A THESIS IN ARCHITECTURE Subi iitted to the Graduate Faculty of Texas Tech University in Partial Fulfmment of the Requirements for the Degree of



cyiãi rp^SDn, p^ l[\é>^ornm1 ttee


Dean of the Graduãte /Síéhool/ December, 1995


I would like to thank my committee members, Professor Robert Coombs, Dr. Michael Jones, and Dr. Rumiko Handa, for their patience with me, as well as their imput into my work. I would like to thank my parents for their insistence that I fínish, although they thought I was not listening. Last I would like to thank various authors, primarily fíction, whose writings steered me toward an organic conception of architecture as well as an appreciation of John Keats.



ACKNOWLEDGEMENTS LIST OF TABLES LIST OF FIGURES CHAPTER L INTRODUCTION TO THE THESIS Thesis Statement Description of Thesis IL m. INTRODUCTION TO ORGANIC ARCHITECTURE A SHORT HISTORY OF ORGANIC ARCHITECTURE Infroduction European Romantic Movement The Gothic Novel Augustiis Welby Pugin (1812-1852) The Gothic Revival John Ruskin (1819-1852) Eugéne Emmanuel VioIIet-Ie-Duc (1814-1879) Art Nouveau American Transcendentalism Ralph Waldo Emerson and Johan Wolfgang Goethe Organic Architects

ii v vi

1 1 2 5 19 19 19 23 25 26 26 28 30 32 33 35


SuIIivan (1856-1924) Frank Lloyd Wright (1867-1959) Hugo Hãring (1882-1958) Alvar Aalto (1898-1976) IV. THE PROJECT Introduction Project Statement The Design Approach The Site The Program The Entry The Rare Book Room The Stacks The Music Room and Periodicals Art Gallery Book Processing The Adminisfration The Auditorium Bathrooms iv 35 38 43 48 65 73 73 82 82 82 82 83 84 85 86 86 87 87 87 88 88 88 . Texas VI. V.Louis H. ORGANIC ARCHITECTURE IN AN URBAN ENVIRONMENT PROJECT DOCUMENTATION A Cenfral Library for EIIis County.

. WRIGHT'S FROBELLAN EDUCATION 89 90 91 94 94 94 95 95 96 96 97 103 123 . PROGRAMMING B.The Formal Expression Stmcture The Overall View of the Design Factors Description of EIIis County Waxahachie. Texas Historical Description Surrounding Areas Physical Characteristics The Movie Industry Historic District REFERENCES APPENDIX A.

14 Summary of the Rest Rooms A.2 A.l A.9 Summary of the Net Square Feet Statistícal Facts About EIIis County Summary of Required Spaced Summary of the Reading Room Summary of the Entry Summary of the Stacks Summary of the Music Room Summary of the Art Room Summary of the Periodical Room 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 A.5 A.LIST OF TABLES A. 15 Summary of the Maintenance Points A. 12 Summary of the Projectíon Room A.8 A. 10 Summary of the Rare Book Room A.6 A.16 Equipment A.4 A.17 Required Foot Candles VI .13 Summary of the Book Processing A.3 A. 11 Summary of the Adminisfration A.7 A.

5 Farm at Garkau by Hugo Håring 3.LIST OF FIGURES 3. 1 Circulation Diagram A.8 Interior View 6.7 View from the North East 5. Sullivan 3.3 North Elevation 5.2 Merchants National Bank by Louis H.2 Vertical Organization A.1 General Design Information A.5 East Elevation 5.4 South Elevation 5.7 Lecture Hall in the Viipuri Library 3.3 Falling Water 3.6 Stockholm Library by Gunnar Asplund 3.3 Site Context 57 58 59 60 61 62 63 64 74 75 76 77 78 79 80 81 93 121 122 122 vn .6 West Elevation 5.1 Plan at Ground Level 5.1 Art Nouveau's Use of Iron 3.2 Plan at the Second Floor 5.8 Aalto's Office 5.4 Plans by Mies van Der Rohe and Hugo Hãring 3.

67. and the manifold arrangement of parts. such as Alvar Aalto. Frank Llovd Wright versus America: the 1930's. This is in reference to the origins of organic architecture in the nineteenth century rivalry between the gothic revival movement and the neoclassical. and those that have gothic."^ This thesis involves an exploration of four approaches to organic architecture. One particular critic understood this when he said. Massachusetts: theMITPress.CHAPTERI INTRODUCTION TO THE THESIS Thesis Statement FoIIowers of organic architecture can be divided into two groups. 1990). have had ' Donald Leslie Johnson. who could be called the fírst organic architect. those that have classical sympathies. his architecture followed a strict logic which is not conveyed in his writing. (Cambridge. Eugené Emmanuel VioIIet-le-Duc and John Ruskin were the primary influences on Frank LLoyd Wright. . "In this sense the laws of organic planning fínd their continuation and completion in the extemal stmcture. He said that organic form grows its own stmcture out of conditions as a plant grows out of the soil.' While most of his writings about architecture relied on similar metaphors to convey his meaning. and not as a brilliant showpiece of a deliberately picturesque building. Organic architecture grew from the rationalist philosophies of the nineteenth and twentieth centuries. the lively grouping of building masses. It became apparent that architects vsath classical sympathies. are to be viewed as a result of the inner logic of design.

the urban environment is appropriate for organic architecture. The written thesis wiU be informed and supported by the design exploration of a library for EIIis County. June 1992. "ftid . such as Frank Lloyd Wright^. who were sympathetic to the relatively "modem" teachmgs of Ruskin and VioUet-Ie-Duc. This format allows the author to demonstiate his understanding of architecture in both graphic and written forms.2 more success in designing within the urban environment than those architects." (2) Organic architecture both influences and reflects the organic nature of the urban environment. "Organic Architecture: ABreedApart. Basic needs can be met by simply erecting the most convenient stmcture and ^ Mark Alden Branch. The term "modem" is used to highlight the historical position of these two architects. and it becomes important for the architect to recognize both the basic needs as well as the higher needs of people. Description of Thesis This thesis is arranged in two parts: the theoretical exploration. 68. Texas. who were seeking to replace Neoclassical architecture with an architecture that was appropriate to their time. This is necessary because architecture is both a physical manipulation of spatial environments and an abstract intellectual exercise." Progressive Architecture. Aalto was able to incorporate many influences into his architecture. This thesis is based on the following two hypotheses: (1) Despite Wright's antithapy toward cities. That was one of Wright's goals. and the design project. A building is quite literally a permanent part of the lives of people.

Worth wiU be more concemed with how long it will take to arrive at their destinations.^ The written part of this thesis concems the clarification of the concepts that drive design decisions. Frank Llovd Wright. he was also heavily influenced by Frank Lloyd Wright. This review will reveal the influences that either hindered or helped the creation of organic form within the urban environment. The architect is also concemed with higher needs. usually addressing issues of beauty. Each architect has a different approach to organic form and philosophy. at 55 m. 169-195. Frank Lloyd Wright. . a small city southeast of Dallas.W. and Hugo Hãring. Mies van Der Rohe. Inc. The author's design exploration is situated in a small scale urban enviromnent. 1976). Some built in urban environments and others did not. Norton and Company. The site is in Waxahachie. The range of human tiavel has been extended so much that time has become a more relevant measure of distance than miles. The vehicle is a library for EIIis County. careful graphic representation of the building is necessary as the most economical means for exploring architectural hypothesis. It is thirty-five minutes by automobile and forty-fíve minutes from Fort Worth. The theoretical exploration includes a review of the works and design methods of Louis H. SuIIivan. Although Mies does not fall under the umbrella of organic architecture. due in ^ An actual building is the ideal medium for any architectural exploration. The Master Builders: Le Corbusier. Peter Blake.^ The majority of the urban buildings in Waxahachie were built before the tum of the century.h.p. Texas. Commuters from Waxahachie to Dallas and Ft. This was an attitude adopted by Mies van Der Rohe who believed that architecture began with the materials of a building not a piece of paper. Texas. The city has been slowly growing over the past few years. As the actual art isjionverbal.3 fumishing it with what is at hand. Alvar Aalto. and the major influences on their careers. ^ Time is based on the use of Interstate Highway 35. (New York: W.

who are very active both in civic and private forums. the South Westem Assembly of God CoUege. There is one small accredited four year college in the town. .. Waxahachie has attracted several medium sized industrial plants and still has a broad agricultural industry.^ ^ Jack Lessinger. Penturbia (Seattle. A large number of the population are retirees. 1. 1990). Washington: SocioEconomics.D. Ph. This site is chosen because it is an example of penturbia. Inc. Waxahachie appeals to many people as a place to live.4 part to the people commuting to the larger metiopolitan areas to work. which is the new direction of urban development in the United States.

CHAPTERfl INTRODUCTION TO ORGANIC ARCHITECTURE "Organic form grows its own stmcture out of conditions as a plant grows out of the soil."* This statement is a metaphor that Frank Lloyd Wright used to define organic architecture.' This is a process of design that develops a unique building from its initial character and its site using organic form to create an effect on the user of the building. Organic forms are not imitated from nature; but the organic architect does emulate the natural processes of growth and erosion that create organic form. Examples of these processes include, geological erosion, geological accretion, plant and animal growth. They are known through direct observation by the architect, or through examining the observations of scientists. If a building has been designed from the inside out, it is organic'" The architect has emulated the evolutionary responses of organic entities to their environment." Organic form follows logically from the design and avoids becoming merely an exercise in picturesque building. The term "initial character" refers to the program of a building and to the materials chosen. Wright, Aalto, and Hãring gave an equal emphasis to both in their work.'^ These ^Donald Leslie Johnson, Frank Lloyd Wright versus America: the 1930's, (Cambridge, Massachusetts: tiie MIT Press, 1990), 67. ^U id. '"Branch, "A Breed Apart." " Geological phenomenon have been included under the term organic based on the explorations of Alvar Aalto and Reima PietiIIã, both of whom have used a large amount of geological imagery in their work.

6 architects are connected to the Functionalist movement as participants or in Wright's case forerurmer. This connection suggests that the requirements of a building contain at least a part the character of a building. If possible, materials were often decided on before a form was given to the building, weaving their characteristics into the early stages of design.'^ Wright was especially fond of doing this. This has an important implication for the use of materials. An organic architecture develops form in a way that is analogous to biological growth,'" requiring the architect to design a building from the specifíc requirements of both the program and the site.'^ In fact, an organic architect will state that a building is grown out of the site.'^ This is a very literal description of the design process of organic architecture." The organic architect takes the environmental stimulants of the site and adapts the basic aspects of the building accordingly, while respecting the nature of the materials that are chosen. The materials play the role of genetic pattems in the building by suggesting a possible range of responses to the site. Different materials have distinct properties in terms of both visual appearance and constmction methods. Masonry, wood, steel and concrete follow

"Chapterm,pp 37-55. "Ibid. '" Stanley Abercrombie, Architecture as Art: An Esthetic Analvsis, (New York: Van Nostrand Reinhold Company, 1984), 102. '^ Branch, "A Breed Apart." '^ A building is grovm from the site as opposed to being fitted to the site. Ibid. " Ibid. This is very similar to statements made by Frank Lloyd Wright about how he designed a building.

7 different sfruclural logic and serve as a basic pattem for the development of form in much the same way that DNA. cames the pattem for biological development. This issue has become confused by twentieth century technology in which brick can be hung on steel frames that usurps the bricks structural properties. The author speculates that such stmctures are hybrids and follow their own stmctural logic; they form an interesting direction in which to develop organic architecture. In organic architecture form will always demonstiate the characteristics of the materials used.'* Organic architecture is a product over time of a certain cultural orientation to nature.'^ Three general orientations presented in Culture and Environment by Irwin Altman and Martin Chemers quoting anthropologist Florence Kluckhohn (1953) are; (1) people as subjugated to nature, living at the mercy of a powerful and uncompromising nature; (2) people as over nature, dominating, exploiting, and controlling the environment; and (3) people as an inherent part of nature, like animals, trees, and rivers, trying to live in harmony with the environment.^° These three orientations were presented as a range of values rather than a comprehensive list. "Most cultures, especially technologically complex ones, are apt to have elements of all three perspectives embedded in their value systems, and so what we have presented should be taken as a highlighting of altemative perspectives, not a categorical classification system."^' The fírst orientation, people as subjugated to nature, is '*MalcoIm Quantrill, Alvar Aalto: A Critical Study, (New York: New Amsterdam Books, 1983), 1. '^ Irwin Altman and Martin Chemers, Culture and Environment, (Monterey, Califomia: Brooks/Cole Publishing Company, 1980), 15. ^^Uîid. ''n)id,24.

has been the predominant orientation in westem cultures for the past two hundred years and results from 2. that the goal is for the benefít of people.000 years of Judeo-Christian development and 200 years of the scientific/industiial revolution. one. subjugate. The second orientation. Orgemic architecture is an expression of a people who believe that it is their right to exploit nature.. It is entirely possible that Wright and SuIIivan were indirectly influenced by an oriental conception of the unity of man and nature. such as HVAC systems. and bend the environment in accordance with human needs. ^'Uîid.. and. this influence would have come through American Transcendentalism. Advanced technology. 34-43. 18. people as above nature. reduce the influence of this orientation. people as a part of nature."^^ The third orientation. two. and have a right and even a responsibility to control. however. . is predominant among oriental cultures. Two things can be inferred from this statement. a philosophy that grew out of the view that people are above nature. " while Aalto and Hãring emphasized a physical approach to organic architecture. The primary goal of organic architecture is to better the human condition through a pedagogical agenda or through physical comfort and health. the exploitation is towards a specific goal. For a detailed discussion see pp. ^^ Wright and SuIIivan emphasized the pedagogical approach to organic architecture. are superior to it.^" ^^Jbid." This orientation holds the view that" humans are separate from nature. Organic architecture is not an expression of a people that are subjugated to nature.24.predominant in cultures located in harsh climates such as found in deserts.

435. For a detailed discussion see p. ^* Walt Whitinan. And wholly and joyously blends them. Henry David Thoreau. When the fiill grown poet came.) saying. uniter. as suggested in this ^^ Frank Lloyd Wright and Louis H. with all tts shows of day and night. Out spake pleased Nature (the round impassive globe. Emile. jealous and unreconciled. (New York. 1983). A general reading of Krishan Kumar's book. 32. (ii. and that the role of the artist was to unite both into a natiiral union. and. proud. tightly holding hands.^^ Art must come from this blending of man and nature. Jean-Jacques Rousseau. 37.One of organic architecture's origins was in American Transcendentalism. Which he will never release until he reconciles the two. And today and ever so stands. Utopia and Anti-Utopia in Modem Times. as blender. Then the fiiU-grown poet stood between the two. He is mine. Nay. ^^This is traceable to Rousseau's attitude toward nature as the source of all tmth and beauty. SuIIivan were both heavily influenced by this philosophy. ^^ The author is not sure what the phrase "natural union" meant to the franscendentalists of the nineteenth century." Ralph Waldo Emerson. Bantam Books. and took each by the hand. and Wah Whitinan were the mam fígures in this philosophical movement. The author has included this footnote in order to recognize that the religions of the US. Leaves of Grass: The 1892 Edition. he is mine alone. But out spake too the soul of man. suggests that in the transcendentalist's view nature needed man to be complete as a descendant of the biblical Garden of Eden.^'* They believed that Man had become estianged from Natiu-e. 26 For a detailed discussion see p. "When the FuII Grown Poet Came. for it is in nature only that tmth and beauty are found." The poem." illusfrates this point. a philosophy that began in the nineteenth centiiry. There is enough material for a second thesis.^' Man and Nature have powers of creation.59) Quoted by Ronald Grimsley in The . have played a role in the development of organic architecture.

