E-SCIENCE, ARCHITECTURE & CONSTRUCTION
HÎknvn DûòaDk<¥öl Hi IkHo
‰Hs vn ùHéÁÎ¥l Dkv CgvH] I; Iåj Ï,v Ï IkHo
chNkh Lú] & nV; DphVx D;±f Végh, ÏhVf 1903
NÁ„jH¥sh øv<äöÁ„ivn Nd±; Ï IkHon,v If Ïh ÍnH¶gh Ø<t
, GlH; DdH†t Ënv,> n<[, If Iåj Ï,v Ï IkHo vn # nvhn
KÎÁ] R„o I; Jsh Iéahn JÎÂih nVt If VûñÁl ±lÚH;
Li ùHéÁÎ¥l Ï IkhvH¶l V¥™j D=|d, KdVéÂÈl DdH†t
Ë> vn ÏvH¶l JÁs ch Jζäj If & IkHo Kdh ÏHÂk vn #n<f
Nkh Iétv vH; If V¥Î` ‰<y, Ï<r & Kúo ÏHi ÊVt & Ëhv,n
D¶Îäx VzHÁl If ÏnHdc JiHäa IkHo Kdh ÏHÂk ,v Kdh ch ,
HÁf Ë> Vf hv IkHo I; DzH™p Ë,Nf ÍHæjV` # nvhn NÁ„jH¥sh
ÏHi I¶„r If vV¥l èHuH[vh KÎÁîÂi , Nkh ÍnV;
ch » DgHÂa ÏHdvn vHÁ; « V¶a & “,vHf :äs Ï NÁ„jH¥sh
# nv,> Dl ËHlnHd If hv ËVf Kdh<s
hv Dj,H™él õHöph CÎk KÎæÁs vHÎöf DæÁs ÏHi ÊVt
h<i , ã> & Hdvn & J¶Îäx ËHdH` Df èvNr & NÁÁ; Dl HÆgh
ÏVÎ= G¥a vn ÏnHdc vHÎöf VÎeHj DæÂi ´hVxh XÎñl,
I; :]<; ÏHi ÍVíÁ` # Nkh Iéahn Iåj Ï,v Ï IkHo ÏHÂk
NÁin Dl ËHúk & NÁéöi I¢Æk NÁkHÂi øvCf ÏHivh<dn Ï,v
I; Jsh ÍnV; DphVx Ïh Ik<= If hv IkHo Kdh ùHéÁÎ¥l I;
#NsVk Ë> If DäÎs> h<i, ã> èhVÎήj, ËHlc vB= Hf
NÎ;Hj nV¥„Âu Vf VéúÎf Ë> vn I; Dk,VÎf ÏHi JÂör
DdHdv<é¥d, :äs DÁÎmCj ÏHiv<;n NrHt & Jsh ÍNa
^I¥Ádh Vf DÁäl nvhn Dt,V¶l Ï I„Â[ ùHéÁÎ¥l #Jsh
NdHäk èHÁÎmCj Hlh & Nk<a KÎmCj NdHf Hi ËHÂéoHs«
ÏHi Aòf vn èHÁÎmCj GlH; KétHd AiH; » # Nk<a IéoHs
Lú] If ÏVædn ÏH[ Vi ch VéúÎf ÍnHs ÏHiH†t, ´Hw
ó<q, & Dæ]vHå¥d ch DÆΙ„j Iåj Ï,v Ï IkHo # nv<o Dl
# Jsh IkHsHÁa DdHädc D§k,
UlH[ DdH†t AÁdVt> D` vn IkHo Kdh vn ùHéÁÎ¥l
ãHäsh ÊHÂj ËH¥l v<§Ál KÎÂi If , Ín<f +ÁiHÂi Dé΄;,
Li hv IÁÎl<a , vh<dn Ï,v ÏHi<„fHj & Hi JÁÎfH; & ‰CÁl
, ´Hw , ÍnHs £<¢o # Jsh ÍNkHíÁ= n<o DphVx vn
nHdc vHÎöf I[<j KÎÁîÂi , D¶Îäx ÏHi +kv Hd NΙs +kv
hv Hivh<dn , ËHÂéoHs GdHs, DlHÂj ÏvHéoHs èHÁÎmCj If
# nv,> ãHöp If IkHo Kdh cvHf ÏHi Iûòúl ch Ëh<j Dl
ch ËHÂéoHs vn Iétv vH; If ÏHi ã<] +kv DídvNj VÎήj
Jζq, Ê,hNl VÎήj, ÍVÎj Ïh Í<Èr If Ka,v Ïh Í<Èr
#NÁ; Dl GÆéÁl AkHÁ;Hs If hv J;Vp Sp& H†t & Hi IdHs
n<[, If +kv , v<k èhVÎήj ch ÍnH™ésh Hf I; Hi ØHjh ÏH†t
ÍnV; hN[ Dw<ûo ÏH†t ch hv Dl<Âu ÏH†t & Nkh ÍNl>
# NÁ; Dl TdV¶j hv Hi H†t Kdh ch ÊhN; Vi ,
Li :ÎékHlv :äs èhVÎeHj Ë> vn I; Iåj Ï,v Ï IkHo
ùvH™s I; ÏnhVth JÎÁib JÎÂih Vf & nv<o Dl Lú] If
Txh<u KéòÎækhVf KÎÁîÂi , Nkh Ínhn hv IkHo Kdh JoHs
WoHa Hi Ik<Âk
Hill House
Ï
By: Charles Rennie Mackintosh
Ï
Iåj Ï,v Ï IkHo
ùHéÁÎ¥l Dkv CgvH] ^ óhVx
Hill House, which Charles Rennie
Mackintosh designed for Walter Blackie
in 1903, stands with panoramic views of
the River Clyde in Helensburgh, Scotland.
The creation of a complete, entirely
unique space, central to Mackintosh's
architectural vision, defines Hill House.
Mackintosh's facade carries on the tradi-
tion of brutal, strong, massive forms that
Figure 1 1 G¥a echo the Scottish landscape and also the
stone used in their construction. The
exposed Cliffside upon which Hill House
rests and the reference to Scottish baroque
castles in the architecture calls to mind
Swinburne's work "By the North Sea". A
distinct mood is conveyed through the
intensely weighted stone forms. The pow-
erful force of nature, the sea and the
weather and environment all had a strong
impact on the facade of Mackintosh's Hill
Figure 2 2 G¥a
House. The small windows dotting the
thick walls make obvious the need
Mackintosh had for Hill House to with-
stand the test of weather and the passage
of time.
The interior, defined by its functionality,
lacks the indulgence in ornamentation
familiar to Victorian spaces. Mackintosh
famously argued that construction should
be decorated and decoration should not be
Figure 3 3 G¥a constructed. Hill House, characterized by
a tendency toward the romantic, focuses
on the importance of the individual
patrons for whom it was built and the cre-
ation of mood and feeling. The power of
architecture and design to evoke emotion
and impact life gained prominence during
this period of experimentation as the
boundaries between the major and minor
arts dissipated. Mackintosh's organic
vision, shunning the industrial capitalism
that was gaining momentum, sought to
replace the art of construction and design
to the forefront of building and bring inte-
rior design into the realm of high art.
http://www.victorianweb.org/art/design/macintosh/kelly10.html
Figure 4 4 G¥a
Iåj Ï,v Ï IkHo ch T„éòl ÏHiHÂk ^4,3&2&1 ÏHi G¥a
Figures 1,2,3&4: Views of Hill House
78 62
 E-SCIENCE, ARCHITECTURE & CONSTRUCTION

OdvHj ch Ëhv,n Kdh vn èHsHöph KéòÎækhVf vn DphVx , ÏvH¶l èvNr # nvhn ÏnHdc NÎ;Hj èHsHöph ,
# Jtv KÎf ch DuVt , D„wh ÏHiVÁi KÎf cVl Ëhv,n KÎÂi vn hVdc & n<f ÍnV; hNÎ` ÏvHÎöf JÎÂih ÏvH¶l
, JoHs VÁi Hj nV; ù±j & n<f Ë> Ë,Cth c,v ùVéö= , Dé¶Áw Ïvhn IdHlVs TgHòl I; ùHéÁÎ¥l
# NÁ; GdNäj D„wh VÁi :d If hv D„ohn DphVx , nv,HÎf ËHÂéoHs Ï IÁÎlc AÎ` If hv DphVx

Figure 2 2 G¥a Figure 1 1 G¥a

Figure 4 Figures 1,2,3&4: Views of Interior spaces of Hill House 4 G¥a Figure 3 Iåj Ï,v Ï IkHo D„ohn ÏH†t ch DdHiHÂk ^4,3&2&1 ÏHi G¥a 3 G¥a

