Architecture: Frank Lloyd Wright - Fallingwater House - 3 videos - Complete data - Wright-house.com - AD Classics
Posted by Ricardo Marcenaro | Posted in Architecture: Frank Lloyd Wright - Fallingwater House - 3 videos - Complete data - Wright-house.com - AD Classics | Posted on 12:46
© Robert Ruschak - Western Pennsylvania Conservancy
In Mill Run, Pennsylvania in the Bear Run Nature Reserve where a stream flows at 1298 feet above sea level and suddenly breaks to fall at 30 feet, Frank Lloyd Wright designed an extraordinary house known as Fallingwater that redefined the relationship between man, architecture, and nature. The house was built as a weekend home for owners Mr. Edgar Kaufmann, his wife, and their son, whom he developed a friendship with through their son who was studying at Wright’s school, the Taliesin Fellowship. The waterfall had been the family’s retreat for fifteen years and when they commissioned Wright to design the house they envisioned one across from the waterfall, so that they could have it in their view. Instead, Wright integrated the design of the house with the waterfall itself, placing it right on top of it to make it a part of the Kaufmanns’ lives.
More information, images, and a short video on Fallingwater after the break.
Wright’s admiration for Japanese architecture was important in his inspiration for this house, along with most of his work. Just like in Japanese architecture, Wright wanted to create harmony between man and nature, and his integration of the house with the waterfall was successful in doing so. The house was meant to compliment its site while still competing with the drama of the falls and their endless sounds of crashing water. The power of the falls is always felt, not visually but through sound, as the breaking water could constantly be heard throughout the entire house.
Wright revolved the design of the house around the fireplace, the hearth of the home which he considered to be the gathering place for the family. Here a rock cuts into the fireplace, physically bringing in the waterfall into the house. He also brings notice to this concept by dramatically extending the chimney upwards to make it the highest point on the exterior of the house.
Fallingwater consists of two parts: The main house of the clients which was built between 1936-1938, and the guest room which was completed in 1939. The original house contains simple rooms furnished by Wright himself, with an open living room and compact kitchen on the first floor, and three small bedrooms located on the second floor. The third floor was the location of the study and bedroom of Edgar Jr., the Kaufmann’s son.The rooms all relate towards the house’s natural surroundings, and the living room even has steps that lead directly into the water below. The circulation through the house consists of dark, narrow passageways, intended this way so that people experience a feeling of compression when compared to that of expansion the closer they get to the outdoors. The ceilings of the rooms are low, reaching only up to 6′4″ in some places, in order to direct the eye horizontally to look outside. The beauty of these spaces is found in their extensions towards nature, done with long cantilevered terraces. Shooting out at a series of right angles, the terraces add an element of sculpture to the houses aside from their function.
The terraces form a complex, overriding horizontal force with their protrusions that liberated space with their risen planes parallel to the ground. In order to support them, Wright worked with engineers Mendel Glickman and William Wesley Peters. Their solution was in the materials. The house took on “a definite masonry form” that related to the site, and for the terraces they decided on a reinforced-concrete structure. It was Wright’s first time working with concrete for residences and though at first he did not have much interest in the material, it had the flexibility to be cast into any shape, and when reinforced with steel it gained an extraordinary tensile strength.
The exterior of Fallingwater enforces a strong horizontal pattern with the bricks and long terraces. The windows on the facade have also have a special condition where they open up at the corners, breaking the box of the house and opening it to the vast outdoors. The perfection of these details perfected the house itself, and even though the house tends to have structural problems that need constant maintenance due to its location, there is no question that Fallingwater, now a National Historic Landmark, is a work of genius. From its daring cantilevers to its corner window detail and constant sound of the waterfall, Fallingwater is the physical and spiritual occurence of man and architecture in harmony with nature. All you have to do is listen.
Fallingwater, as it first appears from the driveway approach (from southeast).
The bridge on the right leads across the stream (Bear Run) to the "front" door, which is tucked away in what at first seems to be an insignificant corner. The terrace in the foreground on the main level (first floor) leads to the living room through sets of double doors on each side of the hatchway. There is another terrace on the other side of the living room, and the stream (Bear Run) runs under them, flowing from east to west (roughly right to left). The second-floor terrace on the left leads out from the master bedroom. The site chosen by Wright was lower in the canyon than was expected (from the standpoint of maximizing the view available), in keeping with the theme of a harmonious and natural relationship to the setting.
