建筑师赖特.ppt

建筑师,赖特,.ppt￿￿￿￿Still￿waters￿run￿deep.流静水深流静水深,人静心深人静心深￿￿￿￿Where￿there￿is￿life,￿there￿is￿hope有生命必有希望有生命必有希望List of Frank Lloyd Wright works Completed Works table NameCity DesignedInformation Image Ward Winfield Willits House威利茨住宅 Highland Park伊利诺斯州1901Larkin Administration Building拉金公司办公楼New York1904Demolished 1950Frederick C. Robie House罗比住宅Chicago芝加哥1908List of Frank Lloyd Wright worksImperial Hotel东京帝国饭店Tokyo 1915Demolished 1968 (Lobby and pool reconstructed in 1976 at Meiji Mura)Falling water落水山庄流水别墅Pittsburgh匹兹堡1935Solomon R. Guggenheim Museum古根海姆博物馆 New York1943–1956Completed 1959Frank Lloyd Wright •Frank Lloyd Wright (born Frank Lincoln Wright, June 8, 1867 – April 9, 1959) was an American architect, interior designer, writer and educator, who designed more than 1,000 structures and completed 500 works. Wright believed in designing structures which were in harmony with humanity and its environment, a philosophy he called organic architecture. This philosophy was best exemplified by his design for Fallingwater (1935), which has been called "the best all-time work of American architecture".[1] Wright was a leader of the Prairie School movement of architecture and developed the concept of the Usonian home, his unique vision for urban planning in the United States.• His work includes original and innovative examples of many different building types, including offices, churches, schools, skyscrapers, hotels, and museums. Wright also designed many of the interior elements of his buildings, such as the furniture and stained glass. Wright authored 20 books and many articles and was a popular lecturer in the United States and in Europe. His colorful personal life often made headlines, most notably for the 1914 fire and murders at his Taliesin studio. Already well known during his lifetime, Wright was recognized in 1991 by the American Institute of Architects as "the greatest American architect of all time."[1]弗兰克·劳埃德·赖特 •弗兰克·劳埃德·赖特 （英语：Frank Lloyd Wright，1867年6月8日－1959年4月9日），美国建筑师、室内设计师、作家、教育家。

，是20世纪上半叶最有影响的建筑师之一，设计了超过1000个建筑设计、其中完成了约500栋建筑 赖特相信建筑的设计应该达到人类与环境之间的合谐，一套他称之为“有机建筑”的哲学 有机建筑最佳的实例便是赖特所设计的落水山庄（1935年），曾被称许为“美国史上最伟大的建筑物” [1]• 在赖特超过70年的建筑师生涯（1887年－1959年）中，设计了一系列各式建筑，包括办公室、教堂、摩天大楼、旅馆和博物馆，另外还包含许多室内物品的设计，如家俱、花窗玻璃 赖特一生著作二十本书与许多文章，并且是一位受欢迎的讲者 生前就已经广为人知的赖特，在1991年被美国建筑师学会称之为“最伟大的美国建筑师”Early years •Frank Lloyd Wright was born in the farming town of Richland Center, Wisconsin, United States, in 1867 and named Frank Lincoln Wright. His father, William Carey Wright (1825–1904), was a locally admired orator, music teacher, occasional lawyer, and itinerant minister. William Wright had met and married Anna Lloyd Jones (1838/39 – 1923), a county school teacher, the previous year when he was employed as the superintendent of schools for Richland County. Originally from Massachusetts, William Wright had been a Baptist minister, but he later joined his wife's family in the Unitarian faith. Anna was a member of the large, prosperous and well-known Lloyd Jones family of Unitarians, who had emigrated from Wales to Spring Green, Wisconsin. One of Anna's brothers was Jenkin Lloyd Jones, who would become an important figure in the spread of the Unitarian faith in the Western United States. Both of Wright's parents were strong-willed individuals with idiosyncratic interests that they passed on to him. According to his biography his mother declared, when she was expecting her first child, that he would grow up to build beautiful buildings. She decorated his nursery with engravings of English cathedrals torn from a periodical to encourage the infant's ambition.[citation needed] The family moved to Weymouth, Massachusetts in 1870 for William to minister a small congregation.早年 •1867年6月8日，弗兰克·劳埃德·赖特出生在美国威斯康辛州的乡村小镇里奇兰中心，那时美国内战刚刚结束两年。

