User:Cjgarcia789/sandbox


 * This sandbox will be the drafting space for the Gamble House Article.

Notes for possible changes. Address the structural elements of the Gamble House more.

I question the part in the article

"Although the house is not as spatially adventurous as the contemporary works of Frank Lloyd Wright or even of the earlier New England 'Shingle Style,' its mood is casual and its symmetries tend to be localized – i.e., symmetrically organized spaces and forms in asymmetrical relationships to one another." Is this sourced or is it influenced by opinion. History Addition

The Gamble House was a target for criticism during the twentieth century. However, after the Second World War the Gamble house received newfound popularity.

One major influence for the site of the Gamble House was to be distant from many other houses nearby and because David Gamble and Mary Gamble were humble. Additionally, the Gamble House acts as opposition to the Victorian Style of the Fenyes House located across the street. Considering that many Greene and Greene projects have been disrupted and stripped of their original content, this house has been well maintained through its exterior and interior. As a result, the original intent of architects Greene and Greene is maintained through this project.

Outline Additionally, the Wikipedia article references many aspects of the interior despite, that there are hardly any photos of the interior to enhance the text. As a result it would be beneficial to add photos of the interior. Also, as is addressed above, an edition on the structural concept of the building.

Design
The Gamble House is located on a grassy knoll on a Pasadena arroyo. Because of the Gambles attraction to the environment, Greene designed the house to compliment the rustic setting. The house’s design reflected the Gamble’s love of nature as flowers and trees were brought to the interior—creating pictures in wood, metal, art glass, and semi-precious stone. The building itself appear as if its growing from the land as man-made and natural materials blend together and vines cover the house from the ground up. As a masterpiece of the Art’s and Craft’s Movement, the Gamble house featured several oriental features, as the movement was greatly influenced by the art and architecture of Japan. The abstraction of clouds and mist as well as the other oriental characteristics applied to the house’s doors, windows, screens, beams, chair, lanterns, and more was another way that the House showed its emphasis on nature as “forms found in nature are the inspiration for these patterns.” Another way Greene showed off the Gamble House’s emphasis on nature was through the theme of three which was composed of three components that could be seen in every room. The theme of three grouped objects together, sometimes symmetrically arranged, but often not. The use of asymmetry alongside the classical balance reflects nature’s welcoming of variety in proportions.

Rooms
The living room was designed without any entry doors, so that the room would be as open and inviting as possible. It also consisted of a spacious sitting room, which was decorated with five rugs that were designed by Charles Greene from watercolor. Across from the fireplace, there is a window the leads to the terrace, which overlooks the garden. The expansive window was designed to let light brighten the room during the late afternoon. At the far end of the room lies bookcases, a small games table, and a piano to offer entertainment and leisure. The piano was designed by the Greenes to blend into the paneling of the room.

On the west wing of the house, the dining room is surrounded by the terrace and the garden on three sides. According to "Gamble House: Greene and Greene," by Edward R. Bosley, the room was designed to offer "nature to the indoors". The entrance of the room is diagonal from the hall with two doors. The doors are decorated with cloud-designed glass panels. The transition from hall to room was designed to provide a sense of "anticipation and discovery".