martinhouseclr

12 DARWIN D. MARTIN HOUSE // CULTURAL LANDSCAPE REPORT These undertones reveal the true purpose of the garden – to come across fragrant unexpected smells, to hear the fountain bubble, to witness the birds rest, to be wounded by a thorn, to be reminded of an awesome power going on around you, and to always be pleasantly shocked by what spring unfurled overnight – even through you expect it once a year. As this garden came unto its own through the early 20th century, perhaps Frank Lloyd Wright’s (and landscape architect Walter Burley Griffin’s) greatest achievement with respect to this designed landscape is allowing the Martins to experience these sentiments amongst the trappings of what the industrial revolution ultimately gave us … the sputtering of car engines and the whizzing of air conditioners. Executive Summary The historic designed landscape of the Darwin D. Martin House, today referred to as the Martin House Complex, is a significant example of the intertwined design relationship between architecture and landscape expressed in the work of celebrated master architect Frank Lloyd Wright. The findings of this CLR suggest that the landscape is an important contributing feature to the overall significance of the historic property. The CLR makes the case for the broad interwoven importance of Wright’s Prairie-period architecture and site design – an idea recognized as a hallmark of Wright’s genius. Historic Importance of the Martin House Landscape With nearly an unlimited budget and placing immense value in bringing architecture, interior, and landscape together as a singular design gesture, Wright was able to create what may be the most comprehensively designed landscape for any Wright-designed house in any period. Many of Wright’s most notable works are uniquely celebrated for deep integration with inspiring natural sites, as expansive planning compositions, or which include detailed gardens albeit designed by others at later dates. But as a domestic residential garden, designed and fully implemented by Wright as a unified composition of house, interior and landscape – it has no apparent equal. The research also concludes that the historic property is significant as a work of Walter Burley Griffin, who served as landscape architect, provided horticultural expertise, and aided Wright as office superintendent during the design period. Griffin, trained as an architect and landscape architect, and who was deeply involved in managing many details for the Martin House, is relatively unknown in the United States. Griffin brought a naturalist’s perspective to his ideas on landscape – aligning with the sentiments of both Wright and Darwin Martin – and would go on to be celebrated for his design of Canberra, the national capital of Australia. Perhaps the richest part of this landscape’s story is due to the Martins themselves. Darwin Martin was a significant figure who made important historic contributions to Buffalo and to the endurance of Wright’s own career. As owners, both Darwin and Isabelle had an appetite for horticulture that pushed and prodded the design from Wright. They suggested early alterations and established Wright’s program by expressing (near demanding) the importance of the plantings and their desire for an expansive garden. Once established, the designed landscape was managed by the Martins for more than three decades where design continuity held and very little of substance changed. The landscape simply aged and matured in the way that living things cannot escape.