a solid reputation for bringing in projects on time and within budget, but by their own admission they were not especially innovative. The contract called for control over construction to be turned over to Geren when Kahn had finished the design, a provision that eventually led to conflict because Kahn felt that a design was never finished until the building was constructed. Kahn once said, "the building gives you answers as it grows and becomes itself." The museum trustees settled the issue by deciding that Geren would report directly to them instead of to Kahn, but that Kahn would have final say over the design, except that any changes would have to be approved by Brown. The new museum was to be built on a gentle slope below the Amon Carter Museum, whose entrance and terrace faced the Fort Worth skyline. Kahn was asked to build the Kimbell museum no more than 40 feet (12 m) high so it would not interfere with the view from the Carter Museum. Kahn initially proposed a low but very spacious building 450 feet (137 m) square, but Brown rejected that proposal and insisted that Kahn design a much smaller structure, a decision that would have repercussions several years later when a proposal to expand the building created a storm of controversy. Architecture The museum is composed of 16 parallel vaults that are each 100 feet (30.6 m) long, 20 feet (6 m) high and 20 feet (6 m) wide (internal measurements). Intervening low channels separate the vaults. The vaults are grouped into three wings. The north and south wings each have six vaults, with the western one open as a portico. The central space has four vaults, with the western one open as an entry porch facing a courtyard partially enclosed by the two outside wings. With one exception, the art galleries are located on the upper floor of the museum to allow access to natural light. Service and curatorial spaces as well as an additional gallery occupy the ground floor. Each interior vault has a slot along its apex to allow natural light into the galleries. Air ducts and other mechanical services are located in the flat channels between the vaults. Kahn used several techniques to give the galleries an inviting atmosphere. The ends of the vaults, which are made of concrete block, are faced with travertine inside and out. The steel