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Built in 1909, The Gamble House was a triumph of its time, and a great accomplishment for the architects Henry and Charles Greene. The home was built for David and Mary Gamble, the heirs to the proctor and Gamble soap manufacturing company. When they sought out the Greene brothers to be the architects for the house they already had a vision in mind. The Gambles had purchased a large piece of land with a private driveway in Pasadena, California, that had beautiful rolling slopes and groves of tall trees. The Gambles wanted the design to reflect the natural surroundings of the property so they could simply enjoy what nature had to offer. With these simple instructions the brothers went to work on a plan that exceeded the Gamble’s expectations. “The home seemed as though it grew directly out of the site with its low lying profile and a half-elipse of lawn facing the house, built up to hide the driveway and create a visual base.” The house also connects to the earth with the varied massing in the foundation with the creeping vines growing from the walls.

Asymmetrically organized windows and over hanging eaves define the exterior. With all the windows the house gives off a transparent lantern effect. Every angle of the house has something visually to offer, whether it is the dramatic roof lines, the integration of the natural world and the man-made, or the intricacy of the detailing in the construction. There was no detail too small for the Greene’s; they joined the house completely out of various types of wood and detailed every nook and cranny with amazing joinery. When the Gambles owned the home it was used for the enjoyment of a simple life, one that was inspired by nature. Now millions enjoy the home every year. It is open to the public to view the amazing craftsmanship of two brothers and how their design revolutionized an era of architecture. In a century the Gamble house turned from a residence to a source of modern entertainment.

Structure to Environment

Unit to Whole

Site Plan

East Elevation

Floor Plan

The Frederick C. Robie House, located at 5757 South Woodlawn Avenue in Chicago, Illinois, is considered the best example of Frank Lloyd Wright’s prairie style. Built for Robie and his family in 1909, the house embodies the essence of horizontality, running along the flat landscape of the American midwest. Simply put, it is composed of two long, rectangular vessels - one public and one private - which from above appear to be sliding past one another. These rectangles form the first two floors. Resting atop the point where the rectangles meet is a smaller third floor reserved for bedrooms. Wright’s use of structural steel allowed for cantilevered roofs and an abundance of glass. Due to financial difficulties, the Robies occupied the house for only fourteen months. From the Robies, the house passed to David Lee Taylor in 1911, then to the Wilber family in November of 1912. The Wilbers lived in Robie House for fourteen years, the first and last family to enjoy the house to its fullest. Its subsequent owner was the Chicago Theological Seminary, and Robie House was twice in danger of being demolished. But the house was destined to keep its place on the Chicago landscape. The second threat provoked an international outcry and prompted protesters - including Frank Lloyd Wright himself - to gather at the house on March 18th, 1957. On September 15, 1971, Robie House was declared a Chicago landmark.

From above, Robie House resembles two rectangles sliding past one another

The second floor is the main living level

Floor plan of main living level

South elevation

Site Plan

What will forever be one of the greatest forms of modernism, the construction of the Villa Savoye was completed in the year of 1929. The mastermind behind this piece of work was the Swiss-French architect and designer, Charles Le Corbusier. The “machine” was a controversial approach to architecture of the time, and is found to be one of the greatest examples of minimalistic design. The stark combination of nature and “the man-made” creates a harmonic contrast that is achieved by few. Today it is still praised by visitations and interactions from those who most appreciate the worlds of architecture and design.

Circulation to Use

Unit to Whole

First Floor Plan West Elevation

Site Plan

Axonometric Plan

“Places can be read like faces,” said the old Romans. “Every place - just like every person - has its individual genius which, when observed, reveals itself as a kind of soul.” Designed for the purpose of the gardening show in 1999, the park at Weil am Rhein bids its occupants a reestablishment of the natural topography in which it resides. Architect Zaha Hadid creates unity within the natural and built world through her interpretation of the land. The installation of the park created a modern influence on Weil am Rhein, as both a stunning introduction to the city and a hand in developing urban culture. Zaha Hadid’s designs for LF One featured an extension of the natural landscape, which was thought by Klaus Eberhardt (mayor of the city of Weil am Rhein) to offer the appropriate connection between the new construction and the cultivated landscape of the gardening show. Hadid’s design won over the works of renowned designers Frank O. Gehry, Tadao Ando, Nicholas Grimshaw, and Alvaro Siza. Rather than standing as a segregated structure atop the site, Zaha Hadid’s Landscape Formation One is ingrained into its garden-rich landscape. The park stretches horizontally across the landscape in layers, which mimic the actual land. The fluidity of the geometric curving of paths within the space allows for a functional and modern design, gliding into the harmony within its native environment.

Structure to Enclosure

Building to Site

Ground Floor Plan


Site Plan

Commenced in 2004 by REX | OMA; head over the project was Joshua Prince-Ramus who is the principal of REX. The Dee and Charles Wyly Theatre began construction in 2006 and was completed in 2009 and it’s already being recognized as one of the country’s few innovative theatre companies. It is part of a bigger area known as the AT&T Performing Arts Center, but it is often referred to as the Dallas Center for the Performing Arts. The way the Wyly Theatre separates itself from others is by liberating the perimeter of the theaters’ chamber, being exposed on all sides. Secondly it turns the building itself into one large fly tower that eliminates the traditional distinction between the stage and the people engaged with the stage.

Rather than being stretched across the landscape in a linear notion, the building is stacked in a vertical way that changes the very way we know theaters. And with the push of a button, you can maneuver many different configurations for the seating and balconies. Having them be able to move, rotate, tilt, and disappear completely to create proscenium, thrust, and flat floor. The artistic director is granted the right to determine the overall experience for the viewer, from arrival to performance to departure. The facade is composed of six different aluminum extrusions, that are arranged in six different combinations, giving the appearance that this building has a strong presence among the larger scale buildings in the arts district.

Circulation to Use

Structure to Enclosure

North Elevation

First Floor Plan

Site Plan

BIBLIOGRAPHY Gamble House: Photo Credits Bosley, Edward R. Gamble House: Greene and Greene. Hong Kong; Padidon Press, 1992.

Robie House: Photo Credits

Hoffman, Donald. Frank Lloyd Wright’s Robie House: The Illustrated Story of an Architectural Masterpiece. Mineola, NY: Dover Publications, 1984. Hess, Alan & Alan Weintraub. Frank Lloyd Wright Prairie Houses. New York, NY: Rizzoli International Publications, Inc., 2006.

Villa Savoye: Photo Credits ttp://

Landscape Formation 1: Photo Credits Hadid, Zaha, P. Schumacher, and M. Dochantschi. LF ONE. 1st ed. Basel,Boston,Berlin: Birkhauser, 1999. 7-108. Print.

Wyly Theatre: Photo Credits

101 Years of Entertainment  

This was a book created by five Interior Architecture students at UNCG.