F

R
A
N
K

The following aspects stand out as the uniqueness of F.L.Wrights

buildings:

L
L
O
Y
D

Prairie Style:

W
R
I
G
H
T

1. Prairie Style
2. Organic architecture
3. Use of materials

One or two-story
One-story projections
Open floor plan
Low-pitched roof
Broad, overhanging eaves
Strong horizontal lines
Ribbons of windows, often casements emphasize horizontality
of overall design
Prominent, central chimney
Stylized, built-in cabinetry
Wide use of natural materials especially stone and wood

Organic architecture:

F
R
A
N
K
L
L
O
Y
D
W
R
I
G
H
T

F 'organic' in common usage refers to something which has

Although the word
R of animals or plants, Frank Lloyd Wright's organic
the characteristics
architecture takesAon a new meaning. It is not a style of imitation, because he
N building forms which were representative of nature.
did not claim to be
K
F.l.wrights ideal notion about his design is that , every building should be in
harmony with its Lsurroundings. He firmly believes that the building should rise
L
as a part of the natural
environment in which it is built.
O
Y
D
Materials:
W in a way that enhances their innate character and optimizes
These are used simply
R texture, and strength. One material is not disguised as another.
their individual color,
I comes together, how one material joins another; the very form of
The way a building
G be an expression of the nature of the materials used. In organic
the building should
architecture, onlyHa few materials are used, both inside and outside.
T

F
R
A
N
K
L
L
O
Y
D
W
R
I
G
H
T

Falling Water House:

F
R
A along with
Design is integrated
N
waterfall.
K
Harmony between the building
L
and nature.
L
O
Fire hearth-gathering
space for
Y which the
the family around
design evolves . D
A rock cuts intoW
the fire place
R
bringing the waterfall
inside .
I
G upwards which
Chimney extends
H point of the
makes it the highest
T
faade.

Robie House :
F
R
A
N
K
L
L
O
Y
D
W
R
I
G
H
T

Elongated horizontal profile .

F
R
Long two story blocks
with sloped roof .
A
N .
Exposed brick work
K
Wright established the difference between defined space And closed space through
L
this house .
L
O which the rooms are placed and inter connected .
Fire place around
Y
D
Roman bricks , limestone
, steel for eaves , wooden strips are used.

FLW Home andWStudio:

R
Shingle style architecture
.
I
G
Rustic, informalH living spaces.
T
Pitched roof, low overhanging , horizontal
emphasis, use of bricks.

F
R
A
N
K
O
W
E
N
G
E
H
R
Y

1. Purpose Before Presentation:

F
Gehry works from
R the inside outwards, looking at the
purpose of the structure
before it's presentation.
A
N
He might think about
how sound will travel through
K
the building or how artwork will interact with visitors
to the museum.L
L
This brings home
O a strong lessonkeep in mind how
users will use your
Y product throughout the whole
design and development
process.
D

Gehry was worried

W about the purpose and the
meaning of theRbuilding for the people who would
enter and use it.I
G
H
What is the purpose
and how can we convey in
T
through our designs.

2. Explore and Iterate:

F
R
A
N
K
O
W
E
N
G
E
H
R
Y

Gehry is the master of "failing your way to success."

There is a great quote where he describes the process of finding the right material for the
R
visual skin of the Guggenheim Museum:

A
Wemademockupsofstainlesssteelandinthebadlighttheywentdead.Reallydead,andI
N
wasfrustratedbyit.Wefiguredoutwaystoscratchittogetlightintoit.Wedyedit.Wedid
K

everything.Weevenstampedonit.IwasinLAinmyofficeandIwasveryfrustratedaboutit
andIwasrummagingthroughthematerialsfileandIfoundthispieceoftitaniumandIlooked
L
atitandIsaid"nailittothetelephonepoleoutsideandletsseewhathappens."Bysome
miracleitrainedinLAthatdayandthepieceoftitaniumwasgolden.Thiswasoureureka
L
moment.

O
Gehry spent next Ytwo years in a steel mill trying to perfect this golden titanium glow:
D
Soaftermany,manyiterationswegotit.I'veneverbeenabletogetitagain.Itsone-of-a-

kind.

W
R
I
Gehry had a vision for the feeling he hoped to evoke and then iterated again and again to
make his materialGwork.
H
When it didn't, heTwasn't afraid to open up the question and explore another material in its
Exploration is all about approaching your current design from a different angle.

place, but it was in an effort to achieve that same emotional effect.