The bridge on the right leads across the stream (Bear Run) to the "front" door, which is tucked away in what at first seems to be an insignificant corner. The terrace in the foreground on the main level (first floor) leads to the living room through sets of double doors on each side of the hatchway. There is another terrace on the other side of the living room, and the stream (Bear Run) runs under them, flowing from east to west (roughly right to left). The second-floor terrace on the left leads out from the master bedroom. The site chosen by Wright was lower in the canyon than was expected (from the standpoint of maximizing the view available), in keeping with the theme of a harmonious and natural relationship to the setting.
View at the main (living room) level, from south-southeast.
The second-floor terrace in the foreground leads out from the master bedroom. Terraces flank the living room on the main level (first floor), and the stream (Bear Run) runs under them, flowing from east to west (right to left). The site chosen by Wright was lower in the canyon than was expected (from the standpoint of maximizing the view available), in keeping with the theme of a harmonious and natural relationship to the setting.
The second-floor terrace in the foreground leads out from the master bedroom. Terraces flank the living room on the main level (first floor), and the stream (Bear Run) runs under them, flowing from east to west (right to left). The site chosen by Wright was lower in the canyon than was expected (from the standpoint of maximizing the view available), in keeping with the theme of a harmonious and natural relationship to the setting.
Fallingwater: The covered walk from the main house up to the guest house.
The walk climbs the hill (or flows down it, depending on your perspective) with a gentle horizontal curve (an s-shape from a bird's eye view), the covered surface stepping up in parallel to the walking surface. The covered walk (on the left in the photo) leads from the second floor of the back of the main house (visible through the trees on the right in the photo) up to the guest house. Cherokee red steel vertical support posts are on one side only, creating a more open feel, and incorporate a design suggestive of leaves growing upward. Magnolia, as in the foreground in the photo, covers the ground throughout the property.
The walk climbs the hill (or flows down it, depending on your perspective) with a gentle horizontal curve (an s-shape from a bird's eye view), the covered surface stepping up in parallel to the walking surface. The covered walk (on the left in the photo) leads from the second floor of the back of the main house (visible through the trees on the right in the photo) up to the guest house. Cherokee red steel vertical support posts are on one side only, creating a more open feel, and incorporate a design suggestive of leaves growing upward. Magnolia, as in the foreground in the photo, covers the ground throughout the property.
Guest house front walk and trellis, and canopied steps to the main house, from east.
The guest house (of which only a bit is visible on the right side of the picture) sits up higher on the hill, connected to the main house by a stepped walkway covered by a stepped canopy, which can be seen dropping off to the left in the picture.
The guest house (of which only a bit is visible on the right side of the picture) sits up higher on the hill, connected to the main house by a stepped walkway covered by a stepped canopy, which can be seen dropping off to the left in the picture.
Southeast corner of the house, looking from the bridge (from southeast).
The stream (Bear Run) is in the foreground, and the plunge pool can be seen behind the low wall. Steps leading down to it are barely visible behind the Lipchitz Mother and Child statue, which sits on the corner of the low wall.
The stream (Bear Run) is in the foreground, and the plunge pool can be seen behind the low wall. Steps leading down to it are barely visible behind the Lipchitz Mother and Child statue, which sits on the corner of the low wall.
Guest house trellis and front wall, from west.
Though naturally unassuming, the guest house trellis is the longest cantilever at Fallingwater, drawing one from the top of the canopied steps (that lead up the hill from the main house), across the length of the front wall of the guest house (visible on the left in this photo), and on to the steps in the photo (bottom center) that take one over the wall of the guest house plunge pool. Making use of a device Frank Lloyd Wright would often use to suggest a reduction in the barrier between inside and outside, the corner window at the end of the front wall has no vertical corner post.
Though naturally unassuming, the guest house trellis is the longest cantilever at Fallingwater, drawing one from the top of the canopied steps (that lead up the hill from the main house), across the length of the front wall of the guest house (visible on the left in this photo), and on to the steps in the photo (bottom center) that take one over the wall of the guest house plunge pool. Making use of a device Frank Lloyd Wright would often use to suggest a reduction in the barrier between inside and outside, the corner window at the end of the front wall has no vertical corner post.
