Wednesday, 19 October 2016

Fall Visits: Top 5 Reasons to Visit Fallingwater


Kauffman Home
1491 Mill Run Road, Mill Run
Fallingwater, Pennsylvania
Designed by: Frank Lloyd Wright
All Photos taken by: Amanda Chain 


There are few architects that garner the same awe as Frank Lloyd Wright. The American icon built some of the world's most memorable homes and structures. One of the most visited and frankly most inspiring is not too far from my home, and if you have the chance to visit this fall is the time to do. Fallingwater was a weekend second home built for the prestigious Kauffman family, known for their chic department stores around the Mid-Atlantic region. What makes Fallingwater so remarkable is not only the incredibly setting, but the fact that is an astonishing feat of ingenuity and architectural imagination.

Could there be a more idyllic setting?

NO. When the Kauffman family wanted to set up their weekend home, they chose a place they knew well. Fallingwater in the 1920s was a perfect getaway from Pittsburgh, where the family was based. It is only an hour away and a well connected town in the scenic area of Bear Run. They frequented the lodge on the property and when the Great Depression hit the area hard, the Kaufmanns bought the property and the surrounding acreage. Fallingwater is in an area of Western Pennsylvania that is now considered remote. The house takes on the features of the terrain that give the impression this house could not be built anywhere else. Built on top of the falls, the family could walk outside and be standing on the creek from various points in the house. The home is built into the terrain in such a way that its very foundation runs through a large boulder, that opens up as the family hearth in the living and communal area. The home would simply not work in any other location that it is, as it is made bespoke to its location, selected by the Kaufmanns themselves.

Legacy and Prestige

Fallingwater has played host to some of the most impressive people of the twentieth century including US presidents and cultural icons. The home receives more than 128,000 visitors each year. Albert Einstein was once said to have looked upon the house and could only react with a meaningful silence. Fallingwater is a landmark in every sense of the word. Not only is it a Pennsylvania state historical marker, but it is also on the U.S. National Register of Historic Places and U.S. National Historic Landmark. It is the paradigm of organic architecture and has made the top of just about every architectural test and has graced every magazine since its inception. It was named the “best all-time work of American architecture by the American Institute of Architects in 2007. Smithsonian added Fallingwater to their list “Life List of places to visit before you die.”

Feat of architectural imagination

Only a man with the genius like Frank Lloyd Wright could dream up Fallingwater House. Frank Lloyd Wright was introduced to Edgar J Kaufmann Sr. through their son, Edgar Jr., and suggested plans for their weekend home. Everyone told Kaufmann senior that he was an idiot to trust that Wright’s design wouldn’t fall right into the falls. He called his engineers from the department store and they all said get out while he still could. At that point Wright had only designed and built six buildings, not the hundreds he would become famous for. When the Kaufrman’s brought their budget for their summer home to Frank Lloyd Wright of about $35,000. The project would go on to cost well over $150,000. Going over budget was also his style. And for good reason. Wright’s designs and interiors are meticulously planned according to four principles: organic, democratic, plasticity, continuity. In the end he was able to defy some of the best engineers of the day and build a home on the top of a falls through an intricate system of cantilevering that allows the home to appear weightless and float on top of the riverbed.

Timelessness

The Kaufmanns and their brood are long gone, and the home remains just as it did when they handed it over to the Pennsylvania Conservation Trust. However, there seems to be a feeling of enduring timelessness. When visiting with my mother she found inspiration to redecorate our family room giving me the sense that perhaps the eclectic ambiance has something for everyone that continuously inspires the inner interior designer in all of us.