1990). 334. Origins of American Transcendentalism: In Philosophv and Mysticism (New Haven. Wright considered his work to instmct the user and others in a more natural lifestyle. 16. 19. Connecticut: CoIIege and University Press. Wisconsin: TheUniversity of WisconsinPress. Narciso Menocal of SuIIivan : "The chief function of architecture would be to express Philosophv of Rousseau (Oxford: Oxford University Press. 1981). Architecture as Nature: The Transcendentalist Idea of Louis Sullivan. Emerson's Modemitv And The Example of Goethe (Columbia.^° American Transcendentalism was a mystically based philosophy. 1973). 1975). ^' Nathaniel Kaplan and Thomas Katsaros. 25. with the assumption that Tmth is found by infrospection rather than by cataloguing measurable data. " Narciso Menocal. which causes the ordinary man to achieve greatness.10 poem. SuIIivan considered themselves to be great men. Emerson believed that science and art were both explorations of different aspects of natuie which would one day merge.^' The Transcendentalists believed that it is possible that knowledge is found within Man through his intuition and confirmed by empirical means. American Transcendentalist philosophy believes that great men have a generic quality that is fransferred through the teaching process.. Missouri: University of Missouri Press. the poet is a creature of both.^^ The Transcendentalist's regarded architecture primarily as a teaching device. 32 Ibid. 122. One interpretatíon is that the poet has undertaken the task of reconciliation of man and nature through the merging of science and art. . (Madison. as they did with all of the arts.^^ Frank Lloyd Wright and Louis H. ^°Gustaf Van Cromphout.

as noted by Dennis Allen Anderson and Jeffrey Karl Ochsner in "Adler and SuIIivan's Seattle Opera House Project. SuIIivan was quite capable of handling the craft of architecture. what he considered to be the craft of architecture. 37. The craft of architecture refers to the constmction and also to what is known as programming. ^^ For a detailed discussion see p. Dennis Allen Anderson and Jeffrey Karl Ochsner. 16. SuIIivan's theories were almost exclusively centered on the decorative aspects of architecture. an earlier philosophy that heavily mfluenced the early United States Republic." Societv of Architectiiral Historians JoumaLXLVm. "Adler and SuIIivan's Seattle Opera House Project. (September 1989): 223-231. It was only in SuIIivan's expression that the craft was regulated to framework. the message was benefícial to people through physical manifestations.11 philosophical concepts related only to what he [SuIIivan] considered to be the Iiighesl tmths of nature. the use of organic forms were attempts to instmct people in a more natural way of life. In the works of these architects. in his theoretical discussions.^* Deism. it was imprørtant because it presented an empirical basis for studying nature. His work in the Seattle Opera House indicates a mastery of the craft as well. Deism held '* n)id."^^ For Wright and SuIIivan. ignoring. Although Deism was actually a theology. ^^ This does not mean that Sullivan was only a decorator. was precursor to American Transcendentalism. ."^^ Both of these architects valued the artistic qualities of a bmlding over its practical qualities though this does not mean that they ignored practical concems.

^^ This was the essence of Deism. the separation of church and state was not widely practiced until the late cighteenth century. Rational Infídels: The American Deists. notably the Scottish commonsense philosophers"' who believed that "This theology denies the existence of any source of mystical knowledge such as divine inspiration. Certain philosophers tried to reconcile the two different theologies. a theology and philosophy of the Enlightenment. which placed this Protestant movement at odds with pure Deism. In fact. for that was the only way to know God. an imperative study.^* The Deistic metaphor of the clockwork universe represents a particular view of cosmic order. messages from angels. Ibid. These laws could be found only by a rational study of nature. Divine revelation was a comerstone of Calvinism. 1992). ^' This is a metaphor that is commonly attributed to Sir Isaac Newton. 7. and genius. 7. was predominantly Calvinist. Walters. The religious makeup of the colonies in the United States was. one held by Sir Isaac Newton. Walters. . Kansas: University Press of Kansas. The American Deists: Voices of Reason and Dissent in the Earlv Republic (Lawrence. Kerry S. Walters. John Bacon and John Lockc^' They visualized the universe as running like a perfect machine according to unbreakable laws. 16. (Durango. 14.12 the belief that God created the universe according to certain unbreakable laws and does not physically intertere in this world through mystical means. Rational Infídels: The AmericanDeists. which at that time was embodied in the mechanical clock."" Deism in its purest state rejected any knowledge that was divinely inspired or acquired in any fashion other than through a rational empiricism. ^^Theology and philosophy at this point in time were essentially the same thing.1992).. Colorado: Longwood Academic. at that time. 40 Uîid "' Kerry S.

however. ''Chapterffl. 15. This led to a curious duality in the works of Aalto who would deny any artistic intent in his 42 Jbid. The Modemist Movement included a wide spectrum of philosophies.. Newton and Locke challenged the tenets of Calvinism too much for the majority of the colonists. .''^ Aalto and Håring used organic forms as an altemative to the vogue for industrialized forms of the Modemist Movement..13 the mmd possessed certain self evident mtuitive faculties by which knowledge could be appraised.'*^ They had more impact on Deism m the United States than Locke or Newton because their work was more acceptable to the colonist's religious sensibilities. which is similar to the clockwork universe. Aalto and Hãring were empiricists.43. and both claimed to be Functionalists. ''"Peter Blundel Jones. The Modemist Movement of the early 1920s was grounded in this through the teachings of Eugene Emmanuel VioIIet-le-Duc There was a search for the natural laws that govemed architecturc'" Of course. "Hugo Håring. There were only a small number of modem architects who saw the laws in terms of an organism rather than a machine. this is a generalized statement. vl71 (June 1982): 40-47. the United States was not as heavily influenced by a materialistic empiricism as Europe." Architectiu-al Review.''^ Because of these religious sensibilities. 16. They were scomed by most of the American clergy. Jbid. "the machine universe" became the dominant metaphor. In Europe. Any appeal to artistic sensibility had to have a quantifíable purpose. "^ The works of Bacon. Deism led to a purely materialistic empiricism. Wright brought the idea of an organic architecture to Europe.

He did not claim any artistic intent. Aalto did not object to people seeing artistic merit in his work. For Håring there was nothing as important as the physical requirements of a building. however. 54. In both cases the architects took an empirical approach to form. it was not a major part of the Modemist Movement. and was especially influenced by Moholy-Nagy and Hugo Håring. Organic architecture was closely related to Functionalism. A quantifíable human need drove this version of organic architecture. . The fírst is the machine model of universal order. however. p. Organic architecture was practiced in Europe during the late 1920s.'*' There are three major concepts in the Modemist Movement that were rejected by organic architecture. The artistic touch in his work met the psychological needs of the users of his buildings. Psychology allowed Aalto and Håring to justify historical references.14 architecture. "HugoHâring. which is a version of the ''Jones. and other artistic elements as quantifíable architectural qualities. His work employed iconographic imagery and other references that appeals to the artistic sensibilities of people. metaphor. tempered by a concem for the psychological function of architecture. Both Hugo Hãring and Alvar Aalto were rationalists who based their organic form on quantifíable phenomena.''^ Aalto had a humanistic stance." ''SeeChapterlII.

He was the polar opposite of Hugo Hãring. although he was fully aware of the philosophical implications of Euclidean planning. which has an effect on how order is viewed.40-47. geometric forms. and signify the relationship of man and nature in a particular work.15 Enlightenment's clockwork universe. Such an assumption would be inaccurate. For example. "HugoHâring.''^ Hugo Håring used Euclidean geometry only when constmction costs resfrained him." Architectural Review.^'^ Aalto combined orthogonal grids with intuitive organic forms in a deliberate dissolving of the grid. "'Wright used a geomefric description of crystalline growth. The second is the emphasis placed on mass society over the individual. 1022. "Hugo Hãring. 1982. Pure geometry was not a part of these architects' work. and platonic volumes were never the ultimate forms of a building. See Appendix A. however.''* The universe is visualized as an evolving organism by the organic architect. are associated with human constmction. Wright's strict contiol of the geometric module can be interpreted as placing people into the role "^Hannes Meyers proposed that there was no art in architecture and that all architectural problems could be solved by inductive reasoning. It was rejected in favor of a biological model." . especially demonsfrated in the gothic cathedrals of the Middle Ages. 171 no. Peter Blundel Jones. '"Jones. The third is the exclusively physical defínition of function espoused by Hannes Meyers. In organic architecture. tt is tempting to suggest that organic architecture is a total break from the association of order and geometry. such as plan and volume. Westem architecture has traditionally associated Euclidean geometry with order. SuIIivan and Wright created geometric modules to represent growth tempered by Man's touch. V.

The approaches of these architects toward design are similar Rather than classify their works by a catalogue of building parts. Hãring." Progressive Architecturc June 1992. SuUivan. For example. In this version of organic architecture it is required that there be quantifíable reason for the use of form. "Organic Architecture: ABreedApart. though there is no obvious formal pattem m their works. Mark Alden.^' There exists in organic architecture two groups of attitudes. Goethe believed that art and science were one and the same exploration of nature. The empirical attitude came from Goethe and VioIIet-Ie-Duc. while Aalto's casual attitude towards geometry can be mterpreted as a comment on how to cooperate with nature. SuIIivan. other than organic imagery.16 of caretaker. If the personal attitudes toward the designs of SuIIivan. According to the empirical attitude. Håring used the physical function almost exclusively. Hãring and Aalto are used to classify organic architects then a pattem emerges. empirical and intuitive. both of whom advocated an empirical approach to art. the selection is limited to Wright. Aalto used psychology as a justification for much of his organic form. Organic architects produce a great deal of individualized work. Wright. Håring and AaUo. Aalto and Håring have replaced the mysticism of SuIIivan and Wright with psychology. AII decisions conceming its design had to be informed by empirical knowledge. the primary purpose of the architect's work was its use in everyday life. In this study. the approaches to organic architecture need to be classifíed. " Branch. . and Aalto are not connected by the appearance of their buildings. Wright. making the assumption that Tmth can be found in the measurable qualities of nature either through science or art. 70.

such as program. The term "environment" is more correct. In both cases. Organic form was justifíed on the basis of the pedagogical ambitions to teach people to live in harmony with nature. as long as nature was subject to peoplc These are the two different approaches to organic architecture. This includes context. As organic architecture is very site specifíc the use of the word "context" becomes a distraction. The organic model for form must not be taken too literally when the underlying pnnciples are used to create architectural form. an intuitive based organic architecture assumes that certain ideas are inherent in all people and the presence of those ideas can be confírmed by empirical research. and the promotion of architectural ideas of more importance to them than the physical comfort of their building. . a literary term. though the typical defínition is usually too limiting for the organic architect. Their difference lies in the justifícation that architects use in order to meaningfully employ organic form. often implies that the historical and iconographic makeup of the area are more important than the actual physical location. When Aalto fried to create building types the attempt was highly modifíed by circumstances. cost and sitc Architectural form is always affected by its environment. architectural form affects the soul and mind. the architects conclude organic models for architectural form are more beneficial for people than Euclidean or machine models. The architecture of both Wright and SuIIivan was mtended to inform society. Context. In both cases. Architectural form should never be predetermined.17 On the other hand. In both cases harmony with nature is the ultimate goal.

this attempt is misunderstood as mere expressionistic tendencies of the architect. Aalto referred to this as meeting the psychological needs of people.18 Organic design is a romantic approach to architecturc Even in the works of the rationalists there exists attempts at communicating through the mtuition. The organic architect builds more often because the need of the presence of an actual environment is a vital part of his work. though the author is not sure if this is an entirely incorrect assumption. The expressionist does not build much because the ideas of the expressionist can exist independently of sitc . there is a difference between an expressionistic architect and an organic architect. However. Invariably.

CHAPTER III A SHORT HISTORY OF ORGANIC ARCFQTECTURE Introduction Organic architecture was a product of the Industrial Revolution. Frederick Gutheim. and is not an original thought of organic architects. but. 19 . according to the human direction and control given it. it was not a rejection of industrialization. This chapter discusses the major influences in the development of organic architecture and demonsfrates its place in the history of twentieth century architecturc European Romantic Movement The European Romantic movement occurred between 1760 and 1820. Frank Lloyd Wright stated: "The machine is an engine of emancipation or enslavement. 131. for it is unable to control iíself "^^ Organic architecturc is concemed with the direction of progress. As Adam Smith published The Wealth "AquotefromanarticIebyFrankLIoyd Wright. a time of major historic changes in the European cultures. This concem is fírst seen in the philosophy of Jean-Jacques Rousseau. It was a response to the conditions found in these industrialized cultures. Inthe Cause of Architecture Frank Llovd Wright: Wright's Historic Essays for Architectural Record 1908-1952. ed. but during that period of history there was very little difference between philosophy and theology in the Westem World. The materialistic philosophy of Deism was beginning to take hold of intellectual circles in Europc Deism was technically a theology. Architechual Record Books. 1987). (New York.

the French revolution began. and in music. but occurred in literature. The awareness of society as an organism was begiiming to take hold in the eighteenth century. Rebels and Reactionaries: English Literature and Its Background 1760-1830 (Oxford: Oxford University Press. The First Modems.^" This means that people were no longer viewing progress as a recaptimng of an ideal state but as an evolution toward perfection or at least a higher existencc The begiiming of this challenge to classical authority began a long time before the eighteenth and nineteenth centuries. 178. 31. The philosopher Goethe was active in Germany. Darwin was beginning to develop his theory of evolution. and the authority of classicism was being challenged.^' Specifícally. which suggests that there was a general shift in the thinking of the population. '" Marilyn Butler. 55 Rywert. Massachusetts: The MIT Press. 1982)." The latter was not exclusively an architectural phenomenon. In the seventeenth century. The First Modems: The Architects of the Eighteenth Century (Cambridge. Claude Perrault began questioning the fraditional view of proportions as laid down by Vitmvuis. the assumption that musical harmonies applied to architectural proportions would guarantee beauty was challenged.^^ Joseph Rywert illustrates the nature of this challenge quoting Descartes writing to Mersennc Descartes '^ The subject of classicism is much more complicated than the author realized at the beginning of this thesis. 1983). 1987). the Industrial Revolution was expanding. . Architecture and the Crisis of Modem Sciencc (Cambridge. ^^ Alberto Pérez-Gômez.20 ofNations. It took place in the context of French neoclassicism approximately a century before the European romantic movement. Massachusetts: TheMITPress. and apparently the classical architecture serves as a uniíying set of elements for a large and diverse period of westem history. in paintings. followed by the American Revolution. 33. Romantics. See Joseph Rywert.