63 77
 E-SCIENCE, ARCHITECTURE & CONSTRUCTION

The Dymaxion House

1
Ë<Îö;HÂdn Ï IkHo
Designed by:
Bucky (Buckminster Fuller)
w

<„¥j LdVl ^Ï IÂ[Vj

2
“Vj hv A;n<; , VöÂi D;Hf 1920 Ï Iin ,n vn The Dymaxion House was a true revolu-
3 tion in building design. Housing a family
,h # nV; JÂdCu }d<ÁdV= Ï ÍN¥in JÂs If , Ié™=
of five, it was a "house on a pole." The
& NlHk Dl Ë<Îö;HÂdn Ï IkHo ,h &Iîk> I; n<f Ká¢l hexagonal structure was suspended by
# nV; Nih<o Ë<=V=n hv ÏcHs IkHo J¶Áw Ïc,v cables from a missile-like mast rising
4
vhnv<oVf Li DÂ; v<k ch D¶„q Aa Ïhn<=H` Kdh through its center. Both inside and out, the
‰<p J™= Ëh<j Dl I; Jahn vhVr DdH[ vn ±lÚH; & n<f Dymaxion House is still futuristic more
ÍNa Urh, L¥ñl , J™s “Vdn :d Hd ÏC;Vl “Vdn :d than half a century later. Air was drawn in
through the central mast, after which it
“Vdn Hd G;n Ï,v Jökh<j Dl Ë<Îö;HÂdn Ï IkHo # Jsh
was filtered and washed, cooled or heated,
‰Häkn CÎk hv NÎav<o , NaHf Iéahn DúoV] Dé;Vp n<o rendering the dwelling virtually dust-free.
# NÁ; Water was filtered, sterilized, and recy-
CÎækh Ly vHÎöf hv DÂdNr , DéÁs ÏHi IkHo D;Hf cled, so there was little need for piped-in
GrhNp I; NÁéöi DjHu<Áûl HÈk> I; n<f NÆé¶l , JökhnDl water. Everything was built-in and many
RgHo n<o ,h KdhVfHÁf # Nkh Iéahn OdvHj ‰<x vn hv JtVúÎ` of the cabinets were controlled by intricate
light beams.
Vf Jsvn« ^ J™= Dl ,h ! n<f v¨n vhCi {Á` XÆt Ë> JÂÎr I; »D=Nkc ÏhVf DiHæésn« Hf Na IkHo Kdh Ï ÍvHf,n All its futuristic gadgets notwithstanding,
:d Ë<lhVÎ` , G¥a Ï,V; ËHÈ[ :d vn & Jökhn Dl G¥a F¶¥l NÁr Iäp :d hv ËHÈ[ I; õN΄rh Ï Ié™= ´±o the Dymaxion House was true to Buckyís
»# LÎÁ; Dl D=Nkc ÍV; Iäa ÏHÎkn guiding principle of doing more with less.
HÈk> ËHlc ch Vj<„[ D„Îo IkHo Kdh I; NÁéökhn Dl Df<o If Li hv Kdh Hlh Nkn<f IétV= vhVr VÎeHj Jñj ËhvH¶l Whereas a conventional single-family
5
Jòs , èvHÈl & VÁi J¶Áw hv ÏcHs ËHÂéoHs J¶Áw Vg<t # n<a DÂk Ë> ËNdVo FgHx Li S¥îÎi , Jsh house at that time weighed approximately
150 tons, Buckyís creation was a mere 3
#NÎlHk Da<;
7 6 tons. It could be mass-produced, and
Kdh , Na ÍnH™ésh Í<äkh NÎg<j Nûr If IkHo Kdh Ï Ik<Âk KÎg,h KéoHs vn õhCkH; HéÎîd , vn {Îf Ddh<i ÍHædH` Bucky anticipated having units air-lifted
DdHi L„Ît GÈ] Ï Iin Voh,h vn # n<f ÍNkV` ãHÆúf :d NÁkHÂi I; Ï,V; Ïh IkHo & Na IéoHÁa HéÎîd, ÊHk Hf IkHo by zeppelin to remote areas such as the
Kdh NÎkh<j Dl CÎk Íc,Vlh # Nkn<f IkHo Kdh NΙl ÏHi JtVúÎ` , Hi nV;vH; Ï ÍNÁin ËHúk I; NkNa IéoHs DjH®Î„äj North Pole.
^J™=Dl OsH` vn CÎk ,h , ?nV= Ï IkHo hV] I; NkNÎsV` Dl Vg<t ch F„yh # NÎÁÎäf Gñl ËHÂi vn hv IkHo èhVÎήj Since his intention was to find a way of
n<[<l PgHûl Hf I; Jsh Kdh Nkh Ín<f G¥a G΢éöl HÈÁj Hi IkHo Hi ‰Hs Kdh ÊHÂj vn I¥k> GÎgn HÈÁj ? Ik I; hV]« serving the interests of humankind rather
than his own self-interest, Bucky offered
LÎkh<jDl NdN[ Ïv,HÁt , èHu±xh & PgHûl Hf Ë<Á;h I; DgHp vn & LÎin ÊHíkh Ldh Iéökh<j DÂk Kdh ch AÎf ÏvH;
in 1928 to transfer all rights to the
»#LdVfDl vH; If HiHÂÎ`h<i , R„¶l ÏHi G` vn I; LdVÎ= vH; If hv Ïh DsNÁÈl J΄fHr ËHÂi & ËHÂdHi IkHo ÏhVf Dymaxion House to the American
vhCi J™i , Ds &+Á[ ch S` ,h # Jökhn Dl Kd<k J¶Áw vn DlHæúÎ` hv n<o Vg<t I¥Ádh Vædn F„¢l Institute of Architects. His offer was
Li cHf Hlh NÁéahn hv Ï,V; IkHo :d NdVo JuH¢ésh IÂi HäÚdVÆj # nV; JtHdvn Ë<Îö;HÂdn Ï IkHo ÏhVf ùvH™s refused, with an explanation that the
# Jahn n<[, ËhvhB= IdHlVs FkH[ ch Dj±¥úl organization was opposed to mass-pro-
&n<u<l ÏHi JtVúÎ` , èhVÎήj & Í<äkh NÎg<j vn # NaHf Iéahn ßHq,h Vf GlH; X„öj Jökh<j DÂk CÎk D;Hf <f duced houses.
At about this time, Bucky had an opportu-
Ï Ikc,v Tú; ü<ûo vn ,h ÏHd,v # Na ÍNÎ] Vf CÎk J;Va , NÎlHíkh GlH; Jö¥a If Vg<t óVx # n<äk D„Âu
nity to test his commitment to his pro-
K¥Âl Hk NÁ; ´Vx Vf hv n<äÂ; Jökh<j Dl Ë> Í<äkh NÎg<j Urh, vn I; IkHo ß<k Kdh ËnV; DkHÈ[ , Aòf èHík claimed experiment and to learn a lesson
ËHlc Ë> ÏcHs IkHo ÏHivH¥ihv vn ,h I; ÏnN¶él ÏHi T¶q ËnV; ´VxVf Nûr If Ë<Îö;HÂdn Ï IkHo #n<f about making a difference in the world. In
HÈk> Hlh nV; DphVx T„éòl ÏHi ËHlc vn hv Hi IkHo Ë<=Hk<= ÏHi ‰<lVt Vg<t #JtHd ùVéö= & NdnDl line with his fundamental rejection of the
I; Nkn<f ÍNa DphVx ÏhIk<= If, NkNa Dl vh<s Li Ï,v KÎlc Vs I; Nkn<f Hi IkHovH; Ï IéoHs DdHi IahVj conventional norms of living, Bucky had
#n<a ÍnH™ésh K¥Âl <ñk KdVéÈf If èHkH¥lh ch , NÁaHf FsHÁl D¢Îñl Hd IÆ¢Ál Vi ÏhVf taken to wearing T-shirts, sneakers, and
casual clothes at a time when"respectable"
# n<f ËHúknV;vh<s , ‰Hsvh vn Jg<Ès HÈk> DphVx vn LÈl Ï Ié¥k :d
people were expected to dress more for-
^ n<f vhVr Kdh ch Ë<Îö;HÂdn IkHo Vf Ínvh, ÏHinHÆékh mally. The rejection of the Dymaxion
NÁkHÂi Ëh<j L; PgHûl ÏH[ If Ê<ÎÁÎl<g> NÁkHÂi Ëh<jV` PgHûl ch ÍnH™ésh , ÏcHs IkHo If IkHdhV= ÊVt nV¥d,v House somewhat hardened his rebellion
# DaH; , Júo against social conventions.
1-Tae Dymaxion House
2-Bucky (Buckminster Fuller )
3-Greenwich Village
4-Pagoda
5-Fuller (Buckminster Fuller )
6-Wichita
7-Kansas

