A.1. 2.

Examples

SCULPTURE is three-dimensional artwork created by shaping or combining a.) Sculpture

hard materials - typically stone - or marble, metal, glass, or wood. Softer
("plastic") materials can also be used, such as clay, textiles, plastics, polymers Title: Moses
and softer metals.
Artist: Michelangelo Buonarroti
The term has been extended to works including sound, text and light.
Year: ca. between 1513 and 1515
Found objects may be presented as sculptures. Materials may be worked by
removal such as carving; or they may be assembled such as by welding , Medium: marble
hardened such as by firing, or molded or cast. Surface decoration such as paint
may be applied.[1] Sculpture has been described as one of the plastic arts Dimensions: 235 cm (92.52 in)
because it can involve the use of materials that can be moulded or modulated.
Current location: San Pietro in
Vincoli Rome
Sculpture is an important form of public art. A collection of sculpture in a
garden setting may be referred to as a sculpture garden.

A RELIEF is a sculptured artwork where a carved or modelled form is raised

(or in the case of a sunken relief, lowered) from a plane from which the main
elements of the composition project (or sink). Raising or lowering the plane is
achieved by removing material not relevant to the image. In the case of
sunken relief, the material composing the central image is carved out.

Reliefs are common throughout the world, for example on the walls of
monumental buildings. The frieze in the classical Corinthian order is often
enriched with bas-relief (low relief). Alto-relievo (high relief) can be seen in
the pediments of classical temples such as the Parthenon. Several panels or
sections of relief together may represent a sequence of scenes. Title: The Bronco Buster

Artist: Frederic Remington

FREE-STANDING sculpture is surrounded on all sides, except the base, by
space. It is also known as sculpture "in the round", and is meant to be viewed
Medium: bronze sculpture
from any angle.
Year: 1909
KINETIC sculptures are examples of kinetic art in the form of sculpture or
three dimensions. In common with other types of kinetic art, kinetic sculptures Dimensions: 31-1/8" x 13" x 17-
have parts that move or that are in motion. Sound sculpture can also, in some 1/2"
cases, be considered kinetic sculpture. The motion of the work can be
provided in many ways: mechanically through electricity, steam or clockwork;
by utilizing natural phenomena such as wind or wave power; or by relying on
the spectator to provide the motion, by doing something such as cranking a
handle.

Bicycle Wheel (1913) by Marcel Duchamp, is said to be the first kinetic

sculpture.[2] Besides being an example of kinetic art it is also an example of a
readymade, a type of art of which Marcel Duchamp made a number of
varieties throughout his life. In Moscow in 1920, kinetic art was recorded by
the sculptors Naum Gabo and Antoine Pevsner in their Realist Manifesto, b.) Relief
issued as part of a manifesto of constructivism.
Title: Amor Caritas
László Moholy-Nagy (1895-1946), a member of the Bauhaus, and influenced
by constructivism can be regarded as one of the fathers of Lumino kinetic art. Artist: Augustus Saint-Gaudens
Light sculpture and moving sculpture are the components of his Light-Space
Modulator (1922–30), One of the first Light art pieces which also combines Medium: Gilded-Bronze Relief
kinetic art. [3] [4]
Year: 1880-98
The 1950s and 1960s are seen as a golden age of kinetic sculpture, during
which time Alexander Calder and George Rickey pioneered kinetic sculpture.
Other leading exponents include Yaacov Agam, Fletcher Benton, Eduard
Bersudsky, Marcel Duchamp, Arthur Ganson, Starr Kempf, Jerome Kirk, Len
Lye, Ronald Mallory, Jean Tinguely, and the Zero group (initiated by Otto
Piene and Heinz Mack).

Jean Tinguely's kinetic junk sculpture Homage to New York in 1960 destroyed
itself in the Museum of Modern Art's outdoor sculpture garden.
Metamechanics has a specific meaning in relation to art history, as a
description of the kinetic sculpture machines of Jean Tinguely. It is also
applied to, and may have its origins in, earlier work of the Dada art
movement.

