FRANK LLOYD WRIGHT NATURE, HUMANITY AND … · The identity Frank Lloyd Wright achieves is: harmony...
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1 2 3 X 5 6 X 1 2 3 4 X 6 X 1 2 3 4 5 6 7 1 2 3 4 X 6 X 1 2 X X X 6 X X X X 4 X 6 X 1 X 3 4 5 6 X 1 2 3 4 5 6 7 FIRST FLOOR FIRST FLOOR FIRST FLOOR FIRST FLOOR SECOND FLOOR SECOND FLOOR PERSPECTIVE PERSPECTIVE FACADE FACADE SECTION SECTION SECTION SECTION THIRD FLOOR THIRD FLOOR The identity Frank Lloyd Wright achieves is: harmony between nature, people and architecture. The way in which this three elements are com- people and architecture. The way in which this three elements are com- bined, and how they lead to the desired performances, is described bined, and how they lead to the desired performances, is described below. below. People and architecture People and architecture To connect the people and nature, and to avoid an imprisoned feeling To connect the people and nature, and to avoid an imprisoned feeling when entering his buildings, Frank made use of an architectural prin- when entering his buildings, Frank made use of an architectural prin- ciple invented by himself. ‘Breaking the box’ He wanted to eliminate ciple invented by himself. ‘Breaking the box’ He wanted to eliminate the sense of being locked up in a room or space. (1) The designs of the sense of being locked up in a room or space. (1) The designs of the buildings and the furniture made it possible to create comfortable the buildings and the furniture made it possible to create comfortable climate conditions. And in addition: in this way people feel a sense of climate conditions. And in addition: in this way people feel a sense of being home. (6) being home. (6) People and nature Providing a visual connection with the environment is a way of bringing Providing a visual connection with the environment is a way of bringing people and nature together. (3) people and nature together. (3) Architecture and nature Architecture and nature To make the connection between his architecture and nature even To make the connection between his architecture and nature even stronger, Wright aspired to anchor the building in the surroundings. stronger, Wright aspired to anchor the building in the surroundings. (2) Also the openings in the walls are composed in a natural way. The (2) Also the openings in the walls are composed in a natural way. The windows arise from the compositon of planes. No gaps were random windows arise from the compositon of planes. No gaps were random cutted out of the planes. (4) A third useful tool to connect the architec- cutted out of the planes. (4) A third useful tool to connect the architec- ture with nature is Frank Lloyd’s respect for the identity of the site. (5) ture with nature is Frank Lloyd’s respect for the identity of the site. (5) The buildings are also made and situated in accordance with the sense The buildings are also made and situated in accordance with the sense of the place. (7) of the place. (7) Frank Lloyd Wright Frank Lloyd Wright was born in June was born in June 8 1867 and died in April 9, 1959. The 8 1867 and died in April 9, 1959. The remarkable buildings designed by remarkable buildings designed by Frank Lloyd Wright established him Frank Lloyd Wright established him as one of the most well known and as one of the most well known and important architects of the 20th important architects of the 20th century. Wright was also excellent century. Wright was also excellent in writing, educating and