76 64
 E-SCIENCE, ARCHITECTURE & CONSTRUCTION

IîòdvHj
:d If ±éfh Fäs If Vg<t :]<; Véon
ËhNf HÈÁj Kdh , nVås ËH[ Dk<™u ÏvHÂÎf
<=H¥Îa vn ËHéölc ÊHæÁi HÈk> I; n<f J„u
Kdh # NÁéahn Jk<¥s KÎúk VÎÆt Ïh IkHo vn
Kib vn hv Hi Jd<g,h “HÁéúp, nhNd,v
IkHo KdVj Rt<l , KÎg,h # nhn VÎήj Vg<t
nHñjh ÏhVf Na DphVx I; Dk<Îö;HÂdn
I; n<f DéöÎgHÎs<s Ï,v<a VÎiHÂ[
Ëh<Áu If Ê,n DkHÈ[ +Á[ ‰<x vn n<fvhVr
óVx Kdh # n<a ÍnH™ésh Ë> ch Dér<l Ïh IkHo
ÏHi Ívh<dn Hf è±y ÏHi<„Îs KéoHs ÏhVf
ÊHÂjh ch AÎ` # NÎsv Í<äkh NÎg<j If ÏC„t
v<ú; K¥öl èvhc, L¥p ch AÎ` , +Á[
ÏhVf Hi IkHo Kdh Ën<äk FsHÁlVf DÁäl
IkHo ß<k Kdh ch Nph, HiNw &DÂmhn ÍnH™ésh
Räx è±y Ï<„Îs ËHÂéoHs #Na IéoHs
CÎk DkHs> If , n<f ÊV= & AkHÁ;Hs ùvhC=
D¶rh, Ë<Îö;HÂdn Ï IkHo èHt> Nq & Jahn Df<o v<k & Na Dl ÊV=
Hi ËH¥l Kdh vn ±äÚr I; n<f DkHÂéoHs ß<k ch VjVf ¨HÚÂéph , n<f Ïb<l Ëhv<kH[ Hd Ïv<kH[
Ë> vn Dö; , ÍNa IéoHs H¶Úrh, I; Jsh Ín<f Ë<Îö;HÂdn Ï IkHo :d XÆt Ë<Á;h If Hj
VÎeHj « DsvVf If Ë> vn Vg<t I; n<f DkH¥l KÎg,h ÏVäÎs è±y Ï<„Îs # Na Dl IéoHs
ÏcHs IkHo ù,v Kdh ‰<th ch S` ËhNÁÂr±u ch D¥dhv IkHo Kdh # Jsh ÍnV; D=Nkc
& NäÁ= I; n<f ÍNÎsv ùvhC= Kdh ÏvHÎöf Fûk ÏHiNph, ch # JohnV` » ÏNäÁ= vHéoHs
, ÍNa IéoHs Ê<ÎÁÎl<g> ch Ik<Âk Kdh # Nin èHík Ïn<fHk V¢o ch hv Ë> Hj nV; ÏvhNdVo
If vnHr , ÍNaVÆéöl Gñl vn Ïn<Âu èv<w If I; JsHlV= V= JdhNi , ãhnV= :d
Vf Ïh IÂÎÂq Dg, Jsh Ín<f Dk<¥öl ‰Hs Ds n,Npvn IkHo Kdh # Jsh DrHf Li c<Ái
Hf NäÁ= Kdh I; Ë> £Va If Hlh # Jsh n<o Ë,vn If , KÎdH` ´Vx If Vj :Áo Ïh<i A¥l
nv<l Ë<Îö;HÂdn Ï IkHo I; DgHpvn & Jsh ÍNl> Dl ãHöp If IkHo Ïv,Vålhn JÂör
, NäÁ= ϨHf vn D„wh A;h<i :d DÁ¶d) # NaHf ÍNa ÏvhB= Id<Èj ±lÚH; ÏBtHÁl nHídh
GlH; v<x If 2001 ‰Hs vn hv IkHo Kdh # Ïh IÂÎÂq Ik GÆéöl n<f Ïh IkHo & Vg<t V§k
Kdh Hf hv è±y Ï<„Îs ÏHiNph, KdVo> Vg<t # ( NaHf Iéahn D¢Îñl , DuVt A;h<i NÁ]
ÊHæÁi IkH™sHél # Nknhn vhVr nv<t ÏVÁi Íc<l ÏHi IkHo Ï ÍVlc vn , NknV; JlVl
, Ïn¨<t Jöf :d ch Ë<Îö;HÂdn Ï IkHo DdHÈk DphVx vn # nhn VÎήj G¥a ÏNäÁ= óVx
DÁt ËhV=H; AÎ`HúÎ` ìhVoh GÎgn If Jahn ÏnHdc JÎÂih I; D„ohn Ëhn,Hk & HÁf ëhNph
NÁkHÂi DdHi ÍcHs #Na ÍnH™ésh ËHÂéoHs D` vn ÏC;Vl , Ïn<Âu èv<w If +kc Nq
If hv ã> I; n<f ÍNa DphVx Ïv<x TÆs # Núk IéoHs & IkHovH; Ï ÍNdn ùc<l> ,
Ki> VÎj , n<f TÆs ch JzH™pHi Ë> Ï I™Îz, I; Nkn<f ËhCd,> Jöf Kdh ch IoV],n, ôV]
ã> ËCòl If hv ã> N¶f , nCdVf Ëhn,Hk Ë,vn If ÍV¢r ÍV¢r hv Ë> Sås , NkHú¥f Ë,vn
ch T; , TÆs & ØHj #NknV;Dl JzH™p T; ch ËHÂéoHs ch ÍNl> Ë,VÎf ÏHi
Nq ±lÚH; Li TÆs NdHf , n<f Déòs vH; Hi Aòf Kdh ÏvhB=vH; , Fûk # NÁ; JdhNi
KÎlc Ï,v Ïh ÍcHs Vi # Nkn<f ÏH` DÁdVÎa G¥a If I; Nkn<f ÍNa GÎ¥új DdHi A;h<i
, Ínhn Lk Ïv<[ Nf ÍNa IéoHs TÆs I; Na Kdh IíÎék KdhVfHÁf # Na Dl IéoHs ã>
ù±j KÎg,h Ë<Îö;HÂdn ÏIkHo # NÎú; Dl ¨Hf hv Jöf Sås , Na Dl FjVl , \Hék<l
ÏnHf KÎfv<j Ï Iäg ´hVxh øvCf ÏHi JÂör I; n<f Kdh Vædn LÈl G¥úl # nV; Júk
# n<f LéöÎf ËVr vn ÍNÁöf n<o nhc> ÏcHs ËHÂéoHs vn IkHiH=>
Vs , NknV; Dl nHídh ÏnHdc vHÎöf ÏhNw , Vs & nHf JÂs If ùnV= ÊHæÁi & ÍNÁ¥l
ÏH¥dVl> & DgHÂa ÏH¥dVl> UÎs, Ï Hi Iæ„[ , Hi Jan , ‰Né¶l Ds<kHÎrh VdhC[ vn
LéöÎs If LÎkh<j Dl Í|d, If èHûòúl VdHs ÏhVf # nHéth vH; ch CÎk ÏnHf KÎfv<j ÊHíkh
& n<äk õVésn vn ÏNÎav<o ÏHi GÎ` c<Ái ËHlc Ë> vn # ( HÎs> , H`,vh ) HÎshv,h , Df<Á[
IÁ¥s # LÎÁ; ÍvHah nV; Dl vH; NäÁ= óVx õHsh Vf I; G¶™Ál Ï Id<Èj LéöÎs , DjvhVp
VéúÎf vn # n<f ÏnHf KÎfv<j ch ÍnH™ésh & ØVf KÎlHj ÏhVf NΙl , D„Âu Íhv HÈÁj KdhVfHÁf
ã> VxHo If hv ÊHÂp Hi Iîf & n<f DÁéahn Js,n vHÎöf IkHo Kdh ÊHÂp I; NÁé™= Dl
D„wh ÏHi ÍNÁÁ; ´Vûl DækVt Jgh<j & ã> ù,n & Dd<a õHäg ØHjh & ËvNl ÏHi IkHo
#Jahn n<[, Ëh,hVt ËhCÎl If Li ã> & NaDÂk DfhVo If VíÁl hVdc NÁéahn Js,n ÏcHf
VéÂ; Ikhc,v CÎk Hi ´Vz Kéöa , C` , Jò` vn DkNÎlHa> ã> ´Vûl Vf Í,±u & NÁéöi ã>
vHÈ] ÏVs :d Gêl I; n<f +kc Nq n¨<t SÁ[ ch Li If Gûél vh<öf>,n GlHa ÊHÂp
ã> LéöÎs ch ÍnH™ésh Hf Ë<Îö;HÂdn Ï IkHo # n<a Dl ´Vûl ã> VéÎg JöÎf ch
# Jahn ã±qHt Ig<g :d vh<öf> Vi # n<f ÍNa IéoHs Dd<ú; , <aHj GdHs, ch DdHj
, DÆth èv<w If Hi õHäg Ï<úéöa Nl>vH; ÍHæésn :d , DækVt Jgh<j :d &ü<ûòl
Vél DékHs Ín ch VéÂ; DuH¶a I; DfHÎf Déökh<jDÂk hv DdH[ }Îi & VéÈf JtH§k ÏhVf
#nhn AiH; hv ã> ´Vûl & cHs vHòf Ëh<Áu Hf ÏnVt If VûñÁl , Dûòa ÍNÁÁ; “H` ÍnHl
IéoHs I¶¢r :d Hf Dd<úésn IsH; , ÊHÂp Ëh, &ù,n & DækVt Jgh<j # NaHf Iéahn
# ÍNa ÍnH™ésh Nkh ÍNa ÍNÁ;hV` , IdCíj ÍnVút Ïh<i Hf I; ã> vHÎs èhvb ch cHs vHòf vn
ÍchNkh If I; ù,n :d , n<f ÍNl> <„[ , :Îl<k<=vh Dkh, GlHa vh<öf> :d # Nkn<f ÍNa
vn # Nd<úf ã> ËHíÁt :d Hf h n,Np hv AkNf I; Nin Dl Wòa If hv ËH¥lh Kdh cHs vHòf
GÈ] I„` ,n XÆt Hlh & Jöa ã> Vdc vn ËNa Lo Ë,Nf hv Hi Iîf Ëh<éf I; n<f NÁ„f Ïh
ÏvH; I¢fHq , ‰<wh Ë<îÂi cHsvHòf vH; Ï Í<ñk I; Na Ié™= KÎÁ] Vg<t If DavhC=
ÏHi ÊVih &Ëh, If Ïn,v, Aòf vn G¥a D†Îf ÊHÂp Ëh, vn # Jahn ÏVél DékHs
ÏVjCdv ã> èhvb ch cHsvHòf I; è,H™j Kdh Hf Hlh Jsh ÏvHíj ÏHi K; “H` SdV=
Jgh<j Hf GlH; ÊHÂp :d Vædn vh<öf> # n<f ÍNa IéahB= vH; ( ËHlVt ÏHi IÂ;n ) ‰VéÁ;
# NÁ; Dl ÍnH™ésh
n<f DdhNw, Vs DfvHÎöf A;h<i & ÊHÂp Id<Èj ÍHæésn # n<f Dd<úésn IsH; , DækVt
nhVth ÊHúl If <f ËNÎsv ch UkHl , n<f IétV= vhVr D„wh Dd<úésn Ï IsH; Vdc vn I;
Hj Jahn Dw<ûòl ÏHi D=|d, Li IÁd> # n<f v<ûñl ±lÚH; Li ÏchnV`v<k & Na Dl
# NkHÂf ËHlhvn ÊHÂp vHòf ch

