Introduction
Architecture is the outcome of careful planning and designing, together with a construction space reflecting social, aesthetic, and functional considerations. It involves a careful interaction and coordination of technology; material, light, and shadow to emerge with a design. Architectural works are mostly regarded as political and cultural symbols as well as works of art (Bony 18).
Antoni Gaudi’s interpretation of nature
Gaudí as an architect was so inspired by nature and took his concern in traditional Catalan architecture and gothic architectural modes. Later he developed his distinct sculptural style in which he used nature’s curves and angles to make his mosaics and designs. Gaudi did not rely on geometric shapes but instead borrowed hyperboloids and paraboloids from nature. This is because these designs were easy to reinforce using steel rods to allow since were easily reinforced using steel rods to make them similar to environmental elements.
Gaudi developed new structural calculation methods based on a model built with little sacks of lead cords and shots. This sketch was then carefully traced on a wooden plane and placed on the house bearing the ceiling close to the worksite (Wright 198). To obtain a natural form in his work, photographs of the model were taken from different angles and then turned upside-down. Different lines of tension formed by the cords and also the weights revealed lines of the pressure of his compressed structure (Corroyer and Armstrong 93).
Frank Lloyd Wright’s interpretation of nature
Wright’s approach as an artist was taking his key concerns with organic architecture way down to the smallest of details. He conceived nearly every detail of both the internal fixtures and the external design. He came up with innovations on the use of new building materials such as glass bricks, and pre-cast concrete blocks as well as zinc cames for leadlight windows. Wright completely embraced glass in his designs and found out that it fits well into his philosophy of organic architecture (Wright 19).
Wright’s ability to manipulate his design’s interior space both in residential and public buildings was a key feature of his style. He used simple geometric shapes to come up with ornate and intricate windows. When servants became less prominent from a good number of American households, Wright responded by developing homes with progressively more open plans allow the woman of the housework in her kitchen and at the same keep track of the guests and children in the dining room (Senosiain, Haro and Fuentes 165).
Comparison of Gaudi’s and Wright’s styles
In comparison, Gaudi’s style produced designs that resemble elements in the environment while Wright’s came up with designs to meet the societal needs, for example, a house that allowed proper coordination between the kitchen and the dining. Gaudi was conserving the shapes in the natural shapes while Wright’s dealt with providing what nature demands. Also, Gaudi’s concentrated on the external design while Wright’s designed both external and internal fixtures.
Influence of the two styles on me
From Wright’s style, I have been encouraged to use the current building material and my knowledge of our environment to come up with a design that meets the existing needs of the society or individual desires. Also, from Gaudi’s style, I am motivated to come up with a design that resembles the environment to conserve our cultural shape and those that nature provides.
Works Cited
Bony, Jean. French Gothic Architecture of the Twelfth and Thirteenth Centuries. Los Angeles: University of California Press, 1985
Corroyer, Edouard and Armstrong, Walter. Gothic architecture. New York: Macmillan & Company, 1893
Frankl, Paul. Gothic architecture, Vo 19, Harmmondsworth: Penguin Books, 1962
Senosiain, Javier, Haro, Fernando and Fuentes, Omar. Organic Architecture, AM Editores, 1945
Wright, Frank L. An Organic Architecture: The Architecture of Democracy. Cambridge, MA: MIT Press, 1939