For anyone that has been to Fallingwater there is something timeless about the home. It has an elegant style that despite the passing of decades retains a modern appeal. Part of this is due to the customization of the building. Frank Lloyd Wright built the home custom to the family. Everything down to the desks and the shelves were purposely built with the Kaufmann family in mind. Frank Lloyd Wright was exceptional in his desire to create a home that truly embodied the spirit and values of his client, which are a testament to the Wright’s outstanding ability. The exterior as well is organic. From the viewpoint, the house looks as if it has always been a part of the landscape it is so compatible with its setting. Wright made sure to quarry the stones from the Laurel Highlands area giving the home a seamless look. Even though it was constructed during the Great Depression, it looked toward the idea of self-capability to maintain both its relevance and its durability.

The Beginning of Global Style

Owing to the timelessness of the design has a lot to do with the interspersal of influences from around the world. Frank Lloyd Wright had recently returned from Japan designing a hotel at the time of designing Fallingwater, and there are clear connections to the architectural style. The general openness of the living spaces lends itself to a more Asiatic style. However, the furniture has a more Scandanavian feel. The furniture, especially the reclining chair by famed designer Bruno Mathsson of Sweden. These are then juxtaposed with pillow fabrics that with South American and African prints. The result is a complete mixture of patterns and styles that make the house feel globalized. At the time, the style was revolutionary and completely unheard of. Now, it still looks incredibly innovative and still iconic in its ability to balance so many different influences in such a harmonious and organic way. Given the recent trending of hygge it is only a matter of time before the rest of the world adopts the coziness of the Scandanavians the way Fallingwater did in the 1930s, hopefully in time for winter!

  

Monday, 25 January 2016

London's Modern and Contemporary Art Scene: The London Art Fair 2016

The London Art Fair 2016
24 January 2016
Photo By: Amanda Chain


This week (20-24 January) hailed the onslaught of the best in British Modern and Contemporary Art. In it's twenty-eight installment, the London Art Fair gave collectors and general enthusiasts alike a peak into the up-and-coming and the soon to be stars of the London Art Scene. Set in the Business Design Center in trendy Islington, the London Art Fair has the accessibility to the contemporary with less pretension and overstatement of the Frieze Fair.


Here, London's top galleries swarmed to show off the best in show, while also getting a chance to highlight permanent collections, such as the incredible curation of the Jerwood Gallery's permanent collection curated by Director Elizabeth Gilmore and Lead Curator Lara Wardle entitled "Coast" displaying artists whose work was centrally influenced by the geographic elements of one of the world's oldest coastlines including the likes of Christopher Wood and John Piper who also feature heavily throughout the fair. There were plenty of big names to choose from including personal favorites: Barbara Hepworth and L.S. Lowry, and also shining stars like sculptors Shaun Doyle, Mally Mallinson, and Anna Gillespie. Some of the most sought after pieces came from mixed media artists like the Connor Brothers and more traditional painting styles and and some spectacular photography. Although this is by no means the definitive list, here are my top 5 personal highlights.


Truth Is Weirder Than Any Fiction I've Seen, 2015
The Connor Brothers
Mixed media on canvas
191 x131 cm
Unique £7,500 Plus VAT
Photo By: Amanda Chain
Pertwee, Anderson, & Gold, 15 Bateman Street, London W1D 3AQ

The Connor Brothers exhibition at the Pertwee, Anderson, & Gold was amid with buzz. Located just to the right on the ground floor by the entrance this was one of the premier locations at the London Art Fair. By the time I arrived there were numerous editions of their work already sold. Much of it like this piece Truth is Weirder Than Any Fiction I've Seen, 2015 is thought-provoking. Images of models and book covers are juxtaposed with quotations that make the viewer do a double-take. Classic imagery meets literary persuasion, which seems in this case to become the Fine Art response to memes that take over today's social media.



Mama Bear, 2015
Nicola Hicks
Plaster, Straw and Tar
46 x 50 x 50 / 81 1/8 x 33 1/8 x 20 1/2 in
Flowers Gallery21 Cork Street London W1S 3LZ
Photo By: Amanda Chain

Nicola Hicks recently held an exhibition towards the end of last year which displayed her clever sculptures made out of tar and straw. The exhibition entitled Pause was a massive success and she showcased her talent for depicting real as well as mythical creatures. Her material choice makes evident the rawness of the subject. The seemingly harsh edges are used to display a broader banality of the subject. Working from memory Hicks attempts to create something both of this world and of her own imagined interpretation to create a new way of looking at things we think we've already seen.



