“So here I stand before you preaching organic architecture: declaring organic architecture to be the modern ideal and the teaching so much needed if we are to see the whole of life, and to now serve the whole of life, holding no ‘traditions’ essential to the great TRADITION. Nor cherishing any preconceived form fixing upon us either past, present or future, but—instead—exalting the simple laws of common sense—or of super-sense if you prefer—determining form by way of the nature of materials…” — Frank Lloyd Wright, An Organic Architecture, 1939

Frank Lloyd Wright introduced the word ‘organic’ into his philosophy of architecture as early as 1908. It was an extension of the teachings of his mentor Louis Sullivan whose slogan “form follows function” became the mantra of modern architecture. Wright changed this phrase to “form and function are one,” using nature as the best example of this integration.

Although the word ‘organic’ in common usage refers to something which has the characteristics of animals or plants, Frank Lloyd Wright’s organic architecture takes on a new meaning. It is not a style of imitation, because he did not claim to be building forms which were representative of nature. Instead, organic architecture is a reinterpretation of nature’s principles as they had been filtered through the intelligent minds of men and women who could then build forms which are more natural than nature itself.

Organic architecture involves a respect for the properties of the materials—you don’t twist steel into a flower—and a respect for the harmonious relationship between the form/design and the function of the building (for example, Wright rejected the idea of making a bank look like a Greek temple). Organic architecture is also an attempt to integrate the spaces into a coherent whole: a marriage between the site and the structure and a union between the context and the structure.

Throughout his 70 year career, Frank Lloyd Wright published articles, gave lectures, and wrote many books. The philosophy of organic architecture was present consistently in his body of work and the scope of its meaning mirrored the development his architecture. The core of this ideology was always the belief that architecture has an inherent relationship with both its site and its time.

When asked in 1939 if there was a way to control a client’s potentially bad taste in selecting housing designs for his Broadacre City project, Wright replied, “Even if he wanted bad ones he could find only good ones because in an organic architecture, that is to say an architecture based upon organic ideals, bad design would be unthinkable.” In this way, the question of style was not important to Frank Lloyd Wright. A building was a product of its place and its time, intimately connected to a particular moment and site—never the result of an imposed style.

In 1957, two years before his death, Frank Lloyd Wright published the book, A Testament, which was a philosophical summation of his architectural career. In an essay entitled “The New Architecture: Principles”, he put forth nine principles of architecture that reflected the development of his organic philosophy. The principles addressed ideas about the relationship of the human scale to the landscape, the use of new materials like glass and steel to achieve more spatial architecture, and the development of a building’s architectural “character,” which was his answer to the notion of style.

BIO-ARCHITECTURE

The growing conversations surrounding environmental respect and sustainability are increasingly prevalent, particularly within the construction industry – known for its significant pollution and high emissions. Climate-sensitive architecture, also referred to as bio-architecture, is a newly coined term that emphasizes the use of insulating materials to maintain consistent indoor temperatures, enhance the indoor microclimate, blend harmoniously with the environment, and promote well-being on both individual and collective levels. This shift towards a nature-centric design approach is fostering a symbiotic relationship that protects the environment, enriches quality of life, and elevates the concept of public spaces.

Bio-architecture, with its positive impacts on living conditions and energy sustainability, presents a crucial solution for a future where the harmonious coexistence of humans and the environment will be a key priority. Bio-architecture is a discipline focused on designing and constructing buildings that seamlessly integrate with their surroundings, minimizing their negative ecological footprint. Drawing inspiration from nature, this approach aims to replicate natural processes using sustainable materials and renewable energy sources.

Throughout history, adaptation of habitats to environmental conditions has been driven by a necessity for survival, utilizing local and natural resources such as wood, cork, rocks, and clay for effective thermal insulation. The pressing environmental concerns of today have led to a reevaluation of urban construction practices, with a shifting focus towards ecological principles as a top priority. This evolution signifies a changing mindset to facilitate the construction of energy-efficient bio-architectural residences that often challenge traditional norms by utilizing locally-sourced materials like cork and volcanic rocks.

Central to bio-architectural projects is the utilization of eco-friendly materials that are sourced, produced, and disposed of in an environmentally conscious manner. Incorporating materials such as sustainably harvested wood, recycled construction materials, and natural insulators helps reduce the environmental impact of construction activities. To enhance energy efficiency, strategic material choices are crucial. For example, cork, a natural Mediterranean material, serves as a potent insulator that was historically utilized in ancient dwellings.

ORGANIC ARCHITECTURE

The idea of “natural” is frequently on people’s minds nowadays when discussing eco-conscious or sustainable lifestyles. This term is now closely linked to a variety of common items, including clothing, food, supplies, technology, and more. In the construction field, the concept of “natural” is often utilized to promote environmentally-friendly building practices.

What is Organic Architecture?

The term “Organic Architecture” originated in 1908 thanks to the esteemed American Architect Frank Lloyd Wright. Drawing inspiration from the natural forms of plants, animals, and landscapes, Wright introduced the concept of natural architecture to bring us closer to a sustainable built environment.

Natural architecture embodies a design philosophy closely entwined with nature, emphasizing harmony between the built habitat and the surrounding environment. This approach involves seamlessly integrating the structure into the site and natural surroundings to form a unified entity.

As outlined in Wright’s book “The Cause of Architecture” (1908), organicity is a central theme pointing towards the future of architecture, favoring a more organic architectural style. The book highlights key features of natural architecture, or organicity, including:

– Blending building elements like doors, windows, and furniture with the structure’s ornamentation.