65 75

Fank Lloyd Wright's
vHúf> Ï IkHo
Nd<g :khVt vHe> KdVj óV¢l ch D¥d I; vHúf> Ï IkHo
D[vH=nh Ï Ính<kHo ÏhVf 1936 ‰Hs vn & Jsh Jdhv
# Na DphVx øv<äöéÎ` vn D=vCf ÍHæa,Vt :gHl KÂtH;
hv Ë> I; Jsh Kdh vHúf> Ï IkHo D=|d, KdVj LÈl
ÏHi JÎgH¶t C;Vl vHúf> # Nkh IéoHs vHúf> :d ϨHfVf
NÁih<o Dl I; Nkn<f Ié™= ùh Ính<kHo, n<f KÂtH;
hNéfh vn HÈk> # n<a IéoHs vHúf> ´hVxh vn ËHa IkHo
Vf Ïh IkHo KéoHs ÏhVf hv Jdhv nHÈÁúÎ` ùVdB` D=nHl>
If,v ËHa IkHo I; NÁésh<o Dl hVdc NÁéahNk vHúf> ϨHf
hv Jdhv Ï IÎg,h nHÈÁúÎ` JdHÈk vn Hlh # NaHf vHúf> Ï,v
# NÁétVdB` ÏVÎήj }Îi Ë,Nf HäÚdVÆj
ËHkHÂÈl Ï Í|d, Aòf ÍhVÂi If vHúf> Ï IkHo JoHs
# NÎsv ËHdH` If 1939 ‰Hs vn ùh DéahNÈf Sd,Vs,
IsHl ch ÍnH™ésh Hf Dl<f ËhVæé¶Áw hv vHúf> IkHo
KÎf vn Hi +Ás Kdh # NÁéoHs JÂör ËHÂi ÏHi +Ás
ØHjh KdVdc P¢s, Nkh IétV= vhVr Ilv> Ë<éf ÏHi Id¨
vHúf> ϨHf I; Nkh IéoHs hv KÂÎúk ØHjh, Hi ãh<o
ch vHúf> Ï IkHo # Jsh Ínv,> n<[, If hv DdHädc D=NlHúÎ`
vn KÂtH; Ï Ính<kHo JlHrh Gñl 1963 Hj1937 ‰Hs
vH=nh 1963 ‰Hs vn I¥Ádh Hj n<f Ié™i Vo> è±Î¢¶j
XÎñl ch JzH™p ËHlcHs If hv IkHo Kdh v<Îk<[ KÂtH;
HÈÁj vHúf> Ï IkHo # nV; hNih DfVy ÏHÎkh<„ÎöÁ` Jödc
vB= Hf I; Jsh Jdhv vHe> ch ÍNkHl H[ If Í<¥a Hf Ï IkHo
hv ùn<o Ï IÎg,h G¥a ËHÂi HÆÚÎrn, IétVk KÎfch ËHlc
# Jsh ÍnV; Z™p
ÏvH¶l Aòf NÆéÁl V=VfN„= G` 1986 ‰Hs vn
^ Ja<k CÂdHj “v<d<Îk
ËVr ÏvH¶l ch Ïh ÏNÁf UÂ[ Ëh<j Dl hv IkHo Kdh
Jdhv Nd<g :khVt # Jökhn Vj<„[ ÊNr NÁ] Dép, LéöÎf
hv DdHi IdHl Ë,vn ch Ïh Iu<Âíl VΧk Df ËHÂéoHs Kdhvn
n,Np vn Adh ItVp ÏHi JÎgH¶t cHy> ËHlc ch I; nVf vH; If
Dg, Nkn<f ÍnV; ‰<®úl n<o If hv ,h Kib AÎ` ËVr LÎk
DdH`,vh LöÎkvNl RΙ„j Hf ,h # NÁ; ËHúdhV[h n<f Iéökh<ék
ÏHi Ïv,><k , J¶Îäx If ùnHdc vHÎöf Ï Ir±u,
# nv,HÎf n<[, If ËHúovn Dé΄; Jökh<j ÏvHéoHs
DÆth ÏH†t Ï ÍvHfvn Jdhv Veh KdVéÈf vHúf> Ï IkHo
#Jsh ,h ÏvHéoHs AdHÂk KdVjNÁÂacvh IkHo Kdh # Jsh
G¥a KdVj DgH¶él If hv J¶Îäx, ËHökh & IkHo Kdh vn Jdhv
# Jsh ÍnV; ÊHynh Li Hf K¥Âl
Fallingwater
Jdhv Nd<g :khVt ^ óhVx
Facade of Fallingwater
General view of Fallingwater
General view of Fallingwater
E-SCIENCE, ARCHITECTURE & CONSTRUCTION
vHúf> Ï IkHo Dk,VÎäd HÂk
vHúf> Ï IkHo Dl<Âu Ï HÂk
vHúf> Ï IkHo Dl<Âu Ï HÂk
fallingdowner1
Fallingwater, one of Frank Lloyd Wright's
most widely acclaimed works, was
designed in 1936 for the family of
Pittsburgh department store owner Edgar
J. Kaufmann.
The key to the setting of the house is the
waterfall over which it is built. The falls
had been a focal point of the Kaufmann's
activities, and the family had indicated the
area around the falls as the location for a
home. They were unprepared for Wright's
suggestion that the house rise over the
waterfall, rather than face it. But the archi-
tect's original scheme was adopted almost
without change.
Completed with a guest and service wing
in 1939, Fallingwater was constructed of
sandstone quarried on the property and
was built by local craftsmen. The stone
serves to separate reinforced concrete
"trays", forming living and bedroom lev-
els, dramatically cantilevered over the
stream. Fallingwater was the weekend
home of the Kaufmann family from 1937
until 1963, when the house, its contents,
and grounds were presented to the
Western Pennsylvania Conservancy by
Edgar Kaufmann, jr. Fallingwater is the
only remaining great Wright house with its
setting, original furnishings, and art work
intact.
In 1986, New York Times architecture
critic Paul Goldberger wrote: "This is a
house that summed up the 20th century
and then thrust it forward still further.
Within this remarkable building Frank
Lloyd Wright recapitulated themes that
had preoccupied him since his career
began a half-century earlier, but he did not
reproduce them literally. Instead, he cast
his net wider, integrating European mod-
ernism and his own love of nature and of
structural daring, and pulled it all together
into a brilliantly resolved totality.
Fallingwater is Wright's greatest essay in
horizontal space; it is his most powerful
piece of structural drama; it is his most
sublime integration of man and nature."
74 66
 E-SCIENCE, ARCHITECTURE & CONSTRUCTION

