An aspect of architectural symmetry is that it will almost always be perceived, on the ground, asymmetrically---for what that's worth. Wright's
illustrations of such buildings are presented thus, often in three-quarter views . . .
See Constantinos Doxiadis, page one of this thread, re 3/4 views of buildings on the Acropolis.
All of Wright's institutional and commercial work, in the early period at least, is composed of volumes symmetrical about one if not two axes. The
formula returned to repeatedly is the joining of major and minor volumes, each displaying symmetrical features, the total amounting to a form
symmetrical about a single axis. The following exhibit one or both of these features:
Madison Municipal Boathouse, apartments for Waller, Francis Apartments, Hillside Home School, Dana residence and memorial library, Larkin,
Abraham Lincoln Center, Unity Church, Frank L Smith Bank, Cummings Real Estate Office, E-Z Polish factory, River Forest Tennis Club, Como
Orchard Summer Colony, Bitter Root Inn, City National Bank and Hotel, Universal Portland Cement exhibition, Midway Gardens, Imperial Hotel . . .
Considering the importance of this subject to the discussion of architecture---including Wright's---it is surprising to find, in Laseau and Tice, "FLW --
Between Principle and Form," only one page devoted to symmetry/asymmetry. The single page, and its single less-than-satisfying illustration:
The authors go on to address "rotational symmetry" (Suntop) and "inflected rotational symmetry" (Wright's unbuilt studio house).
Norris Kelly Smith, "FLW, a study in architectural content" seems to ignore the subject completely, as does Hildebrand---though that may be beside his
major interest. Yes, we are discussing form and composition, not spacial qualities . . .