He was primarily a social philosopher. The First Modems. Rousseau described his opinion conceming the source of beauty. The results of this study suggested that this classical assumption lacked basis. 'Mbid ''Ibid. in anything dealing with the European Romantic Movement.^^ "Positive" can be taken to mean beauty that is native to the building and "arbitiary" can be taken to mean beauty that is subjective. In Emile. which followed the Enlightenment. he would no doubt howl and run away whenever he heard its music. and brought into question the validity of the classical defínition of beauty. and his theories on aesthetics were tied to the development of human morals.^* Perrault redefíned beauty by distinguishing between two different types of beauty. There were two general trains of thought in the late nineteenth century.."" This questioning lead Perrault to conduct an empirical study of the proportions of past masters. the positive and arbitiary.. although empirical exploration was never abandoned. "Rywert.21 said that ". "The good is only the beautiful in action.were a dog whipped fíve to six times to the sound of a violin. . The European Romantic Movement. at least in architecture. 35.36. One assumed that only an empirical study of nature could reveal tmth and the other eissumed that an empirical study of nature would veriíy tmth which could be found within peoplc One will invariably discover the name of Jean-Jacques Rousseau. a French philosopher who lived in the eighteenth century. was a reaction against the materialistic dogma of the Enlightenment. or that which people have tiained themselves to likc This was the beginning of the Enlightenment.

as Rousseau saw it. . 1973). and he feared that it would ultimately destroy what is specifícally human in our species.C. 1973). 61 He was a chemist before becoming a philosopher. "Man. Ibid. (ii. and specifícally in the large city. Rousseau and the Idea of Progress (Oxford: The Clarendon Press. Rousseau was not an empiricist. Green. 93. "Rousseau. 63 Uîid. Emile. Rousseau thought. North Carolina. striking deeper still. ^F. 3.^^ This placed Rousseau in a curious positíon in the eighteenth century in that he did not believe that science would provide the answers to everything. but against the way in which progress was being implemented. not in vast aggregations where the individual is socialized out of existencc"^ Rousseau equated the decay of moral values with the excessive veneration of science and with the overcrowded *" Jean-Jacques Rousseau.). could be found only by introspection. 1950: reissued 1978.22 that the one is intimately connected with the other and that they both have a common source in well ordered nature."" Rousseau was not against progress itself. although he had the background to be onc^' His philosophy was infrospectivc Tmth was found in one's own self rather than measured and quantifíed in the lab of the scientist. Temmer. Mark J. The University of North Carolina Press. 122. 17. 59) Quoted by Ronald Grimsley in The * Philosophv of Rousseau (Oxford: Oxford University Press. was intended by nature to live in sparsely populated mral societies."^'' Unlike his contemporaries. Art and the Influence of Jean-Jacques Rousseau (Chapel HiII. ^^ The Tmth as is used here is the order found in naturc Rousseau believed that the empirical methods of people such as Deirdrot left much out of the order of naturc Such order. maintained that the cuU of intellectual progress is incompatible vÁth man's tme nature.

by Nathaniel Hawthom.^^ He influenced the American movements known as Unitarianism and American Transcendentalism which had a profound influence on Louis H. as examples of the artist tianscending the gothic stylc The gothic novel was very popular among English speaking nations. The gothic novel is a part of the European romantic movement and was a major change in English literaturc As a gem-e it is very difficult to defíne. by Herman Melvile. As it included many descriptions of gothic architecture it placed such architecture before the public. or at least to fínd an agreement among literary critics and historians as to the exact defmition of the gothic novel. are two of the more famous works produced by this gemc Some critics include Moby Dick. Jean-Jacques Rousseau's work formed a major part of the basis for the social stmcture of the United States of America and for the romantic movement in the nineteenth century. written by Mary Shelly in 1818. and The Scarlet letter. 13. The gothic novel was one of the fírst instances of a major shift in the arts from a private pationage system of support to a commercial system aimed at generating income for the author and publishers. This entailed selling a large volume of books to the middle "'lbid. Sullivan and Frank Lloyd Wright.23 industrial cities. . The Gothic Novel The literary arts were the primary means of communicating ideas before electronic communication took its place in the twentieth century. and Ivanhoc by Sir Walter Scott in 1820. The gothic novel was developed as a popular literature in the late 1800s and was designed to appeal to a mass audiencc Frankenstein.

ed. soap operas and horror movies. G. the gothic novel appealed to a mass audience through tts sentiment or its shock valuc At the highest level. ^'Ybid. thus the content had to appeal to a common ground among readers. 1974). rather than a discrete reflection of the aristocracy.R. the time that the burgeoning printing technology made books accessible to the general public. 4. comparable to the current romance novels. The Gothic Imagination: Essavs in Dark Romanticism. For more ideological reasons. the gothic novel also cultivated the public taste for expressiveness."^ It was not until the European Romantic Movement that this successfully happened. (Pullman. at the time the written word was becoming more accessible to the public..^* Besides developing a public taste for gothic architecture through its description of gothic buildings. . Around 1820. Horace Walpole also designed "Strawberry Hill.R. the early part of the Enlightenment attempted to "reach Everyman [that is every reader] through universally accessible modes. ^^Butler.24 class.Washington: Washington State University Press. "Romanticism and the Gothic Tradition. or soul. Romantics Rebels and Reactionaries. of the subject.^^ The gothic novel is an exploration of the interior. Thompson." one of the fírst gothic revival buildings in England. The novel thus served as a reflection of and an influence on public tastc Art had become a way of looking at the wormy state of mankind as a whole. Thompson. the gothic novel was an exploration of a character's emotional response to fantastic or supematural events." G. especially in England. 182. The Castle ofOtranto. At its lowest level. literary artists were exploring the use of private descriptions to communicate with the general public Literature became more infroverted in nature. ^^Horace Walpole wrote what some consider to be the first gothic novel.

25 Augustus Welby Pugin (1812-1852) Augustus Welby Pugin was an architect that designed almost exclusively in an archaeologically correct gothic stylc Pugin was one of the major forerunners of the gothic revival movement and of the Modem Movement. and in accordance with. where traditional forms should be respected because of climate and cultural conditions and quality must include social values. Pugin (New York: The Viking Press.^'* The influence of Augustus Welby Pugin on the works of John Ruskin and the gothic revival is exceptional^' 69 In Tme Principles Pugin Phoebe Stanton. personality. in the author's opinion. The archeologist vÁl\ interpret the clues under the influence of his or her. the purpose for which it is destined. 1971). but he ran into the problem of archeological reconstmction.^' These are the tme principles to which the title refers to. which. The extemal and intemal appearance of an edifíce should be illustrative of. and the interpretation of the available clues is done through a rigorous methodology. . In pure architecture the smallest details should have a meaning or serve a purposc Constmction should vary with the materials employed. 81. Pugin was an advocate of the archeological accurate copying of the thirteenth century gothic style. and a basis of the twentieth century Modem movement and organic architecturc Two other points made in Tme Principles. The science is not as random as this sounds. culture and imagination of the archeologist. although neither were stated as a principle concemed local and national styles. but that is a bit involved for this thesis. makes archeology very a valuable subject for architect's to study and understand how forms relate to people across timc ^' This is said with some irony as the author has ran across several substantial accounts of Ruskin having plagiarized Pugin. piece together a past without having all of the necessary information availablc Insights into the past often depend on the background. for the most part. ^''This is an interesting subject in itself Archeologists. period of time. wrote: All omament should consist of enrichment of the essential constmction of the building.

Sfrawberry HiII. Jones. Walpole was also one ofthe first authors ofthe gothic novel The gothic revival was a conscious attempt to fínd a non-classical foundation for a modem architecturc A multitude of reasons exists for the rejection of classicism in favor of the gothic revival. and wanted a retum to the simpler age idealized by the thirteenth century. which is ironic considering the amount of influence he has had over architecturc He was a proponent of the Gothic Revival ^^ This was by no means a unanimous event and there was quite a battle of styles between the eclectics. Coincidentally. Catholic and Protestant respectively. The Gothic Revival had. John Ruskin hated the direction taken by the modem world. "HugoHâring.26 Gothic Revival The first building of the gothic revival was Horace Walpole's house. The conflict continued into the modem movement. and the destmctive pace of the industrial revolution. an agnostic. the neoclassicists and the gothic revivalists. VioIIet-Ie-Duc was a visionary who believed that the implementation of gothic principles would ease life for people and should even form the basis for a modem architecture.^^ Among them are the rise of nationalism. The comparison of Ruskin and VioIIet-le-Duc reveal two separate directions of this movement. the introduction of new technologies. a sfrong religious and moral tone set by Augustus Welby Pugin and John Ruskin. at least in England. emphasized social considerations over the moral. In France. JohnRuskin (1819-1900) John Ruskin built very little architecture. Two relevant examples cited in section on Hugo Hãring is his argument with Le Corbusier and Mies van Der Rohe over form. Eugéne Emmanuel VioIIet-Ie-Duc." . the introduction of iron and glass that did not fít into the neoclassical use of materials.

John Ruskin and Victorian Architecturc (London: Rutgers University Press.Ruskin consistently discusses a building as something to be seen rather than to be used."^^ The poetry of Wordsworth." As a result of the latter. capitals and so forth. 1987). ". Ruskin on Architecture: His Thought and Influence (Madison. but in the areas of literature and landscape painting. 67. [John Ruskin's] architectural education proceeded in fíts and starts. John Ruskin developed a sensitivity to the qualities of color and texture that was unusual in Victorian England. but always in one direction: from a water colorist's interest in architecture as a subordinate part of a landscape to his eventual advocacy of building that would eventually capture the qualities of nature in the curve of their arches and the mass of their walls. 1.. Ruskin on Architecturc that John Ruskin had a lack of interest in mass. proportion and especially stmcturc'* This may have resulted in Ruskin's separation of the craft of building from the art of architecture. ^' He was a watercolorist. '^lbid." Kristine Ottesen Garrisen points out in her book. also reinforced Ruskin's view of architecture as a part of the landscape. Brooks. a preservatiomst.9. Michael W.27 movement in England.^^ According to Michael W. "ftid ^*Kristine Ottesen Garrigan.^" and he valued the expressive and picturesque qualities of architecture over functional and rational qualities..4. '"ftid. "n)id. Wisconsin: The University of Wisconsin Press. whose work John Ruskin greatly admired. by which he meant the omamentation of key points such as walls. Brooks. and an architectural critic. Ruskin did not have a formal education in architecture.. . however. 1. 1973).

Viollet-Ie-Duc's preservation methodologies have become very . and discouraged the use of omament. from consideration in his theories. excluding modem materials. he was a rationalist who saw that the principles of gothic architecture were more applicable to the nineteenth century than the classical principles of the EcoIe-des-Beaux Arts. Eugêne Emmanuel Viollet-Ie-Duc (1814-1879) Eugéne Emmanuel Viollet-le-Duc was one of the most influential theoreticians in architecturc He was a noted authority on gothic architecture and had a particular interest in the architecture of the 1300s." The Societv of Architectural Historians Joumal. Actually Ruskin was a preservationist and Viollet-Ie-Duc was a restorer of gothic cathedrals. a similar development occurred in the Shaker traditions. Ruskin hated the direction that the nineteenth century was heading and called stiongly for the use of handicrafts and tiaditíonal materials in architecture. ^'VioIIet-le-Duc was one of the fírst restorers of French gothic architecturc Martin Bressani.327-350. The Arts and Craft movement was a development of the Gothic Revival in England and was heavily influenced by John Ruskin. ^* VioIIet-le-Duc was also the father of the current preservationist movement. "Notes on VioIIet-Ie-Duc's Philosophy of History: Dialectics and Technology. In the United States. The result was a simple well-built architecture that respected local custom and materials. along ^ with Ruskin. such as iron. and as a matter of survival on the frontier. 4. No. 48. It emphasized the craft aspect of architecture. It was from the gothic principles that VioUet-le-Duc formulated a new theory of architecture that addressed materials such as iron and glass and the programmatic requirements of the new technologies.'^ As a theoretician.*" He was an advocate of rational design.28 Ruskin preferred an architecture of effects over an architecture of form.

Heam." . "Notes on Viollet-Ie-Duc's Philosophy of History: Dialectics and Technology. 209. (Cambridge.*^ in which himians were advancing toward controversial in the twentieth century.. F. "It is as ridiculous to pretend that there is a god as tt is impertinent to maintain that there is not. 1972). The Architectural Theory of Violett-le-Duc: Readings and Commentarv. 187.*^ VioIIet-Ie-Duc's theories had an influence on Frank Lloyd Wright and Louis H.29 According to VioIett-le-Duc. He stated. *'n>id.^^ and the guiding concept of honest simplicity. there were three points that marked a rational design.^ VioIIet-le-Duc's influence over the Functionalist movement is undeniablc Violett-Ie-Duc's view of history is important. 1990). SuIIivan. and as one he was free to accept evolution as a viable theory of organic development. * VioUet-le-Duc quoted by Nikolaus Pevsner. religion was still a dominant force in intellectual circles. 182. They are function determines form. 209. Massachusetts: Massachusetts Institute of Technology. 84 Ibid. (Oxford: ClarendonPress. ''ftid."*^ That is a statement of an agnostic. "^Bressani. 192. "Notes on VioIIet-Ie-Duc's Philosophy of History: Dialectics and Technology." *' M. ed.*' sti^ctural honesty. Some Architectural Writers of the ^ Nineteenth Centurv. but to discuss this one must touch on his religious views. During the nineteenth century. particulariy the point about subordinating all decoration to the guiding concept. Bressani. Of particular importance to this paper is Violett-le-Duc's view of histoiy as an evolutionary process instead of the biblical view.

30 períection, rather than the biblical view of people's fall from perfection,^' As he viewed technology as an aspect of this evolutionary process, and it was easy for him to accept new building technologies and materials, such as iron and glass. Violett-le-Duc espoused a regional approach to architecture, and admired some vemacular traditions for their development of rational stmcture based on local materials, and for their harmony v^th local climate, topography, and culturc^^ M. F. Heam comments on Violett-Ie-Duc's use of techniques from other times and cultures: When the form or technique of one tradition fíts the cultural and physical context of another, it can be appropriated to great advantage-as in the case of the Romans and vaulting. But in a fully rational procedure, if the borrowed element works better than a local custom then the custom itself could be dropped and the philosophy of the local tradition could continue unabated along another line of formal development.*^ Viollet-Ie-Duc did not restrict the use of vemacular architecture to a local area. This becomes an important idea in the work of Alvar Aalto, especially after his trips to Italy.

Art Nouveau Art Nouveau was heavily influenced by the writings of Viollet-Le-Duc, especially in the effort to create a national stylc^" This movement, which lasted approximately from 1895 to 1905, was a theoretical offspring of the British Arts and Crafts movement.^' It ''ftid * Heam, The Archttectural Theorv of VioIett-le-Duc. 184. ^


^ Kenneth Frampton, Modem Architecture a Critical History. (New York: Oxford University Press, 1980), 64. ^' Tim Benton, "Arts and Crafts and Art Nouveau," ed. Frank Russell, Art Nouveau Architecture (New York: Rizzoli, 1979), 15.

31 was an attempt in Europe to create a new "style" of archttecture that did not rely on classical form or theory,^^ but relied on nature and materials for its formal expression. Its treatment of iron as a sinuous material created an orgamc effect in its decoration, though the building organization was classical in most cases.^^ The exception to this was Antonio Gaudi's work in which organic forms were based on Gaudi's own imagination and his Catalonian culture, and his exploration of Gothic stmcturc His design methodology used models almost exclusively, and even in his stmctural calculations he used wire models with weights to determine the resulting force vectors. Gaudi's columns, for example, follow the tme direction of vectors. Taking into account Gaudi's symbolism he was as much a sculptor as he was an architect. He is unique in the history of architecture. In Belgium, Victor Horta followed the same goal as Gaudi the establishment of a modem national stylc In the Hotel Tâssel, Horta used the iron in a manner that offset the mass of the stonc** The iron is sfretched in an imitation of plant forms, which foreshadows the organic practice of "growing" a building. The building itself was conceived along the rationalist principles of VioIIet-Le-Duc, but the lace quality of the iron is much more than decoration;'' it anticipates Wright's concept of the nature of materials by exploiting the tensile nature of steel.

'^lbid •^Mbid ^ The name is misleading to those that speak no Belgium. The English equivalent is "townhousc" Ibid.


32 Hector Guimard was probably the most outspoken architect of the Art Nouveau Movement. In his theories, he sfressed the need for omament to demonsfrate the nature of the materials used.^^ Guimard drew his imagery from the fairy tales, and legends of Francc The organic nature of his work was due to his interpretation of the nature of materials, and not to an imitation of natural forms.^' This emphasis on the nature of materials is a part of Art Nouveau theory and it influenced Alvar Aaho through the teachings of Arimas Lindgren.

