架构师提供的文本描述。格林住宅被“生活杂志”称为“草原鸡舍”，1961年建于俄克拉荷马州诺曼大草原上，很快成为有机现代主义的象征。建筑师赫伯格林把弗兰克劳埃德赖特和布鲁斯戈夫的有机运动带到了一个新的自由式水平，在他的私人住宅设计。这所房子是为他自己和他的家庭建造的，它传达了一种场所感和使命感。

Text description provided by the architects. The Greene Residence, dubbed the “Prairie Chicken House” by Life Magazine, was built on the prairies of Norman, Oklahoma in 1961 and quickly became a symbol of organic modernism. Architect Herb Greene took the organic movement of Frank Lloyd Wright and Bruce Goff to a new freestyle level in the design of his personal home. Built for himself and his family, the house conveys a sense of place and purpose.

“草原鸡舍”采用简单的木结构、天然材料和怀旧的草原风格，将周围环境和归化的美感融为一体。它的名字来源于它与草原鸡的相似之处。虽然这似乎是一种奇怪的比较，但它体现了将自然形式和强烈的位置感融为一体的目标。这座房子占地2100平方英尺，有两层楼高，意在唤起人们的个性感和微妙的隐私感。

The “Prairie Chicken House” uses a simple wood construction, natural materials, and a nostalgic prairie style to incorporate surroundings and an aesthetic sense of domestication. Its name is derived from its resemblance to the prairie chicken. Though this may seem a strange comparison it exemplifies the goals of incorporating both natural form and a strong sense of place in its origins. With two stories at 2100 square feet, the house is meant to evoke feelings of individuality and delicate privacy.

该地区的元素被用来增加一种永久的感觉。厨房和家庭房间的公共区域朝东，捕捉到中西部日出的低直射光线。主卧室外狭窄的露台接受下午的光线，拥抱着草原草的强风。这自然的光，连同未完成的雪松瓦，轮廓内部增加了温暖，渴望的条件，结构；他们的重叠模式拥抱混乱。

The elements of the area are harnessed to add to a permanent sensation. The communal areas of the kitchen and family room face east to capture the low direct rays of the Midwestern sunrise. The narrow outcropping off of the main bedroom receives afternoon light and embraces the strong winds off of the prairie grasses. This natural light along with the unfinished cedar shingles that contour the interior add to the warm, wistful condition of the structure; their overlapping pattern embracing chaos.

等级之间的分阶段相互作用允许一种发自内心的社会和物质上的分离，它的开放性增加了充气草原棚的感觉。

A sectional interaction between levels allows for a visceral social and physical separation and its openness adds to the sense of an aerated prairie shed.

自然主义形式的粗糙锯雪松板和未完成的雪松瓦模仿建筑物的周围，但提供了一个清澈开阔的草原天空的浮雕。平滑的，奇异的金属的汽车和遮阳篷提供了一个新的旧救济未受影响的外观。地基上的花岗岩磨碎了金属材料的异味。一个整体的原始感觉是加强的内部，有机扩张的循环，在震中和周围的家园。它是进一步的地毯增长覆盖地板，而不是树皮一样的墙壁家具。

The naturalist forms of rough sawn cedar boards and unfinished cedar shingles emulate the building’s surroundings yet provide a relief against the clear and open prairie sky. The smooth, singular metal of the carport and awning provide a new-aged relief to the unaffected exterior. The granite of the foundation grounds the foreign feel of the metal material. An overall raw feeling is strengthened by an interior organic expanse of circulation in and around the epicenter of the home. It is furthered by a carpeting growth covering the floor in contrast to the bark-like wall furnishing. 

 © Bob Bowlby

鲍勃·鲍比

集中的光走廊是吸引人的东西，就像往外面看玻璃一样。无边无际的草原和天空的景色与房子里的亲密忙碌的比例形成了鲜明的对比。

Concentrated corridors of light are attractors as looking glasses into the outside world. The views of the endless prairie and sky stand in stark contrast to the intimate, busy scale attributed to the house.

 © Bob Bowlby

鲍勃·鲍比

该计划的自然变化表明，风蚀反映了周围的平原。在板的位置和大小表面上的不和谐是为了回应草本植物的不稳定而流动的性质。在形式和空间的变化，允许一个亲密的经验，是个人的观众。

The natural shifted oval of the plan suggests windblown erosion mirroring the surrounding plains. The seeming discord in board placement and size is intended to echo the erratic yet flowing nature of the grasses. The variations in form and space allow for an intimate experience that is individual to the viewer.

 © Julius Shulman

朱利叶斯舒尔曼

“在设计草原房屋的时候，我选择了诺曼以东2英亩的地方，在那里看不到其他的房子。土地上的土壤是红色的粘土，在峡谷通过草原草。我试图把房子的两旁联系起来，这是用钉的雪松板做成的，在黑色矿物涂层的滚动屋顶上有图案的雪松块，整个房子的图案都与鸟类的羽毛和红色的粘土沟壑有关。

"When designing the prairie house, I chose a 2 acre site east of Norman where no other house was visible from the site. The soil on the site was red clay, seen in ravines through the prairie grass. I attempted to relate the sides of the house, which were made by nailing cedar boards onto concealed cedar blocks that were patterned over black mineral coated roll roofing coveting the entire house in patterns related to feathers of birds and the red clay ravines.