他最初是被命名为弗兰克·林肯·赖特 他的父亲威廉·凯里·赖特（1825年－1904年）是一个当地的演说者、音乐教师、临时律师 威廉·赖特认识了安娜·劳埃德·琼斯（1838/1839年－1923年），安娜·琼斯是一名当地教师，曾经在里奇兰郡担任职务两人后来结为夫妻 来自马萨诸塞州的威廉原本曾是一名浸信会牧师，但加入了妻子的家庭后成为了一位论派的信徒 安娜的家族是当地有名、一位论派的望族，家族自威尔士迁徙到威斯康辛 安娜的其中一位兄弟詹金·劳埃德·琼斯是在美国西部传布一位论派的知名人物 赖特的两位双亲都是意志坚强、并有着高雅的兴趣，这些也传承给了赖特 赖特的传记提到他母亲期望他的第一个孩子，长大后能够盖出美丽的建筑她用杂志上撕下的英国教堂雕刻来装饰赖特的育儿室，期望激励其志向 1870年，由于威廉的工作，他们家迁到了韦茅斯•In 1876, Anna visited the Centennial Exhibition in Philadelphia and saw an exhibit of educational blocks created by Friedrich Wilhelm August Fröbel. The blocks, known as Froebel Gifts, were the foundation of his innovative kindergarten curriculum. A trained teacher, Anna was excited by the program and bought a set of blocks for her family. Young Wright spent much time playing with the blocks. These were geometrically shaped and could be assembled in various combinations to form three-dimensional compositions. This is how Wright described, in his autobiography, the influence of these exercises on his approach to design: "For several years I sat at the little Kindergarten table-top . . . and played . . . with the cube, the sphere and the triangle—these smooth wooden maple blocks . . . All are in my fingers to this day . . ."[2] Many of his buildings are notable for their geometrical clarity.• •The Wright family struggled financially in Weymouth and returned to Spring Green, Wisconsin, where the supportive Lloyd Jones clan could help William find employment. They settled in Madison, where William taught music lessons and served as the secretary to the newly formed Unitarian society. Although William was a distant parent, he shared his love of music, especially the works of Johann Sebastian Bach, with his children.• •Soon after Wright turned 14, his parents separated. Anna had been unhappy for some time with William's inability to provide for his family and asked him to leave. The divorce was finalized in 1885 after William sued Anna for lack of physical affection. William left Wisconsin after the divorce and Wright claimed he never saw his father again.[3] At this time Wright changed his middle name from Lincoln to Lloyd in honor of his mother's family, the Lloyd Joneses. As the only male left in the family, Wright assumed financial responsibility for his mother and two sisters.•1876年，安娜参观了费城的世界博览会。

她看到了福禄贝尔所发明的教育用积木展出这些被称做“恩物”的积木在福禄贝尔创新的幼稚园课程里扮演重要角色 安娜身为一名教师对此感到兴趣，并购买了一组恩物 年幼的赖特将大量时间用来玩这些积木他的自传提到这些过程对未来他的设计有重大影响 许多赖特的建筑设计都以清晰的几何形状闻名•在韦茅斯，赖特一家的经济状况并不好因此他们回到了威斯康辛 ，在那他们可以得到来自劳埃德·琼斯家族的帮助，并且能够协助威廉就业 最后，他们安顿在麦迪逊麦迪逊，威廉在此地担任音乐教师，同时他也从事本地新成立的一位论派社群里的秘书工作 虽然威廉不是一个亲近的父亲，但他会与孩子们分享他对音乐热爱，尤其是巴哈巴哈的作品•在赖特满十四岁后不久父母便分开了，安娜对于威廉支撑家庭上的无能感到不满，并要求他离去 最终两人在1885年离婚 威廉也离开了威斯康辛 赖特表示自从两人离婚后，他就不曾再见过他的父亲 [2] 自此他的中间名由林肯改成了劳埃德，以荣耀母亲家族 成了家中唯一的男性，赖特认为他必须为母亲和两位妹妹承担起经济负担设计理念设计理念 •赖特从小就生长在威斯康星峡谷的大自然环境之中，在农场赖特过起了日出而居，日落而歇的生活。

向大自然索取的艰苦劳动中了解了土地，感悟到蕴藏在四季之中的神秘的力量和潜在的生命流，体会到了自然固 有的旋律和节奏赖特认为住宅不仅要合理安排卧室，起居室，餐橱，浴厕和书房使之便利日常生活，而且更重要的是增强家庭的内聚力，他的这一认识使他在新的住宅设计中把火炉置于住宅的核心位置，使它成为必不可少但又十分自然的场所赖特的观念和方法影响了他的建筑 赖特的一生经历了一个摸索建立空间意义和它的表达，从由实体转向空间，从静态空间到流动和连续空间，在发展到四度的序列展开的动态空间，最后达到戏剧性的空间塞维说如此评价赖特的贡献：“有机建筑空间充满着动态，方位诱导，透视和生动明朗的创造，动态是创造性的，因为其目的不在于追求耀眼的视觉效果，而是寻求表现生活在其中人的活动本身 •崇尚自然的建筑观崇尚自然的建筑观赖特的草原式的住宅反映了人类活动，目的，技术和自然的综合它们使住房与宅地发生了根本性的改变，花园几乎伸人到了起居室的心脏，内外混为一体就如同人的生命这样，居室就在自然的怀抱之中他认为：我们的建筑如果有生命力，它就应该反映今天这里的更为生动的人类状况建筑就是人类受关注之处，人本性更高的表达形式，因此，建筑基本上是人类文献中最伟大的记录，也是时代，地域和人的最忠实的记录。

