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Hill House, which Charles Rennie
Mackintosh designed for Walter Blackie
in 1903, stands with panoramic views of
the River Clyde in Helensburgh, Scotland.
The creation of a complete, entirely
unique space, central to Mackintosh's
architectural vision, defines Hill House.
Mackintosh's facade carries on the tradi-
tion of brutal, strong, massive forms that
echo the Scottish landscape and also the
stone used in their construction. Theexposed Cliffside upon which Hill House
rests and the reference to Scottish baroque
castles in the architecture calls to mind
Swinburne's work "By the North Sea". A
distinct mood is conveyed through the
intensely weighted stone forms. The pow-
erful force of nature, the sea and the
weather and environment all had a strong
impact on the facade of Mackintosh's Hill
House. The small windows dotting the
thick walls make obvious the need
Mackintosh had for Hill House to with-stand the test of weather and the passage
of time.
The interior, defined by its functionality,
lacks the indulgence in ornamentation
familiar to Victorian spaces. Mackintosh
famously argued that construction should
be decorated and decoration should not be
constructed. Hill House, characterized by
a tendency toward the romantic, focuses
on the importance of the individual
patrons for whom it was built and the cre-
ation of mood and feeling. The power of
architecture and design to evoke emotion
and impact life gained prominence during
this period of experimentation as the
boundaries between the major and minor
arts dissipated. Mackintosh's organic
vision, shunning the industrial capitalism
that was gaining momentum, sought to
replace the art of construction and design
to the forefront of building and bring inte-
rior design into the realm of high art.
http://www.victorianweb.org/art/design/macintosh/kelly10.html
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The Dymaxion House was a true revolu-
tion in building design. Housing a family
of five, it was a "house on a pole." The
hexagonal structure was suspended by
cables from a missile-like mast rising
through its center. Both inside and out, the
Dymaxion House is still futuristic more
than half a century later. Air was drawn in
through the central mast, after which it
was filtered and washed, cooled or heated,
rendering the dwelling virtually dust-free.
Water was filtered, sterilized, and recy-cled, so there was little need for piped-in
water. Everything was built-in and many
of the cabinets were controlled by intricate
light beams.
All its futuristic gadgets notwithstanding,
the Dymaxion House was true to Buckys
guiding principle of doing more with less.
Whereas a conventional single-family
house at that time weighed approximately
150 tons, Buckys creation was a mere 3
tons. It could be mass-produced, and
Bucky anticipated having units air-lifted
by zeppelin to remote areas such as the
North Pole.Since his intention was to find a way of
serving the interests of humankind rather
than his own self-interest, Bucky offered
in 1928 to transfer all rights to the
Dymaxion House to the American
Institute of Architects. His offer was
refused, with an explanation that the
organization was opposed to mass-pro-
duced houses.
At about this time, Bucky had an opportu-
nity to test his commitment to his pro-
claimed experiment and to learn a lesson
about making a difference in the world. In
line with his fundamental rejection of theconventional norms of living, Bucky had
taken to wearing T-shirts, sneakers, and
casual clothes at a time when"respectable"
people were expected to dress more for-
mally. The rejection of the Dymaxion
House somewhat hardened his rebellion
against social conventions.
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Fallingwater, one of Frank Lloyd Wright's
most widely acclaimed works, was
designed in 1936 for the family of
Pittsburgh department store owner Edgar
J. Kaufmann.
The key to the setting of the house is the
waterfall over which it is built. The falls
had been a focal point of the Kaufmann's
activities, and the family had indicated the
area around the falls as the location for a
home. They were unprepared for Wright's
suggestion that the house rise over thewaterfall, rather than face it. But the archi-
tect's original scheme was adopted almost
without change.
Completed with a guest and service wing
in 1939, Fallingwater was constructed of
sandstone quarried on the property and
was built by local craftsmen. The stone
serves to separate reinforced concrete
"trays", forming living and bedroom lev-
els, dramatically cantilevered over the
stream. Fallingwater was the weekend
home of the Kaufmann family from 1937
until 1963, when the house, its contents,
and grounds were presented to theWestern Pennsylvania Conservancy by
Edgar Kaufmann, jr. Fallingwater is the
only remaining great Wright house with its
setting, original furnishings, and art work
intact.
In 1986, New York Times architecture
critic Paul Goldberger wrote: "This is a
house that summed up the 20th century
and then thrust it forward still further.
