Frank Lloyd Wright

Frank Lloyd Wright was born in Richland Center, Wisconsin on June 8, 1867. His parents, William Cary Wright and Anna Lloyd-Jones, originally named him Frank Lincoln Wright, which he later changed after they divorced. When he was twelve years old, Wright's family settled in Madison, Wisconsin where he attended Madison High School. During summers spent on his Uncle James Lloyd Jones' farm in Spring Green, Wisconsin, Wright first began to realize his dream of becoming an architect. In 1885, he left Madison without finishing high school to work for Allan Conover, the Dean of the University of Wisconsin's Engineering department. While at the University, Wright spent two semesters studying civil engineering before moving to Chicago in 1887.In Chicago, he worked for architect Joseph Lyman Silsbee. Wright drafted the construction of his first building, the Lloyd-Jones family chapel, also known as Unity Chapel. One year later, he went to work for the firm of Adler and Sullivan, directly under Louis Sullivan. Wright adapted Sullivan's maxim "Form Follows Function" to his own revised theory of "Form and Function Are One." It was Sullivan's belief that American Architecture should be based on American function, not European traditions, a theory which Wright later developed further. Throughout his life, Wright acknowledged very few influences but credits Sullivan as a primary influence on his career. While working for Sullivan, Wright met and fell in love with Catherine Tobin. The two moved to Oak Park, Illinois and built a home where they eventually raised their five children. In 1893, Sullivan and Wright ended their business relationship. Wright opened his own firm in Chicago, which he operated there for five years before transferring the practice to his home in Oak Park.Wright's early houses revealed a unique talent in the young, aspiring architect. They had a style all their own, mimicking that of a horizontal plane, with no basements or attics. Built with natural materials and never painted, Wright utilized low-pitched rooflines with deep overhangs and uninterrupted walls of windows to merge the horizontal homes into their environments. He added large stone or brick fireplaces in the homes' heart, and made the rooms open to one another. His simplistic houses served as an inspiration to the Prairie School, a name given to a group of architects whose style was indigenous of midwestern architecture. Later he became one of its chief practitioners. Some of his most notable creations include the Robie House in Chicago, Illinois and the Martin House in Buffalo, New York.

What is architecture?

~The art and science of designing and erecting buildings.

~Buildings and other large structures: the low, brick-and-adobe architecture of the Southwest.

~A style and method of design and construction.

~Orderly arrangement of parts; structure: the architecture of the federal bureaucracy; the architecture of a novel.

Top 10 interiors 2008

Geoffrey Bawa

Geoffrey Bawa is Sri Lanka's most prolific and influential architect. His work has had tremendous impact upon architecture throughout Asia and is unanimously acclaimed by connoisseurs of architecture worldwide. Highly personal in his approach, evoking the pleasures of the senses that go hand in hand with the climate, landscape, and culture of ancient Ceylon, Bawa brings together an appreciation of the Western humanist tradition in architecture with needs and lifestyles of his own country. Although Bawa came to practice at the age of 38, his buildings over the last 25 or more years are widely acclaimed in Sri Lanka. The intense devotion he brings to composing his architecture in an intimate relationship with nature is witnessed by his attention to landscape and vegetation, the crucial setting for his architecture. His sensitivity to environment is reflected in his careful attention to the sequencing of space, the creation of vistas, courtyards, and walkways, the use of materials and treatment of details.

Bawa was born in 1919 in what was then the British colony of Ceylon. His father was a wealthy and successful lawyer, of Muslim and English parentage, while his mother was of mixed German, Scottish and Sinhalese descent. In 1938 he went to Cambridge to read English, before studying law in London, where he was called to the Bar in 1944. After World War II he joined a Colombo law firm, but he soon tired of the legal profession and in 1946 set off on two years of travel that took him through the Far East, across the United States and finally to Europe.

In Italy he toyed with the idea of settling down permanently and resolved to buy a villa overlooking Lake Garda. He was now twenty-eight and had spent one-third of his life away from Ceylon. Not only had he become more and more European in outlook, but his ties to Ceylon were also weakening: both his parents were dead and he had disposed of the last of his Colombo property. The plan to buy an Italian villa came to nothing, however, and in 1948 he returned to Ceylon where he bought an abandoned rubber estate at Lunuganga, on the south-west coast between Colombo and Galle. His dream was to create an Italian garden from a tropical wilderness, but he soon found that his ideas were compromised by lack of technical knowledge. In 1951 he was apprenticed to H H Reid, the sole surviving partner of the Colombo architectural practice Edwards, Reid and Begg. When Reid died suddenly a year later Bawa returned to England and, after spending a year at Cambridge, enrolled as a student at the Architectural Association in London, where he is remembered as the tallest, oldest and most outspoken student of his generation.

