This document discusses the principles of organic architecture and two influential architects from the 1950s: Frank Lloyd Wright and Alvar Aalto. It describes Wright as developing an organic style influenced by Japanese architecture and Maya temples, including his Prairie Style homes featuring integrated indoor and outdoor spaces. His most famous works include Fallingwater and the Guggenheim Museum, integrating architecture with nature using materials like stone and glass. The document also summarizes Aalto's work as rationalist but also incorporating local materials like wood, and focusing on designs appropriate for human use and experience.

1. Organicism and
architecture in the 50s
Revision

2. Introduction
• We know as organic architecture all
the architectonical manifestations
that aim at adequate and ally to the
nature.
• This idea can be found long ago in
History but the master in the
formulation of its principles was
Frank Lloyd Wright.

3. Characteristics
• Organicist architecture is defined by:
– the sense of the interior as a reality;
– the free plan as flexible and a way of
allowing the continuity of atmospheres;
– the unity between interior and exterior;
– the use of natural materials;
– the house as a place for shelter.

4. Wright: Influences
• This American born architect received
several influences:
– He travelled to Tokyo where he was fascinated
by the Japanese architecture.
– Other of the influences that can be noticed in
his work is that of Maya temples of Yucatan.
– Due to these varied influenced we can say
that Wright had a cosmopolitan formation.

5. Wright: Evolution
• His beginnings are associated to the
Chicago School but soon he started
developing his own style, in which
we can distinguish different periods:
– Early years: influenced by Chicago
School
– Prairie Style
– Skyscrapers
– Abstract sculptural ornamentation

7. Wright: Work
• Caracteristics of Prairie Style:
– simple structures consist of functional spaces,
– light and integrated with nature,
– at the same time that they are isolated enough
as to guarantee the intimacy of their
inhabitants
– the houses are frequently built in different
levels, and always a bit separated from the
floor, as in Japanese architecture.
• One of the most famous houses is the
Robbie House

9. Wright: Work
• He continued developing public and
private buildings where he continued
applying his building philosophy.
• Representative work: Falling Water House,
in Pennsylvania:
– Hemanaged to integrate completely nature and
architecture.
– The different terraces offer the possibility of
building in different levels and glass dissolve
the walls so interior and exterior and in
permanent relation.
– He used different kind of materials, with an
important role of stone that combine with glass
and concrete

11. Wright: Work
• In other project Wright experimented with
curve forms, as in the New York
Guggenheim Museum:
– He wanted the museum to have well lighted
spaces with controlled light that was not
reflected in the surfaces.
– At the same time, he designed the building to
offer a possibility of walking up on a ramp in a
continuous way, without any braking element
for the exhibition of the works of art

14. Alvar Aalto
• One of the most representative
architects of the 50s is the Finnish
Alvar Aalto.
• His works are characterised by
– imbued by rationalist spirit but
– mixed of popular tradition and local
materials, mainly wood, so common in
his native region.

15. Alvar Aalto
• Characteristics:
– His buildings are warm and thought to be
appropriate for human beings and the
dimension of human body, something in which
Wright influence can be noticed.
– Aalto’s mature work embodies a unique
functionalist/expressionist and human style,
successfully applied to libraries, civic centres,
churches, and housing.

16. Alvar Aalto
• Although Aalto borrowed from the
International Style, he utilized texture,
colour and structure in creative new ways.
• He refined the generic examples of
modern architecture that existed in most
of Europe.
• His designs were particularly significant
because of their response to site, material
and form