Style

Frank Lloyd Wright was one of the foremost architects within the American modern architecture movement. Although he was reluctant to ascribe his work to any particular movement, he had considerable influence over the evolution of modernism. Wright had achieved such prominence in the field that architects would gather around during the construction of the house in the hopes of glimpsing (or even taking) some sketches done by Wright.^[3]

By the 1930s, when the conception of the house began to take shape, Wright had acquired an image of an architect who designed houses for the stylish and affluent.^[5] Motivated by a desire to change this image, as well as by a sincere interest in social reform, Wright developed an architectural style specifically accessible to and intended for the American middle-class called Usonian architecture. As the United States began to grow rapidly, architects imagined what the future of the nation might be like, and explored how they could set the tone of the coming century through their designs. Usonianism was Wright's contribution to this movement. The Pope–Leighey House is a prime example of Usonianism, and Wright felt that it was some of his best work, even toying with the idea of naming it "Touchstone".^[4] The house features many of the key elements of Usonian architecture, including an L shape, a flat roof, natural building materials, cantilevered structure (particularly in the carport), and an integration of the outdoors with the indoors.^[4]

His interest in progressive reform aligned with the belief within modernism that architecture could and should have an impact on social issues. As noted architect Le Corbusier contended, the design and construction of buildings was "at the root of all social unrest," and there was plenty of social unrest in the early 20th century in America.^[6] Many architects turned to beautification and rational planning as a means towards progress, based on the idea that visual and structural beauty would contribute to better working and living conditions. Architecture was viewed as a mechanism for promoting progressive beliefs, motivated in part by pushback against corporate growth and landlordism. This development happened in tandem with the rise of working-class activism, particularly in big cities which were expanding as a result of commercial trade.^[7] Wright believed in this transformative ability of architecture, designing his houses with the intention of nurturing the lives of the middle-class people who inhabited them. This principle is demonstrated at the Pope–Leighey House in the attention Wright paid to every component of the Popes' life there, down to the appliances, furniture, and decor.

One primary tenet of modernism was functionalism, which held that the form of architecture should follow function. This meant that the design of a building should revolve solely around its purpose, as opposed to any particular aesthetic, and that a complete concentration on function would inevitably result in beauty. Functionalism represented a pivotal shift away from tradition, which had previously held that the form of architecture should follow precedent. Wright's architecture mentor, Louis Sullivan, was famously a proponent of functionalism. Wright altered this principle by positing that form and function are one, thus arguing that both the purpose and the decor of a building should be taken into consideration.^[7]

Wright's attention to function and form simultaneously meant his designs were rational while remaining artistic and decorative. This can be seen in the design of the Pope–Leighey House, as noted by the house's primary carpenter, who remarked upon reviewing Wright's plans that the house was "logical."^[4] Wright wanted his designs to be practical, but was uninterested in purely utilitarian buildings whose appearance reflected their purpose and nothing more, as was often the case when following the principles of functionalism. Wright wanted to reimagine the typical box shape that house design had come to rely on—he was more interested in deconstructing the space so that it might flow more freely, allowing rooms to merge into one another and experimenting with ceiling heights.^[8] He felt a house ought to feel open but still protective of its residents. This philosophy was precipitated by scientific discoveries about the human psyche, which had caused architects to reevaluate the relationship of a building to the people inside it.^[7] It became important to consider in the design process how architecture would make individuals feel.

The house also reflects Wright's commitment to blurring the line between the indoors and outdoors. Wright believed that architecture should be integrated into its environment almost as if it grew naturally from the ground. He drew on inspiration from nature in much of his work, which can be seen in this house in the materials: the use of brick and wood made the space feel like "a rustic hide-out in the mountains," according to Pope.^[4] In recalling the draft plan for the house, Loren Pope noted that the "walls seemed to be only screens."^[4] Stars in the nighttime sky can be viewed from a spot inside the house next to the fireplace.^[4] The house's French doors open to unite the living room floor with the patio and the lawn outside.^[4] The landscaping around the house was also a part of the architecture.^[5] Wright wanted the house to evoke the sensation of "a happy, cloudless day."^[4]

Design

The house is in the shape of an L, a technique Wright often used to incorporate an outdoor garden space. At the juncture of the two wings are the entrance, a study, and the kitchen. In one wing, there are two bedrooms and a bathroom, and in the other, there is a space which functions as a living room, a dining area, and a library. The height of the living room space is 11.5 feet (3.5 m).^[4] The house is one story, but it has two levels to accommodate the natural slope of the land. The original plans had included a workshop, but it had to be removed when Wright downsized the design for affordability.^[4] The roof is held up by three brick pillars.

Glass, a building material typical of modernism, is featured prominently throughout the house. The French doors, along with a strip of clerestory windows, allow natural light and fresh air to enter the home.^[4] The windows have a unique pattern which create an effect of patterned light throughout the house.^[4] These windows, combined with vents and a concrete floor, enable natural regulation of temperature in the house without air conditioning, which was notably innovative at the time of design.^[3] There is supplementary radiant heating from hot water pipes under the concrete floor.^[4] Natural heating and cooling dependent on windows and radiant-floor heating is typical of Usonian houses.

The brick and wood used throughout the house are not painted but rather treated with clear wax, which accentuates their natural qualities.^[4] The floor is Cherokee Red, one of Wright's signature colors.

Interior view looking south, showing the junction of the living room, dining area, and kitchen.

View of dining room through full-length windows

There is a cantilevered carport above the driveway. Cantilevered structures are a motif throughout Wright's designs.

The furniture was also designed by Wright, and was included with the property when the Popes purchased it.^[4] The furniture was designed as part of the house, which reflects the Usonian principle that housing should be rational and livable, not merely decorative. To Wright, the interior was just as important as the construction of the building, and thus furniture and appliances were part of his vision.

It was crucial to Wright that the interior and exterior of the house fit his vision exactly. When a magnolia tree that Pope had planted in front of the carport grew taller than the roof, Wright visited to inform him that he must cut down the tree because it interfered with the design.^[4] Wright also oversaw Pope's extension of the brick patio, admonishing him if he deemed the job too sloppy.^[4]

Construction

Construction began in 1940.^[3] Wright chose his apprentice of two years, Gordon Chadwick, as the general contractor who would oversee construction of the home. Howard Rickert from Vienna, Virginia, was the project's primary carpenter. Wright, who liked to be involved at every step of the process, visited the site of construction several times.

Usonian homes did not use stock materials, so every piece of the building had to be constructed on the site, including components like the windows and doors.^[4]

Once construction was completed, Wright felt that the cost of the house had become too high. Concerned about the Popes' ability to afford the house, and determined to stick to his Usonian principle of accessibility for the middle class, Wright never requested his final payment.^[4] Pope and his family moved into the house in 1941.