design- in writing, educating and design- ing the interior of his buildings. His ing the interior of his buildings. His achievements and influence can achievements and influence can be measured to be the same as Le be measured to be the same as Le Corbusier and Mies van der Rohe. Corbusier and Mies van der Rohe. His buildings are inspired by join- His buildings are inspired by join- ing together: nature, humanity and ing together: nature, humanity and architecture. architecture. FALLING WATER FALLING WATER LEGEND LEGEND A.LIVING ROOM A.LIVING ROOM B.TERRACE B.TERRACE C.KITCHEN C.KITCHEN D.STAFF ROOM D.STAFF ROOM E.STAIRS BASEMENT E.STAIRS BASEMENT F.STAIRS F.STAIRS G.DRESSING ROOM G.DRESSING ROOM H.BATH ROOM H.BATH ROOM I.CORRIDOR I.CORRIDOR J.BED AREA J.BED AREA K.STUDY ROOM K.STUDY ROOM Nature At the location is searched for an element that serves as a basis for the design. This is the sense At the location is searched for an element that serves as a basis for the design. This is the sense of the place. In the case of Falling Waters it are the falls, the river bed, the rocks and the trees. In of the place. In the case of Falling Waters it are the falls, the river bed, the rocks and the trees. In the case of Taliesin West it is the slope of the surrounding mountains. the case of Taliesin West it is the slope of the surrounding mountains. People People People can experience two elements in the design: inside and outside. Visiting Falling Waters, People can experience two elements in the design: inside and outside. Visiting Falling Waters, it is the view and ‘smell’ of the waterfall. It’s movement and sound. Inside the building it are the it is the view and ‘smell’ of the waterfall. It’s movement and sound. Inside the building it are the rocks and the material use. rocks and the material use. When visiting Taliesin West, changes can be seen in the desert. Storms, light and dark, cactuses When visiting Taliesin West, changes can be seen in the desert. Storms, light and dark, cactuses and archaeological remainings. The slope of the mountain can be experienced by the shadow of and archaeological remainings. The slope of the mountain can be experienced by the shadow of the shading structure. the shading structure. Architecture The shape of both buildings emphasizes the elements in the environment. In the case of Fall- The shape of both buildings emphasizes the elements in the environment. In the case of Fall- ing Waters this is done with the planes. (Cantilevered concrete floors.) These planes consist of ing Waters this is done with the planes. (Cantilevered concrete floors.) These planes consist of rooms and balconies stacked on top of each other over the height of three floors. In this way rooms and balconies stacked on top of each other over the height of three floors. In this way they resemble the waterfall. These planes are interlocked with a central element (local stone) they resemble the waterfall. These planes are interlocked with a central element (local stone) around on all floors and connected on a rock. The walls on the horizontal layers are avoided around on all floors and connected on a rock. The walls on the horizontal layers are avoided where possible and provided with glazing and rock. The overall structure resembles the water- where possible and provided with glazing and rock. The overall structure resembles the water- fall. fall. In Taliesin West the environment is highlighted with a triangle. The top part of this triangle is the In Taliesin