Art and Design

The first method by which the new "artists" attempt to destroy meaning is by adopting and promoting an irrational epistemology. They attempt to subvert reason by promoting emotions as the method of gaining knowledge. "Art" is claimed to directly stimulate emotions bypassing one's mind. This is why it is not surprising to hear the phrase "I can just feel the colors on this painting"1 in a modern art museum. It is claimed that art has no cognitive role.
The second method by which they attempt to destroy meaning is by applying it to a different aspect of art. When it is said that art has meaning, its proper sense is that the work of art directly expresses a meaning. The content itself has meaning, and is directly perceivable. A statue, for instance, can show man a heroic and healthy, or cowardly and sickly. The meaning can be grasped by just observing the statue and recognizing the features that are being expressed.
The new "artists" apply meaning in a different way. They describe the alleged meaning of why the "artist" created it. They try to attach a "meaning" that is not expressed by the work. They might say an all-black canvass shows a resentment for life. Or maybe they'll claim it shows fear of being too intimate. Regardless, they attempt to obfuscate the fact that their work has no objective meaning. They try to attach a "meaning" to the "art", invalidating the idea that art really must express something if it is art.

Le Corbusier

One of the most famous houses of the modern movement in architecture, the Villa Savoye is a masterpiece of LeCorbusier's purist design. It is perhaps the best example of LeCorbusier's goal to create a house which would be a "machine a habiter," a machine for living (in). Located in a suburb near Paris, the house is as beautiful and functional as a machine. The Villa Savoye was the culmination of many years of design, and the basis for much of LeCorbusier's later architure. Although it looks severe in photographs, it is a complex and visually stimulating structure. As with his church of Notre Dame du Haute, Ronchamp, the building looks different from every angle. After falling into disrepair after the war, the house has been restored and is open to the public.

The design features of the Villa Savoye include:
modulor design -- the result of Corbu's researches into mathematics, architecture (the golden section), and human proportion
"pilotis" -- the house is raised on stilts to separate it from the earth, and to use the land efficiently. These also suggest a modernized classicism.
no historical ornament
abstract sculptural design
pure color -- white on the outside, a color with associations of newness, purity, simplicity, and health (LeCorbusier earlier wrote a book entitled, When the Cathedrals were White), and planes of subtle color in the interior living areas
a very open interior plan
dynamic , non-traditional transitions between floors -- spiral staircases and ramps
built-in furniture
ribbon windows (echoing industrial architecture, but also providing openness and light)
roof garden, with both plantings and architectural (sculptural) shapes
integral garage (the curve of the ground floor of the house is based on the turning radius of the 1927 Citroen)

Roman Architecture

The Architecture of Ancient Rome adopted the external Greek architecture for their own purposes, which were so different from Greek buildings as to create a new architectural style. The two styles are often considered one body of classical architecture. This approach is considered reproductive, and sometimes it hinders scholars' understanding and ability to judge Roman buildings by Greek standards, particularly when relying solely on external appearances.
The Romans absorbed Greek influence in many aspects closely related to architecture; for example, this can be seen in the introduction and use of the Triclinium in Roman villas as a place and manner of dining. The Romans, similarly, were indebted to their Etruscan neighbors and forefathers who supplied them with a wealth of knowledge essential for future architectural solutions, such as hydraulics and in the construction of arches.

Social elements such as wealth and high population densities in cities forced the ancient Romans to discover new (architectural) solutions of their own. The use of vaults and arches together with a sound knowledge of building materials, for example, helped enabled them to achieve unprecedented successes in the construction of imposing structures for public use. Examples include the aqueducts of Rome, the Baths of Diocletian and the Baths of Caracalla, the Pantheon Rome (largest single span dome for well over a millennium), the basilicas and perhaps most famously of all, the Colosseum. They were reproduced at smaller scale in most important towns and cities in the Empire. Some survivals are almost complete, such as the town walls of Lugo in Hispania Tarraconensis, or northern Spain.

Political propaganda demanded that these buildings should be made to impress as well as perform a public function.The Romans didn't feel restricted by Greek aesthetic axioms alone in order to achieve these objectives.The Pantheon is a supreme example of this, particularly in the version rebuilt by Hadrian and which still stands in its celestial glory as a prototype of several other great buildings of Western architecture. The same emperor left his mark on the landscape of northern Britain when he built a wall to mark the limits of the empire, and after further conquests in Scotland, the Antonine wall was built to replace Hadrian's Wall.