建筑師,賴特課件

1、Frank Lloyd Wright弗蘭克勞埃德賴特 -One of the greatest architect of the worldList of Frank Lloyd Wright works Completed Works table NameCity DesignedInformation Image Ward Winfield Willits House威利茨住宅 Highland Park伊利諾斯州1901Larkin Administration Building拉金公司辦公樓New York1904Demolished 1950Frederick C. Robie Ho

2、use羅比住宅Chicago芝加哥1908List of Frank Lloyd Wright worksImperial Hotel東京帝國(guó)飯店Tokyo 1915Demolished 1968 (Lobby and pool reconstructed in 1976 at Meiji Mura)Falling water落水山莊流水別墅Pittsburgh匹茲堡1935Solomon R. Guggenheim Museum古根海姆博物館 New York19431956Completed 1959Frank Lloyd Wright Frank Lloyd Wright (born F

3、rank 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

4、 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 visi

5、on 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 stai

6、ned 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 19

7、91 by the American Institute of Architects as the greatest American architect of all time.1Early 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 (18251904), was a locally admi

8、red 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 Wrigh

9、t had been a Baptist minister, but he later joined his wifes 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 Annas brothers was Jenkin Lloyd Jones, who would bec

10、ome an important figure in the spread of the Unitarian faith in the Western United States. Both of Wrights 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 w

11、ould grow up to build beautiful buildings. She decorated his nursery with engravings of English cathedrals torn from a periodical to encourage the infants 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，弗蘭克勞埃德賴特出生

12、在美國(guó)威斯康辛州的鄉(xiāng)村小鎮(zhèn)里奇蘭中心，那時(shí)美國(guó)內(nèi)戰(zhàn)剛剛結(jié)束兩年。 他最初是被命名為弗蘭克林肯賴特。 他的父親威廉凱里賴特（1825年1904年）是一個(gè)當(dāng)?shù)氐难菡f(shuō)者、音樂(lè)教師、臨時(shí)律師。 威廉賴特認(rèn)識(shí)了安娜勞埃德瓊斯（1838/1839年1923年），安娜瓊斯是一名當(dāng)?shù)亟處?，曾?jīng)在里奇蘭郡擔(dān)任職務(wù)。兩人后來(lái)結(jié)為夫妻。 來(lái)自馬薩諸塞州的威廉原本曾是一名浸信會(huì)牧師，但加入了妻子的家庭后成為了一位論派的信徒。 安娜的家族是當(dāng)?shù)赜忻?、一位論派的望族，家族自威爾士遷徙到威斯康辛。 安娜的其中一位兄弟詹金勞埃德瓊斯是在美國(guó)西部傳布一位論派的知名人物。 賴特的兩位雙親都是意志堅(jiān)強(qiáng)、并有著高雅的興趣，這些也傳承

13、給了賴特。 賴特的傳記提到他母親期望他的第一個(gè)孩子，長(zhǎng)大后能夠蓋出美麗的建筑。她用雜志上撕下的英國(guó)教堂雕刻來(lái)裝飾賴特的育兒室，期望激勵(lì)其志向。 1870年，由于威廉的工作，他們家遷到了韋茅斯。1876年，安娜參觀了費(fèi)城的世界博覽會(huì)。 她看到了福祿貝爾所發(fā)明的教育用積木展出。這些被稱做“恩物”的積木在福祿貝爾創(chuàng)新的幼稚園課程里扮演重要角色。 安娜身為一名教師對(duì)此感到興趣，并購(gòu)買(mǎi)了一組恩物。 年幼的賴特將大量時(shí)間用來(lái)玩這些積木。他的自傳提到這些過(guò)程對(duì)未來(lái)他的設(shè)計(jì)有重大影響。 許多賴特的建筑設(shè)計(jì)都以清晰的幾何形狀聞名。在韋茅斯，賴特一家的經(jīng)濟(jì)狀況并不好。因此他們回到了威斯康辛 ，在那他們可以得到來(lái)自