Guest house plunge pool, from west.
The plunge pool beside the guest house uses the same materials as the main house and guest house: the stone used in the steps is the same stone used for interior and exterior walls, and the walls of the pool closely resemble those of the terraces. At the top of the photo we see just the end of a very long trellis running the length of the front of the guest house. (This is actually the longest cantilevered structure at Fallingwater.) Notice the statue to the right of the far steps.
The plunge pool beside the guest house uses the same materials as the main house and guest house: the stone used in the steps is the same stone used for interior and exterior walls, and the walls of the pool closely resemble those of the terraces. At the top of the photo we see just the end of a very long trellis running the length of the front of the guest house. (This is actually the longest cantilevered structure at Fallingwater.) Notice the statue to the right of the far steps.
The driveway which borders the north side of the house, viewed from the east.
The photographer has just crossed the bridge over the stream (Bear Run) and immediately turned to his left. The entrance to the house is on the left in the photograph. Visible over the driveway are a trellis and, behind it, the corridor connecting to a covered walkway that meanders down the hill from the guest house (to the right of this picture). The main door is tucked away in a short corridor behind the bush on the left. Click here for a similar photo in a larger size.
The photographer has just crossed the bridge over the stream (Bear Run) and immediately turned to his left. The entrance to the house is on the left in the photograph. Visible over the driveway are a trellis and, behind it, the corridor connecting to a covered walkway that meanders down the hill from the guest house (to the right of this picture). The main door is tucked away in a short corridor behind the bush on the left. Click here for a similar photo in a larger size.
Fallingwater: Driveway trellis, reverse angle (from west).
The driveway trellis connects the back of the house to the hillside. At the very top of the photo, part of the walkway is visible that leads from the second floor up the hill to the guest house. For a better view, see the driveway trellis from the opposite end or the view from the same angle but further back showing the cantilever anchors and back of the house.
The driveway trellis connects the back of the house to the hillside. At the very top of the photo, part of the walkway is visible that leads from the second floor up the hill to the guest house. For a better view, see the driveway trellis from the opposite end or the view from the same angle but further back showing the cantilever anchors and back of the house.
This corner is opposite to corner nearest the camera in the famous view from downstream.
Looking up through the driveway trellis (from southeast).
Visible through the driveway trellis is the stepped canopy which covers the walkway up to the guest house. This walkway was originally planned to lead into the house on the third floor, but at the Kaufmann's request, it was changed to the second floor.
Visible through the driveway trellis is the stepped canopy which covers the walkway up to the guest house. This walkway was originally planned to lead into the house on the third floor, but at the Kaufmann's request, it was changed to the second floor.
The terrace in the lower left of the picture extends west (left) from the front portion of the livingroom; these are above the stream. In this photo, the terrace seems to be nestled in among the trees and magnolia bushes, serene and calm. But a reverse angle shot shoes this to be a terrace dramatically cantilevered over the waterfall.
Above the rear portion of the livingroom is the master bedroom, and a large terrace extends south (toward the camera) beyond the livingroom and its flanking terraces. To see this section in the context of the entire southern view, see the Fallingwater elevation photo.
Detail: corner window at the guest house, from southeast.
In keeping with Wright's overall method, a natural degree of continuity is achieved in that there are themes here which echo those of the main house, but also slight variations on the themes. Notice also that at the vertical corner, the two panes of glass meet with nothing obstructing the view, symbolizing no barrier between inside and outside, a harmonization of the two; this feature is common in Frank Lloyd Wright windows.
In keeping with Wright's overall method, a natural degree of continuity is achieved in that there are themes here which echo those of the main house, but also slight variations on the themes. Notice also that at the vertical corner, the two panes of glass meet with nothing obstructing the view, symbolizing no barrier between inside and outside, a harmonization of the two; this feature is common in Frank Lloyd Wright windows.
View 1 from the lookout above the stream (Bear Run), from southwest. Frank Lloyd Wright planned the house with this view in mind.
In the photo, visitors can be seen on the second floor terrace above the living room, and also on the third floor terrace that leads out from the gallery. The cantilevered levels and terraces as well as the stone walls echo the ledges below, giving an impression of the house being an organic part of the rock formations, and that the house "fits" in its natural setting. The stream flows in front of the house, from right to left in the photo (and under part of the cantilevered living room and terraces), but breaks at an angle away from the house at the upper falls, creating the illusion of water flowing out from the house itself.