 © Julius Shulman

朱利叶斯舒尔曼

椭圆的平面和主西面的窗口，面向进入风暴的方向，提供抵抗来自西风的阻力。当它被设计和建造的时候，它受到怀特黑德关于“过程与现实”一书的影响。他展示了任何思想形式、观念和感觉，或思想形式、观念和感觉的任何方面都是如何联系起来的。

The elliptical plan and the main west facing window, face into the direction of incoming storms, providing resistance to incoming winds from the west. The time it was designed and built, it was influenced by Whitehead’s book on “process and reality”. He shows how any thought form, idea and sensation or any aspect of thought form, idea and sensation can be related. 

 © Julius Shulman

朱利叶斯舒尔曼

不是所有的方面，而是一些方面，这就是为什么西面窗口代表一个特征，如眼睛；半圆窗口因此可以暗示一只眼睛或生物或鸟通过创造性的感知过程。

Not all aspects but some, which is why the west facing window represents a feature such as an eye; the half circle window can thus suggest an eye or creature or bird by the creative process of perception.

 © Bob Bowlby

鲍勃·鲍比

“在感知中信息最丰富的方面，我对触觉感兴趣；地毯和瓦墙的暖色和质地在内部解决了这一问题，而凸起的板和瓦的浮雕则在外部解决了这一问题。我想创造好奇心，我想创造一个谜，一个格式塔。女人在体验内心时常常感动得流泪，然而外界却又害怕又迷惑不解。有一次，一名男子从一辆旅游巴士上走近房子，问道：“这是龙卷风袭击的地方吗？”

"In the most informative aspect of perception I’m interested in tactility; the warm color and texture of the carpet and the shingled walls address this in the interior while the relief of raised boards and shingles address this at the exterior. I wanted to create curiosity, I wanted to create a puzzle, a gestalt. Women were often moved to tears when experiencing the interior yet the outside scared and puzzled people. A man once approached the house from a tourist bus and asked “Is this where the tornado hit?”

 © Bob Bowlby

鲍勃·鲍比

我试图把各种各样的感情投射到草原之家。一种源于宇宙的不可否认性的感觉。伤感或悲剧情绪从隐约出现的“受伤生物”的形象中升起。幽默的建议，在意识到，动物的头，毕竟，是一个人造建筑，暗示舒适和庇护。一种保护的感觉，表现为母鸡“盘旋在上面”的一层包裹感，以及一种类似洞穴的内部感觉。柔和的纹理，人的尺度，温暖的颜色，栩栩如生的节奏，使人觉得房子在某种程度上是人类的。

I attempt to project a variety of feelings into the Prairie House. A sense derived from the implacability of the universe. Feelings of pathos or tragedy rising out of the looming “wounded creature” look of the image. Suggestions of humor in the realization that the head of the creature is, after all, a man- made construction with intimations of comfort and shelter. A feeling of protection expressed by the sense of an enveloping coat of a mother hen’s “hovering over,” as well a by the cavelike interior. The soft textures, human scale, warm color, and lifelike rhythms contribute to a feeling that the house is in some way human.

“有情而又恶毒的”面孔可以传递出强烈的期待和渴望的想法。板子的图案和房子的锥形形状使脸部形象显得像一个被绑在地上的受伤的生物，渴望自由。自从我和BruceGoff一起学习建筑学以来，我一直在表达对设计目标的渴望和渴望。他的演讲“渴望”是人类经验的必要组成部分，给人留下了深刻的印象。他认为，建筑除了表现道德的建筑技术、材料的性质、对现场和客户的反应之外，还应该表达人类对敏感、情感、渴望和渴望的表达。

"The sentient yet baleful “face” can impart ideas of poignant expectation and longing. The patterns of boards and the tapered form of the house compliment the face image to suggest a wounded creature tied to the earth, longing to be free. The expression of longing and aspiration as design aims has occupied me since I studied architecture with Bruce Goff. His lectures on aspiration as a necessary ingredient of human experience made as lasting impression. He thought architecture, in addition to expressing ethical building techniques, the nature of materials, and responses to site and clients, should also express human striving for expressions of sensitivity, feeling, longing and aspiration. 

 © Bob Bowlby

鲍勃·鲍比

卢梭强调了渴望的必要性。他担心，随着日益增长的资产阶级社会注重安全和物质满足，文化将失去对他的渴望。作为一名建筑师，我接受了许多资产阶级属性：舒适、收藏和展示物质财产、谨慎的屋顶设计以避免渗漏，以及实际客户的审美品味。我想知道如何表达渴望，因为舒适、安全和品味不足以满足人类的好奇心、精神的表达和获得更多理解的诱惑。

Rousseau stressed the necessity of longing. He was afraid that longing would be lost to culture as the growing bourgeois society focused on security and material satisfaction. As an architect, I have accepted many bourgeois attributes; comfort, the collection and display of material possessions, cautious roof designs to avoid leaks, and the aesthetic taste of actual clients. I have wondered how to express longing because comfort, security and taste are not adequate to satisfy human curiosity, the expression of spirit and the lure to attain more abundant understanding.

这些不和谐的对比产生了一种不同寻常的痛苦情绪。“

These jarring contrasts produce an unusual matrix of poignant feelings."