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history

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The inherently rectangular order of structure and space of Aalto's apartment house in Bremen yields to the inner needs for light and space toward the south, like the growth of a flower toward the sun.
Robert Venturi, Complexity and Contradiction in Architecture (1966), p. 85.

But generally speaking, for Wright the exterior and interior space of his invariably isolated buildings was continuous, and as he was an urbanophobe, the suburban environment of his buildings, when specifically regional, was not so particularly limiting spatially as an urban context. (The flowing plan of the Robie House, however, adapts to the constriction of the back sides of its corner lot.)
Robert Venturi, Complexity and Contradiction in Architecture (1966), p. 85.

Wright however, I believe, refused to recognize the setting that was not sympathetic to the direct expression of the interior. The Guggenheim Museum is an anomaly on Fifth Avenue. But the Johnson Wax Building perhaps makes a negative jesture toward its indifferent urban environment by dominating and excluding it.
Robert Venturi, Complexity and Contradiction in Architecture (1966), p. 85.

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