On this research a critical assessment is attempted on the connection of water and architecture. The research focuses on water as an architect’s intention and not as found in nature. The research is organized in 4 chapters. For each chapter an architectural project has been chosen as a motive, to discover the way that water enriches morphologically and notionally the constructed environment.
On the first chapter, the motion and sound of water in the Falling water" premises give us the initiative to remark upon the contribution Water give us the initiative to remark upon the contribution of water in underlining the meaning of time in the perception of space. On the second chapter, the reflection of the governmental buildings of Brasilia and Chandigarh introduces the use of water as a natural mirror. Subsequently the water reveals the narcissism of the architect and/or his mandator. Specific commentary is made upon the narcissism of governmental power and the buildings that represent it. During the third chapter the impure and deep water in addition to the canal of Brion Cemetery of Carlo Scarpa, lead to the connection between water and death, the meaning of journey, as well as water’s ability to union or act as a limit. On the fourth chapter, Tadao Ando’s temples, Water Temple and Church on the Water are the cause for the research on water's sacred dimension, and also its connection to cosmogony. Water is seen, as a meance to catharsis and a symbolic repetition of cosmogony.
The sensory and notional stimulants of water define the experience of constructed surroundings. Water is a mechanism to produce ideas, a mechanism to create and interpretate space.