ØVa ã<Á[ - ã<Á[ JÂsch (KÂÎúk ØHjh) vHúf> Ï IkHo ÏHÂk

View of the main (living room) level, from south-southeast.

vHúf> Ï IkHo ËH¥„`

Stairway of Fallingwater

vHúf> Ï IkHo D„ohn ÏH†t

Interior space of Fallingwater
Figure 2

Figure 1
2 G¥a

1 G¥a

Figures 1&2: Two views of Fallingwater vHúf> Ï IkHo ch :dnCk, v,n ÏHÂk ,n ^2,1 ÏHi G¥a

67 73

DkHéöfHj Ï IkHo
<ég> vh<g> ^ óhVx
<gHöjhv<l vn hv ùh DkHéöfHj Ï IkHo ÏHivh<dn <ég>
AdHi Ïv,><k ÏhV[h ÏhVf Ïh IwVu If Nk±Át (1953)
ÏHi FÎ; Vj, Hi óVxvh<dn vn ,h # Jsh ÍnV; GdNäj
ch ÏVéÈf “vn Hj Jsh ÍnVf vH; If hv HiV[> ch Du<Áél
HÈÁj Ik Ïv,><k Kdh # nv,HÎf Jsn If nh<l ÏHi D=|d,
Ï IkHo # n<f Li IkhVuHa Ïh Ïv,><k I¥„f DÁt Ïh Ïv,><k
vH; ÏhVf DkH¥l I¥Ádh Vf Í,±u <gHöjhv<l vn DkHéöfHj
IkHo Kdh # Jöi Li Ikhv,><k ÏhIkHo & Jsh D=Nkc,
RdHrHf, Jsh ÍNa Urh, I]Hdvn Vf ´Vúl Ïh ÍN¥invn
I„wHt JuHs :d Ki> Íhv ÍHæéödh KdVj :dnCk ch Ïv<j<l
# nvhn
Jäök Ïn<Âu èv<w If I; ËHö¥d ‰<x Hf JÂör ,n
Dk<¥öl ÏHi Aòf GlHa D¥d, Nkh IétV= vhVr Li If
DxHÎp & JsHi ãh<o ØHjh GlHa ÏVædn, ËHÂéoHs
NÁ„f vHÎöf DdHivh<dn Hf I; NÁin Dl GÎ¥új hv UfVl
# Jsh ÍNa hN[ ìvHo XÎñl ch Hivh<dn VdHs ch è,H™él,
DaH; ÏHivh<dn èv<w If £HÎp Kdh D[vHo ÏHivh<dn
LÎöÆj Aòf ÍHíÁ` ch AÎf If Hivh<dn Kdh # Jsh NÁkHl
V[> ch D™„éòl ÏHi ÍchNkh, ßh<kh Hi Ë>vn I; NkhÍNa
vHÁ; Dj,H™él ÏHi FÎjVj, L§k Hf D¥ÎlhVs ÏHi DaH;,
DéoHÁa DdHädc V§k I¢Æk ch HÈk>VÎeHj Hj Nkh IétV= vhVr Li
v<x If IäÎa :j ÊHf # nVÎæf vhVr DsvVf nv<l nV;vH;,
Kdh # n,v Dl ¨Hf DfVy vh<dn Ï<s If KÂÎúk ØHjh ch Fdvh
´Ni Hf hNÚ¶j & ùh Í|d, G¥a KétV= V§k vn Hf ËHÂéoHs
# Jsh ÍNa IéoHs D¶Îäx ÏHi ÊVt ch Ën<f è,H™él
JoHs ÏHi Í<Îa Hd Hi õHÎÆl Hd Hi ÊVt ch ÊhN;}Îi
DlHÂj ,v Kdh ch # Jsh ÍNúk vhV¥j ËHÂéoHs VshVsvn
Nkh ÍNa LÎöÆj GkH` ÍHíÁ` If HäÚdVÆj Ëh<dh ´hVxh ÏHivh<dn
è¨Hûjh & HiV[> & D¥ÎlhVs nh<l ÏvhB=VÎeHj HÈk> vn I;
nv<l Dñ¢s ÏHi A;,v , V[> T„éòl ÏHi FgHr
# Nkh IétV=vhVr AdHlc>
ÊH¥ñésh ÏVÎ= ÍchNkh GlHa DlVt ÏHi Ïv,><k Kdh
# NÁ; Dl DsvVf hv Ë> Ikhc,v vH¶l I; n<a Dl Li
I; Nkh Iétv vH; If ÏC;Vl<ÎsH` vn CÎk DÈfHúl ÏHi Ïv,><k
DéoHÁa DdHädc ÏVÎeHj If ËNÎsv ÏhVf Ik¨Hs Ë> vn
ch H[ Ë> vn ËhvH¶l # Nkh Iétv vH; If D™„éòl ÏHi :ÎÁ¥j
I; ÏCÎ]Vi ch Hi ÍCo, DéÁdc ËHiHÎ= Hj +Ás, V[>
# Nkh ÍnV; ÍnH™ésh Nkh Iéökh<j Dl
Summer House
Designed by:
Alvar Aalto
Plan of main building
The Entrance of House
The courtyard
View of the back of the House
Plan of the summer-house
E-SCIENCE, ARCHITECTURE & CONSTRUCTION
In his summer house in Muuratsalo
(1953), Finland Aalto used the courtyard
wall for experimental purposes. He
explored a variety of brick patterns and
combinations to better understand the
properties of the materials. This experi-
ment is not merely technical, but also
poetic. The summerhouse at Muuratsalo is
not only a place to live and work but is
also a sort of experimental house. It is
located in the lake country of north-central
Finland, one hour by motor boat from the
nearest railroad station. Two wings of
D„wh ËHÂéoHs ˱`
equal length set perpendicularly to each
other, one containing the living area and
the other the bedrooms, form a square
court which is closed to the exterior by
means of high walls. The exterior walls of
this court are developed as mosaic-like
experimental walls, divided into about
fifty areas in which different types and
sizes of brick and ceramic tile with differ-
ent methods of jointing are used, so as to
test their effect from both the aesthetic and
practical standpoints. The lean-to roof
rises steeply over the living area towards
the west wall." The building has, with its
IkHo Ïn,v, experrimentalaim in mind, been designed
so that it differs form the normal; the same
forms have not been used throughout, nor
the same scale, nor the same construction.
Thus all the wall around the closed patio
are divided into approximately fifty panels
in which the effect of ceramic materials,
brick, joints, different brick formats, and
surface treatments have been tried out.
These experiments with form also include
test of durability that are daily the object
of the architect's observation. Similar
IkHo £HÎp experiments take place on the central
patio, where form one year to the next we
have tried different techniques for surfac-
ing different areas, from the point of view
of aesthetic effect. We have tried every-
thing from brick and stone surfaces to dec-
orative plants and mosses. The wall con-
struction of building varies,and for experi-
mental purpose different roof construc-
tions have been attempted.
IkHo Déú` ÏHÂk
www.alvaraalto.fi
72 68
DkHéöfHj Ï IkHo ˱`
 E-SCIENCE, ARCHITECTURE & CONSTRUCTION
vn Dd<= ‰Hp Kdh Hf Jsh IéoHs IkHo L;D„Îo&ËH;
ù±j I; nvhn n<[, ÏVj øvCf Ï IkHo Hi IkHo ch ÊhN;Vi
ËH=NÁin ùvH™s Ï I[n<f ÏHi Jdn,Nñl ch NÁ; Dl
vn LÎòq vHÎöf ÏHivh<dn :dVah Ï IkHo vn # NÁ; vhVt
AiH; hv ˱` Dk,vn J§u &D=Nkc D„wh ÏHi H†t
If IÁÎl<a vh<dn Double - Life KÂÎúk ØHjh vn # Nkh Ínhn
# Jsh IétV= vhVr DÆÎÂu ßH™jvh vn I„; D¶rh, ÏHÁ¶l
Ë> ch I; nvhn Ïh IÁÎl<a & ˱` vn ,v If,v vh<dn KÎÁîÂi
LÎòq ÏHivh<dn ch Vædn D¥d # n<a Dl ÍnH™ésh ÊHÂpvn
& IkHoCåa> & ËhvH¥élNo Ï Í|d, Aòf GlHa IkHo
,n ÏH†t Ïv<ñl ËvHÆj ,C[ I; JsHi ÏvHäkh, Hi ÊHÂp
vhn ÍVíÁ` vh<dn ,n # NÁd> DÂk ãHöp If D„wh ãh<o ØHjh
ch VéÂ; Hi Ë> JlHòq Hlh NÁéöi LÎòq DdHivh<dn Li
# JsHivh<dn VdHs
ÍNdn ‰,h Ï IÆäx vn ˱` DphVx Aòf KdVj TdVz
ÏVgH= , ãh<o ØHjh KÎf Dd<ú; ÏHivn &Ë> vn I; n<a Dl
‰HÎs DdH†t AdhNÎ` EuHf ÊHÂp, ãh<o ØHjh KÎf Sås,
ËH; # Nk<a Dl ãhVÈl If Sås , ØHjh If DgHo JÂör ch
^Jsh Ié™= IkHo Kdh Ï ÍvHfvn
, ÍVÎj ÏHi ã<] ch IkHo Kdh vn Hi ÍVíÁ` ÏHi ÍvHÁ;
´Hw IkHo Kdh GÎgn KÎÂi If, Nkh ÍNa IéoHs ÏvH; }=
&Hi ÍVíÁ` QdVu ÏHi ÍvHÁ; # Nsv DÂk V§k If Joh<Á¥d,
DkHéñj Ïn,v, ÏHiC΄in , Ïn,v, JÂör Dæétv<j
& IkHo JÂör ,n # NÁúòf Dl Ë> If ÍNkc ÏViHz Ívh<Âi
IdHs JgHp &nvhn n<[,ËHú„wHt Np DdHi Dæétv<j I;
# Nkv,> Dl n<[, If DdHädc vHÎöf Ka,v
Figure 5 Figures 1,2,3,4&5: Views of Eshrick House, by Lauis Kahn
69 71
Esherick House
:dVah Ï IkHo
Ë H; Dd<g ^ óhVx
Kahn built relatively few houses. In each
there seems to be a larger-scale building
trying to escape from the confines of the
client's budget. In the Esherick House, the
inherent monumentality of the plan is
diminished by the fact that the major liv-
ing spaces are surrounded by very thick
walls. In the double-height living room,
the fireplace wall is literally deep. The
opposite wall in plan also has a fireplace
used in the bathroom, but the wall is thick-
er containing a zone of servant spaces,
kitchen, bathrooms, closets which are not
part of the axial symmetry of the two
major living spaces.. The two window
walls are also thick but these frame walls
with alcoves or niches between the case-
ments. The most intricate planning occurs
Figure 1 1 G¥a
on the first floor where the sliding doors
between the gallery and bedroom, and
then between bedroom and bathroom, sug-
gest a flow of space from void to room to
altar.
In searching for the nature of the spaces of
house might they not be separated a dis-
tance from each other theoretically before
they are brought together. A predeter-
mined total form might inhibit what the
various spaces want to be. Architectural
interpretations accepted without reflection
Figure 2 2 G¥a could obscure the search for signs of a true
nature and a higher order. The order of
construction should suggest an even
greater variety or design in the interpreta-
tions of what space aspires to become and
more versatility in expression of the ever
present problems of levels, services, the
sun, the wind and the rain."
- Louis I. Kahn. from Alessandra Latour,
ed. Louis I. Kahn: Writings, Lectures,
Interviews. p60.
Figure 3 3 G¥a
5 G¥a Figure 4 ËH; Dd<g vH; &:dVah Ï IkHo ch DdHiHÂk ^5,4&3&2&1 ÏHi G¥a 4 G¥a