West the environment is highlighted with a triangle. The top part of this triangle is the base for all the spaces. All spaces, either inside and outside are connected together, and fixed base for all the spaces. All spaces, either inside and outside are connected together, and fixed with rough rock. Parts of the building are executed with a pitched roof. This roof is made from with rough rock. Parts of the building are executed with a pitched roof. This roof is made from wooden beams and canvas membrane, and is supported by concrete and stone. wooden beams and canvas membrane, and is supported by concrete and stone. Identity Frank Lloyd Wright composed the building us- Frank Lloyd Wright composed the building us- ing a method which is an analogy to regulatory ing a method which is an analogy to regulatory D-genes. This is emphasized by the use of ge- D-genes. This is emphasized by the use of ge- ometry and natural materials from the context ometry and natural materials from the context (environment) In this way he created the strong (environment) In this way he created the strong identity of the buildings. identity of the buildings. TALIESIN WEST TALIESIN WEST LEGEND LEGEND A.ENTRANCE A.ENTRANCE B.WORKSPACE B.WORKSPACE C.KITCHEN C.KITCHEN D.DINING ROOM D.DINING ROOM E.LOGGIA E.LOGGIA F.STAIRS F.STAIRS G.DRESSING ROOM G.DRESSING ROOM H.BATH ROOM H.BATH ROOM I.CORRIDOR I.CORRIDOR J.BED AREA J.BED AREA K.STUDY ROOM K.STUDY ROOM L.GALLERY L.GALLERY M.LOUNGE M.LOUNGE N.TERRACE N.TERRACE O.OFFICE O.OFFICE BK8040 BK8040 M & A M & A Frank Smit Frank Smit 4059387 4059387 Tunis Hoekstra Tunis Hoekstra 1312103 1312103 Marc Hubers Marc Hubers 4034279 4034279 Martijn Aling Martijn Aling 4061683 4061683 Ismail Oral Ismail Oral 4021320 4021320 INTERIOR SPACE INTERIOR SPACE ENTRANCES, STAIRS, CORRIDORS ENTRANCES, STAIRS, CORRIDORS COURTYARD COURTYARD DOORS DOORS INSIDE INSIDE COURTYARD COURTYARD OUTSIDE OUTSIDE 1 2 3 4 5 6 7 1 2 3 4 X 6 X STRUCTURE STRUCTURE NATURAL LIGHT NATURAL LIGHT MASS - ADDITIVE MASS - ADDITIVE SYMMETRY AND BALANCE SYMMETRY AND BALANCE GEOMETRY GEOMETRY STRUCTURE STRUCTURE NATURAL LIGHT NATURAL LIGHT MASS - ADDITIVE MASS - ADDITIVE SYMMETRY AND BALANCE SYMMETRY AND BALANCE GEOMETRY GEOMETRY Ching, Ching, Falling water Falling water PERFORMANCE PERFORMANCE OPERATION OPERATION Conclusion Conclusion Falling water, Falling water, Bear run - Pennsylvania 1934 Bear run - Pennsylvania 1934 FRANK LLOYD WRIGHT NATURE, HUMANITY AND ARCHITECTURE FRANK LLOYD WRIGHT NATURE, HUMANITY AND ARCHITECTURE Taliesin West, Taliesin West, Scottsdale - Arizona 1937 Scottsdale - Arizona 1937 Ching, Ching, Taliesin West Taliesin West INTERLOCKING SPACES / PLANES INTERLOCKING SPACES / PLANES 1. ELIMINATE THE SENSE 1. ELIMINATE THE SENSE OF BEING LOCKED UP OF BEING LOCKED UP IN A ROOM OR SPACE IN A ROOM OR SPACE 90• 90• 0• 0• 45• 45• PARTI FALLING WATER PARTI FALLING WATER INTERLOCKING SPACES INTERLOCKING SPACES ADJACENT SPACES ADJACENT SPACES ADJACENT PLANES ADJACENT PLANES ADJACENT SPACES ADJACENT SPACES LINEAR ORGANISATION LINEAR ORGANISATION Clark and Pause, Clark and Pause, Falling water Falling water Steadman, Steadman, Falling water Falling water Clark and Pause, Clark and Pause, Taliesin West Taliesin West Steadman, Steadman, Taliesin West Taliesin West 2. ANCHORING 2. ANCHORING THE BUILDING THE BUILDING IN ITS IN ITS SURROUNDINGS SURROUNDINGS 3. ESTABLISH A 3. ESTABLISH A VISUAL CONNECTION VISUAL CONNECTION WITH THE WITH THE ENVIRONMENT ENVIRONMENT 4. LET OPENINGS