American Transcendentalism In the United States of America, the reaction to Diesm was the American Transcendentalist Movement, The writers of this movement were extolling the virtues of nature and reintroducing a legacy of mysticism inherited from the original British colonists. The divine revelation of Calvinism and the intuitive knowledge of American Transcendentalism are related approaches to Tmth. In summary, American transcendentalism is a native philosophy which borrowed widely from other cultures....At the base of transcendentalism is a mystical rather than a rational approach to understanding the mysteries of the universe. As a form of intuitive idealism derived especially from Plato and the Neo-PIatonists, franscendentalism affirms an organic growth principle in opposition to the idea of a world as a perfected mechanism operating through God's preestablished natural law. Since the source of ultimate knowledge can be directly known through one's intuition, transcendentalism extolled ideas

over expenencc ^^ David Dunster, ed., Architectural Monographs 2, GiIIian Naylor, "Hector Guimard-Romantic Rationalist?," (New York; Rizzoli Intemational Publications, 1978), 12, '^lbid ^*NathanieI Kaplan and Thomas Katsaros, Origins of American Transcendentalism: In Philosophv and Mvsticism (New Haven, Connecticut: CoIIege and University Press,

the three major fígures in American Transcendentalism. Johan Wolfgang Goethc The American Transcendentalist movement was more heavily grounded in nature than the European romantic movement. at least among organic architects. Hindu. The American Transcendentalist movement was an offshoot of European romanticism. '^ Among the artists and philosophers that Goethe strongly affected. Ralph Waldo Emerson and Johan Wolfgang Goethe German philosophy and literature had a heavy influence on the United States from 1820 to 1850. David Thoreau and Walt Whitman. 19. While American Transcendentalism was a romantic movement.'^' German philosophies also played a large role in the development of American Transcendentalism. Missouri: University of Missouri Press. but as an extension of Man. American Transcendentalism looked at nature. 19. but was combined with other philosophies from European. Emerson's Modemity and the Example of Goethe (Columbia. SuIIivan and Frank Lloyd Wright were influenced heavily by Ralph Waldo Emerson. technology became neither the savior of the human race nor the enslaver. Ralph Waldo Emerson was the most influential in the development of Transcendentalism and the artistic development of the nineteenth century. and tried to combine science and poetry into a single art. most importantly. 1.33 Both Louis H. 1990). which abounded in the frontier. . As a result. ^'^lbid. especially through the mystic philosophers and. Johan Wolfgang Goethe said that 1975). and Buddhist cultures to create a uniquely American philosophy. it did not look to the historical past as the European romantics looked toward the medieval period. "'^Gustaf Van Cromphout.

Emerson said in his lecture. He was both a naturalist and a poet.34 natiu-e itself is the "infínite and etemal tmth." Goethe did not view nature as an abstiaction but as a physical reality. He sought to combine both science and poetry. but very revolutionary at the time it was published in The Origin of Species. 57-58. Emerson retired from the ministry and a year later had resolved to become a naturalist after visiting the Muséum d'Histoire Naturale in Paris. '"' In 1832.."'"^ Art for Emerson was best if grounded in an empirical reality. nor to his problems if he is only an algebraist." We do not listen with the best regard to the verses of a man who is only a poet. but. at least in his aesthetic theory. Enunerson's Modemitv and the Example of Goethe. Emerson was not a naturalist. followed Goethe's theories. as Goethe did so before him. 105 Cromphout. '°']bid. "Works and Days.'*'^ Emerson. and to reproduce the formal development of that idea..25. which heavily influenced his aesthetic theories. although they did not tieat art as an imitation of nature in the neoclassical sensc'"^ The artist should emulate nature by grasping the idea that she was trying to develop.'°" Goethe was influenced by his years of study in botany and anatomy. although he wanted to be onc "" Emerson advocated a fusion of science and poetry. is very familiar to the reader. which was similar to Darwin's theory of evoIution. the reality of naturc Both Goethe and Emerson found it impossible to tieat art separately from nature. 57-58. . This was a dynamic process. 24. He had experienced a stiange sympathy with naturc Ibid. "*" The concept of evolution. if a man is at once acquainted with the geometrical foundations of things and with their festal splendor. as laid down by Darwin. his poetry is exact and his arithmetic musical. '"Mbid.

Architecture as Nature: The Transcendentalist Idea of Louis SuIIivan (Madison. Architecture as Nature. is both unfair and inaccuratc Conunon to all his [Louis H. stmctural members attached to facades and becoming constituents of anthropomorphic programs. and cast iron. Menocal in his book. . Stenciled omamentation. xvii. This opinion of Menocal has some basis. that Louis H. and later. tapestry brick and stained glass-these in his opinion were suffícient components for achieving his aesthetic purposes. 107 n)id. SuIIivan (1856-1924) The opinion expressed by Narciso G.35 Beginning with SuIIivan in Ihe United Siates. if only to clarify the actual nature of Sullivan's work. reliefs in plaster. Wisconsin: The University of WisconsinPress. The European continent was the site of a second line of reasoning which did not have the sfrong influence of American transcendentalism and its mysticism. 148. terra cotta. organic architeclure began to develop from the theones of Emerson and the poetry of Walt Whitman. but the implication that Sullivan was not an architect.'"^ This was a common nineteenth-century attitude and was more dependent upon a fradition of building craft than modem attitudes allow. Menocal devotes most of his book to the "'^NarcisoMenocal. SuIIivan] periods was the Ruskinian idea that architecture consisted exclusively of the articulation of surfaces and the decoration of key points. Organic Architects Louis H. clusters of organic motifs placed on capitals and other prominent places. European organic architecture developed from the empirical philosophies of the Enlightenment. Sullivan was an omamentalist who favored the adomment of key points in a building""' is worth looking at. 1981).

mechanical and acoustical engineer who hired SuUivan because he felt that his own artistic sensibilities were inadequate to achieve the quality he wanted for his commissions.'"' "Since one of Sullivan's primary interests was to reveal as transcendentalist as possible a program on the exterior of buildings.'°* Sullivan was to design facades and omamentation. a building type which still today requires a team of engineers and architects to design. which indicates that he was capable of "designing" as the term is interpreted by Menocal.36 analysis of the omamentation done by SuIIivan."'" This is not the attitude of a mere decorator." Joumal of The Societv of Architectural Historians 48 (September 1989)223-231. The actions of SuUivan in '°'n)id. his work within the partnership could not have been better suited to his vocation. Although Adler did design much of the technical details. . During the second part of his career. Adler was a stmctural. "Adler and Sullivan's Seattle Opera House Project.43. but of an architect concemed with the entire building. SuIIivan "designed""^ on his own. It is unfair assume that twentieth century attitudes toward design apply to a nineteenth century practice or that SuIIivan was any less than an architect. The fírst part of Sullivan's career was as the partner of Dankmar Adler. '""ftid '""Dennis Alan Anderson and Jeffrey Karl Ochsner. SuIIivan was not restricted to facade design or omamentation.. "•' The context in which Sullivan was designing them was in the design of the early skyscrapers. a justifíable approach to understanding this architect. "'lbid "^Designed is used in the modem sense to distinguish his activity from that of the work he did in the offíce of Dankmar Adler.

Illinois: University of Illinois Press. 58-74. more accurately stated that ftmction and environment determines form. "^David S. in his book. (Chicago. Architecture as Nature: The Transcendentalist Idea of Louis SuIIivan . This in is a disservice to the architect." 223-231. It is obvious that he did not intend the meaning given later by the Functionalist movement. but not in the sense that the entire building uses organic stmcture. Louis Sullivan and the Polemics of Modem Architecturc recognizes that SuIIivan was an architect. .37 the design of the Seattle Opera House as documented in the Joumal of The Societv of Architectural Historians"^ indicate that he had a larger role m the design process and included responsibility for the technical aspects of the design."^ For SuIIivan. 16. 1985). Louis SuIIivan and the Polemics of Modem Architecture: The Present Against the Past."" David S. but downplays the role of organic conceptions in his work preferring. "The chief function of architecture would be to express philosophical concepts related only to what he considered to be the highest tmths ofnaturc""^ Sullivan's work is organic. to point out how SuIIivan's theories were weak. as Menocal states. SuIIivan's interpretation of "form follows function" would be that the needs of the people involved must be met before the architecture can be involved. Andrew. Andrew. 114 Md. "'lbid "^ Menocal. form or "^ Anderson and Ochsner. architecture was a high art that demonsfrated tmth or."^ It raises the question of what Louis SuIIivan actually meant when he said that form follows function. rather than how they applied to his works. "Adler and Sullivan's Seattle Opera House Project.

to the rhythms of nature as these are interpreted by the sympathetic soul. To quote Sullivan. . "The vital purpose and signifícance of art is that of attuning its rhythmic song . 14.. The Master Builders: Le Corbusier. His work does employ an interpretation of Man's relationship to Nature in the omamentation.. His experiences with nature on his uncle's farm. Perhaps the most important contribution of SuIIivan to Wright's architecture is Sullivan's organic theory which Wright applied to his entire oeuvrc Lyman Silsbee."* SuIIivan considered architecture to be a teaching device from which people could leam how to commune with nature and thus achieve perfection. did infroduce Wright to a "*n)id. 290-294. W.""^ Frank Lloyd Wright (1867-1959) The education of Frank Lloyd Wright as an architect was largely informal. usually plant like.. as acknowledged by Wright. while not outstandingly brilliant. in which he would make organic forms.31. (1) Sullivan used a principle of design. for his omamental elements. Norton and Company.. 1976).38 rhythms. issue from a system of sfraight or curved lines or any other geometric combination thereof SuIIivan considered the correlation of geometry and the organic to be the basis of nature's way of composition and thus has a transcendental quality. Mies van Der Rohc Frank Lloyd Wright (New York: W. with a brief two year tenure in collegc'^*' SuIIivan's influence on Wright was considerable. Peter Blake. '^" Wright spent less than two years at the University of Wisconsin. "'ftid. Wright's apprenticeship to Lyman Silsbee and later to Louis Sullivan formed the majority of his architectural education.

1985). '^"For fiirther discussion. see Appendix B. and the massing and features of the Queen Aime Stylc'^' Wright's early education in the Froebel Kindergarten system."'^^ In Frank Lloyd Wright. A History of Architecture: Settings and Rituals.. ScuUy had discusses how Wright could not accept the separation of man from nature that is implied in classical architecturc'^^ For Wright nature was the great teacher whose lessons could only be approached by the architect while the classicist regarded nature as something to be perfected or tamed. 12. (New York: George Braziller. 652. (New York: Oxford University Press. Silsbee practiced in the Shingle Style.'s interpretation of what Frank Lloyd Wright meant by Organic architecturc He [Wright] dearly believed that. and believed that people have a need to harmonize with naturc''" He attempted to accomplish this through his architecture by the emulation of the natural stmcture of the site. which used an open plan. ' " f t i d . however. This resulted in an architecture in which the boundary between the natural site and '^' Spiro Kostof.This is what Wright meant by "Organic. when a building built by men to serve a specifícally human purpose not only celebrated that purpose in its visible forms but became an integrated stmcture as well..39 picturesque architecture instead of the classical style which dominated in the Untted States at the tum of the century. Frank Llovd Wright. surface treatment. Inc. 1960). it then took on the character of an organism which existed according to its own complete and balanced laws. The following is Vincent Scully Jr. . played an important role in Wright's work and in his way of visualizing space (Appendix B). 13.. '^^ Vincent ScuIIy Jr. Wright was heavily influenced by the American Transcendentalist Movement..

that would allow architecture to harmonize with nature on any site. A natural harmony would be achieved through a proportioning system based on harmonics. the golden section. winds." Historian and contemporary observer Walter Curt Behrendt elaborated the analogy in . This leads one to assume that perhaps organic architecture differs from other movements in approach rather than in the goals. This included using proportions. The neoclassical architect. or some system regarded as universally in harmony wdth nature and a variation on Euclidean geometry. and Falling Water. Donald Leslie Johnson states the approach of Wright in his book. Examples include Taliesin East. but aesthetically the building would not depend on the site. would not ignore the site. The building becomes a part of a specific site. but the relationship of the project to the natural site would be very different. The neoclassical architect sought to employ universal principles. forms and spatial composition. but that expression of architecture has a clear distinction between the natural site and the building. The obvious difference is that Wright believed that architecture was site specifíc and that the building should be a physical part of the site. The attitude of harmonizing with nature is also present in neoclassical theoiy. and would generally respond to the site in a physical manner. Taliesin West. hypothetically as talented as Wright. The building would be sited according to views. Frank Llovd Wright versus America: the I930's. The distinction between organic archttecture and the neoclassical architecture of the nineteenth century is rather involved. at least in theory. rhythms.40 the building are conceptually and physically ambiguous. such as proportions based on harmonic laws. Wright had said that an "organic form grows its own stmcture out of conditions as a plant grows out of the soil: both unfold similarly. locally obtained materials.

to an existence which necessarily takes part in the wholc"'^^ In Wright's conception of organic architecture. since no less a man as Goethe has condemned this expression."'^^ The allusions to natural forms in Wright's buildings are not accidents nor are they imposed by the observer. a building and its site were to be a part of each otiier reflecting in the man made stmcturc While ScuIIy's interpretation of Wright is valid.. "'n)id." As for Wright's building.". in nature as well as in art. '^^For a detailed discussion. Frank Llovd Wright. Wright integrated the site and building through a geometric emulation of the rhythms and pattems of surrounding environment.'^' '^' Donald Leslie Johnson. in these widely overhanging eaves. are to be viewed as a result of the inner logic of design. Massachusetts: the MIT Press.81.'^* but Wright's conception of the geometry was derived from crystallography instead of Euclidean abstraction.. as degrading. see Appendix B. and the manifold arraignment of parts.41 support of Wright's cause: "In this sense the laws of organic planning fínd their continuation and completion in the extemal stmcture. Frank Lloyd Wright versus America: the 1930's (Cambridge. one should "avoid speaking of'composition' at all. 12. spreading themselves canopy-Iike over terraces and balconies. '^^ftid '^^Scullv. it does not acknowledge that the integration of a building with nature was one of the prime objectives of Wright's archttecturc Behrendt described the Gale house which Wright declared was the "progenitor for Falling Water."'^^ "The horizontal slabs boldly projected. 67.Goethe had said that "organs do not compose themselves as already previously fínished. and not as a brilliant showpiece of a deliberately picturesque building. . the lively grouping of building masses. they develop themselves together and out of one another. there seems to be plant-like existence translated into architectural form. 1990). that new motive which has been most imitated in modem buildings.