Designed by Tadao Ando, 1975
,Nk> <mhnHj Ï Iéö[Vf Veh KÎéöòk D™dnv Ï IkHo
# NÎsv ËHdH` Hf H;hchÛ vn 1975 ‰Hs vn Ë> JoHs I; Jsh
IkHo Ë<éf ch ÍnH™ésh Hf ÏVÈa ©<„a Ï IÆ¢Ál :d vn ,Nk>
HÈk> KÎf vn I; Jsh IéoHs ËHö¥d D䶥l Líp ,n Hf Ïh
DgHo ÏH†t Kdh # nvhn n<[, ÍchNkh ËHÂi Hf DgHo DdH†t
Ê,n Ï IÆäx If D„` Ë> Xs, vn I; Jsh IkHo £HÎpcHfVs,
ÍNa IéoHs DgHo ÏH†t KÎÂi ´hVxhvn CÎk IkHo # Nkh Ínc
I„wHt ËHfHÎo ch GlH; v<x If Ïn,v, JÂör ch VÎy If,
ch GlH;v<x If IkHo D„ohn ÏH†t ,v Kdh ch # Jsh IétV=
DgHo ÏH†t I; DdHík> ch # Jsh ÍNahN[ ´hVxh XÎñl
ÏHic,v vn IkHo ËHÁ;Hs & nvhNk D™Æs }Îi IkHo Xs,
vn Kétv ´Vx Ë>, ´Vx Kdh ÏhVf I; NkvH]Hk DkhvHf
NkhIétV= nhVdh ,Nk> If DoVf # NÁÁ; ÍnH™ésh Vé] ch ËHa IkHo
ch F¶¥l Vél 50 Np vn DdH†t Kéahn n<[, Hf hV] I;
OsH` vn CÎk ,Nk> # Jsh ÍnV; ÍnH™ésh DäsHÁl Hk óVx KÎÁ]
ÏhVf & J¶Îäx Hf LÎÆéöl £Häjvh Kéahn« I; Jsh Ié™=
D¥d vn ,Nk># »Jsh AdHs> KdVj NÁÂacvh ËhNk,VÈa
vn ^ Jsh Ié™= IkHo Kdh Ï ÍvHfvn AdHi IäpHûl ch Vædn
:d vn ‰,h Ï IÆäx vn & JsH†t C;Vl £HÎp & IkHo Kdh
ØHjh & IkHoCåa> Vædn ´Vx vn, KÂÎúk ØHjh Ë> ´Vx
´Vx :d vn CÎk Ê,n Ï IÆäx vn # Jsh ÊHÂp, Ïv<o hBy
ÏHi ãh<o ØHjh Vædn ´Vx vn, KdNgh, ãh<o ØHjh
# Jsh ËHúkhNkcVt
ÏvH¶l Ï Iös<l ´Vx ch 1979 ‰Hs vn IkHo Kdh
# nV; JtHdvn hv IkHo KdVéÈf Ï ÍCdH[ K`h\
D™dnv Ï IkHo ch DdHiHÂk, Hi óVx ^5,4&3&2&1 ÏHi G¥a
Figures 1,2,3,4&5: Designs and views of Row House
E-SCIENCE, ARCHITECTURE & CONSTRUCTION
RAW House
D™dnv Ï IkHo
,Nk> <mhnHj ^ óhVx
Japanese architect Tadao Ando skillfully
manipulates light and form, creating spa-
tial sanctuaries for introspective medita-
tion. The thoughtful arrangements of stark
cast-concrete elements animated with nat-
ural light are Ando's trademark in creating
spaces. Born in Osaka, Japan in 1941,
Ando at an early age had developed an
interest in the art of building, frequenting
Figure 1 1 G¥a the local carpentry workshop near his boy-
hood home. Ando began to study architec-
ture through independent study and travel
to Europe, Africa, United States, and
around his native Japan. After rigorous
study and technical application, Ando
opened his practice, Tadao Ando Architect
& Associates in Osaka in 1969.
Like many great architects before him,
Ando started his career with the design of
residential projects. Of these one very rep-
Figure 2
2 G¥a
resentative project is the Row House in
Sumiyoshi, completed in 1975. In a dense
district in Osaka, Ando crafts a house of
two identical cubic volumes of concrete
split by a void of the same proportions.
The open-air void is a courtyard, which is
Figure 3 3 G¥a centrally bisected by a bridge on the sec-
ond floor. The house is composed around
the void and, except for the recessed
entrance, completely closes itself from the
street, separating all activities of the house
from the outside world. This separation
creates a microcosm around which the
Figure 4 4 G¥a family and its activities are embraced. The
house received the top prize of the
Architectural Institute of Japan in 1979.
The creation of introspective domain is
evident in all Ando's work .
D™dnv Ï IkHo J;Hl
Model of Row House Figure 5 5 G¥a
70 70
 E-SCIENCE, ARCHITECTURE & CONSTRUCTION

