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| ArchiStud - where creativity takes shape How a life of an architecture student is different in perceiving the world. | |
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| Falling Water-- A Romance With Nature | |
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| | By:ashish batra - On Friday, April 18,2008 - 3131 View(s) - 0 Comment(s) |

Falling water, the house in itself setting embodies a powerful ideal- that people today can learn to live in harmony with nature….. as technology uses more and more natural resources, as world’s population grows even larger, harmony with nature is necessary for the very existence of mankind.
-Edgar Kaufmann
Falling water- Wright’s masterwork- is considered his sublime integration of building nature and technology. Deep in the lush Pennsylvania forest.

The sun, trees, stones and water were elements of the natural world that Wright incorporated into his style of organic architecture. It is a weekend cottage capturing the real essence of our desires.

Organic here means that he imagined his house to be a very substantial part of nature and the building and site together should form the very image of man’s desire to be at one with nature.

Since falling water is Wright’s greatest essay in horizontal space, it is his most powerful piece of structural drama. The masonary wall of sandstone quarried on the site were laid to resemble the natural cliffs. Frank llyod wright often abstracted a visual element of the landscape this way.. the reinforced concrete, of which falling water’s terrace and canopies are formed, contrasts with the static, immovable stone wall.

It’s a symmetrical open plan. Falling water’s floors and roofs are dramatically cantilevered over the waterfall of Bear Run, a creek in western Pennsylvania. Executed in reinforced concrete, the house’s floating planes echo the stream’s cascading flow. The composition is anchored to the site visually by vertical elements such as stairs and chimneys faced in rough stone and from a nearby quarry. Every detail reinforces Wright’s vision of the exploded box: floors and ceiling expand outward independently, vertical elements extend this movement skyward, and windows meet at the corners of rooms, opening to erode the very notion of containment.

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