Ltd 1987). those that would benefít the most from continued British mle. were agricultural. which is strikingly similar to the modem suburb. The main industries. . as a military target during Sherman's march. the atomic bomb demonstiated how vulnerable cities were in twentieth century warfarc Wright's antithapy toward the city '^^Krishan Kumar.'^° The majority of European settlers on the east coast of the United States of America consisted of people escaping intolerable conditions or were sent to American penal colonies.II. The United States is historically anti-urban. The performance of Wright in the city and his vision of man's social arrangement has other major influences than Rousseau. Religious fanatics. associated the city with the powers that were responsible for their persecution. or the Guggenheim. The reasons for this are numerous. Wright shared Jean-Jacques Rousseau's belief that people were not meant to live in metropolitan areas but in a more mral setting. (Oxford. Louisiana to Atlanta. such as the Puritans. became introverted or amounted to a protest of the city. Utopia and Anti-Utopia in Modem Times. During W. but the following are among the major ones. Buildings. Southem cities were torched in a line from the Vicksburg.K. were located in the colonial cities thus fiirther associating the city with the monarchy. U. Thoreau and the Transcendentalist Movement. such as the Morris Gift Shop. During the civil war. Broadacre City is a good example of Wright's view of the ideal situation for living. the Union Army introduced the concept of the city.42 Wright was not able to do this successfully in urban settings. aside from ship building. 316. suffering persecution in Europe.: Basil BlackweU.W. The colonial representatives of the monarchy and the merchants. and its civilian population. Georgia.

l022. there was a lively discussion at this school among the staff about the battle of the styles. like Louis H. between Gothic Revival and Neoclassicism." The Architectural Review. .43 was a result of Rousseau's influence on Transcendentalism. '^^Peter Blundel Jones. June 1982. "Hugo Hãring. vl71. That does not necessarily exclude organic architecture from being relevant to the urban environment. and it was defínitely reinforced by history and current events. Peter Blundell Jones suggests that Theodor Fischer was the major influence on Hãring's education and notes that Fischer was a talented and sensitive historicist architect who was comfortable in both neogothic and neoclassical styles. Wright hoped to franscend the limitations of his art and enlighten people in the ways of a healthy natural lifc HugoHãring (1882-1958) Hugo Hãring began his architectural education in 1898 at the Technical University in Stuttgart. assumes a teaching role in the lives of peoplc Through a building's total harmony with nature." 40-47. with the natural environment of the site. 40-47. "Hugo Håring.'^' According to Jones. If the transcendentalist interpretation is applied to Wright's architecture. An interpretation of Wright's architecture suggests that his defínttion of organic architecture concems the integration of a building. Sullivan's. in which form is derived from function. This polarity became a comerstone in Hãring's theory of architecture which he later redefíned as geometry versus organic"^ Hâring had a strong sympathy towards the gothic revival position'" which would '^' Peter Blundel Jones. then his architecture. no.

44 normally suggest that his view of art would be mtrospective and "romantic. The utilitarian aspect of it was his primary concem.'^* He was to be an important figure in the formation of the Intemational Congress of Architects. otherwise known as CIAM'" DuringthereignofHitler. By 1923. After W. '^^Peter Blundel Jones. the 1930's (Cambridge. Hãring began his practice in Beriin in 1921. '''Tbid. HãringstayedinGermany. '^Donald Leslie Johnson." . 1990). believed in providing generous rooms which people could use as they liked. '^^Hugo Hãring's name appears on the La Sarraz Declaration of 1928. Frank Llovd Wright versus America. and the role of the architect was to fínd the proper To 133 Ibid.'^^ Hâring is usually found in books on expressionists. ''"Jbid. Mies. Hãring admitted a debt to Wright. although Jones points out that he had nothing to do with such events in Berlin before 1921. 241." such as was SuUivan's and Wright's work. "Hugo Hâring.WII Hâring was branded a collaborator and never regained his position as a leader of architecturc'^* Hãring considered architecture to be in the same class as industrial art. Massachusetts: the MIT Press. quote Peter Blundel Jones: Mies later recalled arguments with Håring about flexibility: Hãring had insisted on designing a special place for each activity while he. he was sharing an offîce wath Mies van Der Rohc Both architects were active in the avant-garde though they had an obvious fundamental difference in each other's approach to architectural design.'^ but he used an empirical approach to design as opposed to Wright's pedagogical approach to design.

Programs and Manifestos on Twentieth Century Architecture. '"'lbid '"^lbid 143 Hãring. '"° Jurgen Joedicke. As Hãring stated: In nature there is no independent problem of appearance. For Håring." Haering at Garkau. ed. Massachusetts." ." The Architectural Review. The MIT Press. 103. which are best expressed in objects that are derived from purely utilitarian considerations. 313-318. The essential problem of applied art is clearly that of appearancc'^' He was in complete agreement with Le Corbusier and the Functionalists of the 1920s about the importance of the programming of a building. The word "organwerk" is used by Hâring to describe "the task of developing the architectural organism.." Ulrich Conrads. (Cambridge."'"' The word "gestaltwork" is used by him to describe the fínding of an adequate architectural expression or imagc'"^ Hãring asserts that there are specifíc. architecture was divided into two parts. hence there is nothing in opposition to the forms dictated by fítness of purposc This occurs only among mankind.'"° It was in the way that an appropriate image was given to the building that Hãring differed from Le Corbusier.45 form for the object which in the architect's case was a specifíc building. "Formulations Towards A Reorientation of the Applied Arts. elemental forms for different fimctions. May 1960. 1970).'"^ His comparisons of architecture to nature implies a relationship to the environment in which the form is developed by the architect in a manner reminiscent of evolution. "''Hugo Hâring "Formulations Towards A Reorientation Of The Applied Arts.

demonsfrate the dialogue between Hãring's ideas and their execution. ed. Massachusetts: The MIT Press. Massachusetts. 1970). that is the establishment of the tme appearance of architecturc Håring's late houses. they were never considered separately." Haering at Garkau. Programs and Manifestoes on Twentieth Century Architecturc (Cambridge. 1987)..'"' As for integrating the building with nature. this needs to be seen in the '"" Joedicke.'"" This is very similar to Perrault's division of beauty into the positive and the arbifrary. The First Modems. Although each function had its own shape. 103. 146 Jbid.'"^ It would not be unreasonable to assume that Hãring's goals are very similar to Perrault's. TheMITPress. . Hãring saw the relationships of a building's functions as a system of movements instead of a collection of activities. '"^Hugo Hãring "Formulations Towards A Reorientation Of The Applied Arts. (Cambridge. There was also one fundamental difference in his attitude toward ftmction.46 According to Hãring. 36. whose organic conception is regulated by a geometric system due to constmction limitations. forms created purely for the purposes of expression are subject to human cognition and change with the intellectual positions of peoplc Forms that are created purely for utilitarian purposes achieve their tme nature and do not change at the whims of human intellect. While this architect is relatively obscure today. Haring was important enough in the formative days of CIAM to debate Le Corbusier over the direction that architecture should takc '"^ Hãring was opposed to the use of geometric forms such as Le Corbusier was applying in 1928. The Architects of the Eighteenth Century." '"^ Joseph Rywert." Ulrich Conrads. which Hâring believed was ideally organic.

Hâring would not have hesitated to use another more suitable form if it functioned better. "HugoHãring. but. ". "Hãring. "Haering at Garkau. which gave him a regionalist appearance." ..'^' The farm at Garkau atfracted attention from dairy farmers and architects around the world as late as the 1960's and stands as a testimony to the talent of this architect. 126. "The House as an Organic Stmcture." 149 Joedicke.47 framework of functions. The reasoning behind Hâring's acceptance of traditional forms and materials is that the evolution of building had produced particular forms in response to the local conditions. Hâring was not afraid to use traditional materials or methods in his building. which Haring designed in 1923-24. painted wood and a lamella roof."'"^ Hãring was never as concemed as Wright about the integration of a building into its site. he achieved what most Functionalists were falling short of..functional forms arise naturally and. Jurgen Joedicke. At Garkau.'^° Haring advocated the idea that the function should generate form. "Haering at Garkau. '"^ As Haring said. so to speak. '^'Jones. not as representative of the human body but as an extension of it." ''°Hugo Hãring. anonymously. Perhaps this was due to the type of anthropomorphism found in his theory.'^^ He resurfaces every few years as new architects discover his work and theory. '"^This is a conclusion drawn from the Garkau project which used fraditional brick. May 1960." The Architectural Review. a type of form that had been used in Germany since the nineteenth century. It is supported by the quote referenced in footnote 42. This is seen in the farm at Garkau. 313-318.. he combined expression with a building that actually functioned well (Figure 3.2).." Programs and Manifestoes on 20th-Centurv architecture. Jones.

No. Hâring viewed architecture as a craft that approached tme form through a process of evolution.'^^ The head of 152 ftid. AIvarAalto( 1898-1976) Alvar Aalto was educated in the Department of Architecture at the Helsinki Institute of Technology. During the early-twentieth century. but was also introduced to the current developments of Art Nouveau and the Finnish movement for a culturally distinctive architecture. and history of the site were considered to be an organic part of the site since they had evolved there. which he attended from 1916 to 1921. 5. National Romanticism. customs. The movement of people that was generated by the specifíc tasks m a building drove his creation of form. that is any form determined by any reason not related to the building.." Living Architecturc 1986. ed. allowing for variations due to circumstances such as climate. Any form not determined by the building. or technology. "Hvitttrãsk. Neoclassicism was the accepted style to every student of architecture in Europc Aalto received this training. It was the role of the artist to find this form. . was considered to be alien to the project and to human lifc Traditional materials. 62-67. a type of architectiiral organ. Hvittrask is one of the better examples of this stylc Vib Udsen. '^^National Romanticism was a movement in Finland that sought to establish a national style of architecture using traditional Finnish building techniques and materials as a basis for modem design.48 Hâring approached architecture as an applied art m which the building became an extension of the human body. under the École des Beaux Arts education paradigm. changes in materials. This movement of people was the event that united separate functions into a single entity and determined the tme form of a building.

He fraveled through France measuring the floors of the cathedrals with his feet. He was an idiosyncratic person with drawing skills that bordered on the supematural. 69. it is not too surprising that he taught '^"Gôran Schildt. '^^ Schildt.'^" Aalto's infroduction to architecture was received from Usko Nystrôm (1861-1925). (NewYork: Rizzoli. The Eariv Years. His teaching responsibilities included architectural history from antiquity to medieval. . because he died before Aalto could take a course from him. who frained at the Ecole des Beaux Arts in Paris. 79. When Aalto began his education. Considering the small size of Finland. basic design. the dimensions of which he knew to a small fraction of an inch. Aalto's next teacher. 1984). he designed a flue for his hat so that the smoke from his pipe would not collect under the brim. is much more interesting in terms of connections. He believed that gothic cathedrals held mathematical tmths hidden m their dimensions. Usko Nystrôm was in charge of the younger students.'^^ Aramas Lindgren. the style that Nystrôm used in his own practicc Gôran Schildt suggests that the influence of this man was more in his attitude than in any particular teaching. His history courses rarely got past the Greek and Roman architecture because of a passion for Egyptian architecturc It would be more correct to say a passion for the archaeologist's interpretation of Egyptian Architecture because he never went therc Usko Nystrôm introduced Aalto to Art Nouveau. A more signifícant eccentricity was his mania for unique design solutions. For example. Alvar Aalto. The Earlv Years. and beginning drafting. Alvar Aalto.49 the school was Gustaf Nystrôm. a respected Neoclassicist who guided the department in that direction. His influence on Aalto was second hand.

" Per Nagel ed. Lindgren was an important Finnish architect. "'n)id. He. were business partners.'^^ The latter was their offíce and the jointly owned home of all threc Their partnership had broken up before Lindgren took the job at the Helsinki Institute of Technology. pg. 160. Alberti. and Hvittrask. This background is necessary to understand the historical sources of Aalto's work. Palladio. It was through Aramas Lindgren that Aalto developed a passion for the works of the Italian Renaissance which showed up in his mature works in various forms. "°n)id .50 Aalto in his fínal years of education. While Saarinen had moved into the Intemational Style. Living Architecture. Lindgren's interest lay in the Finnish vemacular and Fiimish Romantic Nationalism. 5. ' " "Hvittrask. No.'^* Aalto liked to speak of these two professors in his old agc'^^ One of the stories that He told about Nystrôm was an accounts of Usko Nystrôm measuring the gothic cathedrals of France with his galoshes. and traditional Finnish architecture. Lindgren fiirthered Aalto's imderstanding of the ideas behind Art Nouveau which appealed to him. Eliel Saarinen and Herman Gesellius. but they remained cordial.'" Lindgren was in charge of the older students. He introduced Aalto to Bmnelleschi.'^" Gôran Schildt makes the comment that when '^^Their home and studio. The most famous works of that trio were The Finnish Pavilion for the World's Fair in Paris. the National Museum in Helsinki.1986. Alvar Aalto: The Eariv Years. He covered the Renaissance to Modem periods. 62. " ' Schildt.79. The breakup was over differences that had developed in their design interests. but not his organic forms.

""'' 1 his type of exaggeration was a part of Aalto's personality that needs an explanation. Both stayed with him. Scandinavian Neoclassical archiíecture v/as not manifested in the same way as the movement was in Germany and Francc'" It was an innovative and vitai movement that drew on the Italian Renaissance for inspiration. 71. much like he did with the forms of the Italian Renaissance in his architecturc Aalto's began his professional career as a neoclassical architect. They were almost always based on his memories. but not formulas. '"ftid '^CIaus Caldenby and Olaf Huttin. The Early Years. îie wouid have Nysíruin rneasunng tlie facades. Rizzoli.'*^ tt was very important for Aalto to always be at the center of attentíon and his stories were one of the ways that Aalto achieved this. (New York. which does not mean they reflected an accurate portrait of past events. 1985). Asplund was not totally bound by the mles of neoclassicism. 19. at home in any situation except when he was alone. Aalto was exceptionally extroverted. .Asplund. this exfroversion was a result of the deaíh of Aalío's biological mother during the early part of his lifc Aalto's relatíonship with his mother had been unusually closc The extroversion was a way of avoiding the pam of Aalto's loss. and would carefully "^•ftid 162 SchUdt. '^^Ujid .51 Aalto really got into this stoi>. "like a fly promenading on the wall.'^^ According to Aaîto's son-in-Iaw.'"^ The leading architect then in Scandinavia was Gunnar Asplund. Yrjô Alanen. and he had a profound effect on Alvar Aalto. Aalto reworked his memones to ftt the social sttuation.

an approach often seen in Aalto's work. and is seen in his own works.'" Such innovation is seen in his handling of the main stairs in his extension of the Law Courts in Gôtebor. and nature and man. thus calming any agitated spirits through that pacc'^'' This type of psychological manipulation would not have gone unnoticed by Aalto. he let the user know that only a dignifíed pace was appropriate on the main stairs. object and man.K.3). (New York: Van Nostrand Reinhold Company. Sweden.'^* Manipulated correctly this formula will provide a comfortable proportion for walking up and down stairs. riser (mn) = 72" to 75" and riser + run = 17" to 17.5". 19. However. Asplund varied the proportions in a manner which reduced comfort. The detailing was entirely Functionalist inspired. 2(riser) + mn =25 inches. Asplund.'^* These themes are found in all of his work. Asplund converted to the Intemational Style at the same time as Aalto. Building Constmction lUustrated. . This absence of rigidness lead more than once to the modifícation of Classical forms and mles to fít Swedish culture and climate. 9-4. 1975).52 consider each decision before committing himself to a design. '^^Caldenby and Huttin. the building that marks this was completed before Aalto's own decided conversion with the Viipuri Library. In doing so. Asplund considered the essence of architecture to consist of three relationships: space and man. Tread height and riser depth is usually determined by the classic formula. Francis D. The Stockholm library was originally designed in Asplund's neoclassical style and the building retained the massing of that stylc It had a rectilinear shape with a cylindrical reading room (Figure 3. although his use of omament '^ftid '^^ftid '^^ Two other formulas can be used. Ching.

53 always carried some memory of neoclassicism, In a way, Gunnar Asplund was ready to receive the ideas of Functionalism, and his conversion was only a confírmation of what he already practiced. Asplund's attitude toward function was similar to that of the Functionalist Movement in that he believed in the careful consideration of functions and their rational ordering. This came more from Scandinavian culture than from an architectural concem for the relationship of form and function'™ As a friend and coUeague, Asplund provided Aalto with an example of classical architecturc This did not, however, give Aalto a design philosophy that would justify his organic architecture, At the Stockholm Exhibition of 1930, Gunnar Asplund shocked the neoclassical circles by effectively rejecting the neoclassical style in the intemational spotlight and using the Functionalist style at the exhibit. Aalto visited this Exhibition and praised its devotion to the furthering of Functionalist ideology.'^' In addition to the triumph of the Functionalists, this exhibition was one of the highlights of the Soviet architectural movement known as Constmctivism. The news of Stalin's purges had not left Russia at that time and the Communist Republic was still the hope of those who were sick of capitalist excesses. Aalto was sympathetic to socialism and communism, although later developments in the United Soviet Socialist Republic distanced him from communism.'^^ One of the marks of the architectural movements of the Twentieth Century was their close association with social and political theories. The connection between


Caldenby and Huttin, Asplund, 20.