Title: Robert Gould Shaw and the 54th

Some kinetic sculptures are wind-powered as are those of Theo Jansen
Regiment Memorial
(including beach 'animals')[5], and others are motor driven as are those of Sal
Maccarone. The kinetic aspect of the Maccarone sculptures are contained
within a fine wood cabinet which itself is stationary. These sculptures turn Artist: Augustus Saint-Gaudens
themselves on and off at pre-determined intervals sometimes catching viewers
by surprise. Video.[6] Medium: Patinated Plaster

A mobile is a type of kinetic sculpture constructed to take advantage of the Year: 1897-1900
principle of equilibrium. It consists of a number of rods, from which weighted
objects or further rods hang. The objects hanging from the rods balance each
other, so that the rods remain more or less horizontal. Each rod hangs from
only one string, which gives it freedom to rotate about the string. A popular
creator of mobile sculptures was Alexander Calder.
c.) Free-Standing 3.) Common Media used by Sculptors

Title: Not A Prayer In The South The materials used in sculpture are diverse, changing throughout history.
Sculptors have generally sought to produce works of art that are as permanent
Artist: Deborah Burge as possible, working in durable and frequently expensive materials such as
bronze and stone: marble, limestone, porphyry, and granite. More rarely,
Year: 2000 precious materials such as gold, silver, jade, and ivory were used for
chryselephantine works. More common and less expensive materials were
used for sculpture for wider consumption, including glass, hardwoods (such as
oak, box/boxwood, and lime/linden); terracotta and other ceramics, and cast
metals such as pewter and zinc (spelter).

Sculptures are often painted, but commonly lose their paint to time, or
restorers. Many different painting techniques have been used in making
sculpture, including tempera, [oil painting], gilding, house paint, aerosol,
enamel and sandblasting.

Many sculptors seek new ways and materials to make art. Jim Gary used
stained glass and automobile parts, tools, machine parts, and hardware. One of
Pablo Picasso's most famous sculptures included bicycle parts. Alexander
Calder and other modernists made spectacular use of painted steel. Since the
1960s, acrylics and other plastics have been used as well. Andy Goldsworthy
makes his unusually ephemeral sculptures from almost entirely natural
materials in natural settings. Some sculpture, such as ice sculpture, sand
sculpture, and gas sculpture, is deliberately short-lived.
Title: Female Form
Sculptors often build small preliminary works called maquettes of ephemeral
Artist: Jake Shaw materials such as plaster of Paris, wax, clay, or plasticine, as Alfred Gilbert
did for 'Eros' at Piccadilly Circus, London. In Retroarchaeology, these
Medium: Marble materials are generally the end product.

Sculptors sometimes use found objects.

4.) Media used by Painters

Different types of paint are usually identified by the medium that the pigment
is suspended or embedded in, which determines the general working
characteristics of the paint, such as viscosity, miscibility, solubility, drying
time, etc.

Oil, Pastel, Acrylic, Watercolor, Ink, Hot wax, Fresco, Gouache, Enamel,
d.) Kinetics
Spray paint, Tempera, Water miscible oil paint

Title: "The Twister Star Huge"

Title: Deutsch: Der Maler Artist:
Honoré Daumier Medium: Oil on
Artist: Lyman Whitaker
wood
A type of Whirligig, Kinetic art,
Public Library, O'Fallon, Illinois Year: Deutsch: 2. Drittel 19. Jh.

Year: 2006
English: 2nd third of 19th century

Dimensions: 26 × 34 cm
(10.24 × 13.39 in)

Current location: Musée des Beaux Arts Reims

Title: Deutsch: Fresken in der

Kirche von Mileseva, Szene:
Höllenfahrt Christi

English: Fresco in the monastery

church of Mileseva, Scene:
Resurrection of Christ

Title: "Wings to the Heavens" Artist: Meister von Mileseva

Medium: Fresco Year:
Artist: David Ascalon with
designer Brad Ascalon and Deutsch: um 1235 English: c.
assistance by Eric Ascalon. 1235

Year: 2008 Current location:

