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Posted: Sat May 04, 2019 7:37 pm
And here are forty-three (!) sheets for the Frederick house, which John Eifler has said he regretted not having at his disposal when working on the restoration of that property.
https://fineart.ha.com/itm/decorative-a ... ion-120115
The scale of this theft from the Taliesin archives---what else can it be ?---keeps growing. It would be interesting to know when that happened, and over what period of time. One could look for each of these projects in the
Monographs, to see if any of this material was present to be recorded for those publications, in the 'eighties. I have not yet undertaken that search.
It amazes me to learn, from Bill Schwarz, that there was no reproduction equipment---no diazo machine, no other large-format copiers---at Taliesin, well into the 'fifties. We read again and again, in the literature, that originals
were sent to clients with requests to copy and return---but that no in-house printers were available that late in the career is frankly astounding.
Posted: Sat May 04, 2019 8:17 pm
ha! ... keeping their overhead low?
Posted: Sat May 04, 2019 10:25 pm
Posted: Sun May 05, 2019 9:41 am
A couple observations:
--the marketing for this auction wasn't great as I'd have bid on some items had I known more about the auction
--The prices were not what they would have been a decade ago when a set of original drawings would have reached 6 figures easily.
--At least the auction didn't divide the sets up and sell each sheet individually.
--And it's nice of the auction house to keep the images up so folks like us can study them.
Posted: Sun May 05, 2019 11:36 am
Posted: Sun May 05, 2019 1:17 pm
Hurrah---and thanks, Tom.
Doesn't the house look fine. I wonder about the unusual figured veneers to some interior surfaces, including the original kitchen cabinets. What specie is that, John ?
When a contractor or sub comes across unusual---often unique---flitches of veneer, a decision is made, sometimes by the owner, to employ them in a special project like this one.
I assume that is what happened when this house was being built---a happy accident of timing ? The result, of course, cannot be duplicated at a later date.
The plan is a unique one, too; I note the repeated use of a certain shape to the masonry elements.
Posted: Sun May 05, 2019 1:48 pm
The house looks drop dead gorgeous - especially compared to the before pictures.
Judging by the before pictures one would think FLLW was a crap architect.
In some sense it's not the same house as the "before".
I'd love to know a lot of technical stuff here.
My main question concerns what does it take to maintain a house like this?
What needs to take place so that it does not revert to the "before" condition?
Posted: Sun May 05, 2019 4:50 pm
It seems that one maintenance responsibility is the care and feeding of all that wood. It appears that someone may have bleached some rooms a lighter color and that now they've been restored to a darker tone. But overall the before pictures indicate to me wood that hadn't been re-stained or oiled in a long time, giving a sort of dried out appearance.
The treatment of the clerestory windows is unique. I wonder how all that upper level wood cuts down on the natural light.
Posted: Sun May 05, 2019 5:11 pm
Yep, lesser architects would have put all glass up there.
This element in Wright's work intrigues me.
Such an abrupt contrast between lower windows and doors and
upper clerestory wood "oculi" (?)
Where does this come from in Wright?
Is it in part an anti glare device somewhat like Kahn?
My answer, extempore, is the ground of the "organic".
Wright's built conception here is heresy.
Nobody else would have done that - nobody.
and it's gorgeous.
Posted: Sun May 05, 2019 8:35 pm
There are four or five postwar houses with that porthole clerestory detail; they're listed on this page:
http://wrightchat.savewright.org/viewto ... d1295c4bbd
Posted: Sun May 05, 2019 8:38 pm
Posted: Mon May 06, 2019 7:15 am
It amazes me to learn, from Bill Schwarz, that there was no reproduction equipment---no diazo machine, no other large-format copiers---at Taliesin, well into the 'fifties. We read again and again, in the literature, that originals were sent to clients with requests to copy and return---but that no in-house printers were available that late in the career is frankly astounding.
In a 1950 letter from Muriel Sweeton to FLlW, she notes the presentation drawings will be sent back to Taliesin as soon as Alfred (J.A. Sweeton) gets them printed. Mr. Sweeton was a naval architect and had relatively easy access to the diazo ammonia based printing equipment of the day. I suspect many clients didnÃ¢â‚¬â„¢t.
My question is how did all of these original drawings, not to mention the print sets, get in one collection for sale at one venue?
Posted: Mon May 06, 2019 9:37 am
One plan that doesn't appear in either Mono or Taschen is a project for Harold Price, Jr. based on the Jester House. The prairie seems an unlikely place for an infinity pool.
Posted: Mon May 06, 2019 3:25 pm
Kathryn Smith describes this previously unknown project for the Price Family on the last spread in V6/N3 of the Journal OA+D:
https://www.oadarchives.com/product/jou ... -pre-order
Posted: Mon May 06, 2019 5:47 pm
Does anybody have a total for the number of times Mr Wright proposed a version of the Jester/Loeb opus to a client ? Would this be his most-often-revived residential design ?