FORM ON A 4. LET OPENINGS FORM ON A NATURAL WAY NATURAL WAY 6. INCORPORATE 6. INCORPORATE CLIMATE CONTROL CLIMATE CONTROL AND FURNITURE IN AND FURNITURE IN THE ARCHITECTURE THE ARCHITECTURE 7. CREATE A BUILDING 7. CREATE A BUILDING THAT IS IN THAT IS IN ACCORDANCE WITH ACCORDANCE WITH THE SENSE OF THE PLACE THE SENSE OF THE PLACE GENIUS LOCI GENIUS LOCI FORM(m) FORM(m) PHOTOS PHOTOS 5. RESPECT THE 5. RESPECT THE IDENTITY OF THE IDENTITY OF THE SITE SITE OPERATION OPERATION FORM(m) FORM(m) PHOTOS PHOTOS LIFT THE STRUCTURE BY THE USE OF A PLATFORM TO LIFT THE STRUCTURE BY THE USE OF A PLATFORM TO CREATE A VISTA OVER THE SURROUNDINGS CREATE A VISTA OVER THE SURROUNDINGS LIFT THE STRUCTURE OUT OF THE RIVERBED BY THE LIFT THE STRUCTURE OUT OF THE RIVERBED BY THE USE OF CONCRETE SLABS TO CREATE A VIEW OVER USE OF CONCRETE SLABS TO CREATE A VIEW OVER THE RIVER THE RIVER LET OPENINGS ARISE OUT OF THE COMPOSITION OF LET OPENINGS ARISE OUT OF THE COMPOSITION OF PLANES AND SCREENS PLANES AND SCREENS LET OPENINGS ARISE OUT OF THE COMPOSITION OF LET OPENINGS ARISE OUT OF THE COMPOSITION OF PLANES AND SCREENS PLANES AND SCREENS CREATE A COMPOSITION OUT OF PLANES AND SCREENS CREATE A COMPOSITION OUT OF PLANES AND SCREENS (ELIMINATE THE BOX) (ELIMINATE THE BOX) CREATE A COMPOSITION OUT OF PLANES AND SCREENS CREATE A COMPOSITION OUT OF PLANES AND SCREENS (ELIMINATE THE BOX) (ELIMINATE THE BOX) USE COMBINATIONS OF MATERIALS AND ORNAMENTS USE COMBINATIONS OF MATERIALS AND ORNAMENTS FROM THE SURROUNDINGS FROM THE SURROUNDINGS USE COMBINATIONS OF MATERIALS AND ORNAMENTS USE COMBINATIONS OF MATERIALS AND ORNAMENTS FROM THE SURROUNDINGS FROM THE SURROUNDINGS THE CANVAS PARTIALLY REFLECT THE SUNLIGHT AND THE CANVAS PARTIALLY REFLECT THE SUNLIGHT AND DISPERSE THE LIGHT EQUALLY OVER THE CEILING DISPERSE THE LIGHT EQUALLY OVER THE CEILING 18-31 18-31 1 10 10 11 11 12 12 13 13 14 14 15 15 16 16 17 17 3 7 8 5 2 4 6 9 1 2 3 4 5 6 THE SUNLIGHT REACHES THE BUILDING MAINLY FROM THE SUNLIGHT REACHES THE BUILDING MAINLY FROM ABOVE ABOVE THE STRUCTURE OF THE ROOF IS ALIGNED WITH THE THE STRUCTURE OF THE ROOF IS ALIGNED WITH THE SLOPES OF THE MOUNTAINS SLOPES OF THE MOUNTAINS THE BUILDING BECOMES AN OPTICAL PART OF THE THE BUILDING BECOMES AN OPTICAL PART OF THE WATERFALL WATERFALL FOLLOW THE LOCATIONS SPECIFIC FORMS BY THE USE FOLLOW THE LOCATIONS SPECIFIC FORMS BY THE USE OF HORIZONTAL PLANES OF HORIZONTAL PLANES HORIZONTAL PLANES CONNECT THE ROCKY HILLSIDE HORIZONTAL PLANES CONNECT THE ROCKY HILLSIDE WITH THE RIVER WITH THE RIVER PARTI TALIESIN WEST PARTI TALIESIN WEST PERFORMANCES FOUND PERFORMANCES FOUND 1889 HOME AND STUDIO 1889 HOME AND STUDIO OAK PARK, ILL. OAK PARK, ILL. 1905 UNITY TEMPLE 1905 UNITY TEMPLE OAK PARK, ILL. OAK PARK, ILL. 1909 ROBIE HOUSE 1909 ROBIE HOUSE CHICAGO, ILL. CHICAGO, ILL. 1916 IMPERIAL HOTEL 1916 IMPERIAL HOTEL TOKYO TOKYO 1934 FALLING WATER 1934 FALLING WATER BEAR RUN, PENN. BEAR RUN, PENN. 1936 JOHNSON WAX 1936 JOHNSON WAX RACINE, WIS. RACINE, WIS. 1937 TALIESIN WEST 1937 TALIESIN WEST SCOTTSDALE, ARIZ. SCOTTSDALE, ARIZ. 1938 WINGSPREAD 1938 WINGSPREAD WIND POINT, WIS. WIND POINT, WIS. 1956 GUGGENHEIM 1956 GUGGENHEIM NEW YORK, N.Y. NEW YORK, N.Y. 1 1 2 3 3 4 5 5 6 7 8 7 8 9 1 2 3 4 1 2 3 4 5 6 CLUSTERED ORG. AXIAL CONDITION CLUSTERED ORG. AXIAL CONDITION CLUSTERED ORG. AXIAL CONDITIONS CLUSTERED ORG. AXIAL CONDITIONS Comparison Comparison
Transcript of FRANK LLOYD WRIGHT NATURE, HUMANITY AND … · The identity Frank Lloyd Wright achieves is: harmony...