Deutsch: Kirche von Mileseva
Medium Used: Fabricated and English: Church at Mileseva
brazed aluminum Deutsch: Milesev (Jugoslawien)
English: Milesev (Yugoslavia)
Temple Israel, Memphis,
Tennessee, Kinetic Mobile
B.
1.) ARCHITECTURE (Latin architectura, from the Greek ἀρχιτέκτων –
arkhitekton, from ἀρχι- "chief" and τέκτων "builder, carpenter, mason") can
mean:
• The art and science of designing and erecting buildings and other
physical structures.
• The practice of an architect, where architecture means to offer or
render professional services in connection with the design and
construction of a building, or group of buildings and the space
within the site surrounding the buildings, that have as their
principal purpose human occupancy or use.[1]
• A general term to describe buildings and other structures.
• A style and method of design and construction of buildings and
other physical structures.
A wider definition may comprise all design activity, from the macro-level
(urban design, landscape architecture) to the micro-level (construction details
and furniture). Architecture is both the process and product of planning,
designing and constructing form, space and ambience that reflect functional,
technical, social, and aesthetic considerations. It requires the creative
manipulation and coordination of material, technology, light and shadow.
Architecture also encompasses the pragmatic aspects of realizing buildings
and structures, including scheduling, cost estimating and construction
administration. As documentation produced by architects, typically drawings,
plans and technical specifications, architecture defines the structure and/or
behavior of a building or any other kind of system that is to be or has been
constructed.
Architectural works are often perceived as cultural and political symbols and
as works of art. Historical civilizations are often identified with their surviving
architectural achievements.
Architecture sometimes refers to the activity of designing any kind of system
and the term is common in the information technology world.
THIN-SHELL STRUCTURES are light weight constructions using shell
elements. These elements are typically curved and are assembled to large
structures. Typical applications are fuselages of aeroplanes, boat hulls and
roof structures in some buildings.
A thin shell is defined as a shell with a thickness which is small compared to
its other dimensions and in which deformations are not large compared to
thickness. A primary difference between a shell structure and a plate structure
is that, in the unstressed state, the shell structure has curvature as opposed to
plates structures which are flat. Membrane action in a shell is primarily caused
by in-plane forces (plane stress), though there may be secondary forces
resulting from flexural deformations. Where a flat plate acts similar to a beam
with bending and shear stresses, shells are analogous to a cable which resists
loads through tensile stresses. Though the ideal thin shell must be capable of
developing both tension and compression.
SKELETON-AND-SKIN skeleton is the core such as the materials that set
the foundation and skin is like the walls and such, it's the outer part that
covers the skeleton
Almost everything constructed in nature, and constructed by us, is built on the
skeleton and skin principal: a generally internal, supportive frame surrounded
by an outer skin or layer.
2.) Two Factors to Consider when Designing a Structure
Weight
Tensile strength is a basic indicator of relative strength. It is fundamental for
architectural fabrics that function primarily in tension.
3.) Kinds of Architecture Systems
3.1) Post and lintel (or Post and beam) is a simple architrave where a
horizontal member (the lintel—or header) is supported by two vertical posts
at either end. This form is commonly used to support the weight of the
structure located above the openings in a bearing wall created by windows and
doors.
In classical architecture, a colonnade denotes a long sequence of columns
joined by their entablature, often free-standing, or part of a building.
The Pantheon
Artist: commissioned by Marcus
Agrippa and rebuilt by Emperor
Hadrian
Year Built: 126 AD
Location: Regione IX Circus Flaminius
3.2) Round Arch & Vault
An arch is a structure that spans a space while supporting weight (e.g. a
doorway in a stone wall). Arches appeared as early as the 2nd millennium BC
in Mesopotamian brick architecture and their systematic use started with the
Ancient Romans who were the first to apply the technique to a wide range of
structures.
The semicircular arch/round arch was followed in Europe by the pointed
Gothic arch or ogive whose centreline more closely followed the forces of