•属于美国的建筑文化属于美国的建筑文化我们不应该无视后代的要求，但更应该寻求现时的欢乐和丰富的生活，革命不能无视过去的创造，但我们应该努力消化吸收使之进入我们的思想赖特首先立足于吸收民间传统有价值的东西去创立美国自己的文 化，一个例证是住宅的门廊，它最早源于瑞士和帝国的敞廊，后来出现在美国南部种植园主的住宅中，到十九世纪初，美国的住宅普遍采用了门廊作为一个娱乐休息的面积，赖特接受了这一传统构件，但在他的草原式住宅中他不是用门廊围绕住宅内部而是把它用来保持和延长住宅的平面构图，如温斯路住宅还有一个就是十字行平面的运用，这原来是美国传统住宅的固有形式，这种平面有利于三面采光，赖特继承了这种形式，但他使空间向外伸展，上下穿差，从而产生新的空间效果 •活的有机的建筑活的有机的建筑建筑师应与自然一样地去创造，一切概念意味着与基地的自然环境相协调，使用木材，石料等天然材料，考虑人的需要和感情赖特认为“只有当一切都是局部对整体如同整体对局部一样时，我们才可以说有机体是一个活的东西，这种在任何动植物中可以发现的关系是有机生命的根本，……我在这里提出所谓的有机建筑就是人类精神活的边县，活的建筑，这样的建筑当然而且必须是人类社会生活的真实写照，这种活的建筑是现代新的整体。

这种“活”的观念能使建筑师摆脱固有的形式的束缚，注意按照使用者，地形特征，气候条件，文化背景，技术条件，材料特征的不同情况而采用相应的对策，最终取得自然的结果而并非是任意武断地加强固定僵死的形式这种从本身中寻求解答的方法也使建筑师的构思有利新的契机，从而灵感永不枯萎，创新永无止境赖特的有机建筑观念主张建筑物的内部空间是建筑的主体赖特试图借助于建筑结构的可朔性，和连续性去实现整体性他解释，这种连续可朔性包括平面的互迭，空间的接续；墙，楼面，平顶既各为自身又是另方面的连续延伸，在结构中消除明确分解的梁柱体系，尤其是悬臂的运用，为整体结构，空间的内伸外延提供了技术可能活”的观念和整体性是有机建筑的两条基本原则，而体现建筑的内在功能和目的，与环境协调；体现材料的本性是有机建筑在创作中的具体表现 •技术为艺术服务技术为艺术服务进入二十世纪西方资本主义世界的科学技术有了长足的发展，各类机器相继问世并逐渐进入人们的日常生活中，使社会发生前所未有的变革，这对长期处于传统形式的建筑师提出了挑战，在新技术面前赖特在设计实践中鞭打自己对新的机器时代的热情，他觉得住宅应该有轮船，飞机，汽车的流线型，因此结构应该表现出连续性和可朔性，寻求新时代的空间感。

他说：“科学可以创造文明，但不能创造文化，仅仅在科学统治之下，人们的生活将变的枯燥无味，……工程师是科学家，并且可能也有独创精神和创造力，但他不是一位有创造的艺术家”  •表现材料的本性表现材料的本性赖特的建筑作品充满着天然气息和艺术魅力，其秘诀就在于他对材料的独特见解泛神论的自然观决定了他对材料天然特性的尊重，他不但注意观察自然界浩瀚生物世界的各种奇异生态，而且对材料的内在性能，包括形态，文理，色泽，力学和化学性能等等仔细研究，“每一种材料有自己的语言……每一种材料有自己的故事，”“对于创造性的艺术家来说，每一种材料有它自己的信息，，有它自己的歌 •连续运动空间连续运动空间　赖特并不认为空间只是一种消极空幻的虚无，而是视作为一种强大的发展力量，这种力量可以推开墙体，穿过楼板，甚至可以揭开屋顶，所以赖特越来越不满足于用矩形包容这种力量了，他摸索用新的形体去给这种力量赋形，海贝的壳体给他这样一种启示，运动的空间必须有动态的外壳——一种无穷连续的可朔性 •有特性和诗意的形式有特性和诗意的形式赖特对“简洁”的看法是受到了日本的影响，他十分赞赏日本宗教关于“净”的戒条，即净心和净身，视多余为罪恶，明显地对日本传统建筑发生过影响，主张在艺术上消除无意义的东西而使一切事物变得十分地自然有机，反朴归真。

浪漫”是赖特有机建筑语言，他说：“在有机建筑领域内，人的想象力可以使粗造的结构语言变为相应的高尚形式，而不是去设计毫无生气的立面和炫耀结构骨架，形式的诗意对于伟大的建筑就象绿叶与树木，花朵与植物肌肉与骨头一样不可缺少 Personal style and concepts •Wright's creations took his concern with organic architecture down to the smallest details. From his largest commercial commissions to the relatively modest Usonian houses, Wright conceived virtually every detail of both the external design and the internal fixtures, including furniture, carpets, windows, doors, tables and chairs, light fittings and decorative elements. He was one of the first architects to design and supply custom-made, purpose-built furniture and fittings that functioned as integrated parts of the whole design, and he often returned to earlier commissions to redesign internal fittings. Some of the built-in furniture remains, while other restorations have included replacement pieces created using his plans. His Prairie houses use themed, coordinated design elements (often based on plant forms) that are repeated in windows, carpets and other fittings. He made innovative use of new building materials such as precast concrete blocks, glass bricks and zinc cames (instead of the traditional lead) for his leadlight windows, and he famously used Pyrex glass tubing as a major element in the Johnson Wax Headquarters. Wright was also one of the first architects to design and install custom-made electric light fittings, including some of the very first electric floor lamps, and his very early use of the then-novel spherical glass lampshade (a design previously not possible due to the physical restrictions of gas lighting).