ide’s streets be set lower than the surrounding parkways uce the noise of the carriages. The streets are separated green, beige, or white stretches of the long common, with trees, shrubs and areas for play. Only after feasting e there does one enter the short, dark, narrow passage on ht leading into the bright master bedroom with six large ent windows, and a window in the balcony door, ed in the three mirrors of the dressing room closet; light s is pulling one outward. Wright was well aware of the that dark compression and expansion into brightness d. A row of windows, like a satin ribbon in a nightgown blouse, weaves in and out, separated by small strips of trim surrounding the windows. With seventy-four ws and eight doors, all with glass, some of which were ing in the mirrors, the Tomek House is a “house of light” daytime, disproving that “all Wright houses are dark,” as ten heard people say. Obviously, they did not use a light whilst visiting here. book Vers une Architecture : “Architecture is asterly, correct, and magnificent play of s brought together in light. Our eyes are to see forms in light.” Having the light come in, not just through a hole in a wall, but in a continuous band, easily able to commune with nature. This is cial to one’s psyche, whether it is through ven large windows in the main bedroom or w of twelve in the living and dining rooms.
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