Comparing S Falling Water And Aalto's Villa Mairea

In this picture, Victorian style house stands alone in the field. A railroad track cuts through the foreground. There is a bare sky behind the house with no secondary objects in the immediate surroundings of the building. this enables us to keenly focus on the articulation of the building and its relationship with its environment.

Next, Tension between Interior and Exterior. Zumthor mentions that buildings ‘talk’ by using signals. There are open baths and also hidden for ‘bathing ritual’. The expression: enclosure vs. sense of place, private vs. public. The baths work this transition beautifully.

Throughout the short piece the house and the wisteria are often depicted with dark and eerie imager, usually being compared to “moving shadows” and “stretching fingers” (Gilman 480). The outside of the house is light and sunny. The house and the wisteria (internal spaces) are unsafe. I consider them both to be a part of the internal space because eventually they are so intertwined that they are inseparable from each other:

The lecturer argues against the idea of the structures being used as residential buildings by pointing out the lack of sufficient numbers of fireplaces in comparison with the size of the structure. In the reading passage, the author points out the similarities between the Chaco houses and other large residential structures as support for the residential theory.

One of the biggest similarity between the two is that they were both built within sources of water. Fallingwater being built on small creek, suspended over a waterfall. This crude earthiness is counterpointed by the startling fine alabaster white stucco work of the famous interiors. Then this melts water from the 'Snowy Mountains' is drawn across an arched vault at the eastern tip of the Torre del Agua, a large water tower, and channeled through the citadel via a complex system of conduits and water tanks, which create the celebrated interplay of light, sound and surface. The concept of “Organic Architecture” stems from his Transcendentalist background. The belief that human life is part of nature. The architects in both also use nature and

This essay paper studies the nature of scholarly research in architectural history by reviewing and analyzing the article “AD Classics: Fallingwater House/Frank Lloyd Wright” by Adelyn Perez on the Arch Daily website. This essay also gives further analysis on the architecture of the Fallingwater House. In her article, Perez begins with detailed facts related to the construction of the building. She gives the name of the architect, location of the building, engineers, clients as well as year of the project’s completion. The author proceeds with the article by giving a detailed background story to the building of the house which explains why the house was built. According to Perez, the Kaufmann family was acquainted with Frank Lloyd Wright through their son who studied at Wright’s School. Through that friendship, the family then approached Wright asking for him to build a weekend home for them at the Bear Run Nature Reserve’s stream.

Architecture should be nurturing, responsive and alive, dynamically shifting spatial balances, organically expressive forms, subtly luminous colors and biologically healthy. To achieve such life-enhancing architecture, it has to address all the body senses simultaneously and fuse our image of self with experience of the world. By strengthening our sense of self and reality, architecture serves its all-important function of accommodation and

He advised his apprentices: “study nature, love nature, stay close to nature. It will never fail you (Frank Lloyd 2).” He said once, “You spell it with a ‘G’ don’t you? I spell nature with an ‘N’…I put a capital ‘N’ on nature and call it my church (Williams Students 1).” One of the works that he is most recognized for is a house built for Edgar J. Kaufmann, called Fallingwater. Built in 1936, it is notable for it’s relationship with the environment and for bringing the outdoors inside. The structure appears to emerge from the rocks above, and the waterfall below (Encarta 3). Wright insisted that buildings grow naturally from their surroundings. The house dramatically hangs over a waterfall, and a staircase from the living room leads down to it - bringing the outdoors inside.

This topic is about the transformation of the Hull house which is a replicate of the urban environment transformative phase that changed the perception of homes and cities, residences, and institutions; all the design. The author, Adams, describes how the harmony in the component organization is brought out by the Architect’s use of iteration and repetition. The fabric of the building is described as having embodied several architecture themes; Italianate Victorian and the Arts and Crafts. Its fusion of the past and future is echoed by Guy Szuberla. It is an architectural masterpiece that is a highlight of both the pedagogical objectification of city houses and still has the residential experience. The documentation of the house is critical in giving a new phase to social

Frank Lloyd Wright was a renowned American architect famous for his work titled Falling Water. Wright made a significant contribution to the development of modern American architecture. Falling Water was a house commissioned by Edgar Kaufmann and his family used it as a modern vacation house in the mountainside. Although Falling Water is the most celebrated of his works, he did more than a thousand sketches that resulted in more than 500 completed projects. Unlike other architects of his time, Wright was willing to experiment with new ideas, in which he took to become passionate more towards nature. His love for nature and his willingness to integrate architecture with nature was a major influence in

But, actually, what Sullivan really cares about is the “form.” Otherwise, he would not have this much thoughts about the relationship between form and function. Sullivan always gives high priority to architectural form, especially its ornament, but with a kind of ambivalence in his mind. On the one hand, he believes that architecture could be great without any decoration or ornament. On the other hand, thoughtful designed ornament is also indispensable to architecture. Finally, he gave the answer, he thinks particular ornament should be applied on the particular kinds of architecture, just like different trees have various types of leaves. So, architectural form is not influenced by the extrinsic factor, but the “growth” of itself. Now it is understandable why Wainwright Building got such a luxuriant ornament on its top. Under the eave, the surface between windows are extended, and sophisticated spiraled leaves surrounds the circular windows. It is just the metaphor of the “organic” system of

“Originality is returning to the origin,” is one of the most famous and often-repeated phrase of the Catalan architect, Antoni Gaudi. Gaudi was a devout religious man who believed that nature was the origin and he started encouraging his belief of returning to the primitive basics. He had a great regard for nature as a creation of God and most of his works were informed by an obsessive religious spiritualism, a strong relationship with nature and heavy interest in ecology with an acutely personal impression of design. Hif religious belief and architecture became increasingly intertwined, while he studied organic and anarchic forms of geometry that were derived from nature, seeking a way to give definition to these forms in his architectural designs. His interest and study of nature informed fantastic organic arrangement of forms in one of his famous residential buildings, Casa Mila, and its details. As in all Gaudi’s later works, his models and studies made on the site, rather than drawings, had been the key designing method for Casa Mila. He understood the abundant idea of the natural world and expressed it with curved forms, never in straight lines. He also noticed that natural construction tended to require ponderous materials such as stone and wrought-iron, mimicking the appearances of muscle, ribs and bone of living organisms. With all these organic models supporting his premises, Gaudi based the design of Casa Mila on a simple religious perception; Considering that

Derided by rationalists for his inimitable style, Gaudi folded function into form through an intuitive synthesis of the past, nature, and imagination that may have foreshadowed today’s architecture. Because of a fire in 1936 at the Sagrada Familia, many of Gaudi’s drawings and models have been lost leaving an incomplete biographical portrait. However, through analysis of his carefully incorporated mythical and natural allusions, and balance of light and geometry, one can piece together a more complete biographical picture. Additionally, by looking at Casa Battlo and Casa Mila, along with several innovative designs, a picture emerges of one who by returning to the origins foretells a prophetic architecture of the future.

The Glass House set out to change people’s way of life. My personal aim, and it was not the public’s nor the modern architects’ aim at all, was to show that modern houses can be beautiful. I only had one objective, and I still do, that it has to look beautiful.

First of all, there are two similarities between Villa Mairea and Baker House. Designs related to nature and landscape surrounding were never out of Aalto’s consideration. For examples, the vertical tree-like columns and curved panels in the library of Villa Mairea and the direction of the rooms facing to the Charles River of Baker House. In addition, the curve and undulating form always can be seen in Aalto’s works. The shape of the swimming pool and the fireplace represent the free form in Villa Mairea while the shape of the whole building of Baker House is obviously showing the curving snake form.