The lesson here is to stay focused on a goal, but know when to explore alternates or riff on
that same detail.

3. Shape and Movement:

F
R
A
N
K
O
W
E
N
G
E
H
R
Y

F
R
Philosophically, deconstructivism comes as a critical response to
A
modernism, in which the form of a building is expected to follow
N
strictly from its function.
K

Modernist buildings, epitomized by rectangular steel and glass

L
skyscrapers that defined major cities during the 20th century, prize
L
the elimination of unnecessary detail and adherence to rigid
O
geometric norms.
Y
D
Modernist architecture reflects contemporary philosophies
regarding social harmony and machine-like organization.
W
R
Deconstructivism is thus called as it attempts to destabilize
I
modernist thinking by breaking up design into highly stylized,
G
individual parts.
H
T

Walt Disney Concert Hall:

F
R
F
A Steel roof structure
R eliminates the use of columns .
N
A
N
acoustics .
K Metallic faade , excellent
K
O The exterior speaks a sculptural language by the means of partitions, curved and
billowing ceilings Lwhich also act as part of the acoustical system .
W
L
E
O
The facade's individual
panels and curves are articulated in daylight and colored
N
by city lights afterYdark.
D
G The building was initially set to be clad in stone, but a more malleable material
E
W the completion of the Guggenheim Museum Bilbao:
was chosen following
titanium-claddingRwas implemented.
H
I
R
G
Y
H
T

Guggenhiem Museum:
F
R
A
N
K
O
W
E
N
G
E
H
R
Y

F
R
A
N
K
L
Fusion of complex, swirling forms and captivating materiality.
L
O
The building alludes landscapes, such as the narrow passage way to the main
Y
entrance hall and the curved walkway and water features in response to the
D
Nervin River.
W
Although the metallic form of the exterior looks almost floral from
R
above, from the ground the building more closely resembles a boat, evoking
I
the past industrial life of the port of Bilbao.
G
H
Constructed of titanium, limestone, and glass, the seemingly random curves
T
of the exterior are designed to catch the light and react to the sun and the
weather.

Dancing House:
F
R
A
N
K
O
W
E
N
G
E
H
R
Y

The first is a tower of glass that is close to half height and is supported by curved
pillars, the second runs parallel to the river, which is characterized by the moldings
that follow a wavy motion and distributed through the windows so the non-aligned .
This solution has been driven mainly by a kind of aesthetic consideration.
Winding moldings on the facade make it more confusing perspective,
diminishing the contrast with the buildings that surround it.
The dome is made of metal tubes and covered with stainless steel mesh.

Architecture is the:

T
A
D
A
O
A
N
D
O

Interplay of solid-voids.
Alternate of open and closed.
Contrast of light and darkness.
Zen-focuses on the concept of simplicity and concentrates on the inner feeling
rather than appearance in order to represent the aesthetic from sensation.
Ando believes in creating spaces of enclosure rather than openness.
On the exterior, the wall deflects the surrounding urban chaos, while on the
interior it encloses a private space.

Typical style of Tadao Ando :

Use of rough cast concrete.

T
A
D
A
O

Interpenetration of planes and spaces.

Narrow slit like openings.
Complex three dimensional circulation path.
Interweaving between interior and exterior spaces.

A
N
D
O

Ando says:
In all my works ,light is an important controlling factor.
I create enclosed spaces mainly by means of thick concrete.
When the external factors of a citys environment require the wall to be without
openings, the interior must be full and satisfying.
I create architectural order on the basis of geometry squares, circles, triangles and
rectangles.I try to use forces in the unity between house and nature (light and wind).

Church of the light:

T
A
D
A
O
A
N
D
O

Framework between nature and

architecture .

Definition of space by light.

. Humble and meditative space.

Concrete material.

Existence of duality :
solid and void
light and shadow
stark and serene .

Humble and meditative space.

Asia museum of modern arts:

Rigid triangular geometry .

T
A
D
A
O
A
N
D
O

Exposed concrete.

The galleries obtain a lot of day light which

can be controlled by inner louvers .

The building welcomes

with
a strongspace.
. Humble us
and
meditative
scent of fresh concrete.

Row House:
Tri partition and axial symmetry.

Simple geometry and extremely rich spatial

experience.
Complex
circulation
andand
simple
plan.
Complex
circulation
simple
plan.