Robie House and Bradley House by Sir F.L.Wright
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Robie House and Bradley House by Sir F.L.Wright
- 1. HOUSES BY Sir F.L.WRIGHT B.HARLEY BRADLEY HOUSE ROBIE HOUSE
- 2. Frederick C. Robie House
- 3. Built : 1909 Location : Chicago, Illinois Style : Prairie Style Climate : Temperate Construction System : Brick and Steel
- 8. • Victorian era homes were boxed-in and confining. • Prairie Style houses had designs with low horizontal lines and open interior spaces. • Rooms were often divided by leaded glass panels. • Furniture was either built-in or specially designed. • Prairie houses were designed to blendin with the flat, prairie landscape.
- 9. The Creator’s Words: "Architecture is the triumph of human imagination over materials, methods and men, to put man into possession of his own earth. Bring out the nature of the materials, let their nature intimately into your scheme....Reveal the nature of the wood, plaster, brick or stone in your designs; they are all by nature friendly and beautiful."
- 10. The house was designed for Frederick C. Robie, a bicycle manufacturer, who did not want a home done in the typical Victorian style. Robie desired a modern floorplan and needed a garage, and a playroom for children. He also required that his home be fire-proof, yet retained an open floor plan free of closed, box-like rooms that would prevent the uniformity of decoration and design.
- 11. Horizontal Lines : • shows movement • utilizes a form to create space • dramatizes the structure • juxtaposition to surrounding landscape • great visual appeal to a pedestrian • establishing a relationship between form and function
- 12. Privacy Wright recognised a house as a place for solitude and comfort thus provided an entrance secluded away from the street
- 13. The perimeter wall surrounding the house, or the low ceilings and high walls, wright made the house applicable for a private space for its tenants.
- 15. • Indoor spaces should not be closed and isolated from each other, but they should open into each other thus establishing the difference between "defined spaces" and "closed spaces". • The interior space should be fluidand transparent, allowing the entry of light. This "explosion of the box" produces the effect of walls unfolding to reveal large, vast spaces. • The house is divided into two wings, keeping the public areas toward the street and the service areas near the innermost sections of the house.
- 16. G-Floor Plan A game room and billiard room make up this level, separated by a fireplace. In both spaces, Wright chose to showcase the system of structural beams in the ceiling, to give a greater sense of altitude to the rooms. This level also houses the utility equipment, laundry, pantry space, and a 3-car garage. Access to the house is at this level, with access to the main living area via stairs.
- 17. G+1 Floor Plan The space is divided into two areas, the living and dining areas separated by the fireplace, but visually connected. On both ends of this space the two long galleries form triangular areas that are more intimate, for relaxing or eating.
- 18. G+2 Floor Plan The bedrooms are at this level, overlooking the house in a sort of tower-style.
- 19. Compositional method • organizing symmetric forms in asymmetric groupings. • a long two-story block, with apparently symmetrical porches, each featuring a sloped roof, at each end. • The symmetry is an illusion, because the elevated terrace of the western end of the house is balanced by the wall of the courtyard to opening to service the eastern end.
- 27. • Projecting cantilevered roof eaves, continuous bands of art-glass windows, and the use of Roman brick emphasize the horizontality. • To further emphasize the horizontal of the bricks, the horizontal joints were filled with a cream-colored mortar and the small vertical joints were filled with brick-coloured mortar.
- 28. • From a distance an impression of continuous lines of horizontal colour. • A largely steel structure, which accounts for the minimal deflection of the eaves.
- 29. • The planter urns, copings, lintels, sills and other exterior trim work are of Bedford limestone.
- 30. • The design of the art glass windows is an abstract pattern of coloured and clear glass using Wright's favourite 30 and 60- degree angles.
- 36. Entrance Hallway The low ceiling before the front door marked the transition between the exterior and the interior.
- 37. The dining room space was defined primarily through its furnishings.
- 41. Lighting: The main level of the house relies on both natural and artificial lighting.
- 42. Kitchen
- 43. B. HARLEY BRADLEY HOUSE 701 South Harrison Avenue, Kankakee, Kankakee County, Illinois
- 44. PRAIRIE STYLE
- 46. First Floor
- 47. Second Floor
- 48. Interiors Flooring: Main House with stained quarter sawn oak. The stable has a concrete slab covered with carpet 2nd floor of the stable is wood and is covered with carpet. Walls and ceiling finish: The walls in the main house are all plaster with a fresco finish. The living room, entry areas and dining room all have elaborate false beams and are finished with matching plaster. The stable walls and ceilings are covered with stained pine bead board.