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FIRST FLOORFIRST FLOOR FIRST FLOORFIRST FLOORSECOND FLOORSECOND FLOOR PERSPECTIVEPERSPECTIVE
FACADEFACADE SECTIONSECTION SECTIONSECTION
THIRD FLOORTHIRD FLOOR
The identity Frank Lloyd Wright achieves is: harmony between nature, people and architecture. The way in which this three elements are com-people and architecture. The way in which this three elements are com-bined, and how they lead to the desired performances, is described bined, and how they lead to the desired performances, is described below.below.
People and architecturePeople and architectureTo connect the people and nature, and to avoid an imprisoned feeling To connect the people and nature, and to avoid an imprisoned feeling when entering his buildings, Frank made use of an architectural prin-when entering his buildings, Frank made use of an architectural prin-ciple invented by himself. ‘Breaking the box’ He wanted to eliminate ciple invented by himself. ‘Breaking the box’ He wanted to eliminate the sense of being locked up in a room or space. (1) The designs of the sense of being locked up in a room or space. (1) The designs of the buildings and the furniture made it possible to create comfortable the buildings and the furniture made it possible to create comfortable climate conditions. And in addition: in this way people feel a sense of climate conditions. And in addition: in this way people feel a sense of being home. (6)being home. (6)
People and natureProviding a visual connection with the environment is a way of bringing Providing a visual connection with the environment is a way of bringing people and nature together. (3) people and nature together. (3)
Architecture and natureArchitecture and natureTo make the connection between his architecture and nature even To make the connection between his architecture and nature even stronger, Wright aspired to anchor the building in the surroundings. stronger, Wright aspired to anchor the building in the surroundings. (2) Also the openings in the walls are composed in a natural way. The (2) Also the openings in the walls are composed in a natural way. The windows arise from the compositon of planes. No gaps were random windows arise from the compositon of planes. No gaps were random cutted out of the planes. (4) A third useful tool to connect the architec-cutted out of the planes. (4) A third useful tool to connect the architec-ture with nature is Frank Lloyd’s respect for the identity of the site. (5) ture with nature is Frank Lloyd’s respect for the identity of the site. (5) The buildings are also made and situated in accordance with the sense The buildings are also made and situated in accordance with the sense of the place. (7) of the place. (7)
Frank Lloyd WrightFrank Lloyd Wright was born in June was born in June 8 1867 and died in April 9, 1959. The 8 1867 and died in April 9, 1959. The
remarkable buildings designed by remarkable buildings designed by Frank Lloyd Wright established him Frank Lloyd Wright established him
as one of the most well known and as one of the most well known and important architects of the 20th important architects of the 20th
century. Wright was also excellent century. Wright was also excellent in writing, educating and design-in writing, educating and design-ing the interior of his buildings. His ing the interior of his buildings. His achievements and infl uence can achievements and infl uence can be measured to be the same as Le be measured to be the same as Le Corbusier and Mies van der Rohe. Corbusier and Mies van der Rohe. His buildings are inspired by join-His buildings are inspired by join-ing together: nature, humanity and ing together: nature, humanity and
architecture.architecture.