Two-family House
(or Double house)
By: MVRDV

Ính<kHo ,n Ï IkHo w

<„¥j LdVl ^Ï IÂ[Vj

Dg, &n<f ÍNa DphVx V[Hj ,n ÏhVf hNéfh vn óVx Kdh As the name of this project suggests, the
Hj NkNa :dVa Vædn ì,c :d Hf è±¥úl J„u If HÈk> house is designed for two families.
Originally, it was meant for two business
If HivH¶l # NÁÁ; LihVt hv Í\,V` Kdh JoHs Ï IÁdCi NÁkh<éf
people but due to financial constraints,
,n ÏhVf hCíl ±lÚH; JÂör ,n If I; D„ñl nHídh ÏH[ they found another couple to pool their
If hv Ïh Iés<Î` Li If ÏHi IkHo & NaHf ÍNa LÎöÆj Ính<kHo resources in order to make this project
ÏhVf ÏVj øvCf ÏH†t I; NknV; DphVx ÏN¶f Is èv<w possible. Instead of simply splitting the
°Vu VshVs HäÚdVÆj Hi ØHjh I; Ïv<x If NaHf Iéahn D=Nkc site into halves for each of the two fami-
ch D¥d óVx Kdh vn # NÁin üHûéoh n<o If hv IkHo lies, the architects designed the houses to
Double House Front View ,Vf,vchNdn - <„r,n Ï IkHo
be interlocked together three-dimensional-
KÎÂi If, NÁ; Dl ‰H®ah hv ‰,h IÆäx VshVs KÂÎúk ÏHi ØHjh
ly in order to have bigger living spaces
ØHjh ch IkHo ,n Vi chNkh Lú] # hv Ê,n IÆäx ÏVædn FÎjVj that almost stretch across the entire width
ÊhN; Vi, Jsh DkHö¥d chNkh Lú] & Ë,VÎf ÏH†t If KÂÎúk of the site.One of the living rooms occu-
ËHÂéoHs Ï<„[ ch D¥d & Nkvhn hvn<o Wéòl Ï,Vihv pies the entire first floor while the other
DdH†t Ính<kHo ,n Vi I¥Ádh Hf # Ë> Ï Ia<= ch ÏVædn, occupies the second floor. Both families
KÎf IkHo Jú` ©Hf Hlh & Nkvhn ËHÂéoHs Kdh vn DwHûéoh have equal views of the exterior from their
living room and both have their own
D[vHo ÏHÂk &I[n<f n<äÂ; J„u If #Jsh “Véúl ,n Vi
entrances, one at the front of the building
Veh vn & ËHlc v,Vl If I; & ÍNa ÍNÎa<` ¨ Is Ï Iéòj Hf IkHo and one at the side.
IkHo D[vHo ÏHÂk ClVr If GdHl Ïh Í<Èr +kv & D=n<sVt Double House Interior space D„ohn - <„r,n Ï IkHo This is a private residence; it is not open to
#nnV= Dl ‰Näl ÏVéö;Ho If GdHl Ïh Í<Èr +kv If public. The exterior can be viewed from
ÍnH™ésh nv<l D[vHo ÏHÂk ÏhVf I; ÏVædnVûÁu the small park across the street from the
ÏVÎ=vH; If vn ËhvH¶l I; Da,v # Jsh IúÎa nVÎ=DlvhVr house. The home is located in a row of iso-
lated houses at the edge of Wilhelmina
I; n<aDl EuHf Nkh ÍnVf vH; If Df<] Ï IúÎa ÏHi ãHr
park.The facade of the house reveals the
ÏHiH†t ÏhVf IúÎa ch ÍnH™ésh Hf hv D„ohn ÏH†t NÁkh<éf subdivision, intersection and complexity
Kdh & NÁÁ; TdV¶j Dw<ûo ÏHiH†t ÏhVf ã<], “Véúl of the space it encloses, presenting as its
IÎaHpvn, Li ch hCíl ÏHi IkHo ch D™dnv ËHÎl vn IkHo facade a graphic structure reminiscent of
1
VækHdHÂk ËHÂéoHs vnVs # IétV= vhVr HÁ΄Ȅd, “vH` the geometries of Theo van Doesburg in
IkHo vn v<ûñl ÏH†t D=NÎîÎ`, “Véúl Gût & èHÎmC[ Entrance
an apparently arbitrary arrangement which
IkHo Ïn,v,
is a paragon of free architecture.The outer
#n<a Dl Iéökhn nhc> ÏvH¶l Vȧl I; Jsh øVäl,n Ë,Váj ÏHi óVx v,>nHd I; Jsh D¥ÎthV= ÏvHéoHs VækHúk CÎk, surface plays with transparency and opac-
I; LÎÁÎf Dl IkHo Aòf KdVj Dw<ûo vn Hlh Jsh (Df<] ãHr )vN; Li, ( IúÎa ) ´H™a Li HÂk D[vHo P¢s ity, alternating different types of glass
Hi ãHr Kdh, Nkh Ínhn ÍVÎj Dækv Hf ¨ Is Ï Iéòj ch ÍNa IéoHs Df<] ÏHi ãHr If hvn<o ÏH[ IúÎa T„éòl ßh<kh with panels of dark-painted plywood
# Jsh Jd,v GfHr IúÎach I; NÁéöi DdHiCÎ] Ë> Ï ÍNÁÁ; ËHÈÁ` which hide what glass would reveal: the
XÆt#n<a hN[ Ë> ch ÍvHf,n Vædn IÆäx vnHjnNk<ÎåfVædn Ïh IkHo If ±lÚH; IÆäx :d vn Hi IkHoch D¥d Jsh K¥Âl most private parts of the house.The home
next door is larger, with an entrance,
& H†t T„éòl ÏHi I¥j DÁ¶d # nVf D` ËHÂéoHs Kdh üHo JÎiHl If GlH; v<x If Ëh<j Dl DqVu DaVf Hf
garage and guestroom on the ground floor;
DphVx ch DdH†t vHés<Î` :d Hf ÍhVÂi hv Nph, J΄; :d, NkVÎ= DlvhVr VædN¥dvHÁ; ‰cH` :d Ë<îÂi the first floor is completely open, and con-
3 2
Kdh ch # Jsh {jvH; vn Dr±Îd Ï IkHo :d ÏhVf Idc<fv<;<g IÎg,h óVx IÎäa V§k Kdh ch, NÁin Dl GÎ¥új&Gohn tains the living room and kitchen; the sec-
vn Ïv<ovHiHk ØHjh, IkHoCåa> ^ Jsh Ik<= KdNf nvhn vhVr ËHfHÎo ~] JÂs vn I; Vj :]<; Ï IkHo & IkHo ,n ond floor with its two bedrooms is much
ØHjh If, Jsh ´Vúl KÎdH` ÏHi ØHjh Vf I; nvhn n<[, ÏN¶f IÆäx vn D¥]<; IÆäx LÎk, NÁéöi T; Li Ï IÆäx smaller.Above this more rooms of various
HÈÁj Vj¨Hf Ï IÆäx ÊHÂp ÍhVÂi If Hi ØHjh Kdh Urh, vn , NÁéöi ¨Hf IÆäx vn Hi ãh<o ØHjh # n<a Dl DÈéÁl KÂÎúk sizes take back space from the house next
door.
Li Ï IÆäx & Jsh Vj øvCf I; ÏvHÁ; Ï IkHo # Nkvhn Íhv D™òl ÊHf Jú` è<„o £HÎp If I;NÁéöi DdHi Aòf
IkHoCåa>, KÂÎúk ØHjh GlHa, Dl<Âu ‰,h ÏIÆäx &Jsh ËHÂÈÎl ãh<o ØHjh, +ÁÎ;vH` &Ïn,v, vn GlHa Ë> T;
ÏHi ØHjh CÎk IÆäx Kdh ϨHf # Jsh ‰,h Ï IÆäx ch Vj :]<; D„Îo Ë> ãh<o ØHjh ,n Hf Ê,n Ï IÆäx Dg, #Jsh
Kétv ÏhVf # Nkh ÍnV; ‰H®ah Li hv ÏvHÁ; Ï IkHo ÏH†t ch Dúòf I; Nkh ÍNa DphVx T„éòl ÏHi ÍchNkh Hf ÏVéúÎf
# nV; ÍnH™ésh D™òl ËHfnVk :d ch NdHf &ÊHf Ï,v è<„o èHÎp If

1-wilhelmina
2-Le Corbusier
3-Carthage

71 69 Figure 2
Figures 1&2: Models of Double House
2 G¥a Figure 1 1 G¥a Double House: General View D[vHoNdn &<„r ,n Ï IkHo
 E-SCIENCE, ARCHITECTURE & CONSTRUCTION