14、勞埃德瓊斯家族的幫助，并且能夠協(xié)助威廉就業(yè)。 最后，他們安頓在麥迪遜，威廉在此地?fù)?dān)任音樂(lè)教師，同時(shí)他也從事本地新成立的一位論派社群里的秘書(shū)工作。 雖然威廉不是一個(gè)親近的父親，但他會(huì)與孩子們分享他對(duì)音樂(lè)熱愛(ài)，尤其是巴哈的作品。在賴特滿十四歲后不久父母便分開(kāi)了，安娜對(duì)于威廉支撐家庭上的無(wú)能感到不滿，并要求他離去。 最終兩人在1885年離婚。 威廉也離開(kāi)了威斯康辛。 賴特表示自從兩人離婚后，他就不曾再見(jiàn)過(guò)他的父親。 2 自此他的中間名由林肯改成了勞埃德，以榮耀母親家族。 成了家中唯一的男性，賴特認(rèn)為他必須為母親和兩位妹妹承擔(dān)起經(jīng)濟(jì)負(fù)擔(dān)。設(shè)計(jì)理念 賴特從小就生長(zhǎng)在威斯康星峽谷的大自然環(huán)境之中，在農(nóng)場(chǎng)賴

15、特過(guò)起了日出而居，日落而歇的生活。向大自然索取的艱苦勞動(dòng)中了解了土地，感悟到蘊(yùn)藏在四季之中的神秘的力量和潛在的生命流，體會(huì)到了自然固 有的旋律和節(jié)奏。賴特認(rèn)為住宅不僅要合理安排臥室，起居室，餐櫥，浴廁和書(shū)房使之便利日常生活，而且更重要的是增強(qiáng)家庭的內(nèi)聚力，他的這一認(rèn)識(shí)使他在新的住宅設(shè)計(jì)中把火爐置于住宅的核心位置，使它成為必不可少但又十分自然的場(chǎng)所。賴特的觀念和方法影響了他的建筑。 賴特的一生經(jīng)歷了一個(gè)摸索建立空間意義和它的表達(dá)，從由實(shí)體轉(zhuǎn)向空間，從靜態(tài)空間到流動(dòng)和連續(xù)空間，在發(fā)展到四度的序列展開(kāi)的動(dòng)態(tài)空間，最后達(dá)到戲劇性的空間。布魯諾。塞維說(shuō)如此評(píng)價(jià)賴特的貢獻(xiàn)：“有機(jī)建筑空間充滿著動(dòng)態(tài)，方位誘

16、導(dǎo)，透視和生動(dòng)明朗的創(chuàng)造，動(dòng)態(tài)是創(chuàng)造性的，因?yàn)槠淠康牟辉谟谧非笠鄣囊曈X(jué)效果，而是尋求表現(xiàn)生活在其中人的活動(dòng)本身。 崇尚自然的建筑觀賴特的草原式的住宅反映了人類活動(dòng)，目的，技術(shù)和自然的綜合它們使住房與宅地發(fā)生了根本性的改變，花園幾乎伸人到了起居室的心臟，內(nèi)外混為一體。就如同人的生命。這樣，居室就在自然的懷抱之中。他認(rèn)為：我們的建筑如果有生命力，它就應(yīng)該反映今天這里的更為生動(dòng)的人類狀況。建筑就是人類受關(guān)注之處，人本性更高的表達(dá)形式，因此，建筑基本上是人類文獻(xiàn)中最偉大的記錄，也是時(shí)代，地域和人的最忠實(shí)的記錄。屬于美國(guó)的建筑文化我們不應(yīng)該無(wú)視后代的要求，但更應(yīng)該尋求現(xiàn)時(shí)的歡樂(lè)和豐富的生活，革命不能無(wú)