FALLING WATERFALLING WATERLEGENDLEGEND
A.LIVING ROOMA.LIVING ROOMB.TERRACEB.TERRACEC.KITCHENC.KITCHEND.STAFF ROOMD.STAFF ROOME.STAIRS BASEMENTE.STAIRS BASEMENTF.STAIRSF.STAIRSG.DRESSING ROOMG.DRESSING ROOMH.BATH ROOMH.BATH ROOMI.CORRIDORI.CORRIDORJ.BED AREAJ.BED AREAK.STUDY ROOMK.STUDY ROOM
NatureAt the location is searched for an element that serves as a basis for the design. This is the sense At the location is searched for an element that serves as a basis for the design. This is the sense of the place. In the case of Falling Waters it are the falls, the river bed, the rocks and the trees. In of the place. In the case of Falling Waters it are the falls, the river bed, the rocks and the trees. In the case of Taliesin West it is the slope of the surrounding mountains.the case of Taliesin West it is the slope of the surrounding mountains.
PeoplePeoplePeople can experience two elements in the design: inside and outside. Visiting Falling Waters, People can experience two elements in the design: inside and outside. Visiting Falling Waters, it is the view and ‘smell’ of the waterfall. It’s movement and sound. Inside the building it are the it is the view and ‘smell’ of the waterfall. It’s movement and sound. Inside the building it are the rocks and the material use. rocks and the material use. When visiting Taliesin West, changes can be seen in the desert. Storms, light and dark, cactuses When visiting Taliesin West, changes can be seen in the desert. Storms, light and dark, cactuses and archaeological remainings. The slope of the mountain can be experienced by the shadow of and archaeological remainings. The slope of the mountain can be experienced by the shadow of the shading structure. the shading structure.
ArchitectureThe shape of both buildings emphasizes the elements in the environment. In the case of Fall-The shape of both buildings emphasizes the elements in the environment. In the case of Fall-ing Waters this is done with the planes. (Cantilevered concrete fl oors.) These planes consist of ing Waters this is done with the planes. (Cantilevered concrete fl oors.) These planes consist of rooms and balconies stacked on top of each other over the height of three fl oors. In this way rooms and balconies stacked on top of each other over the height of three fl oors. In this way they resemble the waterfall. These planes are interlocked with a central element (local stone) they resemble the waterfall. These planes are interlocked with a central element (local stone) around on all fl oors and connected on a rock. The walls on the horizontal layers are avoided around on all fl oors and connected on a rock. The walls on the horizontal layers are avoided where possible and provided with glazing and rock. The overall structure resembles the water-where possible and provided with glazing and rock. The overall structure resembles the water-fall.fall.
In Taliesin West the environment is highlighted with a triangle. The top part of this triangle is the In Taliesin West the environment is highlighted with a triangle. The top part of this triangle is the base for all the spaces. All spaces, either inside and outside are connected together, and fi xed base for all the spaces. All spaces, either inside and outside are connected together, and fi xed with rough rock. Parts of the building are executed with a pitched roof. This roof is made from with rough rock. Parts of the building are executed with a pitched roof. This roof is made from wooden beams and canvas membrane, and is supported by concrete and stone.wooden beams and canvas membrane, and is supported by concrete and stone.
IdentityFrank Lloyd Wright composed the building us-Frank Lloyd Wright composed the building us-ing a method which is an analogy to regulatory ing a method which is an analogy to regulatory D-genes. This is emphasized by the use of ge-D-genes. This is emphasized by the use of ge-ometry and natural materials from the context ometry and natural materials from the context (environment) In this way he created the strong (environment) In this way he created the strong identity of the buildings.identity of the buildings.
