Apparently Wright only visited the site where Fallingwater would be built once, and that was on December 18, 1934. At that time Wright saw that the stream called Bear Run was nestled in "…a beautiful forest…a solid, high rock-ledge rising beside a waterfall and the natural think seemed to be to cantilever the house from that rock-bank over the falling water," Wright explained to a television reporter in 1953 (Weisberg, 2011). It was Wright's genius that he could sit down on September 22, 1956, nine months after seeing the Fallingwater site, and draw out the design in two hours (Weisberg, 300). On the morning of September 22, 1956 Kaufmann happened to be in Milwaukee, close to the Taliesin, the Wright home in Wisconsin; Kaufmann called Wright (September 22 was a Sunday morning) and said he wanted to see the proposed design for the Fallingwater site. Wright said fine, come over and see the design. It was at that moment that Wright sat down and in two hours, designed the building in an architecturally accepted format. This reflects on Wright's life and skills...
However, Wright "…ignored the desires of the client to follow the imperatives of his own vision" (Weisberg, 300). In other words, Wright had an enormous ego, and he was arrogant to a degree and was very sure of himself.
Frank Gehry has become a leading architect noted for his innovative structures using industrial materials in new ways and with a certain deconstructivist approach to architecture. Philip Johnson, the dean of American architecture and a power since the 1930s, more recently joined with other architects who have been shattering all the rules, leaving behind symmetry and classic geometry in favor of distorted designs, twisted beams, and skewed angles. Johnson in
Cantilever construction is known by projecting a form that is attached at one end to the building, while the other end juts out. Second I will discuss the symbolism of the two buildings. The symbolism of both shows that the key images of both buildings depends on the perspective from which the building is viewed. The author talks of a 'colossal artichoke...a blooming flower' when referring to the Gehry museum
Guggenheim Museum Frank Lloyd Wright remarked that he had seen a building that was of monumental dignity and beautiful. He cited in the letter addressed to Solomon R. Guggenheim that the building was appropriate for their purpose of constructing a museum. Wright went on to design the museum which he named after Guggenheim. The structure is now widely seen as a masterpiece (Guggenheim.org, n.d.). The interior space of the Guggenheim Museum sports
" His belief, of course, was that the Unity was of primary importance -- which was a departure from Sullivan's sense that beauty and transcendent forms (reflections of the human spirit) were central to the idea of all forms. Wright's anti-verticality was no more in tune to Sullivan's sense of the soul than the Breuer's "functional" brutalism. Sullivan alone had the sense to achieve some sort of aesthetic standard while achieving
This indicates the open and natural lines of the American prairie fields. A very interesting element of the Robie House design is that it has neither a basement nor an attic; the latter was omitted to perpetuate the visual element of the horizontal represented by the house, while the former was omitted for the simple reason that Wright found it aesthetically unpleasant. Instead, the communication of the house with the
In keeping with the functionality and mechanization of the time, Wright used simple materials such as brick, wood and plaster to create a sense of the natural in his work. M This form is exemplified in the architect's Zimmerman house, which is a long, low house, with an interior space that is not immediately apparent from the outside. While performing the functional purpose of shelter and protection, the interior of
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