compression and which was therefore stronger. The semicircular arch can be
flattened to make an elliptical arch as in the Ponte Santa Trinita.
A Vault (French. voûte, Italian. volta,) is an architectural term for an arched
form used to provide a space with a ceiling or roof.[1] The parts of a vault exert
lateral thrust that require a counter resistance. When vaults are built
underground, the ground gives all the resistance required. However, when the
vault is built above ground, various replacements are employed to supply the
needed resistance. An example are the thicker walls used in the case of barrel
or continuous vaults. Buttresses are used to supply resistance when
intersecting vaults are employed.
The simplest kind of vault is the barrel vault (also called a wagon or tunnel
vault) which is generally semicircular in shape. The barrel vault is a
continuous arch, the length being greater than its diameter. As in building an
arch, a temporary support is needed while rings of voussoirs are constructed
and the rings placed in position. Until the topmost voussoir, the keystone, is
positioned the vault is not self-supporting. Where timber is easily obtained,
this temporary support is provided by centering consisting of a framed truss
with a semicircular or segmental head, which supports the voussoirs until the
ring of the whole arch is completed. With a barrel vault, the centering can then
be shifted on to support the next rings.
3.3) Pointed Arch & Vault
3.4) Dome
A dome is a structural element of architecture that resembles the hollow upper
half of a sphere. Dome structures made of various materials have a long
architectural lineage extending into prehistory.
Corbel domes and true domes have been found in the ancient Middle East in
modest buildings and tombs. The construction of the first technically
advanced true domes in Europe began in the Roman Architectural Revolution,
[1]
when they were frequently used by the Romans to shape large interior
spaces of temples and public buildings, such as the Pantheon. This tradition
continued unabated after the adoption of Christianity in the Byzantine (East
Roman) religious and secular architecture, culminating in the revolutionary
pendentive dome of the 6th century church Hagia Sophia. Squinches, the
technique of making a transition from a square shaped room to a circular
dome, was most likely invented by the ancient Persians. The Sassanid Empire
initiated the construction of the first large-scale domes in Persia, with such
royal buildings as the Palace of Ardashir, Sarvestan and Ghal'eh Dokhtar.
With the Muslim conquest of the Sassanid Empire, the Persian architectural
style became a major influence on Muslim societies. Indeed the use of domes
as a feature of Islamic architecture has got its roots from Persia (see gonbad,
gongbei).
An original tradition of using multiple domes was developed in the church
architecture in Russia, which had adopted Orthodox Christianity from
Byzantium. Russian domes are often gilded or brightly painted, and typically
have a carcass and an outer shell made of wood or metal. The onion dome
became another distinctive feature in the Russian architecture, often in
combination with the tented roof.
Domes in Western Europe became popular again during the Renaissance
period, reaching a zenith in popularity during the early 18th century Baroque
period. Reminiscent of the Roman senate, during the 19th century they
became a feature of grand civic architecture. As a domestic feature the dome
is less common, tending only to be a feature of the grandest houses and
palaces during the Baroque period.
Construction of domes in the Muslim world reached its peak during the 16th –
18th centuries, when the Ottoman, Safavid and Mughal Empires, ruling an
area of the World compromising North Africa, the Middle East and South-
and Central Asia, applied lofty domes to their religious buildings to create a
sense of heavenly transcendence. The Sultan Ahmed Mosque, the Shah
Mosque and the Badshahi Mosque are primary examples of this style of
architecture.
3.6) Truss
A truss is a structure comprising one or more triangular units constructed
with straight members whose ends are connected at joints referred to as nodes.
External forces and reactions to those forces are considered to act only at the
nodes and result in forces in the members which are either tensile or
compressive forces. Moments (torques) are explicitly excluded because, and
only because, all the joints in a truss are treated as revolutes.
A planar truss is one where all the members and nodes lie within a two
dimensional plane, while a space truss has members and nodes extending into
three dimensions.
3.7) Cantilever

Many domes, particularly those from the Renaissance and Baroque periods of
A cantilever is a beam supported on only one end. The beam carries the load
architecture, are crowned by a lantern or cupola, a Medieval innovation which
to the support where it is resisted by moment and shear stress.[1] Cantilever
not only serves to admit light and vent air, but gives an extra dimension to the
construction allows for overhanging structures without external bracing.
decorated interior of the dome.
Cantilevers can also be constructed with trusses or slabs.

An Oculus or circular window is a feature of Classical architecture since the

This is in contrast to a simply supported beam such as those found in a post
16th century. They are often denoted by their French name, oeil de boeuf, or
and lintel system. A simply supported beam is supported at both ends with
"bull's-eye". Such circular or oval windows express the presence of a
loads applied between the supports.
mezzanine on a building's façade without competing for attention with the
major fenestration. Circular windows set in dormers have been a feature of
French Classical architecture since the beginning of the seventeenth century. 4.) Fallingwater
For structural reasons, they are also found as the portholes of ships.

Oculus (plural oculi) is the Latin word for eye,[1] and the word remains in use
in certain contexts, as the name of the round opening in the top of the dome of
the Pantheon in Rome,[2] and in reference to other round windows, openings,
and skylights.

Drums, also called tholobates or tambours, are cylindrical or polygonal walls

supporting a dome which may contain windows.

A pendentive is a constructive device permitting the placing of a circular

dome over a square room or an elliptical dome over a rectangular room. The
pendentives, which are triangular segments of a sphere, taper to points at the
bottom and spread at the top to establish the continuous circular or elliptical
base needed for the dome. In masonry the pendentives thus receive the weight
of the dome, concentrating it at the four corners where it can be received by
the piers beneath.

Prior to the pendentive's development, the device of corbelling or the use of

the squinch in the corners of a room had been employed. Pendentives were
commonly used in Orthodox, Renaissance, and Baroque churches, with a
drum with windows often inserted between the pendentives and the dome. The
first experimentation with pendentives were made in Roman dome
construction beginning in the 2nd–3rd century AD, while full development of
the form was achieved in the 6th century Eastern Roman Hagia Sophia at
Constantinople. The diameter of its central dome remained unsurpassed
anywhere in the world until the Renaissance Florence Cathedral, itself not a
pendentive dome.

3.5) Frame Construction (cast-iron, balloon frame, steel frame)

Cast iron usually refers to grey iron, but also identifies a large group of
ferrous alloys, which solidify with a eutectic. Location: Mill Run, Pennsylvania

Nearest city: Pittsburgh

Cast iron columns enabled architects to build tall buildings without the
enormously thick walls required to construct masonry buildings of any height.
Such flexibility allowed tall buildings to have large windows. In urban centres 39°54′23″N 79°27′54″W /
like SoHo Cast Iron Historic District in New York City, manufacturing 39.90639°N
buildings and early department stores were built with cast iron columns to
allow daylight to enter. Slender cast iron columns could also support the Coordinates:
79.465°WCoordinates:
weight that would otherwise require thick masonry columns or piers, opening
39°54′23″N 79°27′54″W /
up floor spaces in factories, and sight lines in churches and auditoriums. The
historic Iron Building in Watervliet, New York, is a cast iron building. 39.90639°N 79.465°W

Built: 1936 - 1939

Cast iron was also widely used for frame and other fixed parts of machinery,
including spinning and later weaving machines in textile mills.
Architect: Frank Lloyd Wright

Balloon framing is a method of wood construction—also known as "Chicago Architectural style(s): Organic architecture
construction" in the 19th century—used primarily in Scandinavia, Canada and
the United States (up until the mid-1950s). It utilizes long continuous framing
members (studs) that run from sill plate to eave line with intermediate floor Visitation: about 135,000 ()
structures nailed to them,[9] with the heights of window sills, headers and next
floor height marked out on the studs with a storey pole. Once popular when Western Pennsylvania
Governing body:
long lumber was plentiful, balloon framing has been largely replaced by Conservancy
platform framing.
Added to NRHP: July 23, 1974
Steel frame usually refers to a building technique with a "skeleton frame" of
vertical steel columns and horizontal I-beams, constructed in a rectangular Designated NHL: May 23, 1966[2]
grid to support the floors, roof and walls of a building which are all attached
to the frame. The development of this technique made the construction of the
skyscraper possible.
Fallingwater or Kaufmann Residence is a house designed by American
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 also 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.

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 strong horizontal and vertical lines are a distinctive feature of
Fallingwater
The construction was plagued by conflicts between Wright, Kaufmann, and
the construction contractor. Uncomfortable with what he perceived 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 stone masonry for the
bridge, which had to be rebuilt.[citation needed]

Fallingwater with falls
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 some property outside Pittsburgh with a waterfall and
some cabins they used as a rural retreat. When the cabins there deteriorated to
the point that something had to be rebuilt, Mr. Kaufmann contacted Wright.
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
rebuffed the contractor. 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.
This additional steel not only added weight to the slab but was set so close
together that the concrete often could not properly fill in between the steel,
which weakened the slab.[citation needed] 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. As a result, 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.

In November 1934, Wright visited Bear Run and asked for a survey of the Cost
area around the waterfall. One was prepared by Fayette Engineering Company
of Uniontown, Pennsylvania including all the site's boulders, trees and
The home and guest house cost a total of $155,000,[5][13] broken down as
topography, and forwarded to Wright in March 1935. It took nine months for
follows: house $75,000, finishing and furnishing $22,000, guest house, garage
his ideas to crystallize into a design, quickly sketched up in time for a visit by
and servants' quarters $50,000, architect's fee $8,000.
Kaufmann to Taliesin in September 1935.[5][6] It was then that Kaufmann first
became aware that Wright intended to site the home above the falls,[7] rather
than below them to afford a view of the cascades as he had expected.[8] According to the westegg.com inflation calculator, the total project price of
$155,000.00 is the equivalent of approximately $2.4 million in 2009. A more
accurate reflection of the relative cost of the project in its time is that the cost
[edit] Design and construction
of restoration alone in 2002 was reported at $11.4 million.

The structural design for Fallingwater was undertaken by Wright in

Use of the house
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. Fallingwater was the family's weekend home from 1937 to 1963. In 1963,
Kaufmann, Jr. donated the property to the Western Pennsylvania
Conservancy. In 1964, it was opened to the public as a museum. Nearly six
Preliminary plans were issued to Kaufmann for approval on October 15, 1935,
[9] million people have visited the house since (as of January 2008). It currently
after which Wright made a further visit to the site and provided a cost
hosts more than 120,000 visitors each year.[13]
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.
Style Repair work

The cantilevers at Fallingwater

Interior of Fallingwater depicting a sitting area with furnishings designed by
Wright
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. Tadao Ando once 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."[14]
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.
Fallingwater's structural system includes a series of very bold reinforced
concrete cantilevered balconies; however, the house had problems from the
beginning. Pronounced deflection of the concrete cantilevers was noticed as
soon as formwork was removed at the construction stage.[15]
The Western Pennsylvania Conservancy conducted an intensive program to
preserve and restore Fallingwater. From 1988, a New York City-based
architecture and engineering firm was responsible for the materials
conservation of Fallingwater. During this time the firm reviewed original
construction documents and subsequent repair reports; evaluated conditions
and probes; analyzed select materials; designed the re-roofing and re-
waterproofing of roofs and terraces; specified the restoration for original steel
casement windows and doors; reconstructed failed concrete reconstructions;
restored the masonry; analyzed interior paint finishes; specified interior paint
removal methods and re-painting; designed repair methods for concrete and
stucco; and developed a new coating system for the concrete.
Given the humid environment directly over running water, mold had proven a
problem. The elder Kaufmann called Fallingwater "a seven-bucket building"
for its leaks, and nicknamed it "Rising Mildew".[16] Condensation under
roofing membranes was also an issue, due to the lack of a thermal break.[17]
However, with the completion of re-roofing and re-waterproofing, the
building is comparatively leak-free for the first time in its history.

Interior
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. There are stairways leading
directly down to the stream, below the house, and in a connecting space which
transitions from the main house to 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.

Driveway leading to the entrance of Fallingwater

Bear Run and the sound of its water permeating the house, the home's
immediate surroundings, 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 The Living Area
reach out into their surroundings. A glass-encased interior staircase leads
down from the living room and allows direct access to the rushing stream
below. In conformance with Wright's views the main entry door is away from
the falls.

On the hillside above the main house stands a three-bay carport, servants'
quarters, and a guest bedroom. 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 to the river below. After Fallingwater was deeded to the public, the
carport was 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.
 fireplace

the warming sphere

(for water or wine)

view of the stream from the living area

Bedrooms

the Dining area

 Wright designed built-in linen closet

the Kitchen

outside of the kitchen windows

kitchen windows from the inside

the bath
detail of corner window

the stove

Kaufman's Desk

(note that one pane is open)