TALIESIN WESTTALIESIN WESTLEGENDLEGEND
A.ENTRANCEA.ENTRANCEB.WORKSPACEB.WORKSPACEC.KITCHENC.KITCHEND.DINING ROOMD.DINING ROOME.LOGGIAE.LOGGIAF.STAIRSF.STAIRSG.DRESSING ROOMG.DRESSING ROOMH.BATH ROOMH.BATH ROOMI.CORRIDORI.CORRIDORJ.BED AREAJ.BED AREAK.STUDY ROOMK.STUDY ROOML.GALLERYL.GALLERYM.LOUNGEM.LOUNGEN.TERRACEN.TERRACEO.OFFICEO.OFFICE
BK8040BK8040M & AM & A
Frank SmitFrank Smit40593874059387Tunis Hoekstra Tunis Hoekstra 13121031312103Marc HubersMarc Hubers40342794034279Martijn AlingMartijn Aling40616834061683Ismail OralIsmail Oral40213204021320
INTERIOR SPACEINTERIOR SPACEENTRANCES, STAIRS, CORRIDORSENTRANCES, STAIRS, CORRIDORSCOURTYARDCOURTYARDDOORSDOORS
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STRUCTURESTRUCTURE NATURAL LIGHTNATURAL LIGHT MASS - ADDITIVEMASS - ADDITIVE SYMMETRY AND BALANCESYMMETRY AND BALANCE GEOMETRYGEOMETRY STRUCTURESTRUCTURE NATURAL LIGHTNATURAL LIGHT MASS - ADDITIVEMASS - ADDITIVE SYMMETRY AND BALANCESYMMETRY AND BALANCE GEOMETRYGEOMETRY
Ching, Ching, Falling waterFalling water
PERFORMANCEPERFORMANCEOPERATIONOPERATION
ConclusionConclusion
Falling water, Falling water, Bear run - Pennsylvania 1934Bear run - Pennsylvania 1934
FRANK LLOYD WRIGHT NATURE, HUMANITY AND ARCHITECTURE FRANK LLOYD WRIGHT NATURE, HUMANITY AND ARCHITECTURE
Taliesin West, Taliesin West, Scottsdale - Arizona 1937Scottsdale - Arizona 1937
Ching, Ching, Taliesin WestTaliesin West
INTERLOCKING SPACES / PLANESINTERLOCKING SPACES / PLANES
1. ELIMINATE THE SENSE1. ELIMINATE THE SENSE OF BEING LOCKED UP OF BEING LOCKED UP IN A ROOM OR SPACE IN A ROOM OR SPACE
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PARTI FALLING WATERPARTI FALLING WATER
INTERLOCKING SPACESINTERLOCKING SPACES
ADJACENT SPACESADJACENT SPACES ADJACENT PLANESADJACENT PLANES ADJACENT SPACESADJACENT SPACES LINEAR ORGANISATIONLINEAR ORGANISATION
Clark and Pause, Clark and Pause, Falling waterFalling water
Steadman, Steadman, Falling waterFalling water
Clark and Pause, Clark and Pause, Taliesin WestTaliesin West
Steadman, Steadman, Taliesin WestTaliesin West
2. ANCHORING 2. ANCHORING THE BUILDING THE BUILDING IN ITS IN ITS SURROUNDINGS SURROUNDINGS
3. ESTABLISH A 3. ESTABLISH A VISUAL CONNECTION VISUAL CONNECTION WITH THE WITH THE ENVIRONMENT ENVIRONMENT
4. LET OPENINGS FORM ON A 4. LET OPENINGS FORM ON A NATURAL WAY NATURAL WAY
6. INCORPORATE 6. INCORPORATE CLIMATE CONTROL CLIMATE CONTROL AND FURNITURE IN AND FURNITURE IN THE ARCHITECTURE THE ARCHITECTURE
7. CREATE A BUILDING 7. CREATE A BUILDING THAT IS IN THAT IS IN ACCORDANCE WITH ACCORDANCE WITH THE SENSE OF THE PLACE THE SENSE OF THE PLACE GENIUS LOCI GENIUS LOCI
FORM(m)FORM(m)PHOTOSPHOTOS
5. RESPECT THE 5. RESPECT THE IDENTITY OF THE IDENTITY OF THE SITE SITE
OPERATIONOPERATION FORM(m)FORM(m) PHOTOSPHOTOS