• •As Wright's career progressed, so did the mechanization of the glass industry. Wright fully embraced glass in his designs and found that it fit well into his philosophy of organic architecture. Glass allowed for interaction and viewing of the outdoors while still protecting from the elements. In 1928, Wright wrote an essay on glass in which he compared it to the mirrors of nature: lakes, rivers and ponds. One of Wright's earliest uses of glass in his works was to string panes of glass along whole walls in an attempt to create light screens to join together solid walls. By utilizing this large amount of glass, Wright sought to achieve a balance between the lightness and airiness of the glass and the solid, hard walls. Arguably, Wright's best-known art glass is that of the Prairie style. The simple geometric shapes that yield to very ornate and intricate windows represent some of the most integral ornamentation of his career.[68]• •Wright responded to the transformation of domestic life that occurred at the turn of the 20th century, when servants became a less prominent or completely absent from most American households, by developing homes with progressively more open plans. This allowed the woman of the house to work in her 'workspace', as he often called the kitchen, yet keep track of and be available for the children and/or guests in the dining room. Much of modern architecture, including the early work of Mies van der Rohe, can be traced back to Wright's innovative work.• •Wright also designed some of his own clothing. His fashion sense was unique, and he usually wore expensive suits, flowing neckties, and capes. Wright drove a custom yellow 'raceabout' in the Prairie years, a red Cord convertible in the 1930s, and a famously customized 1940 Lincoln for many years. He earned many speeding tickets in each of his vehicles.[citation needed]Colleagues and influences •Colleagues and influences• •Wright rarely credited any influences on his designs, but most architects, historians and scholars agree he had five major influences:• 1.Louis Sullivan, whom he considered to be his 'Lieber Meister' (dear master),• 2.Nature, particularly shapes/forms and colors/patterns of plant life,• 3.Music (his favorite composer was Ludwig van Beethoven),• 4.Japanese art, prints and buildings,• 5.Froebel Gifts[citation needed]• •He also routinely claimed the architects and architectural designers who were his employees' work as his own design and claimed that the rest of the Prairie School architects were merely his followers, imitators and subordinates.[69] But, as with any architect, Wright worked in a collaborative process and drew his ideas from the work of others. In his earlier days, Wright worked with some of the top architects of the Chicago School, including Sullivan. In his Prairie School days, Wright's office was populated by many talented architects including William Eugene Drummond, John Van Bergen, Isabel Roberts, Francis Barry Byrne, Albert McArthur, Marion Mahony Griffin and Walter Burley Griffin.• •The Czech-born architect Antonin Raymond, recognized as the father of modern architecture in Japan, worked for Wright at Taliesin and led the construction of the Imperial Hotel in Tokyo. He subsequently stayed in Japan and opened his own practice. Rudolf Schindler also worked for Wright on the Imperial hotel. His own work is often credited as influencing Wright's Usonian houses. Schindler's friend Richard Neutra also worked briefly for Wright and became an internationally successful architect.