17、視過(guò)去的創(chuàng)造，但我們應(yīng)該努力消化吸收使之進(jìn)入我們的思想。賴特首先立足于吸收民間傳統(tǒng)有價(jià)值的東西去創(chuàng)立美國(guó)自己的文 化，一個(gè)例證是住宅的門(mén)廊，它最早源于瑞士和帝國(guó)的敞廊，后來(lái)出現(xiàn)在美國(guó)南部種植園主的住宅中，到十九世紀(jì)初，美國(guó)的住宅普遍采用了門(mén)廊作為一個(gè)娛樂(lè)休息的面積，賴特接受了這一傳統(tǒng)構(gòu)件，但在他的草原式住宅中他不是用門(mén)廊圍繞住宅內(nèi)部而是把它用來(lái)保持和延長(zhǎng)住宅的平面構(gòu)圖，如溫斯路住宅。還有一個(gè)就是十字行平面的運(yùn)用，這原來(lái)是美國(guó)傳統(tǒng)住宅的固有形式，這種平面有利于三面采光，賴特繼承了這種形式，但他使空間向外伸展，上下穿差，從而產(chǎn)生新的空間效果。 活的有機(jī)的建筑建筑師應(yīng)與自然一樣地去創(chuàng)造，一切概念意味

18、著與基地的自然環(huán)境相協(xié)調(diào)，使用木材，石料等天然材料，考慮人的需要和感情。賴特認(rèn)為“只有當(dāng)一切都是局部對(duì)整體如同整體對(duì)局部一樣時(shí)，我們才可以說(shuō)有機(jī)體是一個(gè)活的東西，這種在任何動(dòng)植物中可以發(fā)現(xiàn)的關(guān)系是有機(jī)生命的根本，我在這里提出所謂的有機(jī)建筑就是人類精神活的邊縣，活的建筑，這樣的建筑當(dāng)然而且必須是人類社會(huì)生活的真實(shí)寫(xiě)照，這種活的建筑是現(xiàn)代新的整體。這種“活”的觀念能使建筑師擺脫固有的形式的束縛，注意按照使用者，地形特征，氣候條件，文化背景，技術(shù)條件，材料特征的不同情況而采用相應(yīng)的對(duì)策，最終取得自然的結(jié)果而并非是任意武斷地加強(qiáng)固定僵死的形式。這種從本身中尋求解答的方法也使建筑師的構(gòu)思有利新的契機(jī)，從

19、而靈感永不枯萎，創(chuàng)新永無(wú)止境。賴特的有機(jī)建筑觀念主張建筑物的內(nèi)部空間是建筑的主體。賴特試圖借助于建筑結(jié)構(gòu)的可朔性，和連續(xù)性去實(shí)現(xiàn)整體性。他解釋，這種連續(xù)可朔性包括平面的互迭，空間的接續(xù)；墻，樓面，平頂既各為自身又是另方面的連續(xù)延伸，在結(jié)構(gòu)中消除明確分解的梁柱體系，尤其是懸臂的運(yùn)用，為整體結(jié)構(gòu)，空間的內(nèi)伸外延提供了技術(shù)可能?！盎睢钡挠^念和整體性是有機(jī)建筑的兩條基本原則，而體現(xiàn)建筑的內(nèi)在功能和目的，與環(huán)境協(xié)調(diào)；體現(xiàn)材料的本性是有機(jī)建筑在創(chuàng)作中的具體表現(xiàn)。 技術(shù)為藝術(shù)服務(wù)進(jìn)入二十世紀(jì)西方資本主義世界的科學(xué)技術(shù)有了長(zhǎng)足的發(fā)展，各類機(jī)器相繼問(wèn)世并逐漸進(jìn)入人們的日常生活中，使社會(huì)發(fā)生前所未有的變革，這對(duì)長(zhǎng)

