The axial design of this house and its gardens finds its genesis in the unfinished Villa Madama in Rome (1517, Mannerism), from Raphael Sanzio. The way the patio, incomplete, ended up embracing the garden, was largely developed in the Late Baroque. Examples of this are the Palaces of Stupinigi and Karlsruhe. This theme is taken up in the work of Norman Shaw in Chesters, 1894, and Edwin Lutyens, in Papillon Hall, 1903. It is however in the work of Wright, Solar Hemicycle (Herbert Jacobs House) in Middleton, Wisconsin, 1943-48, that we find this typological and conceptual movement developed under the aegis of organicist philosophy. The sketches and plants allow us to understand the complex diversity of views so different that appear on photographs. Its shape in plan is reportedly zoomorphic, analogy of a winged being, inspired in a butterfly.
From the street, the house is very discreet, as it was the client desire. However, it is generously opened to the landscape. Ducks in the photo are real and wander freely in the gardens. The owner says, kindly, that now he stays more at home because he can’t find elsewhere the same quality of life he has there.