• •Later in the Taliesin days, Wright employed many architects and artists who later become notable, such as Aaron Green, John Lautner, E. Fay Jones, Henry Klumb and Paolo Soleri in architecture and Santiago Martinez Delgado in the arts. As a young man, actor Anthony Quinn applied to study with Wright at Taliesin. However, Wright suggested that he first take voice lessons to help overcome a speech impediment.• •Bruce Goff never worked for Wright but maintained correspondence with him. Their works can be seen to parallel each other.• •Simon & Garfunkel recorded "So Long, Frank Lloyd Wright" as a tribute to Wright.Recognition •Later in his life and well after his death in 1959, Wright received much honorary recognition for his lifetime achievements. He received Gold Medal awards from The Royal Institute of British Architects (RIBA) in 1941 and the American Institute of Architects (AIA) in 1949. He was awarded the Franklin Institute's Frank P. Brown Medal in 1953. He received honorary degrees from several universities (including his "alma mater", the University of Wisconsin) and several nations named him as an honorary board member to their national academies of art and/or architecture. In 2000, Fallingwater was named "The Building of the 20th century" in an unscientific "Top-Ten" poll taken by members attending the AIA annual convention in Philadelphia. On that list, Wright was listed along with many of the USA's other greatest architects including Eero Saarinen, I.M. Pei, Louis Kahn, Philip Johnson and Ludwig Mies van der Rohe, and he was the only architect who had more than one building on the list. The other three buildings were the Guggenheim Museum, the Frederick C. Robie House and the Johnson Wax Building.• In 1992, The Madison Opera in Madison, Wisconsin commissioned and premiered the opera Shining Brow, by composer Daron Hagen and librettist Paul Muldoon based on events early in Wright's life. The work has since received numerous revivals. In 2000, Work Song: Three Views of Frank Lloyd Wright, a play based on the relationship between the personal and working aspects of Wright's life, debuted at the Milwaukee Repertory Theater.• In 1966, the United States Postal Service honored Wright with a Prominent Americans series 2¢ postage stamp. Several of Wright's buildings have been proposed by the United States to be UNESCO World Heritage sites.Archives •Photographs and other archival materials are held by the Ryerson & Burnham Libraries at the Art Institute of Chicago. The Herbert and Katherine Jacobs Residence and Frank Lloyd Wright Records, 1924–1974, Collection includes drawings, correspondence, and other materials documenting the construction of two homes for the Jacobs as well as research files on Wright's life. The Frank Lloyd Wright in Michigan Collection, 1945–1988, consists of research documents, including photocopied correspondence between Wright and his clients, used for the book "Frank Lloyd Wright in Michigan." The Wrightiana Collection, c. 1897–1997 (bulk 1949–1969), includes a variety of printed materials and photographs about Wright and his projects. The Joseph J. Bagley Cottage Collection, c. 1916–1925, contains photographs and drawings documenting the Bagley cottage which was completed in 1916.