'^' Alvar Aalto, Sketches, Gôran Schildt ed., trans. by Stuarte Wrede, (Cambridge, Massachusetts: MITPress, 1978), 15-18.

Schildt, The Eariv Years. 88.

54 Functionalist architecture and socialism or communism is well documented,'" Aalto was all in favor of the theory of Socialism, but was politically ambivalent. Schildt points out that there is evidence that Aalto leaned more towards anarchism than socialism. Aalto showed no other interest in anarchy than a well wom copy of Prince Peter Kropotkin's Memoirs of a Revolutionist.'^" It is likely that he picked up the philosophy from the general atmosphere of socialism, which was deeply infiised with anarchist thought. This philosophy was predicated upon the organic nature of society. Anarchists believed that if people followed natural law then there would be order without the need for a leader. Individualism and freedom were valued above everything elsc The most important point is the anarchistic belief that in order for society to grow, the established systems had to be broken and rearranged to fít new needs.'^^ Aalto's combination of functions and his breaking of the established grid of neoclassical and Functionalist systems with organic form seem to reflect this attitude. Aalto's alignment with the Functionalist movement is of major signifícance in his use of natural forms. Aalto regarded himself as a Functionalist for the rest of his lifc There was something in his mindset that caused him to avoid any appearance of artistic intent in the presentation of his work. The Functionalist denial of historical forms is a rejection of the academic sfraightjacket rather than a rejection of history.'^^ This gave '"n)id,87. "" Schildt, The Eariv Years, 242.

Herbert Read, Anarchv and Order. (London; Faber & Faber. Ltd., 1954), 4.

'^^ As is seen in the sketch books of Le Corbusier, the denial is not one of history but rather of inappropriate solutions to modem problems. However, some of the more radical architects such as Hanens Meyer, have tried to deny all but the empirical

55 Aalto the opportunity to abandon classical vocabulary, as he did in his second version of the Viipuri library, without abandoning everything in the classical movement. At some point during the design of Viipuri, Aalto began using organic form. The fínal version contains the fírst use of such form. The lecture hall ceiling is the most famous example (Figure 3.4). Lázlô Moholy-Nagy provided Aalto with the necessary encouragement to begin usingorganicforms'" AaltoencounteredhimatameetingofCLAMaround 1928, They became good friends as well as coUeagues. Moholy- Nagy was not an architect, but an artist. He is remembered more for his contributions to photography than his role in the Bauhaus. He produced a general philosophy of design which sounds like a manifesto for both Alvar Aalto and Hugo Hâring. Clearly laid out at the beginning is the statement that in any design the ultimate goal is the good of humans was to be achieved by finding the biological basis of culture and making design sfrengthen this basis.'^* This was not only a challenge to fínd organic expression, but for better technical solutions also this was a call for an understanding of the principles of naturc Architecture was specifically addressed by Moholy-Nagy. He considered the experience of space as a psychological need, which has considerable implications for understanding Aalto's work.'^^ Moholy-Nagy called for architects to remove the conflict between the organic and the measurements of function as a basis for architecture in and attempt to reduce it to a series offormulas. WiUiamJ.R. Curtis. Modem Architecture: Since ;1900, (Englewood Cliffs, New Jersey: Prentice-Hall, Inc), 118-131,174-185. ' " Schildt, "Alvar Aalto; The Decisive Years," 221. ''«Ibid '^^Quantrill, The Environmental Memory, 60.

however. These fragments are Aalto's memories of spaces that he found pleasant. these are not copies but emulations. Alvar Aalto: The Decisive Years. as did most of the Functionalists. '*'Ibid.56 artifícial. hierarchic spaces of the past. . Aalto's was inexperienced in the Finish fradition Industrial Revolution. He leamed the psychological importance of space from Asplund and Moholy-Nagy by example and by statement. He did reinterpret certain types of spaces.219. 198.'^" He believed that a kinetic manifestation of architectural space was necessary as opposed to the static.'^ "^ Schildt. calls urban fragments in his design work. such as the Greco-Roman amphitheater form that serves as a courtyard in his office (Figure 3. what Malcolm Quantrill. They all had similar education and opportunities to experience classical architecture fírst hand.5). '^' bid. Aalto often used. '«'n)id..'*^ He intended to use the courtyard as a lecture hall during warm weather for his apprentices.227.'*' Aalto understood the cultural value of representation found in classicism. 218.

1 Art Nouveau's Use of Iron .57 Figure 3.

2 Merchants National Bank by Louis H.58 Figure 3. SuUivan .

59 Figure3.3 FallingWater .

60 CKOUND FIOOK rUM /•^/<~' Figure 3.4 Plans by Mies van der Rohe and Hugo Håring .

61 Figure 3.5 Farm at Garkau by Hugo Håring .

Figure 3. 1:400. Plan.62 126.6 Stockolm Library by Gunnar Asplund .

11.63 I 1 -. 1 1 1 " " ^ V ' /"^!^**^ n / ^"" v ^ ' ' V^ \ / \ / ^ '^ hM' í^ Í\NI>^' f^ F ^ fH I"^ " ^ - ^^ Figure 3. 1 ^TV* -^'^-i.7 Lecture Hall in the Viipuri Library . '^'^^ •''"•^.

64 Figure3.8 Aalto'sOffice .

'*^ Those who fled the cities during the fourth migratíon brought the urban problems of crime.CHAPTERFV ORGANIC ARCHITECTURE IN AN URBAN ENVIRONMENT In the history of the United States there have been fíve major populatíon migrations. which has an important implication for organic architecture in the United States. 65 . Penturbia. The second occurred in the eighteenth century when the populatíon moved to the Mississippi and Ohio Valleys.D. Today.. Ph.'*" The suburbs are being abandoned for less hostíle environments. What is emphasized in penturbia is the commimity's opportunity to confrol its own quality of lifc The public now has more say in the use of private land than has been traditional in the '*"Jack Lessinger. The third was the westem migratíon of the nineteenfh century. It is ironic that crime and decay is what the fourth major migration was fleeing. The fourtíi was the move from the citíes to suburbia. imfortunately leaving behind those who are too poor to escape the crime and decay of the suburbs that are driving the move to penturbia. (Seattle. 85. '*^Penturbia is also the name of the fífth major American migration.. The fírst occurred during the colonial period when the populatíon migrated from the northem colonies to the sduthem colonies. the populatíon of the United States is in the middle of its fífth major migration. and poverty with them into the suburbs. Washington: SocioEcononucs. Inc. 15. Ibid. Penturbia is characterized by a planning effort involved at the community level. 1990). crowding. not the planning of developers that occurred during the fourth migration. This is part of a general socio-economic view of society.

The three major objections are: the urban environment is not conducive to organic form. p. such as crowding. This attitude has resulted in most of the organic architecture having been designed for the mral environment. ""MarkAIdenBranch. '*^For a discussion.'^' and. Organic architecture has fraditionally looked upon the urban environment with a certain amount of disdain.. 239-243. the major change that Penturbia will bring is a greater degree of planning in communities as opposed to suburban sprawl.68 -72. 40. June 1992.'*^ Physically. buildings are still buildings. fínally. . but definitely insinuated. "^'n)id. 189 Lessenger. Penturbia. there are too many constiaints.. and when densely packed in areas form the urban environment.'" This is a reaction to the generally culturally barren suburbs. 48-54.'*' building codes dampen the individuality of freer expression. Unstated. People migrating to penturbia are expecting the amenities of the tiaditional urban environment.'*^ The organic architect caimot afford to retain this attitude toward penturbia because this is where the cultural attitudes of the twenty-first century are forecast. especially the cultural amenities.'*' The organic architect must adapt to the new urban environment or be denied work and influencc There are reasons that organic architecture might not seem to be appropriate for urban environments. 15. 191 n)id.66 United States." Progressive Archttectiire. limited '^For the architect. is community contiol over aesthetic considerations which wiU affect organic architecturc Md. however. Penturbia is expected to be a small scale urban environment. see chapter D. "Organic Architecture: ABreedApart..

Demetri Porphyrios explains the senses of order known homotopia: The necessity for homogeneity." 68 -72. He approached the organization of the plan with a homotopic design sensibility.'^^ These objections were identifíed by a group of architects who are carrying on the architectural explorations of Frank Lloyd Wright and Bmce Goff. ''" Demetri Porphyrios. One of the major themes of Wright was the re-establishment of the continuity of Man vsåth Nature. A Wright building is a single organism evolving to meet the complex pattems and stimulation found in the environment. This is tme both conceptually and physically. (New York: Saint Martin'sPress. defíned the ordering sensibility par excellence of Modemism: homotopia. Heterotopia: A Studv in the Ordering Sensibilitv of Alvar Aalto.'^^ Wright's antithapy toward the city was cultural and was reflected in his approach to design. 1988). . It was analogous to the biological cell. Homotopias afford consolation. Architectural Monographs 4. Alvar Aaho. the region where the landscape is similar.67 space. a necessity the character of which is both constmctional and ethical. "Organic Architecture: A Breed Apart. becoming the untioubled regions where the mind can sfroll freely. the site where differences are put aside and expansive unities are established.4. David Dunster. Wright brought eveiything into a unifíed whole by the use of a single geometric module as a regulating devicc This was applied to everything from the spatial experiences down to the dinnerwarc This geometric module was as small as possible and based on the material he was using. and the developer whose sole interest is in "the bottom line": a quick retum on his investment. familiarity and recurrence. always discovering little hidden clues alluding to the sameness of the 194 umverse. ed. The '^^Branch. they favor continuity. This is the kingdom of sameness.

'^^Hugo Hâring admitted a debt to Wright. Wright effectively hides from the urban environment. which time and space did not permit. "Organic Architecture. After this complex mix of information had been absorbed into his subconscious. Branch. he would forget the problem for a while. Wright ignores any question of context. 5. In the Guggenheim. human.68 author of this thesis believes tiiat Wright's approach to architechfre did not address the issues of the urban environment in any signifícant way. His fírst drawings were by instinct.'^^ Certainly Alvar Aalto was indirectly influenced by Wright through the Functionalist movement. and having denied artistic pretentions. Frank Llovd Wright versus America: the 1930's. were active in CIAM. Both of these architects called themselves Functíonalists. however his work was markedly different from Wright's. In the Morris Gift Shop. Aalto would approach a design by defíning all the social. the Guggenheim Museum in New York and the Morris Gift Shop in San Francisco succeed by ignoring the city. economic. Massachusetts: The MTI Press. 1990). This is not in reference to the use of building materials. imless he was intentionally contrasting his building. . Donald Leslie Johnson. although that is important. Alvar Aalto: A Critical Studv. Organic architecture contínued to grow under the influence of architects such as Hugo Håring and Alvar Aalto. 1983). Design could not be purely intuitívc '^^ For example. Organic architecture took on a philosophical materialism under these two architects. (New York: Schocken Books. They were very absfract and '^^His two most successful urban buildings. '"Malcolm Quantrill. (Cambridge. 241. This materialism is a rejection of any knowledge or ideas that cannot be measured and quantifíed in some manner." 68-72.^* There is evidence that Wright influenced the development of organic architecture in northem Europe. and technical demands before defíning the appropriate psychological questions.'. The word assumption is appropriate because this is based on one magazine article and not a review of Wright's work.

^*'^ Essentially. (New York: Schocken Books. 1983). Aalto's education included leaming about the architecture of the Italian Renaissance which was specifícally urban in naturc The urban projects of Aalto fall into two categories. ^"^'lbid. which the contradictory demands into harmony. Aalto is of particular importance to this thesis because he specifícally addressed urban issues in his work. The titie of the article is "Architettura e arte concreta" (The Trout and the Sfream). An example of the fírst would be Sãynâtsãlo which was closer to the present conditions of penturbia than his urban work in Helsinki. 129. Såynâtsãlo was an insertion of an uiban center into a forest. it was also a company town dependent on the timber industry.'^* Intuition had gone from a source of knowledge in the work of Wright. and the Industrial Revolution has not negatively tiansformed them. AlyarAalto. Alvar Aalto: A Critical Studv. to an organizer of knowledge in the work of Aalto. The city is regarded very favorably in Finland. '^Malcolm Quantiill. ftid. were insertions into an '^* This description is quoted by Quantrill from a magazine interview with Alvar Aalto in Domus. the only one at that point in time. 99. It is found in issue Nos. This separates it from penturbia. such as the Enso-Gutzett headquarters. forest towns and urban design. in which Aalto was following the planning scheme established by Carl Ludwig Engle thus the urban design projects. In addttion to his cultural background. probably because there are not that many of them.'^ He did not share Wright's antithapy toward the city. for example. on pages 103-15.1947. 223-225. however.69 childlike in which the main idea took shape. Sâynâtsålo (1949-1952) was a planned town.^"' Helsinki was a metropolis. . 2'^Quantiill.

The program did not provide any representation of functional utility in the Functionalist sensc^"^ He was concemed with expressing the differences between conflicting functions and the resulting boundaries.^''" His buildings were unifíed by a common skin. His volumetric and sensual compositions exhibit the same anarchistic quality. "Some Asj^ects of 1920's Classicism and the Emergence of Functionalism in Finland. ed.70 established "built mileux. (New York: Saint Martin's Press. 1988). while sustaining a cohesion between the parts only by default and through spatial adjacency. Heterotopia: A Studv in the Ordering Sensibilitv of Alvar Aalto. but order was not always represented by geometric means. ^"^Demetri Porphyrios. Porphyrios defínes heteropia as "that ordering sensibility with the curious privilege of discriminating independent coherences. 204 Anarchistic is used in the political sense that there is order with no mling power. 22. 241."^"^ In botíi cases Aalto's approach to design employed a heterotopical design sensibility. . ^"*Demetri Porphyrios." Architectiiral Monographs 4 Alvar Aalto. (New York: Saint Martin'sPress. Malcolm Quantrill states that an Aalto building was a mapping out "of the tertain that connects man not only witii accessible nature but 202 Quantrill quoting a phrase used by Aalto. 15. This organization was a framework for Aalto's appeal to the primal Finnish memory. 1988). "Heterotopia: A Study in the Ordering Sensibility of the Workof Alvar Aalto. David Dunster. David Dunster. ed. ^°^ This is also a concem of the Italian Renaissance from which Aalto drew much of his inspiration..^'* Order was achieved by the path that connected these conflicting spaces. Architectural Monographs 4 Alvar Aalto."^"^ Alvar Aalto did not employ a strict geomefric ordering in his architecturc He had no apparent overriding geometry (in fact he used several different geometric organizations in the same plan or will place a free form space next to a geometrically ordered space). Ibid. Raija-Liisa Heinonen." 10.

" The latter are the classical and Renaissance examples that Aalto leamed at the Technical University and on sketch trips. Aalto explores the difference in much the same way that he does the differences betweenfimctions.71 also v^th the primeval mysteries of his environmental memories. smell. and touch. Aalto's approach circumvents this in several ways. While the urban environment is not a rich source of organic form. which was evocative of snow covered hills. sound. is applied equally to natural and buih spaces. (New York: Schocken Books. 1983).^" '^^ Malcolm Quantrill. environmental memory. AIvarAalto. ^"ftid . ^'"ftid. in fact. Quantrill's interpretation indicates that Aalto was concemed wdth something unique to architecture." 99. 239. Alvar Aalto: A Critical Study. There is no seeking of a continuity between Nature and the built environment and. ^'^Groak. ^'^Quantrill. a way in which people remember space by using sight. Aalto used the urban architectural approach of the Italian Renaissance in this manner. 239.^*'^Form is drawn from the environmental memoiy not from the sitc^"* This includes nature and "urban fragments. "Notes on Interpreting Aalto. translating specifíc spaces into his organic stylc^"* The author believes that Aalto's version of organic architecture is one of the most appropriate for designing in the urban environment for the following reasons."^"^ This was achieved in part through an iconographic representation of natiire such as the forest rhythms in Finlandia Hall or the Lappland Museum roof. Environment. meaning that which surrounds.