– Creating a structure that appears organically connected to the site, as if it were grown rather than constructed.

– Drawing inspiration from the colors of nature to influence the building’s overall color palette, focusing on natural aesthetics.

CASA ORGANICA by Javier Senosiain

Location: Naucalpan de Juárez, Mexico
Construction: Completed in 1984
Building Typology: Residence
Design: Architect – Javier Senosiain (Mexican Architect)

The organic oval fluid form structure is located in Mexico, designed by the Architect Javier Senosiain. The Architect states that “The original concept of the project took its simile from a peanut shell: two oval spaces with lots of light, united by a space in low and narrow gloom”. The structure is divided into two large organic spaces designed to give a feeling of being tucked into the earth. The design proposal designed spaces that are required for primary functions; living room, dining room, kitchen, room to sleep with dressing room, and bathroom.

Philosophy and Concept – The Organic House was born from the idea of creating a space adapted to man, according to his environmental, physical and psychological needs; taking into account its origin in nature and its historical background. The purpose was to look for spaces similar to the maternal cloister, to the shelters of the animals, to the man who at first adopted the caverns without modifying his environment, to the igloo, to all the welcoming spaces; concave like the mother’s arms that huddle the child; continuous, wide, integral spaces, liberating lights and changing shapes that follow the natural rhythm of man’s movements; spaces where integrated furniture facilitates circulation. The proposal of the Organic House is based on the requirements of the elementary functions of human beings: a space to live together, with a living room, dining room and kitchen, and another to sleep, with a dressing room and bathroom. The floor of the house is covered by a sand-colored carpet, with the idea of identifying the dwelling with the earth. This same color was given to the walls and ceiling in order to achieve a chromatic continuity. The interior of the dwelling is accessed by going down the spiral that leads to the tunnel; It was intended to give the sensation of entering the earth, from there to the living, eating and cooking space or, to the furthest away, which is the sleeping area.

Design – The Organic House was designed with a single bedroom, however, as the family grew it was necessary to expand it, this remodeling was connected to the middle part of the original tunnel. The operation and the views from the inside resulted in a shape on the outside that the workers began to call “the shark” and it was finally decided to put a fin on it.

Construction – For the construction process a moldable material was needed given the design of the house: ferrocement was the right answer. This material, the origin of reinforced concrete and long forgotten, promised a monolithic sculpture, resistant, moldable and highly elastic. The ferrocement assembly began to be placed on the template that looked like a skateboard rink, forming the envelope with a metallic skeleton, in which the rods were arranged in the form of rings, changing the height according to the space. The rods were then spirally wound. At the end of the framework, two braided chicken coops were fixed to each other, and then the concrete was cast. This, launched as a mortar, was transported through a flexible hose, using pressurized air, and was projected pneumatically with great force on the mesh. The force of the jet allows the impact of the material to compact it and increase its resistance by a little more or less by 30%, thus obtaining a shell approximately 4 cm thick, resistant thanks to its shape, waterproof and easy to build. the roof was then coated with a ¾-inch layer of sprayed polyurethane, which serves as an insulator and waterproofer.

Once the black work was completed, the house was covered. The idea was that the garden would cover the house for which fertile soil was needed, in less growth, it was decided that the layer of soil would fluctuate between 20 cm and 25 cm thick. In this way the grass would grow less and more slowly thus reducing gardening expenses. The soil and grass around the house will become warm when winter arrives and will cool when summer is born

Interior – The floor of the house is covered by a sand-colored carpet, with the idea of identifying the dwelling with the earth. This same color was given to the walls and ceiling in order to achieve a chromatic continuity. The interior of the dwelling is accessed by going down the spiral that leads to the tunnel; It was intended to give the sensation of entering the earth, from there to the living, eating and cooking space or, to the furthest away, which is the sleeping area. In the living room, the curved window increases the visual perspective and has a pompadour, equivalent to the eyelashes that serve to protect from the sun, dust, wind and rain. The windows were oriented towards the best views, looking south so there is no lack of sun in winter. As the house has free forms and is buried, it offers little resistance to the wind, making it an anti-seismic shelter.

Exterior – To walk on the garden is to walk on the roof of the same house without realizing it. From the outside we only see grass, shrubs, trees and flowers, which, by evopotranspiration, produce oxygen, reject pollution and filter dust and carbon dioxide creating a microclimate. Inside the house there is a temperature of 18 to 22 centigrade and a humidity of 40 to 60% throughout the year, therefore, it is hot in winter and cool in summer. The earth and the sun work together to maintain a stable temperature inside the house, where the earth shelters while the sun shines and warms, helping to prevent respiratory diseases and disorders.

The architect Javier Senosiain Aguilar has combined teaching with professional practice and research. He graduated from the National Autonomous University of Mexico in 1972, since then he has taught the Design Workshop and Architecture Theory. For a time, he held the position of Academic Secretary in said Faculty. In his professional activity he has developed projects and constructions of office buildings, residential houses, industrial plants and buildings for tourist activities. Likewise, he has dedicated a large part of his professional life to researching and experimenting with man’s habitable space in its relationship with nature. In the field of research and experimentation, he has deepened in the investigation of ferrocement for its use in both small and large structures, realization of pneumatic structures for use as temporary falsework in the elaboration of houses of sprayed polyurethane covered with fiber of glass.