards neutrals and strong, earthen hues. Yet the presence of a mere fi ve pastels indicates how thoroughly he considered the marketability and totality of the color card for American consumers.
THE WARM HUESPulling the warm hues of the palette together, some of those neutrals and pastels reappear, but are now fl anked by richer