20、期處于傳統(tǒng)形式的建筑師提出了挑戰(zhàn)，在新技術(shù)面前賴特在設(shè)計(jì)實(shí)踐中鞭打自己對(duì)新的機(jī)器時(shí)代的熱情，他覺(jué)得住宅應(yīng)該有輪船，飛機(jī)，汽車(chē)的流線型，因此結(jié)構(gòu)應(yīng)該表現(xiàn)出連續(xù)性和可朔性，尋求新時(shí)代的空間感。他說(shuō)：“科學(xué)可以創(chuàng)造文明，但不能創(chuàng)造文化，僅僅在科學(xué)統(tǒng)治之下，人們的生活將變的枯燥無(wú)味，工程師是科學(xué)家，并且可能也有獨(dú)創(chuàng)精神和創(chuàng)造力，但他不是一位有創(chuàng)造的藝術(shù)家”。 表現(xiàn)材料的本性賴特的建筑作品充滿著天然氣息和藝術(shù)魅力，其秘訣就在于他對(duì)材料的獨(dú)特見(jiàn)解。泛神論的自然觀決定了他對(duì)材料天然特性的尊重，他不但注意觀察自然界浩瀚生物世界的各種奇異生態(tài)，而且對(duì)材料的內(nèi)在性能，包括形態(tài)，文理，色澤，力學(xué)和化學(xué)性能等等仔細(xì)研

21、究，“每一種材料有自己的語(yǔ)言每一種材料有自己的故事，”“對(duì)于創(chuàng)造性的藝術(shù)家來(lái)說(shuō)，每一種材料有它自己的信息，有它自己的歌?！?連續(xù)運(yùn)動(dòng)空間賴特并不認(rèn)為空間只是一種消極空幻的虛無(wú)，而是視作為一種強(qiáng)大的發(fā)展力量，這種力量可以推開(kāi)墻體，穿過(guò)樓板，甚至可以揭開(kāi)屋頂，所以賴特越來(lái)越不滿足于用矩形包容這種力量了，他摸索用新的形體去給這種力量賦形，海貝的殼體給他這樣一種啟示，運(yùn)動(dòng)的空間必須有動(dòng)態(tài)的外殼一種無(wú)窮連續(xù)的可朔性。 有特性和詩(shī)意的形式賴特對(duì)“簡(jiǎn)潔”的看法是受到了日本的影響，他十分贊賞日本宗教關(guān)于“凈”的戒條，即凈心和凈身，視多余為罪惡，明顯地對(duì)日本傳統(tǒng)建筑發(fā)生過(guò)影響，主張?jiān)谒囆g(shù)上消除無(wú)意義的東西而使一

22、切事物變得十分地自然有機(jī)，反樸歸真?！袄寺笔琴囂赜袡C(jī)建筑語(yǔ)言，他說(shuō)：“在有機(jī)建筑領(lǐng)域內(nèi)，人的想象力可以使粗造的結(jié)構(gòu)語(yǔ)言變?yōu)橄鄳?yīng)的高尚形式，而不是去設(shè)計(jì)毫無(wú)生氣的立面和炫耀結(jié)構(gòu)骨架，形式的詩(shī)意對(duì)于偉大的建筑就象綠葉與樹(shù)木，花朵與植物。肌肉與骨頭一樣不可缺少。” Personal style and concepts Wrights creations took his concern with organic architecture down to the smallest details. From his largest commercial commissions to the rel

23、atively 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,

24、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 Pra

25、irie 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

26、 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

27、 spherical glass lampshade (a design previously not possible due to the physical restrictions of gas lighting). As Wrights 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 architect

28、ure. 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 Wrights earliest uses of glass in his works was to string panes of glass

29、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, Wrights best-known art glass is that of the Prairie s

30、tyle. 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 complet

31、ely 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 archite

32、cture, including the early work of Mies van der Rohe, can be traced back to Wrights 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 ye

33、ars, 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 neededRecognition Later in his life and well after his death in 1959, Wright received much honorary recognition for his lifetime achieveme

34、nts. 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 Institutes Frank P. Brown Medal in 1953. He received honorary degrees from several universities (including his alma mat

35、er, 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

36、Philadelphia. On that list, Wright was listed along with many of the USAs 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

37、 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 Wrights life. The work has since received nu

38、merous revivals. In 2000, Work Song: Three Views of Frank Lloyd Wright, a play based on the relationship between the personal and working aspects of Wrights life, debuted at the Milwaukee Repertory Theater. In 1966, the United States Postal Service honored Wright with a Prominent Americans series 2

39、postage stamp. Several of Wrights 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 Ll

40、oyd Wright Records, 19241974, Collection includes drawings, correspondence, and other materials documenting the construction of two homes for the Jacobs as well as research files on Wrights life. The Frank Lloyd Wright in Michigan Collection, 19451988, consists of research documents, including photo

41、copied correspondence between Wright and his clients, used for the book Frank Lloyd Wright in Michigan. The Wrightiana Collection, c. 18971997 (bulk 19491969), includes a variety of printed materials and photographs about Wright and his projects. The Joseph J. Bagley Cottage Collection, c. 19161925,

42、 contains photographs and drawings documenting the Bagley cottage which was completed in 1916. The architects 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

43、continuing through Wrights life, and other ephemera. The Getty Research Center in Los Angeles, California, also has copies of Wrights correspondence and photographs of his drawings in their Frank Lloyd Wright Special Collection. Wrights correspondence is indexed in An Index to the Taliesin Correspon

44、dence, ed. by Professor Anthony Alofsin, which is available at larger libraries.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 waterfal

45、l 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 Wrights most beautiful job,3 it is listed among Smithsonians Life List of 28 places to visit before you die.4 It

46、 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 Americas Favorite Architecture according to the AIA.落水山莊 落水山莊（英語(yǔ)：fall

47、ingwater），也稱流水別墅，是坐落于賓夕法尼亞州西南部鄉(xiāng)村、匹茲堡東南方50英里處的住宅，1934年由美國(guó)建筑師弗蘭克勞埃德賴特所設(shè)計(jì)。房舍建于費(fèi)耶特縣史都華鎮(zhèn)、阿利根尼山脈的月桂高地，橫跨在熊奔溪的瀑布之上。 落水山莊在完工后不久便被時(shí)代雜志稱頌是“賴特最美的杰作” 3。 同時(shí)也名列史密森尼雜志28個(gè)“一生中一定得造訪一次的地點(diǎn)” 4 其中。1996年，落水山莊被定為國(guó)家歷史地標(biāo)。1991年，美國(guó)建筑師學(xué)會(huì)將之名為“美國(guó)建筑史上最偉大之作”，2007年并躋身美國(guó)建筑師協(xié)會(huì)評(píng)選的美國(guó)最喜愛(ài)建筑列表第29名。Location:Mill Run, PennsylvaniaNearestcit

48、y:UniontownCoordinates:395422N 79285W39.90611N 79.46806WCoordinates: 395422N 79285W39.90611N 79.46806WBuilt:1936 1939Architect:Frank Lloyd WrightArchitectural style:Organic architectureVisitation:about 135,000Governing body:Western Pennsylvania ConservancyNRHP Reference#:740017811History Edgar Kaufm

49、ann Sr. was a successful Pittsburgh businessman and president of Kaufmanns 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 Wrights utopian model city. When completed, it was displ

50、ayed at Kaufmanns Department Store and Wright was a guest in the Kaufmann home, “La Tourelle”, a French Norman estate designed by celebrated Pittsburgh architect Benno Janssen (18741964) in the stylish Fox Chapel suburb in 1923 for Edgar J. Kaufmann.The Kaufmanns and Wright were enjoying refreshment

51、s 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 w

52、ould 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

53、prepared by Fayette Engineering Company of Uniontown, Pennsylvania including all the sites 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 Septemb

54、er 1935.56 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.8Design and construction The structural design for Fallingwater was undertaken by Wright in association with sta

55、ff engineers Mendel Glickman and William Wesley Peters, who had been responsible for the columns featured in Wrights 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

56、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 houses walls. Wright only made periodic visits during construction, instead assigning his apprentice Robert Mosher as his permanent on-site represen

57、tative.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 Wrights insufficient experienc

58、e using reinforced concrete, Kaufmann had the architects 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 relente

59、d to Wrights gambit and the engineers report was subsequently buried within a stone wall of the house.9After a visit to the site in June 1936, Wright rejected the stonemasonry of the bridge, which had to be rebuilt.citation neededFor the cantilevered floors, Wright and his team used upside down T-sh

60、aped 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 floors sla