• The architect's personal archives are located at Taliesin West in Scottsdale, Arizona. The Frank Lloyd Wright archives include photographs of his drawings, indexed correspondence beginning in the 1880s and continuing through Wright's life, and other ephemera. The Getty Research Center in Los Angeles, California, also has copies of Wright's correspondence and photographs of his drawings in their "Frank Lloyd Wright Special Collection". Wright's correspondence is indexed in An Index to the Taliesin Correspondence, ed. by Professor Anthony Alofsin, which is available at larger libraries.•名言名言•“医生能埋葬错误，建筑师却只能劝告委托人种植葡萄树”（A doctor can bury mistakes, an architect can only advise his client to plant vines."）Falling water •Fallingwater or Kaufmann Residence is a house designed by architect Frank Lloyd Wright in 1935 in rural southwestern Pennsylvania, 50 miles southeast of Pittsburgh. The home was built partly over a waterfall on Bear Run in the Mill Run section of Stewart Township, Fayette County, Pennsylvania, in the Laurel Highlands of the Allegheny Mountains.• Hailed by Time shortly after its completion as Wright's "most beautiful job",[3] it is listed among Smithsonian's Life List of 28 places "to visit before you die."[4] It was designated a National Historic Landmark in 1966.[2] In 1991, members of the American Institute of Architects named the house the "best all-time work of American architecture" and in 2007, it was ranked twenty-ninth on the list of America's Favorite Architecture according to the AIA.落水山庄 •落水山庄（英语：fallingwater），也称流水别墅，是坐落于宾夕法尼亚州西南部乡村、匹兹堡东南方50英里处的住宅，1934年由美国建筑师弗兰克·劳埃德·赖特所设计。

房舍建于费耶特县史都华镇、阿利根尼山脉的月桂高地，横跨在熊奔溪的瀑布之上• 落水山庄在完工后不久便被《时代》杂志称颂是“赖特最美的杰作” [3] 同时也名列《史密森尼》杂志28个“一生中一定得造访一次的地点” [4] 其中1996年，落水山庄被定为国家历史地标1991年，美国建筑师学会将之名为“美国建筑史上最伟大之作”，2007年并跻身美国建筑师协会评选的美国最喜爱建筑列表第29名•Location:Mill Run, PennsylvaniaNearestcity:UniontownCoordinates:39°54′22″N 79°28′5″W39.90611°N 79.46806°WCoordinates: 39°54′22″N 79°28′5″W39.90611°N 79.46806°W•Built:1936 – 1939•Architect:Frank Lloyd Wright•Architectural style:Organic architecture•Visitation:about 135,000•Governing body:Western Pennsylvania Conservancy•NRHP Reference#:74001781[1]History •Edgar Kaufmann Sr. was a successful Pittsburgh businessman and president of Kaufmann's Department Store. His son, Edgar Kaufmann, Jr., studied architecture briefly under Wright.Edgar Sr. had been prevailed upon by his son and Wright to itemize the cost of Wright's utopian model city. When completed, it was displayed at Kaufmann’s Department Store and Wright was a guest in the Kaufmann home, “La Tourelle”, a French Norman estate designed by celebrated Pittsburgh architect Benno Janssen (1874–1964) in the stylish Fox Chapel suburb in 1923 for Edgar J. Kaufmann.•The Kaufmanns and Wright were enjoying refreshments at La Tourelle when Wright, who never missed an opportunity to charm a potential client, said to Edgar Jr. in tones that the elder Kaufmanns were intended to overhear, “Edgar, this house is not worthy of your parents...” The remark spurred the Kaufmanns' interest in something worthier. Fallingwater would become the end result.The Kaufmanns owned property outside Pittsburgh with a waterfall and cabins they used as a rural retreat. When the cabins deteriorated, Mr. Kaufmann contacted Wright.In November 1934, Wright visited Bear Run and asked for a survey of the area around the waterfall. One was prepared by Fayette Engineering Company of Uniontown, Pennsylvania including all the site's boulders, trees and topography, and forwarded to Wright in March 1935. It took nine months for his ideas to crystallize into a design, quickly sketched up in time for a visit by Kaufmann to Taliesin in September 1935.