Fallingwater, constructed from 1936-1938, is the building that architect Frank Lloyd Wright is most renowned. His use
of the formal elements in art suggests a unity and oneness with nature that allows for the building to blend in with its surroundings.
Line is used to emphasize the oneness with nature. Horizontal lines can be found in the ferroconcrete balconies. These
are repetitive and also in line with the rock formations below. Vertical lines can be found in the stone columns that shoot
upward from the house. These are similar to the surrounding trees that project upward as well. The arrangements of these
horizontal and vertical lines run parallel with the surrounding nature and reinforce the idea of harmony with nature.
Light is sporadic throughout the building, and the only constant light is visual at night when the building is lit.
During the day, light is found in its most natural form. Shadows are cast by the arrangement and construction of the building
itself. The overhanging balconies project a shadow over what lies beneath, much as overhanging cliffs would do to the water
below. At night is the only time where Fallingwater sticks out from nature; however, it is not obtuse, but merely an outline
of the structure, so that onlookers are aware that it is there.
Natural tones are used for color. Stone grey and cream colors with a lot of brown mixed in matches the trees seen in
the fall. Hints of red are seen in the structure which draws attention to certain parts of the structure. This tone of red
can also be found in surrounding rocks. No extremely bright colors are used, nor any colors that would not be found in nature
around the structure. This helps to blend the house into its element and make its presence less obvious.
Texture and pattern combined in Fallingwater imitate nature. The balconies consist of a smooth texture, whereas the
vertical stone columns have a rougher rockier texture. This is symbolic of the varying textures of nature. This again helps
to make the structure seem more natural in its setting.
Shape and volume vary throughout the structure. There are many rectangular shapes, but they are different sizes and
oriented differently. The volume is not obtuse, but certain areas do project outward or upward from the building. The shape
and volume again correlate strongly with the randomness of nature and how one thing might protrude, but looks as though it
is almost meant to be there.
Space, like pattern and volume, is sporadic as well. In some places, the structure takes up a large portion of the area,
but in other spots such as underneath the balconies there is a lot of negative space. Instead of having a large clearing
to place the structure in the middle of a forest, there is as little as clearing that is possible with the fullness of nature
peaking in every window. By doing this, there is as little destruction of the natural area as possible.
The principles of composition also emphasize the blending and harmonizing with nature. Balance is present in the sense
that Fallingwater is unbalanced and irregular in composition as is the wilderness. Rhythm is present in two senses. There
is a repetitive rhythm in the vertical columns and the overhanging balconies, but there is also an eccentric rhythm in the
actual erratic shape of the house; however, this shape does connect with the surrounding atmosphere. It is also proportional
to nature in the sense that no part of the structure is taller than the forest itself, which also helps to make Fallingwater
blend. Unity is seen, as has been repeated many of times, in the cohesiveness with nature. The emphasis of the work, although
easy to believe that it would be the surrounded waterfall, is the harmony with nature that the building portrays and that
a close coexistence of the human world and the wild is possible.