In the photo, visitors can be seen on the second floor terrace above the living room, and also on the third floor terrace that leads out from the gallery. The cantilevered levels and terraces as well as the stone walls echo the ledges below, giving an impression of the house being an organic part of the rock formations, and that the house "fits" in its natural setting. The stream flows in front of the house, from right to left in the photo (and under part of the cantilevered living room and terraces), but breaks at an angle away from the house at the upper falls, creating the illusion of water flowing out from the house itself.
View 2 from the lookout above the stream (Bear Run), from southwest. Frank Lloyd Wright planned the house with this view in mind.
In this famous view of Fallingwater from downstream, two waterfalls are clearly visible. The upper waterfall seems to come straight out from under the house, but in actuality, the stream flows from right to left in the photo, but breaks at an angle toward the camera (away from the house) at the upper waterfall. The cantilevered levels and terraces as well as the stone walls echo the ledges below, giving an impression of the house being an organic part of the rock formations and that the house harmonizes with its natural setting. In the photo, visitors can be seen on the terraces, mostly on the second floor terrace above the living room and the southwest terrace on the main floor that leads out from the living room.
In this famous view of Fallingwater from downstream, two waterfalls are clearly visible. The upper waterfall seems to come straight out from under the house, but in actuality, the stream flows from right to left in the photo, but breaks at an angle toward the camera (away from the house) at the upper waterfall. The cantilevered levels and terraces as well as the stone walls echo the ledges below, giving an impression of the house being an organic part of the rock formations and that the house harmonizes with its natural setting. In the photo, visitors can be seen on the terraces, mostly on the second floor terrace above the living room and the southwest terrace on the main floor that leads out from the living room.
If you haven't already seen it, be sure to have a look at the photo of Fallingwater in autumn at dusk; the golden hues of the interior lighting harmonize with the early autumn colors of the leaves to create a stunning picture.
View from lookout, downstream. Frank Lloyd Wright planned the house with this particular view in mind.
Notice that the warm glow from the interior lighting resonates with the autumn colors in this fall photo. Dramatic cantilevered terraces reflect the similar structure of the rock ledges below. Roomy terraces on either side of the living room on the main level, as well as the large terrace above it, create strong horizontal lines balanced by the almost unbroken vertical lines in the tower on the left (which in addition to stone columns over 10 meters tall, has 3 stories of floor-to-ceiling windows). These and many other clear horizontal and vertical lines in the house may be compared with the formation of the rock, with the horizontal and vertical of ground and trees, and with the water moving horizontally in the stream (Bear run) and vertically as "falling water" in the form of waterfalls (visible in the photo and downstream just out of view in this photo). The falls visible in the photo break at an angle, creating an illusion of water flowing out from beneath the middle of the house. The sound of the flowing water fills the house continuously.
There is no grand front entrance, if that means big double doors flanked by decorations and symbolizing the barrier between outside and inside. Rather, the continuity of inside and outside is emphasized, in keeping with the theme of a harmonious and natural relationship to the setting. Other examples of this, besides everything mentioned above, include windows wrapping all the way around 3 sides of the huge living room, and at the corners where two window panes meet - here and at other places in the house such as the west tower (as well as in other Frank Lloyd Wright houses) - there are no bulky vertical support beams.
Notice that the warm glow from the interior lighting resonates with the autumn colors in this fall photo. Dramatic cantilevered terraces reflect the similar structure of the rock ledges below. Roomy terraces on either side of the living room on the main level, as well as the large terrace above it, create strong horizontal lines balanced by the almost unbroken vertical lines in the tower on the left (which in addition to stone columns over 10 meters tall, has 3 stories of floor-to-ceiling windows). These and many other clear horizontal and vertical lines in the house may be compared with the formation of the rock, with the horizontal and vertical of ground and trees, and with the water moving horizontally in the stream (Bear run) and vertically as "falling water" in the form of waterfalls (visible in the photo and downstream just out of view in this photo). The falls visible in the photo break at an angle, creating an illusion of water flowing out from beneath the middle of the house. The sound of the flowing water fills the house continuously.
There is no grand front entrance, if that means big double doors flanked by decorations and symbolizing the barrier between outside and inside. Rather, the continuity of inside and outside is emphasized, in keeping with the theme of a harmonious and natural relationship to the setting. Other examples of this, besides everything mentioned above, include windows wrapping all the way around 3 sides of the huge living room, and at the corners where two window panes meet - here and at other places in the house such as the west tower (as well as in other Frank Lloyd Wright houses) - there are no bulky vertical support beams.
Hatchway stairs to stream from living room
The "hatchway" consists of small vertical glass doors (near the camera in the bottom of the photo) that open out toward the camera as well as horizontal sliding glass panels that can be pushed back. This opening leads to the staircase to the stream below. So not only is the main level of the house cantilevered over the stream and partly over the waterfall, the main room on the main level - the living room (or great room) - is physically connected to the stream (Bear Run) via the staircase.
Notice that the ceiling here (but in no other part of the house) is glass, set on a continuation of the trellis over the southeast terrace, so that a vertical openness above and below is created, which Edgar Kaufmann, Jr. describes in his beautiful book as a "column of air" to be contrasted with the "column of stone" that was the great, solid chimney wall.
Notice also the stone floor which, because of its being polished, has a wet look, suggesting closeness to the water below. The pillar on the left can be seen through the window in another photo, a reverse view looking in from outside.
The "hatchway" consists of small vertical glass doors (near the camera in the bottom of the photo) that open out toward the camera as well as horizontal sliding glass panels that can be pushed back. This opening leads to the staircase to the stream below. So not only is the main level of the house cantilevered over the stream and partly over the waterfall, the main room on the main level - the living room (or great room) - is physically connected to the stream (Bear Run) via the staircase.
Notice that the ceiling here (but in no other part of the house) is glass, set on a continuation of the trellis over the southeast terrace, so that a vertical openness above and below is created, which Edgar Kaufmann, Jr. describes in his beautiful book as a "column of air" to be contrasted with the "column of stone" that was the great, solid chimney wall.
Notice also the stone floor which, because of its being polished, has a wet look, suggesting closeness to the water below. The pillar on the left can be seen through the window in another photo, a reverse view looking in from outside.
Living room, from entrance
After one comes in the "front" door of the Fallingwater house and passes through the small entry way, one enters the living room and sees it from the view in the photo above. On the far right in the photo is a bit of the fireplace and hearth, the natural boulder protruding up through the floor. Near it in the photo, just a small corner of the dining table is visible. (The other corner of the dining table is visible in the black and white photo showing a similarly diagonal view of the living room from the kitchen.) Next to the fireplace is the sitting area, and above the sitting area a large window through which one can look down the canyon. Click here for another view of the sitting area and fire place. Center-left in the photo above one sees a bay of windows facing across the stream, and to their right an open glass door, which leads to the terrace over the waterfall. The brown object on the left is a built-in desk. On either side of it are more glass doors that open onto the southeast terrace (closeup views: from corner of southeast terrace toward living room, from bridge toward southeast terrace and living room). For a better view of the desk and these glass doors, see the black and white photo of the living room.
After one comes in the "front" door of the Fallingwater house and passes through the small entry way, one enters the living room and sees it from the view in the photo above. On the far right in the photo is a bit of the fireplace and hearth, the natural boulder protruding up through the floor. Near it in the photo, just a small corner of the dining table is visible. (The other corner of the dining table is visible in the black and white photo showing a similarly diagonal view of the living room from the kitchen.) Next to the fireplace is the sitting area, and above the sitting area a large window through which one can look down the canyon. Click here for another view of the sitting area and fire place. Center-left in the photo above one sees a bay of windows facing across the stream, and to their right an open glass door, which leads to the terrace over the waterfall. The brown object on the left is a built-in desk. On either side of it are more glass doors that open onto the southeast terrace (closeup views: from corner of southeast terrace toward living room, from bridge toward southeast terrace and living room). For a better view of the desk and these glass doors, see the black and white photo of the living room.
BW living room
Fallingwater sitting area
The dining table at the north end of the living room.