Sumo Ergo Sum (I Shop, therefore I am)
Shaun Doyle & Mally Mallinson
Cast Bronze
Edition of 9. Sign and numbered. 2015
H 42.5 x W 45 x D 55 cm
£4,800
Paul Stolper 31 Museum Street, London WC1A 1 LH
Photo By: Amanda Chain

This piece by Doyla and Mallinson had visitors questioning the consumerist culture of the twenty-first century. Taking the classic latin quote by Descartes "Cogito, ergo sum," I think therefore I am and applying a critique on modern culture. The cast bronze is the sort of piece that emphasizes the accessibility of art at the fair. It is a simple statement supported by imagery that has a deep-seated effect by resonating immediately to the onlooker. The weight of material goods on the bare bones does more than just raise the question of whether "shopping' has taken over the societal conscience but furthermore that it is destroying it.


Mappa Mundi Major Londinium, 2015
Ewan David Eason
Black UV treated ink on 24 Carat Gold leaf mounted on Aluminum panel
Signed and editioned by the artist
195 cm Diameter
Edition of 3
£12,000
TAG Fine ArtsUnit 129a BDC, 52 Upper
Street, London N1 0QH
Photo By: Amanda Chain

There was quite the buzz around TAG Fine Arts showcase. There were a number works with more than a mere hint of political charge. The theme at this event was centered around geo-politics and included various maps with laser-printed passport reconstructions to signify place and identity. Among these works was a piece by Ewan David Eason entitled: Mappa Mundi Major Londinium, 2015. This work was stunning not only for its sheer size, but for the intricacy of the detail within the piece. Eason is a product of the UK having received his BA Hons in Fine Art from Bath Spa University College in 2003. He has since gone one to build a repertoire of work that illustrates the ancient and medieval through mapping. He particularly uses the Charles Booth's Poverty Maps as a point for inspiration. In this work he uses gold to draw attention to the egalitarian nature of people without the all-encompassing product of location by using a precious material like gold to bring the viewer in to the work.



Rain
Anna Gillespie
Bronze Edition 1/5
£14,000
Beaux Arts Bath48 Maddox St, London W1S 1AY
Photo By: Amanda Chain

Anna Gillespie is what we call "mover and shaker" in the British Contemporary figurative sculpture scene. Much of her work centers on the environment in which the sculptures are made of natural materials that compliment their surroundings. Some of this year's pieces were just so made out of material like acorns. This particular work is bronze and demonstrates the erosion process of the material after rainfall, although not clearly a depiction of rain itself. Some of her work is exhibited in parks and other places such as Gloucester Cathedral, and by Saturday afternoon it was clear that her work was selling quickly.


The London Art Fair is by no means unpopular, this year saw unprecedented numbers and backing by major sponsors like Sotheby's Institute of Art who was a major partner as well as Infiniti and The Art Newspaper. What makes this event more accessible is that the work is aimed at the Middle Market. You won't find works worth millions here, but you will find works ranging from
£100 to £100,000, and a whole lot in-between. Here is art for the general consumer, some of these works were political. There seemed to be a particular occurrence of immigrant and refugee subject pieces giving the feel that this was art "of the times." It was in a word: relatable. The talks during the day were aimed at trying to determine the position of the art market for the general consumer highlighting issues that are hot topics like: public versus private collections and encouraging diversity in art and photography.

Even if you found yourself on the other end, and missed the event, make sure to visit the website at London Art Fair so that you can get a full list of the galleries present and talk re-caps. 



The London Art Fair, London, 20-24 January 2016

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