[5][6] It was then that Kaufmann first became aware that Wright intended to build the home above the falls,[7] rather than below them to afford a view of the cascades as he had expected.[8]Design and construction •The structural design for Fallingwater was undertaken by Wright in association with staff engineers Mendel Glickman and William Wesley Peters, who had been responsible for the columns featured in Wright’s revolutionary design for the Johnson Wax Headquarters.•Preliminary plans were issued to Kaufmann for approval on October 15, 1935,[9] after which Wright made a further visit to the site and provided a cost estimate for the job. In December 1935 an old rock quarry was reopened to the west of the site to provide the stones needed for the house’s walls. Wright only made periodic visits during construction, instead assigning his apprentice Robert Mosher as his permanent on-site representative.[9] The final working drawings were issued by Wright in March 1936 with work beginning on the bridge and main house in April 1936.•The construction was plagued by conflicts between Wright, Kaufmann, and the construction contractor. Uncomfortable with what he saw as Wright's insufficient experience using reinforced concrete, Kaufmann had the architect's daring cantilever design reviewed by a firm of consulting engineers. Upon receiving their report, Wright took offense and immediately requested Kaufmann to return his drawings and indicated he was withdrawing from the project. Kaufmann relented to Wright's gambit and the engineer’s report was subsequently buried within a stone wall of the house.[9]•After a visit to the site in June 1936, Wright rejected the stonemasonry of the bridge, which had to be rebuilt.[citation needed]•For the cantilevered floors, Wright and his team used upside down T-shaped beams integrated into a monolithic concrete slab which both formed the ceiling of the space below and provided resistance against compression. The contractor, Walter Hall, also an engineer, produced independent computations and argued for increasing the reinforcing steel in the first floor’s slab. Wright refused the suggestion. While some sources state that it was the contractor who quietly doubled the amount of reinforcement,[10] according to others,[9] it was at Kaufmann’s request that his consulting engineers redrew Wright’s reinforcing drawings and doubled the amount of steel specified by Wright. In addition, the contractor did not build in a slight upward incline in the formwork for the cantilever to compensate for the settling and deflection of the cantilever. Once the concrete formwork was removed, the cantilever developed a noticeable sag. Upon learning of the steel addition without his approval, Wright recalled Mosher.[11]• With Kaufmann’s approval, the consulting engineers arranged for the contractor to install a supporting wall under the main supporting beam for the west terrace. When Wright discovered it on a site visit he had Mosher discreetly remove the top course of stones. When Kaufmann later confessed to what had been done, Wright showed him what Mosher had done and pointed out that the cantilever had held up for the past month under test loads without the wall’s support.