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A reissue in the Frank Lloyd Wright 150th anniversary year of the series of lectures which the celebrated American architect gave in London in 1939 and which outline his core philosophy of 'organic architecture'. In May 1939, the celebrated American architect Frank Lloyd Wright visited London and gave four lectures at the Royal Institute of British Architects. The meetings were hailed at the time as the most remarkable events of recent architectural affairs in England, and the lectures were published as An Organic Architecture in September 1939 by Lund Humphries. The texts remain an important expression of the architect's core philosophy and are being reissued now in a new edition to commemorate the 150th anniversary in 2017 of Frank Lloyd Wright's birth. In the lectures, Frank Lloyd Wright discusses several of his recent projects, including his Usonian houses, his homes and studios at Taliesin, Wisconsin and Arizona, Fallingwater and the Johnson administration building. His charismatic, flamboyant character and hugely creative intelligence leap to life from the pages as he looks to the 'Future', both in terms of the then-imminent Second World War and his vision for cities. This new edition includes an insightful new essay by esteemed architectural historian, Professor Andrew Saint, which sets the lectures within context and highlights their continued resonance and appeal
Throughout history, nature has served as an inspiration for architecture and designers have tried to incorporate the harmonies and patterns of nature into architectural form. Alberti, Charles Renee Macintosh, Frank Lloyd Wright, and Le Courbusier are just a few of the well- known figures who have taken this approach and written on this theme. With the development of fractal geometry--the study of intricate and interesting self- similar mathematical patterns--in the last part of the twentieth century, the quest to replicate nature’s creative code took a stunning new turn. Using computers, it is now possible to model and create the organic, self-similar forms of nature in a way never previously realized. In Fractal Architecture, architect James Harris presents a definitive, lavishly illustrated guide that explains both the “how” and “why” of incorporating fractal geometry into architectural design.
New Organic Architecture is a manifesto for building in a way that is both aesthetically pleasing and kinder to the environment. It illuminates key themes of organic architects, their sources of inspiration, the roots and concepts behind the style, and the environmental challenges to be met. The organic approach to architecture has an illustrious history, from Celtic design, Art Nouveau, Arts and Crafts, to the work of Antoni Gaud� and Frank Lloyd Wright. Today there is a response to a new age of information and ecology; architects are seeking to change the relationship between buildings and the natural environment. In the first part of his book, David Pearson provides a history and assessment of organic architecture. The second part comprises statements from thirty architects from around the world whose work is based on natural or curvilinear forms rather than the straight-line geometrics of modernism. Each statement is accompanied by full-color illustrations of one or several of the architects' built projects.
Organic Design in Twentieth-Century Nordic Architecture presents a communicable and useful definition of organic architecture that reaches beyond constraints. The book focuses on the works and writings of architects in Nordic countries, such as Sigurd Lewerentz, Jørn Utzon, Sverre Fehn and the Aaltos (Aino, Elissa and Alvar), among others. It is structured around the ideas of organic design principles that influenced them and allowed their work to evolve from one building to another. Erik Champion argues organic architecture can be viewed as a concerted attempt to thematically unify the built environment through the allegorical expression of ongoing interaction between designer, architectural brief and building-as-process. With over 140 black and white images, this book is an intriguing read for architecture students and professionals alike.
Bio-Architecture studies the natural principles of animal and human constructions from several different perspectives, and presents a great part of the knowledge that gives origin and shape to built form. Organic architecture offers a design approach arising from natural principles, bringing us back to local history, tradition, and cultural roots to give us built forms which are in harmony with nature. It also shows how architects can take advantage of the resources that contemporary technology has placed within our grasp. Bio-Architecture is a unique book that studies the natural principles of animal and human constructions from several different perspectives and looks at what gives origin and shape to built form. The text gives an informative, inspiring overview of the drive toward organically informed design both intrinsically and aesthetically using a wide variety of international examples. Javier Senosiain is an architect and an historian. He has pursued his interest in Organic Architecture across the globe drawing parallels between Buckminster Fuller's Geodesic dome and the spider's web; between Santiago Calatrava's Cathedral of St John in NY and the roots of a tree. Where nature has inspired form, Senosiain has made a career of analyzing and applying the principles he sees in some very creative writing and architecture.
Device Architecture and Materials for Organic Light-Emitting Devices focuses on the design of new device and material concepts for organic light-emitting devices, thereby targeting high current densities and an improved control of the triplet concentration. A new light-emitting device architecture, the OLED with field-effect electron transport, is demonstrated. This device is a hybrid between a diode and a field-effect transistor. Compared to conventional OLEDs, the metallic cathode is displaced by one to several micrometers from the light-emitting zone, reducing optical absorption losses. The electrons injected by the cathode accumulate at an organic heterojunction and are transported to the light-emission zone by field-effect. High mobilities for charge carriers are achieved in this way, enabling a high current density and a reduced number of charge carriers in the device. Pulsed excitation experiments show that pulses down to 1 μs can be applied to this structure without affecting the light intensity, suggesting that pulsed excitation might be useful to reduce the accumulation of triplets in the device. The combination of all these properties makes the OLED with field-effect electron transport particularly interesting for waveguide devices and future electrically pumped lasers. In addition, triplet-emitter doped organic materials, as well as the use of triplet scavengers in conjugated polymers are investigated.
Aaron G. Green FAIA was an internationally known organic architect of 'striking originality and grace.' His diversified architectural works include residential, commercial, industrial, municipal, judicial, religious, interment, mass housing, and educational projects. Aaron also taught advanced architectural design at Stanford University for fifteen years. In the early 1940s, Aaron became a member of Frank Lloyd Wrights apprentice group, the Taliesin Fellowship. Over the next twenty years, he maintained a close relationship with Frank Lloyd Wright, at whose request Aaron established a San Francisco office in 1951, both for his own practice and as Mr. Wrights West Coast representative. When asked who Aaron was, Wright commented, 'Aaron Green is my son.' Green participated in over thirty Frank Lloyd Wright projects and was appointed by Frank Lloyd Wright as associated architect for the Marin County Civic Center. Shortly before his passing, Green was awarded the first gold medal by the Frank Lloyd Wright Foundation in recognition of his career and accomplishments and dedication to organic architecture.
The “organic” is by now a venerable concept within aesthetics, architecture, and art history, but what might such a term mean within the spatialities and temporalities of film? By way of an answer, this concise and innovative study locates organicity in the work of Béla Tarr, the renowned Hungarian filmmaker and pioneer of the “slow cinema” movement. Through a wholly original analysis of the long take and other signature features of Tarr’s work, author Thorsten Botz-Bornstein establishes compelling links between the seemingly remote spheres of film and architecture, revealing shared organic principles that emphasize the transcendence of boundaries.