Architecture and Interior of Hollyhock House

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One of the most memorable parts of sing the Hollyhock House was the feeling of nature that was a portion of the interior infinite. I doubt that I have of all time walked in an interior infinite which felt as unfastened and as portion of nature as the Hollyhock House. One of the interesting facets of the theory behind the house’s architecture. as explained by Frank Lloyd Wright. was the thought that the house should develop “a regionally appropriate manner of architecture for Southern California” ( House ) and this entirely confirms that the design of the architecture was intended to be in harmoniousness with the natural landscape.

That feeling of harmoniousness is apparent to visitants of the house to this really twenty-four hours and the harmoniousness of ambiance and design are more competently thought of like music than mathematical technology. It is of import to retrieve that Wright called the architecture of the house “California Romanza. utilizing a musical term intending “freedom to do one’s ain form” ( House ) . Entering the deepest and most dimply illuminated infinites in the house seemed to convey a feeling of quiet purdah which is about impossible in the outlying country of Southern California. an over-populated infinite afflicted with urban conurbation.

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The inside of the Hollyhock House gives — first — and feeling of wide-open infinite. and so. secondly. a feeling of protective enclosure. The achievement of these double. and apparently contradictory. feelings seemed to partake of something profoundly feminine and maternal. something womb-like and expansive. like nature itself. In order to more to the full appreciate the house itself. it is necessary to see and appreciate the gardens which are an intimate portion of the house. The “theme” of the house and gardens is to unite the architectural construction more closely to nature.

It is appropriate to believe of the house. itself. as a flower. which has grown in the same Californian dirt as the flowers of the garden. Given the obvious harmoniousness with nature that is sought by Wright’s design for the house. the lone negative emotion that I associated with the circuit was one which had to make with the fact that I knew. instinctively. that the overall impact of the design of the Ouse could non be experienced to the full or even convincingly by a individual visit or even multiple visits. ecause the house was set in design so closely aligned with nature and the natural beat of the organic universe. it would be necessary to really populate in the house. possibly for many old ages. to to the full appreciate the aesthetic impact of the design which Wright offered for the Hollyhock House. Along these lines. while it possible to in some manner. derive an grasp. besides. for the positions which are offered from the Hollyhock House. it is impossible to to the full encompass them without really populating in the house.

So if the house’s “series of rooftop terraces” ( House ) which ” further extend the life infinite and supply brilliant positions of the Los Angeles basin and the Hollywood Hills” supply a dimension of the house’s overall aesthetic program which is non gettable by mean perceivers. these same positions allow the house to come in into a alone and intimate relationship with its dwellers and besides with the environing landscape.

This relationship between the home’s “owner ( s ) ” and the house acts as a method by which the hoe’s inhabitant ( s ) become more closely aligned to nature by going more closely acquainted with their ain living-space. The individual most of import “lesson” I took off from the circuit of the house was the instead dejecting lesson of contemplating how the remainder of us live by comparing. in places and in offices or work-places that are made. non to reconnect us to nature. but to drive us farther from nature. from ourselves. and into a alienating and frequently barbarous landscape of urban conurbation. poorness. and decay.

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Architecture and Interior of Hollyhock House. (2017, Sep 12). Retrieved from

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