[12]• In October 1937, the main house was completed.Style •Fallingwater stands as one of Wright's greatest masterpieces both for its dynamism and for its integration with the striking natural surroundings. Wright's passion for Japanese architecture was strongly reflected in the design of Fallingwater, particularly in the importance of interpenetrating exterior and interior spaces and the strong emphasis placed on harmony between man and nature. Contemporary Japanese architect Tadao Ando has stated: "I think Wright learned the most important aspect of architecture, the treatment of space, from Japanese architecture. When I visited Fallingwater in Pennsylvania, I found that same sensibility of space. But there was the additional sounds of nature that appealed to me."•The extent of Wright's genius in integrating every detail of his design can only be hinted at in photographs. This organically designed private residence was intended to be a nature retreat for its owners. The house is well known for its connection to the site; it is built on top of an active waterfall which flows beneath the house. The fireplace hearth in the living room integrates boulders found on the site and upon which the house was built — ledge rock which protrudes up to a foot through the living room floor was left in place to demonstrably link the outside with the inside. Wright had initially intended that the ledge be cut flush with the floor, but this had been one of the Kaufmann family's favorite sunning spots, so Mr. Kaufmann suggested that it be left as it was.[citation needed] The stone floors are waxed, while the hearth is left plain, giving the impression of dry rocks protruding from a stream.•Integration with the setting extends even to small details. For example, where glass meets stone walls there is no metal frame; rather, the glass and its horizontal dividers were run into a caulked recess in the stonework so that the stone walls appear uninterrupted by glazing. From the cantilevered living room, a stairway leads directly down to the stream below, and in a connecting space which connects the main house with the guest and servant level, a natural spring drips water inside, which is then channeled back out. Bedrooms are small, some with low ceilings to encourage people outward toward the open social areas, decks, and outdoors.•Bear Run and the sound of its water permeate the house, especially during the spring when the snow is melting, and locally quarried stone walls and cantilevered terraces resembling the nearby rock formations are meant to be in harmony. The design incorporates broad expanses of windows and balconies which reach out into their surroundings. The staircase leading down from the living room to the stream (mentioned above) is accessed via movable horizontal glass panes. In conformance with Wright's views, the main entry door is away from the falls.•On the hillside above the main house stands a four-bay carport, servants' quarters, and a guest house. These attached outbuildings were built two years later using the same quality of materials and attention to detail as the main house. The guest quarters feature a spring-fed swimming pool which overflows and drains to the river below. After Fallingwater was deeded to the public, three carport bays were enclosed at the direction of Kaufmann, Jr., to be used by museum visitors to view a presentation at the end of their guided tours on the Western Pennsylvania Conservancy (to which the home was entrusted). Kaufmann, Jr. designed its interior himself, to specifications found in other Fallingwater interiors by Wright.。