However. While the built environment has many outside influences on form for homotopical ordering. especially in penturbia. AIso.72 Building codes often dampen the individuality of expression. given the empirical background of Aalto's organic architecture. although this will affect most areas. Public influence on form is expected to increase in intensity. Aalto's heterotopical sensibility thrives on the existance of many conflicting ideas and orders from which excellent architecture can ensuc . Aalto and Hãring have demonsfrated that organic architecture is capable of absorbing fraditional techniques and forms. especially in cities attempting to achieve a certain atmosphere through their control of the architectural design process. he demonstrates that building codes ensure a standard for a minimum level of human care and so are necessary.

The floor plans (Figures 4. Figure 4.CHAPTERV PROJECT DOCUMENTATION A Central Library for EIIis Countv Texas The photographs in this chapter demonstrate an organic design for a library in an urban setting.7 indicates that this interpretation is occurring within an urban environment. This boundary serves as a fransition from the rectilinear order of the surrounding buildings into the organic ordering of the library. see Chapter VI. which is marked by the large concrete columns. 73 . pp.2) indicate a resistance to the rectilinear boundaries of an urban sitc This tension creates a boundary.1 and 4.88-93. ^'^ ^'^ For fiirther discussion.

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^'"For fiirther discussion see pp. Te)tas. The building will eventually serve as the main library for a coimty wide system as well as Waxahachie. 1-12. The Design Approach From this defínition arrived at in Chapter I. 82 .CHAPTERVI THE PROJECT Introduction The purpose of this chapter is to discuss the building program and to show how the 213 fíndings elucidated in Chapters I-IV of the thesis apply to the project.^'" In order for a building to qualify as organic the following questions must be answered affirmatively. Does the site play an important role in the building's form?^'^ Are all of the parts of a building working ^'^ See Appendix C for the programmatic requirements.^ Project Statement A hypothetical situation has been set up in which the Ellis County Commissioner's Court has commissioned a public library building for downtown Waxahachie. The proximity of the project to the county courthouse indicates that this new building will be a civic monument in keeping with the public nature of its surroundings. organic architecture is a process of design that develops a unique building from its initial character and its location using organic forms to create a positive effect on the user of the building.

^'^ The Kimball Art Museum in Fort Worth is the standard the author has in mind for the fírst question. copper. it cannot be excluded from this thesis. 1986). and The Formal Expression.. 218 See Chapter FV. Architecture and AUied Design: An Environmental Design Perspective. 2nd ed. the research índicated that appearance was an tmportant consideration to all four of the architects reviewed. 5-13. because it is a common material.^" This building design analysis is presented in three parts: The Site. Antoniadies. ^''The term natural is used instead of biological or organic because it lin ts by implication the range of formal expression to interpretations of living organisms. Red brick was chosen because of its human scale. lowa: Kendall/Hunt Publishing Company. . and wood are the four materials chosen for the exterior composition. He would not consider the formal appearance of organic architecture important in defíning organic architecture. and although the design project does not depend totally on geological expression. Brick. p. The Program. The Site The site is dense enough to qualify the new building as an infíU project. Aalto and Wright both used geological forms in their work. By placing the entry of directly off the 21S For further discussion see Chapter I. and because the color matches the red sandstone of the County Courthousc The entry of the building is to be placed so that it relates visually and physically to the County Courthouse to the north.^'* This defínes a rough rectilinear volume in which the building may be built. The city has determined that the height of any new building in the immediate area of the County Courthouse must be lower in order to keep the courthouse as the visual landmark building for the city. pp.83 rationally as a whole?^" Is the formal expression obviously based on natixral form. (Dubuque. concrete. This is drawn from the woric of Professor Antoniadies of the University of Texas at Arlington. Anthony C. 44. however. 93.

however. " Haering at Garkau. The Architectiiral Theorv of Violett-Ie-Duc: Readings and Commentary." The Architectural Review. are. 192. nothing more should be read into the relationship between the museum and the libraiy. Heam. This ordering approach is in conflict with the use of geometry. see Chapter III pp. Those principles. The Program In this design. but tt is not in conflict with the basic principles of the rational plan as laid down by Viollet-le-Duc. homotopia and heterotopia. both preserving history.84 city square tiie libraiy recognizes the importance of the County Courthousc The proximity of the library's entry to the Ellis County museum is appropriate given the cultural signifícance of the two building. 187.^^^ The ftmctions are arraigned in a reasonable maimer. '''ftid. The approach to programming is the same as that foimd in the Functionalist movement of the early Twentieth Century.. May 1960. Massachusetts: The MIT Press. ed. two approaches to order have been considered. (Cambridge. the relationships between them are based on the interaction of the differences in the functions.^^" (2) stmctural honesty. . F.^^ It is not reasonable to associate organic architecture with an irrational expressionism. '^'ftid.^'^ Heterotopia is explored in this thesis project. ^^'Jurgen Joedicke. (1) fimction determines form. 1990).. However. as the overall formal regulating devise.^' and (3) aguidingconceptofhonest simplicity. 313-318. ^^°M. 182. 47. In the work of Aalto a solid wall indicates 219 For ftirther discussion. or grid.. familiar to most architects.

even to the point of comparing the materials with biological cells. 35-40. The elevation of an Aalto building can be read by this freatinent of materials. The desired effect is to cause infrospection in the user. The interaction of any function with the adjacent ftmction. ^* ^^* Wright is the most familiar organic architect to the architects of the United States of America. This is achieved by guiding the user through a cave-like space which ends at the circulation desk. the stiucture being a separate entity.^* Wright conceived his buildings as a single organism.^^^ Aalto conceived his buildings as a community of ftmctions. The ^^ Stmcture is expressed when it dæs not need to be hidden. will determine the freatment of the wall and the area next to the wall.^^^ Where such separation is not desirable the wall is dissolved by wood screens or fenestration. The Entry The placement of the entry is a gesture toward the Coimty Courthouse . and the differentiation needs to be madc 226 See Chapter fl. This is an attempt to fínd the innate tmths within all people. or exterior. . thus creating a sense of arrival. There is a point to be made about this approach to the conception of organic architecture that is very different that of Wright. The project is ordered by the sensual attributes of architecturc This is applied to the thesis project.85 that the function contained requires a separation from light or sound. Thus each area of an Aalto plan has its own character. From this point one must arrive at the circulation desk and then arrive at the bibliography and reference area. pp.

The opportunity to celebrate the stacks fimction within the building naturally occurred as a result of this decision. tt also creates (if designed well) a visible sense of value.86 cave image is a reference to both the primal past and to the birth experience and thus to the memory of leaming and growth epitomized in the knowledge contained in books. This separation of the stacks from the other fimctions suggests the warehouse as the appropriate building type on which to model the libraiy. The main difference between the function of a library and the fimction of a warehouse is in the volimie of people who will be served. . It is freated as a solid object in the plan with the wall dissolving at the point of entry. The Stacks The stacks are placed on a separate stmctural system from the building envelope in order to minimize vibrations. The similarity ejrtends to the use of the shelving arrangement as a mnemonic device for retrieving a particular object. artifícial and diffused natural lightíng and humidity confrol. The Rare Book Room The rare book room is a separate entity from the rest of the library because of the necessity for security and maintenance concems. This treatment reflects the emphasis on the function of preservation and signals the unique nature of the books contained within. They will need fíre protection.

Music and periodical back issues use a CD-ROM storage system and can use the same room. actual display areas. and a focal point for local educational opportunities. It functions like a factory which should be reflected in the layout. Art Gallery Art gallery areas are not well defíned in the library profession.87 The Music Room and Periodicals The music room and periodicals are combined in area to present an image of the library as a place for more than books. this area would be an effícient way in which to bring art into public life. racks of prints. Book Processing Book processing is the technical area of the library. The shelving requirements the periodicals call for a lower shelf height than the stacks. Art can be stored as slide libraries. tt also provides a cenfral location for attendants on the lower levels. or CD ROM use areas. Combined with a slide library or CD ROM display. This area should be positioned in a prominent area of the plan. . This is a physically critical area because of the increasing reliance on interlibrary loans and the future needs of a countywdde system. Exhibits by local artists are among the type of civic gestures that the EIIis County Commissioners could use to sell bonds for the project. This is the area with the most potential for usc It will also house the video collection.

Uses envisioned would be graduations. becoming a symbolic voice for the memories of the library. lectures. 5 urinals. the Library staff and the County staff. thus secondary enfrances away from the courtyard.C.. The county staff will probably move out as the county system grows. Men: 6 lavatories. The Auditorium The auditorium wiU need to function separately from the library at need. . concerts. A. plays. The auditorium terminates the path through the library. requirements. B.B. Their importance is directly related to their functions. Women: 9 waterclosets.88 The Adminisfration There are two parts to the adminisfration. townhall meetings. 6 lavatories. and any other civic meeting. thus providing space for the library staff as it grows. 4 waterclosets. Primaiy design factors are ventilation and sound isolation. Bathrooms For a total number of 716 occupants the minimum U.

The anthropomorphic associations represent the role the body plays in thought. a theater. 3. The urban imagery represents the connection to the people that influence us. The bridge carries the traveler over water. however. and others are only seen in plan view. What the stoiy is should be a personal matier. water. it is the way that the author of the thesis chose to organize these images. The cave is embedded in the primal memories of human ancestors and the subconscious memory of birth. The water is seen in the theater cavc 6. whose sound represents the subconscious which never sleeps. If this was not a master's thesis. ^^^ In this case it is a model of how the human mind works. although the stacks and reading areas are altemate choices. then the need to disclose the actual relationships of the images would not exist. Such ignorance on the part of the pafrons would allow people to think about the images in their own way. certain anthropomorphic associations. The actual relationship is unimportant except tfiat they need to be classifíed in order to make sensc^" The images are cave forms. The stacks are seen almost at the same time as the bridgc 4. The theater represents dreams. The theater is the destination of the user.ssinn This building is a collection of images related to each other. Along this part of the path images of the human body are present. a warehouse. 2. This is not the only explanation for the images. 5. a bridge. . The cave image is repeated in the library entiy into the theater. The bridge is seen after emerging from the cavc The arching of the bridge suggests water. which is much more stimulating than actually knowing what the author had in mind.89 The Formal Expre. The cave image is seen at the entry to the libraiy. and urban images. The warehouse represents the tiained memory. They are meant to be linked into a story by people experiencing tiie building. Some are seen as bones in the cave openings for light. The order in which the images are seen is as follows: 1.

228 See Chapter IV. The large articulated columns show an inclination towards classical form and serve as a boundary between the library and its environment in a manner similar to the use of columns in the Parthenon. FoUowing the approach of Alvar Aalto. there is one strong influence from the works of Wright and Sullivan. The sfrategy for placing interior colunms that support the floors depends on how each space needs to be articulated. In the ground floor plan the only place in which the library spills beyond the large columns is at the entry and receiving dock. but to no purpose in that unity has already been achieved. . Stmcture The type of stmcture chosen was presfressed concrete which is capable of the long spans preferred in libraries. the differences of the functions are explored.90 While this project is based on the work of Alvar Aalto.^^* The library is reaches out to invite people in. The building is designed to teach its users through a collection of images arranged in such a way to several narratives conceming the organic pattems of lifc The joumey into the library will parallel the joumey through life. The building is imifíed by large articulated colunms and the roof A regular grid would suppress the identities of each ftmction.

which makes it an ideal location for a public institution such as this library. but is infínitely more important. from the librarians point of view. The presence of people and businesses around the site is a more subtle influence. failed for two reasons. 5. (New York: Nichols Publishing. banking. the diffículty of organizing a large volume of books. and because the square shape generally has less non-usable spacc The large amount of volumes involved in this project is suffícient to eliminate any radial or fan shaped organization of the stacks. Their emphasis is on efficiency from the librarian's point of view. The librarians influencing the arrangement of the library are analytical. and the attraction of the public into the library. and tourism atfract people to the town square of Waxahachie. well researched and can be perceived to intmde upon the fraditional role of the architect. 1978). In order to become a part of the ^'Godfrey Thompson. such as books. the county govemment. which is understandablc Such concems are mttigated by several factors. entertainment. the most powerfiil of which is the site.91 The Overall View of the Design Factors The major concems of the librarian are the confrol of resources. It is not square and there is not enough room for a single level building. These concems are balanced with the benefíts gained by such design decisions. . but many authors acknowledge that pafrons usually fínd this shape boring. Planning and Desien of Librar/ Buildings. The use of split levels or anything that blocks the site lines of the library employees wiU increase the amount of people needed to ensure security for both books and patrons.^^^ Attempts to organize the stacks using anything but a grid have. Retail frade. A square floor plan has been designated by librarians as the optimum shape for a library because of its influence on the legibility of the stacks.

On the site four existing buildings wiU remain. acoustics and ventilation as well as aesthetic explorations. The site has a great deal of influence."° This involves the careful considerations of lighting.92 square. this must emphasize the effect on the public's experience rather than the administrator's ease. They covering three quarters of the north side of the site and face the County Courthousc 230 Antoniadies. Zoning requires that no building may be higher than the County Courthouse to ensure the dominance of the courthouse a symbol of govemmental authority. The craft of building has to be mastered as well as the art of building. but only because they are a part of the historical urban environment. . The architect has a moral obligation to provide a space that is healthy and pleasant. Architecture and Allied Design. They are signifícant. Miscellaneous information about the requirements of a library are listed in Figure 6.1.

3.. Shelving at height. That equals 200 total seats for the library 2. One person at a table will require approîdmately 25 square feet 3. Designing and Space Planning for Libraries. Computer terminals distributed at various points. approximately 8. The column size must not exceed the shelf width. See Table C. 6. 5. The standard shelf width is 2'-0". R. The children's coUection consists of approximately 20% of the total collection. 7. 4. Either diffused natural or artifícial light 2.000 square feet.^^' Figure 6. instead of water. The preferred location would be in the reading room.. Floor registers everywhere where possiblc 2. (New York: R.3 for the illimiination requirements. General HVAC System Requirements 1. in reference to the entíre book. Vertical distribution used at stacks has potential for expression Stacks 1.1 General Design Information ^" Aaron Cohen and Elaine Cohen. One person at a lounge chair wiU require 50 square feet. One person at a carrel wiU require 40 square feet 4. Task lighting will be needed on shelving 3. 5.6'-6" maximum 2. The fíre suppression system uses COj or equivalent gas. Natural light extends approximately twenty-fíve feet into the average open plan 4. Shelving grid -any range from 4 ' to 8' on center 6'-8".93 General Lighting Requirements 1. Bowker Co. . 1979). so that parents can watch their children from a distancc Seating measurements 1. The seatíng is estímated at one seat per 500 populatíon served for the entire library. At least 4' of width is required between tables and stacks. depending on desired aisle width.

the area known as Ellis County was divided into four land grants to Sterling C. Historical Description The earliest known inhabitants of what is now Ellis County were the Indians. It is located in a belt of fertile black soil. which is now know as Texas. Kickapoo. Mercer was issued the southem part of the . It is also a great place for medium sized businesses and to livc There is still present a fairly large number of farms surrounding the town. The area is poised to receive the migration of people and industry as the information revolution decentializes the corporate stmcture in the US. and Alejandro de la Garza. A major economic blow was delivered by the federal govemment when the Super Conducting Super Collider project was abandoned. Bidai. Chambers. The populatíon consists of a mix of actively retíred people. Robertson. Thomas J. While a number of its residents do commute to the D/FW area to work. Under Mexican mle. the majority of the population live and work in the town. Waxahachie is the Tonkawa word for buffalo or cow. This is not a fatal blow. The Texas Republic issued land a land grant in 1841 for Peters Colony in the Northem half of the area and in 1843 C. The Anglo grantees were probably a part of the Mexican program to populate Tejas. The area was a hunting ground for many Indian tribes because of the large number of buffalo that grazed here. It is the seat of EIIis County.F. Texas Waxahachie is a small town about 35 miles outside of the Dallas/Fort Worth metropolitan area. college students and families. Raphael Pena.94 Description Of EIIis Countv Waxahachie. Anadarko and Waco were other tribes that hunted here.

