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In the first drawing, the shoe molding (used at the junction of floor and room base) is of an unusual profile. The joinery of the mullion members consists of a tongue and mating groove which, in the second drawing, are tapered on one cheek---curiously. The large cyma molding is not developed to its final form in the earlier drawing. On the later sheet we see the fully-worked out details of the complex window sash characteristic of Taliesin from the start.
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I imagine with managing exterior water the idea was that most moisture would slide right off the exterior stucco, and the overlap of stucco onto the top lip of the cyma would prevent most moisture from accumulating? Though with such broad eaves as Talieisn 1 began with I can see why that wouldn't be too much of a concern to begin with!
Again we have a video with inadequate sound. I thought modern recording devices were more sophisticated. The tour guide was excellent, to the extent that one could hear what he was saying.
Very exquisite and direct, I love it much more than Taliesin III, of course the first one was only a house/studio and the third a kind of educational campus. Anyway, please delight with this.
Don't know, but it's probably one reason I have never been inside the Fabris Cottage ...
As for the "Engineer's Cottage" mention at the end of the video ... it was where Mendel Glickman and his wife usually lived, when they were at Taliesin. In their later years they often spent months there during every summer, helping Wes with engineering problems. One of the great tributes to Mendel and his wife is that they are both buried in the Unity Churchyard. See:
Until today I had missed the tour of the Hillside Assembly Hall that opened this thread, two months ago. There are two elements in the main space---the support of the fireplace lintel, and the carriage of the mid-spans of the balcony or mezzanine---that must be the most overt constructivist moves of Wright's early career.
The width of the fireplace opening could not have been spanned with a single stone lintel unless it were very tall---a huge piece of stone, larger than those which span the Taliesin residence fireplace or that of the Pew residence, for instance. Instead, the architect carries a more reasonably-sized lintel on a pair of projecting stones, in effect cantilevers. He trusts the mason to choose the right stones for the job !
More remarkable yet is the use of exposed timbers, again in pairs, cantilevering from corner masonry and resting on wood which penetrates free-standing square stone piers beneath the balcony. The resulting bracketing, completely exposed as one might hope it would be, must trump any other example of exposed and expressive structure in Wright's work; as such it is a gratifying surprise. Could a single beam, passing over the pier, have done the job ? Do we care ?
The whole affair is surrounded by heavy stonework at the corners of the building between which are very broad and deep glazed bays, the glass wrapping back to the masonry behind the stone corners; one has to stand in the bay to see where it returns, wide open to the trees and the sky, to the solid stone.
Arts and Crafts architects, eat your hearts out: Wright scoops the lot of you in one fell swoop. This space is a living animal or a giant tree, into which has been inserted a treehouse standing on elephant legs in the middle of the room. Astounding; space and structure breathing as one, bathed in light and shadow, open yet protective; alive.
Rather disappointed in the Davison apartment "tour". Can't understand why it was rushed, though work wasn't finished ... and one room was passed by, completely, because it was piled high with furniture ... furniture that might have made the appearance of the rooms not quite so dismally stark. Puzzled, too, why no mention was made of the fireplace in the back room.
On the other hand, it is interesting to see bit of Maginel's work. (I had assumed her name was pronounced with a soft G
---but I've been wrong about these things before ! Haymow does rhyme with cow, not slow, surprisingly.)
Anyway, I'm happy to see yet another piece of the property, and learn even a little about its history and fabric.
The Wisconsin Historical Society requires written permission for reproduction, so these are links to their public pages of the photos; all attributed to Howe...
The (assumed) end of the loft balcony is in this first photo, as are crude "Taliesin" window mullions, most likely apprentice-made:
This photo of an assumed easterly wall with windows is problematic, since there is no structure other than a roof eave beyond. Short of unknown modifications, the roof over the hayloft would have continued over this wall from Taliesin 1 on, which is the only thing making it uncertain if this is the same area as the apartment video. The video clearly shows the kitchen overlooking the cantilevered parking area, which would have been beyond the wall with windows in the photo:
Two additional views. The first showing the balcony beyond, the second a general interior view:
There are many photos worth perusing in the WHS collection. I'm not certain, but this photo may be part of the office Wright created when he enlarged the studio, with what looks to be an enlarged photo of Robie on the wall to the right: