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FRANK LLOYD WRIGHT, KAUFMANN HOUSE, BEAR RUN 1939
F. L. WRIGHT, BEAR RUN: “ORGANICALLY TRUE TO NATURE”
F. L. WRIGHT, BEAR RUN: “PARALLEL FLATS, CONCRETE AND ROKS”
F. L. WRIGHT, BEAR RUN: “PARALLEL FLATS, CONCRETE AND ROKS”
F. L. WRIGHT, BEAR RUN: “ARRIVAL THROUGH TREES”
SKETCH
F. L. WRIGHT, BEAR RUN: “CANTILEVERS BEFORE THE FALL”
F. L. WRIGHT, BEAR RUN: “OVERLAPPING DECKS”
F. L. WRIGHT, BEAR RUN: “RUNNING PLANES”
PLAN
F. L. WRIGHT, BEAR RUN: “NATURE IS DRAWING INTO THE BUILDING”
F. L. WRIGHT, BEAR RUN: “FROM THE BRIDGE”
F. L. WRIGHT, BEAR RUN: “BRIDGE CROSSING BEAR RUN RIVER”
FRANK LLOYD WRIGHT, KAUFMANN HOUSE, BEAR RUN 1939
"All the vertical elements are constructed of native stone (…) to give a more sculptural quality (…) All horizontal elements are poured concrete." B. Pfeiffer, 1991
"A work of Architecture is a great coordination with a distinct an vital organism, but is no sense naturalistic - it is the highest, most subjective, conventionalization of Nature known to man, and at the same time it must be organically true to Nature when it is really a work of Art." F.L. Wright, 1920
"he may even have adopted the subtle position of a corrective to the ‘box architecture’ of the International Style, by demonstrating how floating horizontals might create a vital, life enhancing space."
W.J.R. Curtis, 1982
"affrancandosi da qualsiasi residuo rinascimentale, ripropone la tridimensionalitŕ in chiave anti prospettica innescando una pluralitŕ di visioni angolari; scardina l’involucro in setti alla maniera De Stijl, rassembrandoli non in un altro involucro piů sofisticato, ma in un campo che agglutina il paesaggio." B. Zevi, 1950
"The spaces around the waterfall and the screens of the trees were drawn into the building, nature and art were made reinforce one another." W.J.R. Curtis, 1982
F. L. WRIGHT, BEAR RUN: “GUEST HOUSE”
F. L. WRIGHT, BEAR RUN: “SHELTED STAIRS”
F. L. WRIGHT, BEAR RUN: “ROUNDING STAIRS”
F. L. WRIGHT, BEAR RUN: “BRIDGE AND PORTICO”
F. L. WRIGHT, BEAR RUN: “APPEARING TROUGH TREES”
F. L. WRIGHT, BEAR RUN: “GROWING EASILY FROM ITS SITE”
F. L. WRIGHT, BEAR RUN: “STONES AND STAIRS”
F. L. WRIGHT, BEAR RUN: “CONCRETE AND STAIRS”
F. L. WRIGHT, BEAR RUN: “UNTOUCHABLE WATER”
AXONOMETRIC SKETCH
"Throughout history there persist two different trends – the one toward the rational and geometrical, the other toward irrational and the organic. (…) They are constantly recurrent ways of approach; one cannot superior of the other. (…) Wright’s whole career was an endeavor to express him in what he called ‘organic architecture’ whatever that may be. (…) ‘Organic’ in the sense of Sullivan and Wright is that development in which thinking and feeling approach coincidence." S. Giedion, 1941
"Wright non conosce abbastanza la storia dell’arte per dare un preciso obiettivo alla sua irritata avversione all’arte classica e in genere per la grande tradizione figurativa occidentale; ma č abbastanza acuto per individuare la causa dell’avversione nel principio di autoritŕ, sul quale quella tradizione si fonda" G.C. Argan, 1947
"Now you are related to the landscape. You are as much part of it as the trees, the flower, and the ground. You are now free to become a natural feature of your environment and that, I believe, was intended by your maker."
F.L. Wright, 1939
"Fallingwater evokes the romantic splendor of Wright’s vision of the independent and isolated life of the individualistic." T. Riley, 1994
"geometria e tecnologia sono ostacoli da vincere, sfide opposte all’immaginario della cristallizzazione della forma."
M. Tafuri, F. Dal Co, 1988
"With the exception of Mies , who freely acknowledge his debit to Wright, the Europeans who came in America refused to accept Wright as a modern man."
V. Scully, 1942
"Its (of Fallingwater, ndr) metaphorical interpretation of human confrontation with nature, symbolically summed up in the stairs that descend from the living room to the water." A. Alofsin, 1994
"Like Ville Savoye, the building contained an ‘enormous quantity of ideas’ compressed into a simple guiding image; it, too, relied on years of experimentation with an architectural system based upon principles, and upon a philosophy of life." W.J.R. Curtis, 1982
"a building should appear to grow easily from its site and be shaped to harmonize with its surroundings." F.L. Wright, 1908
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