1849. the temperature.95 area. from Robertson and Navarro counties. The fírst Court House. a long cabin. and farming is still an imp^ortant industry.2 for details. The area is highly used for govemment and private business. Riely Gordon. EIIis County was created on December 20. but the town is regionally famous for its gingerbread homes. Table A. The majority of the public buildings are designed in the many variations of the neoclassical stylc Physical Characteristics See Appendix A. Two other Courthouses were erected in 1853 and 1874. and the humidity are the primary concems of those living in this region. It was designed by J. Sunlight during the summer can be extiemely bright from late moming until sunset which makes glare an important architectural concem. Waxahachie was established as the county seat. which ranges from 80" F to lOO^F.^^^ Before the discovery of oil the area was a center of cotton tiade and railroad freight. ^^^ Taken from " A Brief History of Ellis County" provided in a packet from the Waxahachie Chamber of Commercc . The present Courthouse was built in 1894 and still is the political center of the county. The soil is extremely fertile in the area. Until the 1930s tt was one of the more affluent cities in the region. There are a few neoclassical examples present. was built in 1850. Surrounding Areas The surrounding residential architecture contains many examples of tum of the century Victorian gingerbread houses. The winters are mild in this part of the statc In the summer. In August of 1850.

96 The Movie Industry More than a dozen major productions have been fílmed here since "Bonnie & Clyde" in 1967. The movie industry often uses this town in motion pictures set in the late nineteenth and eariy twentieth centuries." "Places In The Heart." have been recipients of academy awards. There is a considerable amount of public support for the preservation of the historical atmosphere of this area. Historic District The County Courthouse is a Texas historic landmark and the urban area is a historic district. There is a mijrture of commercial and govemmental agencies occupying the buildings. This town center is a group of actively used historic buildings. The buildings in this area were mostly built in the late 1800s up to the 1950s. therefore." and "The Trip to Bountiftil. "Tender Mercies. and by successftilly editing the fílm. Three of these movies. The actual movie sets on the site eliminate the "modem" images by covering the buildings in false fronts. The atmosphere in the town square and in the older neighborhoods is what has been cited most. there is signifícant remodeling activity which necessitates bringing the area up to codc Reconstmction is confíned to the Courthouse itself .

Pocket Books.1982. Douglas. 1984. Penguin Books 1967. New York. Jeffery D. 1984. Dirk Gently's Holistic Detective Agency. Sketches Alvar Aalto. Environmental Psychology 2nd ed. 1984. revised ed. Antoniadies. Paul A. Holt.REFERENCES Books Aalto.. Bacon. 1988. Andrew and Bell. New York. Adams. The Complete Works of Arístotle Vol. The Restaurant at the End of The Universe.). PocketBooks. New York. The Universe and Everything. TheMITPress. Jonathon (ed. I & II The Revised Oxford Translation. An Esthetic Analysis. 1978 Abercrombie. Stanley.1983. Pocket Books. Kendal/Hunt Publishmg Company. Edited by Goran Schildt. and Fisher. An Environmental Design Perspective. Translated by Stuarte Wredc Cambridge. . New Jersy: Princeton University Press. The Hitchhikers Guide to the Galaxy. PocketBooks. 1981. 1985. 1983. Irwin and Chemers. Califomia: Brook/Cole PublishingCo. Alvar. Martin. 1976. 1986.. New York: Pocket Books. Massachusetts. New York. Edmund N. Architecture and Allied Design. The Long Dark Tea-time of the Soul. Rinehart.1990. Anthony C. So Long and Thanks for All The Fish. Princeton. New York. Culture and The Environment. New York. and Winston. Pocket Books. Design of Cities. Baum. Dubuque. 2nd ed. Life. Monterey. Altman. lowa. New York. New York. Van Nostrand Reinhold Company. Bames. 97 . Architecture as Art.

A Practical Guidc New York. Oxford. Mies van der Rohe. 198 Green. Francis D. New York. Ulrich. Englewood Cliffs. New York: Van Nostrand Reinhold Company. The Philosophv of Rousseau. James. Gleick.1950: reissued 1978. 1980. O. Blake. University of Missouri Press. Oxford University Press. Programs and Manifestoes on Twentieth Century Architecturc Cambridge. Cromphout. Modem Architecture. Le Corbusier. 1982. Inc. 1975. Fritjof The Tuming Point. and the Rising Culture. Making a New Sciencc New York: Viking Press. Ruskin on Architecture: His Thought and Influence. Oxford University Press.xford University Press. Madison. Frank Lloyd Wright. Kenneth. Gustaf Van. Tim. "Arts and Crafts and Art Nouveau. Conrads. Rousseau and the Idea of Progress.. New York. Garrigan. Doxiadis. Inc. New York: Oxford University Press. (ed). Since . Ronald. 1973. W. New Jersey. Butler. Constantinos A.C." ed. Brooks. Ekistics. 1979. English Literature and Its Background 1760-1830. John Ruskin and Victonan Architecturc London. Curtis. 1990. 1982. Grimsley. Rutgers University Press. Oxford: The Clarendon Press. PC. New York. John Wiley & Sons. Frampton. William J. Rizzoli.R. Marilyn. Bantam Books. Chaos. 1987. F. Peter. Rebels and Reactionaries. Kristine Ottesen. Inc. Wisconsin. Prentice-Hall. Massachusetts. Emmerson's Modemity And The Example of Goethc Columbia. Ching. Frank Russell.1900. Evan Terry Associates. Michael W. K. Oxford. The Master Builders. 1987.98 Benton. Art Nouveau Architecture New York. Americans wtth Disabilities Act Faciltties Compliance. The University of Wisconsin Press. NortonandCompany. Inc 1976.W. Romantics. The MIT Press. Modem Architecture a Critical History. Science. Capra. An Introduction to the Science of Human Settlements. Missouri. . Building Constmction Illustrated. 1968. 1993. 1970. 1973. Societv.

Narciso. Miyazaki. Madison.R. New York: John Wiley &. Garden City. McHarg. Connecticut: College and University Press. The Transcendentalist Idea of Louis SuIIivan. An Adventure in Multidimensional Space. Krishan. 1985. Wisconsin. The Ten Books on Architecture. Virgima. 1971. Kumar. Inc. The Art And Geometrv Of Polvgons. ían L. William H. Architecture as Nature. Wild Cards Volume I.W. New York: Bantam Books. 1986. Translated by Morris Hicky Morgan.. 132. 1985. and Modemism. Inc. Quantrill. Thomas. Utopia and Anti-Utopia in Modem Times. Riema Pietilá. Fairfax. Prince Lithographic Co. Historv of Art 3rd ed Revised and expanded by Anthony F.. George R. 1975. ed. Donald Leslic Frank Llovd Wright versus Amenca. Kostof. Psvchology. 1960. Rizzoli. Inc 1986. Koji. and Wortman. Price.99 Janson. PoUio. Martin. Doubleday. the 1930's Cambridge. Janson. Oxford University Press. Kaplan. Menocal. U. New York. Abrams. Alfred A. Polvhedra. Pevsner. 1981. 1965. 1990. Oxford. In Philosophv and Mvsticism. 1972. Knopf. Harry N. Ltd 1987. Kari Kramer Veriag. New York. 1981. Basil Blackwell. Jurgen and Lauterbach. CamiIIe B. Settings and Rituals. Clarendon Press. New Haven. Heinrich. Desi. 1914. Some Architectural Writers of the Nineteenth Century. Loftiis. Harvard University Press. Marcus Vitmvius. The Civil War HandBook. Johnson. NewYork. Joedicke.Inc 1961. the MIT Press. The University of Wisconsin Press. Nikolaus. Germany. Sons. .K. Nathaniel and Katsaros. Elizabeth F. Massachusetts. reprint. Spiro. Dover Publications. Dokumente der Modemen Architektur. A Historv of Architecmre. Oxford. Stuttgart. New York. New York. Origins of American Transcendentalism. with Nature. Malcom. 1983. And Polvtopes. Context. Vitmvius. New York.. H.

Louis H. Josep LIuis Sert and Sweeney.100 Alvar Aalto. 1989. 1960. Massachusetts. John. The Decisive Years. James Johnson. 1984. The Gothic Imagination. Dan. 1989. New York. The Architects of the Eighteenth Centurv. 1973. NewYork. 1971. Ruskin. Gôran. Anarchv and Order London. G. New Amsterdam Books. Herbert. New York: Bantam Books. Alvar Aalto. Schildt. Antoni Gaudi. George BraziIIer. The Seven Lamps of Architecture. Read. Washington. Rywert. Fredrick A. Joseph.R. 1987. Jr. Faber & Faber. Hyperíon.. Sert. Thompson. The MIT Press. Pugin. Inc. Inc. Rizzoli. North Carolina. PuUman. New York. George Wittenbom Inc 1947.. 1986. SuUivan.R. Alvar Aalto. Chapel HiU. Praeger. Ltd. New York. Art and the Influence of Jean-Jacques Rousseau.1990. 1960 Simmons. The VikingPress. Stanton. ScuUy . Vincent. New York. "Romanticism and the Gothic Tradition. 1954. . Mark J. Phoebe. Washington State University Press. New York. G. ed. The First Modems. Essays in Dark Romanticism. New York. The Earív Years. A Critical Stndy New York. Temmer." Thompson. Kindergarten Chats. Dover Publications. Frank Llovd Wríght. The University of North Carolina Press. Rizzoli. Cambridge.

Joedicke. Thomas. Martin. . Corcoran. "TWA Terminal. June 1982." Living Architecture." Joumal of the Amerícan Planning Association. . 313-318. "Notes on Viollet-Ie-Duc's Philosophy of History.J. Mark Alden. . 327-350. Stewart A. 1987 No." Progressive Architecture. "The Architecture of Raili and Reima Pietilâ. A Synthesis of Sometimes Contradictory Ways of Thinking Creates A New House by Morphosis. Peter Blundel. 1.. 96. "Hiigo Hânng " The Architectural Review.223-231.. Researchers Are Beginning To Hamess Non-Iinear Systems. "Romeo and Juliet Windmill Reconstmction.40-47. Elizabeth. T. Kaisa. May 1992. Vol57. Denms Allen and Ochsner.68. 96 .6. Winter 1991. 48. 90-99. August 1991. Jergen." Societv of Archttectural Histonans Joumal XLVIII (September 1989). "Antichaos and Adaptation. "Planning and Chaos Theory. August 1991." Scientific Amerícan. Dialectics and Technology." The Society of Architectural Historians. 84-89. Jones.101 Magazine Articles Anderson." Living Architecture. Jim. May 1960." June 1992. Branch. Broner. Bressani. Cartwright. "Adler and SuIIivan's Seattle Opera House Project. 1987 No." Living Architecturc 1987 No. "The Tampere Main Library. Jeffrey Kari. 69-83. "Ordering Chaos. Murphy. 78. 6." Progressive Architecture. vl71. Computer Models Suggest that Certain Complex Systems Tend Toward Self Organization. Joumal. 4. Kauffman. Fisher. Biological Evolution May Have Been Shaped By More Than Just Nahiral Selection. 6. "Hãríngat Garku. . May 1992. New York/Eero Saarinen & Associates." Progressive Architecturc November 1991. No. 119. ABreedApart." Scientific American. "Organic Architecture." /Vrchitectural Review.l022. 54. "The Finnish Embassv in New Delhi. no. No. " Literal Abstraction.

vol. 62-67. March 1989. "The Froebel-Wríght Kindergarten Connection. "Hvitttrãsk. September I99I. "What in Heaven is a Digital Sundial?" Scientific Amerícan.102 Rubin. . lan. 104." Societv of Architectural Historíans Joumal." Living Architecturc 1986. 24-37. Stewart. Jeanne S. A New Perspective.. Udsen. Vib. 5. No. ed.38.

1 Summary of the Net Square Feet Areas Gross Area 15% Mechanical.APPENDDC A PROGRAMMING Table A.146.1 103 .00 9.146.974.1 9. walls and Circulation NetArea Square Feet 60.

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His previous career was that of a crystallographer and assistant to the distinguished scientist. Froebel was not originally an educator.^^"* Wright began his education in this system at nine years of age which is within the range of starting ages for most of the versions of this system. Ibid. Froebel's system relied on the student discovering what needed to be leamed instead of leading the student through rote memory. Rubin on the subject. Christian Samuel Weis. Joumal vol. This "^ Jeanne S."^" The word kindergarten has a very different meaning from the current usage of the word. 38. Originally. 24-37. ^^The Froebel kindergartens of ten differed in actual ages of the students." Societyof Architectural Historians. Wright repeatedly acknowledged the influence of this man's educational system in his works which has made Friedrich Froebel the object of many scholar's curiosity. who made some historic contributions to crystallography during Froebel's employment. 25. Rubin. 123 . "The Froebel-Wright Kindergarten Connection: A New Perspective. A New Perspective. titled. march 1989. The Joumal of the Societv of Architectural Historians contains an article by Jeanne S. kindergartens provided training through all age levels from seven and a half years of age to the university level. written from an educator's point of view.APPENDIX B WRIGHT'S' FROBELIAN EDUCATION Friedrich Froebel (1782-1852) was an eminent educator and a major influence on the work of Wright.." Rubin asserts in the conclusion of the article that the kindergarten trained Wright "to see beyond appearances and to think beyond the known. "The Froebel-Wright Kindergarten Connection.

Rubin notes the similarity to Wright's formula for organic architecture. Froebel stated that his kindergarten concept was based on the following four natural laws. that a person's ideas form the person as much as experience. (2) Law of Opposites. (3) Law of Development. . developing each entity through a series of transformations-no matter how infinitesimal-from origin onward. connecting all developmental transformations along a continuum of time."^^^ Froebel had observed that the developmental processes of everything.'^^ This is very similar to one of the main themes of the European romantic movement. their prescribed usage.(1) Law of Unity. maintaining a balance of the inner and outer forces. uniting all entities -fimctioning as wholes unto themselves-in their role as parts of larger and larger wholes extending toward the ultimate whole.. ^^This is from the fírst edition of the Education of Man. The main thrust of the Froebelean system was the stimulation of self motivation in the leaming process through lessons disguised as play.. and binding all parts to their respective wholes as well as to the 235 U id. foUowed the same principle: the processes tend to develop from within. (4) Law of Connections. which he did not claim to have discovered: .Froebel's didactic materials. It was assumed that as the student leamed how to see and think. contrasting each entity with a complementary polarity. published in 1826 in Germany.. the student would discover natural laws on his own which would allow the student to apply them in whatever fíeld that they chose to pursue. "'n>id..124 association becomes important because ". all paired polarities along a continuum of contrast.^^^ This suggests that the natural laws were considered universal. organic or inorganic. and his educational philosophy derive largely from the science of crystallography. Ibid.

but it is more likely that these "laws" are only one of the sources of Wright's organic architecture. Froebel further ventured that these laws govemed the development of all matter. from the smallest particle to the cosmos.^^^ Rubin claims that these laws contain Wright's defínition of organic architecture.125 ultimate whole. 'lbid.30 . a theory then tentatively projected and now generally accepted.

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