- 49. STAIRS DINING ROOM MAIN ENTRANCE FROM INSIDE CABINET DESKS
- 51. B. HARLEY BRADLEY HOUSE IN WINTER
- 52. Wright’s Prairie Style Wright’s Prairie houses, designed between 1900 and 1916, broke with the fashionable American taste for homes in a European revival style. Fashionable Victorian villa typical of the time F.L. Wright, Ward Willets House, Chicago, 1902 Oriented to the street with frontal entrance Set back from the street with hidden Wrap-around porch with decorative ironwork Broad eves, balconies merge interior/exterior Tall sash windows with shutters Bands of casement windows set under eves Steep-pitched roofs, gables, several tall chimneys Low-pitched hipped roofs, broad central chimney Vertical, compact emphasis, unrelated to site Low, spreading, horizontal. Integrated with site.
- 53. References : • http://littledoseofevy.blogspot.in • http://en.wikiarquitectura.com/index.php/Robie_Hous e • http://www.greatbuildings.com/buildings/Robie_Resid ence.html • http://gowright.org/MoodleWright/mod/book/view.p hp?id=59&chapterid=18 • http://en.wikipedia.org/wiki/Robie_House
- 54. THANK YOU
Editor's Notes
- Some points we would have incorporated in the presentation if it was to be given in person : These rooms feature a wide space without walls that obstruct the visual from the outside, which recalls the vast spread of the prairie and at the same time allows the diffusion of light from the inside. However, the eaves are designed such that they protect the inhabitants privacy from prying eyes in the street. The chimney, which has a massive presence in the central space, is not an obstruction since it is possible to maintain the continuity of the roof structure around a central opening. In turn, the ceiling is divided into panels, each equipped with two types of electric lighting: glass globes on each side of the higher central zone and bulbs hidden behind racks of wood, in the lower side zones. These spaces are barely visible from the outside due to the intense shade thrown by the extensive flying eaves. These decks could not be built in wood, in fact, they are held by two hidden steel beams that extend the length of the main block.
- The entrance hall, with its wooden screens, red oak furniture, moldings and cabinetry and art glass windows and doors, establishes the decorative themes for the residence. a fully integrated space where all elements – exterior shell, windows, interior finishes, lighting, concealed heating, and furniture – were conceived as a unified composition. On the interior of the house, Wright employed a natural color palette. He advised taking inspiration from the woods and fields, and the soft, warm tones of earths and autumn leaves for color schemes. The sanded plaster walls of the entrance hall were originally a warm, welcoming beige color.
- A formal rectangular table for six crossed was set across the width of the room and an informal family area with a small square table for four was set in the sheltered recess of the angled prow.
- The focal point of Wright’s Prairie interiors was the fireplace. The central chimney provides both a physical and emotional core to the house. Here Wright employs the same Roman brick used on the exterior of the house, reinforcing the bond between interior and exterior space. The mantel is concrete, flanked by a brick face and columns. In his design of the fireplace Wright breaches the solid mass of the chimney by diverting the flues to the side piers. This action creates a vista between the horizontal brick courses over the stairway and into the dining area; an incredible manipulation of space that unites the whole floor while simultaneously allowing the living room and dining room to retain their independence and privacy. The firebox and hearth are stepped down into the floor, allowing the hearth to appear as a pool of fire when lit.
- The art glass windows introduced in the entrance hall on the ground level are used to full effect on the main level of the house. Glass was critical to Wright’s new approach to space. Glass enabled his goal of the “destruction of the box,” by opening the enclosed volume of space defined by the perimeter exterior walls of then contemporary houses and internal rooms closed within walls and ceilings. While the north wall is opened through the inclusion of five large casement windows, Wright opens the entire south wall with windows that form an open, architectural frieze of ornament. The windows feature a pattern of flattened diamond shapes and diagonal geometries that evoke plant forms in their design while subtly echoing the prow-shaped bays at each end of the great double room. The 175 art glass windows in the Robie House are an integral part of the design of the house. The windows are made of polished clear plate glass and machine-rolled colored glass, with copper-plated zinc caming. The panels are used as interior and exterior doors, as well as operable single-casement and stationary windows in the house and garage. Their presence is fundamental to the building’s significance as an architectural masterpiece.