LIFT THE STRUCTURE BY THE USE OF A PLATFORM TO LIFT THE STRUCTURE BY THE USE OF A PLATFORM TO CREATE A VISTA OVER THE SURROUNDINGSCREATE A VISTA OVER THE SURROUNDINGS
LIFT THE STRUCTURE OUT OF THE RIVERBED BY THE LIFT THE STRUCTURE OUT OF THE RIVERBED BY THE USE OF CONCRETE SLABS TO CREATE A VIEW OVER USE OF CONCRETE SLABS TO CREATE A VIEW OVER
THE RIVERTHE RIVER
LET OPENINGS ARISE OUT OF THE COMPOSITION OF LET OPENINGS ARISE OUT OF THE COMPOSITION OF PLANES AND SCREENSPLANES AND SCREENS
LET OPENINGS ARISE OUT OF THE COMPOSITION OF LET OPENINGS ARISE OUT OF THE COMPOSITION OF PLANES AND SCREENSPLANES AND SCREENS
CREATE A COMPOSITION OUT OF PLANES AND SCREENSCREATE A COMPOSITION OUT OF PLANES AND SCREENS(ELIMINATE THE BOX)(ELIMINATE THE BOX)
CREATE A COMPOSITION OUT OF PLANES AND SCREENSCREATE A COMPOSITION OUT OF PLANES AND SCREENS
(ELIMINATE THE BOX)(ELIMINATE THE BOX)
USE COMBINATIONS OF MATERIALS AND ORNAMENTS USE COMBINATIONS OF MATERIALS AND ORNAMENTS FROM THE SURROUNDINGSFROM THE SURROUNDINGS
USE COMBINATIONS OF MATERIALS AND ORNAMENTS USE COMBINATIONS OF MATERIALS AND ORNAMENTS FROM THE SURROUNDINGSFROM THE SURROUNDINGS
THE CANVAS PARTIALLY REFLECT THE SUNLIGHT AND THE CANVAS PARTIALLY REFLECT THE SUNLIGHT AND DISPERSE THE LIGHT EQUALLY OVER THE CEILINGDISPERSE THE LIGHT EQUALLY OVER THE CEILING
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THE SUNLIGHT REACHES THE BUILDING MAINLY FROM THE SUNLIGHT REACHES THE BUILDING MAINLY FROM ABOVEABOVE
THE STRUCTURE OF THE ROOF IS ALIGNED WITH THE THE STRUCTURE OF THE ROOF IS ALIGNED WITH THE SLOPES OF THE MOUNTAINSSLOPES OF THE MOUNTAINS
THE BUILDING BECOMES AN OPTICAL PART OF THE THE BUILDING BECOMES AN OPTICAL PART OF THE WATERFALLWATERFALL
FOLLOW THE LOCATIONS SPECIFIC FORMS BY THE USE FOLLOW THE LOCATIONS SPECIFIC FORMS BY THE USE OF HORIZONTAL PLANESOF HORIZONTAL PLANES
HORIZONTAL PLANES CONNECT THE ROCKY HILLSIDEHORIZONTAL PLANES CONNECT THE ROCKY HILLSIDEWITH THE RIVERWITH THE RIVER
PARTI TALIESIN WESTPARTI TALIESIN WEST
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1889 HOME AND STUDIO 1889 HOME AND STUDIO OAK PARK, ILL. OAK PARK, ILL.
1905 UNITY TEMPLE1905 UNITY TEMPLE OAK PARK, ILL. OAK PARK, ILL.
1909 ROBIE HOUSE1909 ROBIE HOUSE CHICAGO, ILL. CHICAGO, ILL.
1916 IMPERIAL HOTEL1916 IMPERIAL HOTEL TOKYO TOKYO
1934 FALLING WATER 1934 FALLING WATER BEAR RUN, PENN. BEAR RUN, PENN.
1936 JOHNSON WAX 1936 JOHNSON WAX RACINE, WIS. RACINE, WIS.
1937 TALIESIN WEST1937 TALIESIN WEST SCOTTSDALE, ARIZ. SCOTTSDALE, ARIZ.
1938 WINGSPREAD1938 WINGSPREAD WIND POINT, WIS. WIND POINT, WIS.
1956 GUGGENHEIM1956 GUGGENHEIM NEW YORK, N.Y. NEW YORK, N.Y.
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CLUSTERED ORG. AXIAL CONDITIONCLUSTERED ORG. AXIAL CONDITION CLUSTERED ORG. AXIAL CONDITIONSCLUSTERED ORG. AXIAL CONDITIONS
ComparisonComparison