Within this remarkable building Frank
Lloyd Wright recapitulated themes that
had preoccupied him since his career
began a half-century earlier, but he did not
reproduce them literally. Instead, he casthis net wider, integrating European mod-
ernism and his own love of nature and of
structural daring, and pulled it all together
into a brilliantly resolved totality.
Fallingwater is Wright's greatest essay in
horizontal space; it is his most powerful
piece of structural drama; it is his most
sublime integration of man and nature."
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View of the main (living room) level, from south-southeast.
Stairway of Fallingwater
Interior space of Fallingwater
Figu
re1
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8672
In his summer house in Muuratsalo
(1953), Finland Aalto used the courtyard
wall for experimental purposes. He
explored a variety of brick patterns and
combinations to better understand the
properties of the materials. This experi-
ment is not merely technical, but also
poetic. The summerhouse at Muuratsalo is
not only a place to live and work but is
also a sort of experimental house. It is
located in the lake country of north-central
Finland, one hour by motor boat from thenearest railroad station. Two wings of
equal length set perpendicularly to each
other, one containing the living area and
the other the bedrooms, form a square
court which is closed to the exterior by
means of high walls. The exterior walls of
this court are developed as mosaic-like
experimental walls, divided into about
fifty areas in which different types and
sizes of brick and ceramic tile with differ-
ent methods of jointing are used, so as to
test their effect from both the aesthetic and
practical standpoints. The lean-to roof
rises steeply over the living area towardsthe west wall." The building has, with its
experrimentalaim in mind, been designed
so that it differs form the normal; the same
forms have not been used throughout, nor
the same scale, nor the same construction.
Thus all the wall around the closed patio
are divided into approximately fifty panels
in which the effect of ceramic materials,
brick, joints, different brick formats, and
surface treatments have been tried out.
These experiments with form also include
test of durability that are daily the object
of the architect's observation. Similar
experiments take place on the centralpatio, where form one year to the next we
have tried different techniques for surfac-
ing different areas, from the point of view
of aesthetic effect. We have tried every-
thing from brick and stone surfaces to dec-
orative plants and mosses. The wall con-
struction of building varies,and for experi-
mental purpose different roof construc-
tions have been attempted.
www.alvaraalto.fi
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Kahn built relatively few houses. In eachthere seems to be a larger-scale buildingtrying to escape from the confines of theclient's budget. In the Esherick House, theinherent monumentality of the plan isdiminished by the fact that the major liv-ing spaces are surrounded by very thickwalls. In the double-height living room,the fireplace wall is literally deep. Theopposite wall in plan also has a fireplaceused in the bathroom, but the wall is thick-er containing a zone of servant spaces,kitchen, bathrooms, closets which are not
part of the axial symmetry of the twomajor living spaces.. The two windowwalls are also thick but these frame wallswith alcoves or niches between the case-ments. The most intricate planning occurson the first floor where the sliding doors
between the gallery and bedroom, andthen between bedroom and bathroom, sug-gest a flow of space from void to room toaltar.In searching for the nature of the spaces ofhouse might they not be separated a dis-tance from each other theoretically beforethey are brought together. A predeter-mined total form might inhibit what thevarious spaces want to be. Architecturalinterpretations accepted without reflection
could obscure the search for signs of a truenature and a higher order. The order ofconstruction should suggest an evengreater variety or design in the interpreta-tions of what space aspires to become andmore versatility in expression of the ever
present problems of levels, services, thesun, the wind and the rain."- Louis I. Kahn. from Alessandra Latour,ed. Louis I. Kahn: Writings, Lectures,Interviews. p60.
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0770
Japanese architect Tadao Ando skillfully
manipulates light and form, creating spa-
tial sanctuaries for introspective medita-
tion. The thoughtful arrangements of stark
cast-concrete elements animated with nat-
ural light are Ando's trademark in creating
spaces. Born in Osaka, Japan in 1941,
Ando at an early age had developed an
interest in the art of building, frequenting
the local carpentry workshop near his boy-
hood home. Ando began to study architec-
ture through independent study and travel
to Europe, Africa, United States, and
around his native Japan. After rigorous
study and technical application, Ando
opened his practice, Tadao Ando Architect
& Associates in Osaka in 1969.
Like many great architects before him,
Ando started his career with the design of
residential projects. Of these one very rep-
resentative project is the Row House in
Sumiyoshi, completed in 1975. In a densedistrict in Osaka, Ando crafts a house of
two identical cubic volumes of concrete
split by a void of the same proportions.
