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  3. "Organic Architecture" One of the most striking personalities in the development of early-twentieth-century architecture was

"Organic Architecture" One of the most striking personalities in the development of early-twentieth-century architecture was

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问题 "Organic Architecture"
   One of the most striking personalities in the development of early-twentieth-century architecture was Frank Lloyd Wright (1867-1959). Wright moved to Chicago, where he eventually joined the firm headed by Louis Sullivan. Wright set out to create "architecture of democracy." Always a believer in architecture as "natural" and "organic," Wright saw it as serving free individuals who have the right to move within a "free" space, envisioned as a nonsymmetrical design interacting spatially with its natural surroundings. He sought to develop an organic unity of planning, structure, materials, and site. Wright identified the unity: "Classic architecture was all fixation. ... Now why not let walls, ceilings, floors become seen as component parts of each other? ... This ideal, profound in its architectural implications ... I called ... continuity."
   Wright manifested his vigorous originality early, and by 1900 he had arrived at a style entirely his own. In his work during the first decade of the twentieth century, his cross-axial plan and his fabric of continuous roof planes and screens defined a new domestic architecture.
   Wright fully expressed these elements and concepts in Robie House, built between 1907 and 1909. Like other buildings in the Chicago area he designed at about the same time, he called this home a "prairie house." Wright conceived the long, sweeping ground-hugging lines, unconfined by abrupt wall limits, as reaching out toward and capturing the expansiveness of the Midwest’s great flatlands. Abandoning all symmetry, the architect eliminated a facade, extended the roofs far beyond the walls, and all but concealed the entrance. Wright filled the "wandering" plan of the Robie House with intricately joined spaces (some large and open, others closed), grouped freely around a great central fireplace. A  (He believed strongly in the hearth’s age-old domestic significance.) Wright designed enclosed patios, overhanging roofs, and strip windows to provide unexpected light sources and glimpses of the outdoors as people move through the interior space. B  These elements, together with the open ground plan, create a sense of space-in-motion inside and out. C   The flow of interior space determined the sharp, angular placement of exterior walls.    D
   The Robie House is a good example of Wright’s "naturalism," his adjusting of a building to its site. In this particular case, however, the confines of the city lot constrained the building-to-site relationship more than did the sites of some of Wright’s more expansive suburban and country homes. The Kaufmann House, nicknamed "Fallingwater" and designed as a weekend retreat at Bear Run near Pittsburgh, is a prime example of the latter. Perched on a rocky hillside over a small waterfall, this structure extends the Robie House’s blocky masses in all four directions. Since the completion of this residence, architects and the public alike have marveled at the fluid interplay between interior and exterior. In designing Fallingwater, Wright, in keeping with his commitment to an "architecture of democracy," sought to incorporate the structure more fully into the site, thereby ensuring a fluid, dynamic exchange between the interior of the house and the natural environment outside. Rather than build a house overlooking or next to the waterfall, Wright decided to build it over the waterfall, because he believed that the inhabitants would become desensitized to the waterfall’s presence and power if they merely overlooked it. To take advantage of the location, Wright designed a series of terraces on three levels from a central core structure. The contrast in textures between concrete, painted metal, and natural stones in its walls enliven its shapes, as does Wright’s use of full-length strip windows to create a stunning interweaving of interior and exterior space.
   The implied message of Wright’s new architecture was space, not mass—a space designed to fit the patron’s life and enclosed and divided as required. Wright took special pains to meet his client’s requirements, often designing all the accessories of a house. In the late 1930s, he acted on a cherished dream to provide good architectural design for less prosperous people by adapting the ideas of his prairie house to plans for smaller, less expensive dwellings. The publication of Wright’s plans brought him a measure of fame in Europe, especially in Holland and Germany. The issuance in Berlin in 1910 of a portfolio of his work and an exhibition of his designs the following year stimulated younger architects to adopt some of his ideas about open plans. Some forty years before his career ended, his work was already of revolutionary significance.
According to paragraph 5, why did Wright begin to build smaller versions of his prairie designs?
选项 A、To publish his plans in Europe
B、To give the middle class a good design
C、To help younger architects with their work
D、To begin a revolution in architecture
答案B
解析 "... he acted on a cherished dream to provide good architectural design for less prosperous people by adapting the ideas of his prairie house to plans for smaller, less expensive dwellings." Choice A is not correct because the smaller, prairie houses were not designed specifically for Europe. Choice C is not correct because many younger architects adopted his designs, but he did not build prairie houses to help architects. The revolution in architecture mentioned in Choice D occurred, but it was not Wright’s purpose in building the smaller versions of his prairie designs.
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