Analysing Villa Savoye

Frank Lloyd Wright was a very influential designer and architect who inspired the next century of builders to go beyond their normal standards and break free from the confines of the current building barriers. He used aspects of nature to compliment his buildings, and knew how to perfectly arrange the complex angles and structures to set his projects apart from all others. Frank Lloyd Wright changed the future of architecture with his high attention to interior design, detail, simplicity, and environmental influences.

Upstairs there are three bedrooms, two baths: total square footage, twelve hundred and sixty-five”, (p.2) Castagna demonstrates solidity, security, clean conventional lines as well as borders which symbolises Antonio’s settlement in

The third floor is host to four bedrooms. This is the adult sleeping quarters. Each room has a coal fireplace, hardwood floors flowing throughout, the same white paint on the walls, and extravagant gas light fixtures. It has high windows that lead to the balcony and provides a spectacular view.

The building itself uses an abundance of straight lines that give it a very neat and sleek finish. It is perfectly symmetrical, having a broad staircase with granite steps going right down from the second level to the front of the building. Written on these stairs are the words Invent, Discover, and Remember. Right next to this staircase, placed on each side are some brilliant green plants which wrap around the entire building and make it look very appealing. The building has several tower like sections that have upward sloping roofs that give it a bit of a medieval castle look. Made mostly of red brick and a yellow looking stone, this also gives the building the look of a castle. It also has lots of windows that give a welcoming feeling. There are also six bright lights which hang down from the second and third levels which add to that welcoming

Above the bed’s pillows is a circular fixture, possibly a mirror. A white, decorated vase is in front of the bed, laying on the ground. Two tall, white flowers are set within it. Beside the bed is a green, gold trimmed chair with a red cushion. Above the chair is a dove with its wings spread, it is surrounded by a gold halo. Just above the dove is a depiction of a horned figure with a halo. To the left of the depiction is a gold chandelier that is styled in a similar manner to the angel’s scepter. Behind and to the left of the chandelier is an ornate diptych, only one of the panels are revealed. Inscriptions are below the diptych. A wood furnishing bearing intricate carvings supports the diptych, a white cloth rests on its surface. Below it is a metal plate and cup, a cloth resting on it. Beside the furnishing and diptych is an opened window, each of the opened panels attached to it in varying positions. A city is outside the window. Beside the window is a lit candle which is attached to the wall by a gold support, a decorative gold plate behind it. The room’s floor is made up of faintly colored tiles arranged in geometric

The property features overlooking views of water and fields from every suite. Each suite feature amenities including cathedral ceiling timber ceilings, leather furniture, gas fireplaces, cavernous showers,

A review of the house itself suggests that an architectural hierarchy of privacy increases level by level. At first, the house seems to foster romantic sensibilities; intrigued by its architectural connotations, the narrator embarks upon its description immediately--it is the house that she wants to "talk about" (Gilman 11). Together with its landscape, the house is a "most beautiful place" that stands "quite alone . . . well back from the road, quite three miles from the village" (Gilman 11). The estate's grounds, moreover, consist of "hedges and walls and gates that lock" (Gilman 11). As such, the house and its grounds are markedly depicted as mechanisms of confinement--ancestral places situated within a legacy of control and

Two architects who works needs to be recognized too are Frank Lloyd Wright and Frank O’Gehry. Both great architects with creative designs that seem to incorporate with their surroundings. Who contributed so much to our modern designs and buildings that we still visit today. Both architects who came up with new ideas and designs instead of the traditional like houses and buildings but added new concept to what we see today.

When Frank Lloyd Wright gave his ideas on his work and his design, the world was in awe that he could make what the public called magnificent. He acknowledged his skills with the speech he gave along with his actions and he thinks of himself no different from anyone else he meets saying they also have potential. The machine he speaks of is the general thought and creation of products while art, the opposite of the machine is unique creations that took root from the machine but display special characteristics. Frank Lloyd Wright’s speech showed the world what he believed in and told the audience that he was simple man with the idea of art. His ideas on the machine and art are truthful and relevant to everyone and showed a motivation to his audience to become great.

Internationally, Frank Lloyd Wright was a prominent figure in mid-century modern architecture (as was Mies van der Rohe, Walter Gropius and Le Corbusier)

Frank Lloyd Wright, an American architect that was considered to be one of the greatest in the 20th century. He was a pioneer in the modern style of architecture. For more than 70 years, frank showed his countrymen ways to build their homes and see the world around them. He created some of the most monumental, and some of most intimate space in America. He has designed everything from banks and resorts, office buildings and churches, a filling station and a synagogue, a beer garden and an art museum.

“Architecture or Revolution?” in Le Corbusier’s belief was the only way to avoid class-based revolution in industrialized architecture (Quirk, 2012). Le Corbusier, born Charles Édouard Jeanneret, was born into an artistic family in 1877 in a small village in Switzerland. His mother was a pianist and his father was a designer of watch dials. Even though he learned piano and father’s trade he got interested in the architecture when he was 13 years old. He learned from L’Eplatenier, a teacher in La Chaaux-de-Fund. His teacher opened his eyes and led him to the direct observation of life. He was an instinctive genius by turning older building designs into newer more modern designs. Le Corbusier is one of the most significant architecture’s of the 20th century, and one who led architecture to the modern era.

In relation to this the book ’Le Corbusier ‘by Kenneth Frampton (British architect, critic and historian, born: 20/11/1930) also holds a link within some of the opinions, movements and beliefs of Le Corbusier. Focusing from the early stages of Corbusier’s life to his last works, we find ourselves indulging in facts and creations of Corbusier himself such as the Dom-ino. As featured in the previous reading ‘towards a new architecture’ Corbusier talks about the engineers aesthetic ‘two things that march together and follow one from the other one at its full height, the other in an unhappy state of retrogression’. After some research in to this I was lead to the dom-ino design (image above). The dom –ino was an early example of the engineers aesthetic and became the theoretical basis of most of Corbusiers houses up to 1935 and extended on a scale much larger than the two story house. The dom-ino led to a number of prototype buildings such as the United De Habitation. The design allows the concept of the free facade, The pieces were to be pre-fabricated allowing the construction time of the design to be reduced and thereby a product of Corbusier’s application of

From the rooms on the first and second floor, the views of the city can be seen as there is a small balcony for each room that open onto this narrow airwell, water feature and the old party wall where the guests can have a cup of tea or coffee enjoying the beauty of the city. With the design which has lots of open and exposed spaces as well as the floor-to-ceiling glass windows and the modern comforts and fittings, plenty of natural light can penetrate into the room although they are compact and minimalist. Each light-filled guest room has a glass-enclosed compact bathroom with the privacy is protected as those glass walls are facing the mouldy walls of the adjoining shophouse. Moreover, guests can also relax themselves and mingle on the small roof terrace upstairs with the lovely views of the historical

Centered in the house is a ramp that takes you on a journey from the underbelly of the house on the ground floor to the main body on the first floor and then on to a roof garden. Throughout the house views of the surrounding nature are framed, your mind is free marvel, as the forms evoke a sense of exploration and delight. Villa Savoye is better experienced than viewed through an image, only then can you understand the greater meaning and purpose that informs its beauty. One might argue that this is not beautiful architecture and a poor example, however upon visiting this house you cannot deny that the house is beautiful in its own right, evoking a response from the occupant. Le Corbusier’s masterpiece is moving; therefore achieving what he believed architecture to be about. This experience and the emotion that is felt can only be described in words. Shapes play a big role in the architecture but clearly the meanings behind are more important.