The open-air void is a courtyard, which is
centrally bisected by a bridge on the sec-
ond floor. The house is composed around
the void and, except for the recessed
entrance, completely closes itself from the
street, separating all activities of the house
from the outside world. This separation
creates a microcosm around which the
family and its activities are embraced. The
house received the top prize of the
Architectural Institute of Japan in 1979.The creation of introspective domain is
evident in all Ando's work .
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As the name of this project suggests, the
house is designed for two families.
Originally, it was meant for two business
people but due to financial constraints,
they found another couple to pool their
resources in order to make this project
possible. Instead of simply splitting the
site into halves for each of the two fami-
lies, the architects designed the houses to
be interlocked together three-dimensional-
ly in order to have bigger living spaces
that almost stretch across the entire widthof the site.One of the living rooms occu-
pies the entire first floor while the other
occupies the second floor. Both families
have equal views of the exterior from their
living room and both have their own
entrances, one at the front of the building
and one at the side.
This is a private residence; it is not open to
public. The exterior can be viewed from
the small park across the street from the
house. The home is located in a row of iso-
lated houses at the edge of Wilhelmina
park.The facade of the house reveals the
subdivision, intersection and complexity
of the space it encloses, presenting as its
facade a graphic structure reminiscent of
the geometries of Theo van Doesburg in
an apparently arbitrary arrangement which
is a paragon of free architecture.The outer
surface plays with transparency and opac-
ity, alternating different types of glass
with panels of dark-painted plywood
which hide what glass would reveal: the
most private parts of the house.The home
next door is larger, with an entrance,
garage and guestroom on the ground floor;
the first floor is completely open, and con-
tains the living room and kitchen; the sec-
ond floor with its two bedrooms is much
smaller.Above this more rooms of various
sizes take back space from the house next
door.
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The Smith House is located on the
Connecticut coastline-overlooking Long
Island Sound. The site is 1 1/2 acres and
drops from a plateau on the north side that
contains several evergreen trees to the
rocky shoreline of Long Island Sound on
the south. The house is located on an axis
with the entry drive, and lies slightly
below the crest of the sloping hill. This
allows a sequence of approach, entrance,
and views. As one enters the site, they see
views of the house beyond, but they are
also able to see the surrounding landscape.The front facade has been treated as an
opaque screen that one must penetrate. A
ramp slopes up to the front door as one
enters through a double wall, or the space
that contains most of the utilitarian ele-
ments of the home, into the primary living
space. While the front facade is opaque,
the rear facade is almost entirely glazed
allowing light and color from the land,
sky, and water to fill the living space.
The spatial organization of the house is
based on separation between public and
private. Functions such as sleeping and
bathing occur in the double wall towardsthe land, while family gatherings and
entertaining take place in the rear space
toward the water. The structural system is
differentiated in these two zones. The pri-
vate section of the home is constructed of
load-bearing wood stud walls, while the
public section contains round steel
columns. On the exterior, glass frames the
public side and vertical wood siding cov-
ers the private side. "The complementarity
of solids and voids in strong juxtaposition
creates a spatial dialogue in both plan and
elevation."
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SAGAPONAC HOUSE
This house is composed of two simple
rectangular volumes forming an L-shaped
plan . It engages the landscape and the
pleasures of being in the country by fram-
ing it . The private pool area acts similar to
some beaches in the area where the beach
becomes a stage for exhibitionism and
spectatorship by parading bodies .
Inspired by Giacomettis sculpture titled,
Figure in a Box between Two Boxes
which are Houses, the Sagaponac house
takes the from of a minimalist structure
hovering over a solid platform within the
untouched natural landscape .
GREENWICH HOUSE
This 3800 square foot suburban home for
a young Argentinian couple with three
children gave an opportunity to investigate
and reexamine the potential possibilitles of
a suburban home in the next millennium .
The owners paradoxical love & hate rela-
tionshlp with both the city and the subur-
ban life urged us to evaluate and address
the changing attitudes of new generation
of home owners toward privacy and space
vs public interaction and urban density.
Conceptually a new Datum line or ground
plane was established by partially using an
existing rectangular structure into creatinga new one story horizontal L-shaped vol-
ume . This volume contains the children
bedrooms and the Gym room in the East
wing and living, dinning, kitchen eat-in
area, laundry, Maids suite and garages in
the west wing .
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