Smith House
Designed by Richard Meier, 1967

JÎÂVÎlÌs h Ï Ik
Ì nvHîdv ^ óhVx
Ho
è<¥Îj :kH; D„pHs Xo vn JÎÂsh Ï IkHo The Smith House is located on the
Connecticut coastline-overlooking Long
If Ïh Ix<ñl vn IkHo Kdh # Jsh NÁ„d> +k¨ Vf ´Vúl,
Island Sound. The site is 1 1/2 acres and
I; & DgHÂa è±t ch, ÍNa Urh, UfVl Vél vhCi 6 JpHöl drops from a plateau on the north side that
Hj & Jsh Cäs IúÎÂi ËHéovn ch Ik<= KdNÁ] Ïhvhn contains several evergreen trees to the
Kdh # nvhn nhNélh ã<Á[ vn NÁ„d> +k¨ DkHéöi<; Gph<s rocky shoreline of Long Island Sound on
Ï Iåj “<k Vdc vn DÂ; Ï I„wHt Hf, v<ñl :d Vf IkHo the south. The house is located on an axis
# Jsh IétV= vhVr Ïvhn FÎa with the entry drive, and lies slightly
below the crest of the sloping hill. This
ncHs Dl vnHr hv JÎÂsh Ï IkHo ËHÁ;Hs Jζr<l Kdh
allows a sequence of approach, entrance,
, NÁaHf Iéahn Du<Áél ÏHi Ïn,v, , HichNkh Lú] I; and views. As one enters the site, they see
Nkh<j Dl Li n<a Dl IkHo Ï Ix<ñl nvh, Dö; Dér,
Figure 1
views of the house beyond, but they are
1 G¥a
# hv ´hVxh XÎñl Li, NÁÎäf hv IkHo ch D™„éòl ÏHiHÂk also able to see the surrounding landscape.
NdHf I; Jsh Ïh ÍVÎj Ï Iñ™w Ë<îÂi IkHo Ï<„[ ÏHÂk The front facade has been treated as an
Ïvh<dn KÎf chv<äu ch S` ËHkHÂÈl # nV; b<™k Ë> Gohn If opaque screen that one must penetrate. A
ramp slopes up to the front door as one
Dd<„[ vn If Hj Nk,Vf ¨Hf Dd¨HfVs :d ch NdHf ÍvhN[ ,n
enters through a double wall, or the space
# NÁsVf that contains most of the utilitarian ele-
#Jsh IétV= vhVr ‰,h KÂÎúk ØHjh & JÂör Kdh ch S` ments of the home, into the primary living
DéÁdc VÎy GdHs, ÊHÂj I; Jsh DdH†t ÍvhN[,n Ï Ívh<dn space. While the front facade is opaque,
& Jsh ÍVÎj <„[ ÏHÂk I¥Ádh n<[, Hf #nvhn vhVr Ë> vn IkHo the rear facade is almost entirely glazed
EuHf, Jsh IúÎa ch GlH; v<x If HäÚdVÆj FÆu ÏHÂk Hlh allowing light and color from the land,
sky, and water to fill the living space.
ÏH†t VshVs Hdvn, ËHÂs> & KÎlc +kv , v<k I; n<aDl
The spatial organization of the house is
Figure 2
# NÁ; V` hv IkHo 2 G¥a based on separation between public and
ÏH†t ËnV; hN[ ÏHÁäl Vf IkHo DdH†t ËHlNÎ] private. Functions such as sleeping and
Gêl DdHi JÎgH¶t # Jsh DkHæÂi ÏH†t ch Dw<ûo bathing occur in the double wall towards
Ï<s If I; ÍvhN[ ,n vh<dn vn & Kétv ÊHÂp, ËNÎfh<o the land, while family gatherings and
ÏHi DdHÂi nV= Dg, NéthÛ Dl ØH™jh Jsh D¥úo entertaining take place in the rear space
toward the water. The structural system is
I; IkHo FÆu ÏH†t vn ËHkHÂÈÎl ch DdhVdB`, D=nh<kHo
differentiated in these two zones. The pri-
Hf CÎk IÆ¢Ál ,n Kdh vHéoHs # n<a Dl ÊHíkh JsHdvn If ,v vate section of the home is constructed of
ÏHivh<dn ch IkHo Dw<ûo JÂör # Jsh è,H™él Li load-bearing wood stud walls, while the
& DkHæÂi JÂör Dg, Nkh ÍNa IéoHs Ê,HÆl Df<] public section contains round steel
CÎk IkHo Dk,VÎf ÏHÂkvn # nvhn Ïh ÍVdhn ÏC„t ÏHiË<és columns. On the exterior, glass frames the
A;,v hv Dw<ûo Aòf, Hi IúÎa hv Dl<Âu Aòf public side and vertical wood siding cov-
ers the private side. "The complementarity
NlH[ ÏHi JÂör # Nkh ÍNkHa<` Ïn<Âu Df<] ÏHi
of solids and voids in strong juxtaposition
Li hv DdH†t D=<gHdn, NÁéöi Li GÂ¥l DgHo ÏHiH†t,
Figure 3 3 G¥a
creates a spatial dialogue in both plan and
# Nkh Ínv,> n<[, If HÂk Ï IúÆkvn Li, ˱` vn elevation."
5 G¥a

4 G¥a
JÎÂsh Ï IkHo ch D™„éòl ÏHiHÂk ^5,4&3&2&1 ÏHi G¥a

Figures 1,2,3,4&5: Different views of Smith House

Figure 5

Figure 4

68 72
 E-SCIENCE, ARCHITECTURE & CONSTRUCTION

Greenwich House
Sagaponac House &
ÏVdVp ËhVih<o ch IkHo ,n

SAGAPONAC HOUSE
(1996-1998) “Hk<` H=Hs Ï IkHo

D„΢éöl ÍnHs Líp ,n Ïhvhn “Hk<` H=Hs IkHo This house is composed of two simple
# Nkv,> Dl n<[, If L èv<w If hv Dk±` I; Jsh G¥a rectangular volumes forming an L-shaped
plan . It engages the landscape and the
If ÏnHdc JiHäa ùnVt If VûñÁl chNkh Lú] Hf IkHo Kdh
pleasures of being in the country by fram-
DúÆk Dw<ûo Vòésh Ë> vn, nvhn Dr±Îd ÏHiIkHo ing it . The private pool area acts similar to
Hi Ë>vn I; NÁ; Dl hNÎ` hv DdHi GpHsch DoVf IfHúl some beaches in the area where the beach
Ndn °V¶l vn, KéahB= AdHÂk If ÏhVf DkH¥l If GpHs becomes a stage for exhibitionism and
# n<a Dl GdNäj Hi ËNf Ënhn vhVr spectatorship by parading bodies .
Hf Dél<; HÎ[ ch Ïh IÂöíl ch I; “Hk<` H=Hs Ï IkHo Inspired by Giacomettis sculpture titled,
Figure in a Box between Two Boxes
&»NÁéöÎk IkHo I; Iä¶[ ,n KÎf Ïh Iä¶[ vn DdHÎah « Ëh<Áu
which are Houses, the Sagaponac house
nvhn hv DéöÎgHl DÁÎl vHéoHs :d JgHp Jsh IétVdB` VÎeHj takes the from of a minimalist structure
D¶Îäx ÏchNkh Lú] vn L¥ñéöl Dd<¥s chVt Vf I; hovering over a solid platform within the
# Jsh R„¶l Ínv<òk Jsn, untouched natural landscape .
“Hk<`H=Hs Ï IkHoch DdHiHÂk
Views of Greenwich House

( 1996 ¯ 1998) }d, KdV= Ï IkHo GREENWICH HOUSE

vn Vél vhCi 11 n,Np vn DépHöl Hf }d, KdV= Ï IkHo

This 3800 square foot suburban home for
DÁÎékh\v> Ëh<[ ì,c :d Ë> vn , nvhn vhVr VÈa Ï IÎaHp a young Argentinian couple with three
DfHdcvh , DsvVf ÏhVf DéwVt IkHo Kdh # NÁÁ; Dl D=Nkc children gave an opportunity to investigate
ÏIl<p vn Ïh IkHo KéoHs ÏhVf Í<ÆgHf ÏHi DdHkh<j nNíl and reexamine the potential possibilitles of
èV™k ‰Hp KÎuvn, Ir±u # n<f ÏN¶f Ï ÍvhCivn VÈa a suburban home in the next millennium .
vn D=Nkc KÎÁîÂi, ÏVÈa D=Nkc If Jäök :gHl The owners paradoxical love & hate rela-
tionshlp with both the city and the subur-
ùVæk Ï Í<ñk DsvVf If I; nV; vhnh, hv Hl VÈa ÏIl<p
ban life urged us to evaluate and address
vn Dûòa ÏH†t, H†t If Hi IkHo FpHw NdN[ Gök the changing attitudes of new generation
# LdchnVåf DuHÂé[h è±lH¶j, ÏVÈa D=Nkc L;hVj of home owners toward privacy and space
G¥a D„΢éöl ÏvHéoHsch ÍnH™ésh Hf Vædn èvHäu If vs public interaction and urban density.
& L èv<w If, DÆth, IÆäx :d DdH†t Ënv,> NdN` vn Conceptually a new Datum line or ground
ãh<o ØHjh GlHa H†t Kdh # Nl> NdN` ÏNdN[ ´Hw P¢s plane was established by partially using an
existing rectangular structure into creating
ØHjh & KÂÎúk ØHjh, DrVa U„q vn ùcv, KgHs, Hi Iîf
a new one story horizontal L-shaped vol-
JÎm<s & Dd<úéov ØHjh & IkHoCåa> & Ïv<o hBy ume . This volume contains the children
#Jsh DfVy U„q vn Hi +ÁÎ;vH` , ËhvH¥élNo bedrooms and the Gym room in the East
wing and living, dinning, kitchen eat-in
area, laundry, Maids suite and garages in
the west wing .

View of Greenwich House }d, KdV= Ï IkHoch Dd HÂk

73 67