The Architectural Works of Vera Kostic and Frank Lloyd Wright

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The second measure to regulate the organic architecture is construction, based

Introduction

"Less is more only when more is too much" (Steffensen, 2009) as stated by Frank Lloyd Wright. With reference to this architecture genius, this essay will discuss the generic frame of reference to Vera Kostic’s design approach as well as how her work fits in historically with regard to Frank Lloyd Wright and his style of architecture during Modernism and why she thinks this is most appropriate for her design approach.

Frame of Reference influencing approach to Design

The Frame of reference used by Vera Kostic is vast, as there are many diverse sources from which information can be found and used for influence to her design approach. One of the most influential references would be the notes studied in the lectures regarding the history of architecture and the styles of different periods. This gave Vera a very broad understanding of the different eras and from this she could relate to the style or time period, which she is most interested by. Vera’s frame of reference doesn’t stop at the notes but goes beyond. The intensive research with the use of internet, blogs, online journals, books and any form of internet based searches for architecture, the styles, buildings and architects expands her knowledge for her design approaches. The frame of reference expands to finding information regarding the specific sites for the designs, learning about the culture, history and people of particular places. Lastly, socializing with lecturers, architects and fellow students adds to this frame of reference by taking in people’s difference perspectives and also engaging in doing internships at architecture companies gives Vera a real life situation as a frame of reference for her design approaches.

Frank Lloyd Wright

Frank Lloyd Wright's position as one of the greatest influential architects is undeniable. Influenced by this master in architecture, Vera feels that her work fits in historically with the style of Wright and his approach to architecture throughout modernism.

There is a distinctive dissimilarity between the work of Frank Lloyd Wright and that of most of his other respectable contemporaries like Le Corbusier, Gropius or Mies van der Rohe. Their work constantly seems to be determined for some “logical expression of a rational esthetic”(Sharp, 1972). Frank Lloyd Wright, in contrast, believed in a massively flexible esthetic (which wasn’t fully without logic but treated the rules of architecture as if they were meant to be broken when needed). This idea about architecture is something Vera has been following throughout her designs.

Wright’s work was not resolved in terms of the general esthetic but when it came to the individual works, they were most certainly resolved regarding there own specific frame of reference. The frame of reference of the works were closely linked with the natural and physical environment and this developed an imagination of nature regarding architecture and structure. Wright always followed a significant route of creative Architecture regarding the natural surroundings. “Nature is Fate” as Wright exclaimed. (Zevi & Kaufmann, La Casa sulla Cascata di F. Ll. Wright F. Lloyd Wright's Falling water, 1963)

Equally with the international style (centered on the geometric abstractionism, standardization and industrialization), advanced organic architecture, designed to generate harmony of the non-natural surrounding created by humans to the natural surrounding of nature. “In Wright’s houses, on the other hand, the spatial organisation is organic: both in plan and in elevation they correspond to the activities of life and to the pleasure of the eye.” (Zevi, Towards an Organic Architecture, 1949)

Regarding one of Vera’s greatest works for the design of a house, recently done, the concept was for an organic architecture, which was to promote harmony between man and nature through the design. Nature and architecture were to become integrated, where the site, building, furnishings and the surroundings become part of a unified interrelated composition.

on results originated from the natural world. This reliably used motivation usually leads to a form related with the idea of living nature, but their programmed computation for organic architecture does not seem acceptable, because the method itself does not certify the preservation of what is the foundation for harmony - the balance between the parts of a whole, and between whole and the environment. (Steffensen, 2009)

In this way, the question of style was not significant to Frank Lloyd Wright. A building was a creation of its place and time, closely connected to a specific moment and site but never the outcome of an enforced style. (Zevi, Towards an Organic Architecture, 1949)

As seen in the work done by Vera, the design of the house itself does not particularly follow a specific style but it is more about connecting nature with architecture. The idea is to combine the two so that the transition between spaces is very subtle and this all follows the ways of Wright and his ideology and perception on architecture to which Vera is influenced by.

The third way of interpreting of organic architecture seen by Wright is based on theexplanation of the organism, which contrasts the mechanism, which consists of interchangeable parts, is the outcome of natural growth of form. A mechanism came about from the independent, exterior elements; while at the same time the organism grows from within, emerging its components as integral parts. Executing such a concept can lead both to a building containing of several interpenetrating components, or to a complex of separate buildings, organized around the functional center that recognizes the natural environmental conditions(Sharp, 1972). This type of idea relates to the design in of the house done by Vera due to the way the organisation of the spaces is based around how nature and reflection to the site inform the design and simply focusing on materials

and structures.

The Prairie houses built by Frank Lloyd Wright before 1910 announced the

understood organic architecture. Its full implementation were the Taliesin I, 1909-1911, the Taliesin West, 1934 – 1937, Fallingwater- Kaufmann House, 1935-1937 which According to Vera is one of the most influential works done by Wright.

Taliesin I, which had a distinct influence of the Japanese fascination by wright, is Wright's own house, containing of a sequence of penetrating buildings that are built into the hill located on the lake, with a multi-level courtyard at center for subtle link between nature and the architecture.

Taliesin West, a large complex of buildings with a powerful agenda (that consisted of Wright's winter house, the school of architecture, the foundation and the museum), was freely organised on the sands and rocks of the desert in Arizona. This complex of buildings has already proclaimed a post-modern ecological architecture, fortunately, due to Wright’s talent, he kept within his ideology of architecture, not straying too much.

Falling water house is a set of functionally different but interpenetrating spaces, connected by the abstract structure of reinforced concrete terraces, glass walls, and free-hanging over the mountain stream. (Zevi & Kaufmann, La Casa sulla Cascata di F. Ll. Wright F. Lloyd Wright's Falling water, 1963) This work in particular shows Wrights appreciation for

Japanese architecture; it was essentialinhismotivation for this house, along with the greatest amount of his work. As seen in Japanese architecture, Wright also wanted to portray harmony between man and nature, and his incorporation of the house with the waterfall was successful at showing this. The house was meant to compliment its site while still competing with the drama of the falls and their endless sounds of crashing water. The power of the falls is always felt, not visually but through sound, as the breaking water could constantly be heard throughout the entire house.

This Japanese influence in the architecture of wright is a great influence in the work of Vera, as seen in the house design where harmony between the man and nature are evident. The courtyard space links the inside and outside, with an easy transition between the two spaces. The fact that from any point in the house you can see the house connects man and architecture, and allows peacefulness on the eye, as portrayed in Wright’s works. The work is built into the hill and follows the landscape slope for optimum harmony between the site and the architecture.

Architecture is intended to remove visual and psychological barriers between outside and in, to produce harmony between the two, so that humanity, nature, and architecture might unite in peaceful oneness. “Any building for humane purposes should be an elemental, sympathetic feature to the ground,” Wright explained, “complementary to its nature-environment, belonging by kinship to the terrain.” (Twombly, 1979) The work of Vera follows the style of Frank Lloyd Wright from all directions and he has become an icon in the design of Vera’s work. From the organisation of spaces, the aesthetical feel of the buildings, harmony with nature, to the use of site to the fullest. All these elements play a key role in the design approach of Vera

Conclusion

To conclude this essay the work of Wright has truly influenced the design on Vera’s work, and from any angel there is reference to his style of architecture. This has been evident throughout the essay above and this modernist architect will continue to influence the design of Vera’s work. The search for harmony in architecture and nature will continue just as Wright has shown, further studying and designing to create oneness with nature.

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