This is the dining area at the north end of the living room, or great room. (Fallingwater was one of the original "open plan" homes.) It is opposite from the side of the living room demarcated by a curtain of glass running its full width, above the stream just before it goes over the falls. In contrast to such openness, the dining area is somewhat more protected, with stone walls all around, just off the kitchen and near the large fireplace. (In the black and white picture of the living room, the corner of the dining table can be seen on the left.)
The uneven stone facing has a horizontal orientation, appearing "stratified," and forming lots of small ledges everywhere. More pronounced still, what looks like wood molding emerges in some places, such as over the fireplace, to become shelf-like. In the upper portion of this photo, the transformation to shelves is complete.
Originally Frank Lloyd Wright proposed barrel chairs for the dining table, but the Kaufmanns felt they were a bit "static" when grouped here, but found the chair "graceful" when used alone as a desk chair in the guest room.
This is the dining area at the north end of the living room, or great room. (Fallingwater was one of the original "open plan" homes.) It is opposite from the side of the living room demarcated by a curtain of glass running its full width, above the stream just before it goes over the falls. In contrast to such openness, the dining area is somewhat more protected, with stone walls all around, just off the kitchen and near the large fireplace. (In the black and white picture of the living room, the corner of the dining table can be seen on the left.)
The uneven stone facing has a horizontal orientation, appearing "stratified," and forming lots of small ledges everywhere. More pronounced still, what looks like wood molding emerges in some places, such as over the fireplace, to become shelf-like. In the upper portion of this photo, the transformation to shelves is complete.
Originally Frank Lloyd Wright proposed barrel chairs for the dining table, but the Kaufmanns felt they were a bit "static" when grouped here, but found the chair "graceful" when used alone as a desk chair in the guest room.
Architect: Frank Lloyd Wright
Location: Mill Run, Pennsylvania
Clients: Mr. and Mrs. Edgar Kaufmann
Engineers: Mendel Glickman and William Wesley Peters
Project Year: 1936-1939
Location: Mill Run, Pennsylvania
Clients: Mr. and Mrs. Edgar Kaufmann
Engineers: Mendel Glickman and William Wesley Peters
Project Year: 1936-1939
Thanks to AD Classics:
AD Classics: Fallingwater House / Frank Lloyd Wright
By Adelyn Perez — Filed under: AD Architecture Classics , Houses , Residential , Concrete, Frank Lloyd Wright, Pennsylvania, Steel, USA
© Robert Ruschak - Western Pennsylvania Conservancy
Description - Mill Run - Pennsylvania PA - Fallingwater Kaufmann House master bedroom terrace and living room west terrace - 1935-1937 - architect Frank Lloyd WrightPhotographs: Depending on the photograph: On Flickr, Western Pennsylvania Conservancy, Keystone State Photographer, and Lee Sandstead, and www.fallingwater.org
References: Hoffmann, Donald. Frank Lloyd Wright. Dover Pubns, 1993. Print. and
Knight, Caroline. Frank Lloyd Wright. Parragon Publishing, 2005. Print. and
www.fallingwater.org
References: Hoffmann, Donald. Frank Lloyd Wright. Dover Pubns, 1993. Print. and
Knight, Caroline. Frank Lloyd Wright. Parragon Publishing, 2005. Print. and
www.fallingwater.org
Thanks to:
Ricardo Marcenaro
Sculptures – Esculturas
http://ricardomarcenaro.ning.com/
Ricardo M Marcenaro - Facebook
Blogs in operation of The Solitary Dog:
Solitary Dog Sculptor:
http://byricardomarcenaro.blogspot.com
Solitary Dog Sculptor I:
http://byricardomarcenaroi.blogspot.com
Para:
comunicarse conmigo,
enviar materiales para publicar,
propuestas comerciales:
marcenaroescultor@gmail.com
For:
contact me,
submit materials for publication,
commercial proposals:
marcenaroescultor@gmail.com
Diario La Nación
Argentina
Cuenta Comentarista en el Foro:
Capiscum
My blogs are an open house to all cultures, religions and countries. Be a follower if you like it, with this action you are building a new culture of tolerance, open mind and heart for peace, love and human respect.
Thanks :)
Mis blogs son una casa abierta a todas las culturas, religiones y países. Se un seguidor si quieres, con esta acción usted está construyendo una nueva cultura de la tolerancia, la mente y el corazón abiertos para la paz, el amor y el respeto humano.
Gracias :)
Comments (0)
Publicar un comentario