EFFECTIVE 14 Nov. 2012 PRIVATE MESSAGING HAS BEEN RE-ENABLED. IF YOU RECEIVE A SUSPICIOUS DO NOT CLICK ON ANY LINKS AND PLEASE REPORT TO THE ADMINISTRATOR FOR FURTHER INVESTIGATION.
This is the Frank Lloyd Wright Building Conservancy's Message Board. Wright enthusiasts can post questions and comments, and other people visiting the site can respond.
You agree not to post any abusive, obscene, vulgar, slanderous, hateful, threatening, *-oriented or any other material that may violate any applicable laws. Doing so may lead to you being immediately and permanently banned (and your service provider being informed). The IP address of all posts is recorded to aid in enforcing these conditions. You agree that the webmaster, administrator and moderators of this forum have the right to remove, edit, move or close any topic at any time they see fit.
I know a Turkish kilim collector/dealer in NYC who spent weekends and summered on Long Island. He lived in close proximity to Mrs. Willey, and he would have tea with her from time to time and the conversation about living in a home designed by Wright came up. She admitted that she enjoyed living in Wright's design at that time but was also very comfortable in her present Salt box house on Long Island. She remembered the Wright house as always being cold.
From living in a unique precursor of the usonian, some say the first... to living in literally a box, both were fine with Mrs. Willey.
http://www.savewright.org/wright_chat/v ... 64&start=0
It seems that Wright specified shellac followed by paste wax. For a dining tabletop to truly be protected, that doesn't strike me as being enough, unless you are extremely careful. At our Lamberson house, we had glass tops cut to the size of the top to protect the rather thin and extremely soft redwood veneer. It works well, but is not the prettiest solution... If you were to use solid wood tops, oil or shellac, followed by wax would probably be sufficient, especially because any damage could later be repaired by sanding. With veneered plywood, I would consider satin polyurethane, varnish, or shellac with multiple coats for the tops and edge banding, with shellac and wax for everything else.
I'd start with satin finish. You should be able to alter the sheen with steel wool or Scotchbrite, if you're not happy with the patina. Make an experiment board of scrap cherry, and duplicate the steps as you finish your table.
SDR, do you have the high rest scan of this image? I can't read a lot of the dimensions, especially on the pedestals and uprights of each section of table, and the angle.SDR wrote:The G/W millwork drawing published in "Affordable Dreams" shows a 2 x 3-foot "sectional table" with the note "six required." The tops and support are identical to those of the fixed table; the top is 7/8" plywood and the mitered edge is 1 3/4" high. I find no note about the connection hardware, if any.
The photo linked above illustrates the issue encountered with tables to be pushed together and used as one: the irregularities found in many a floor mean that the tables don't align well with each other. Hardware to overcome this problem could be devised. The standard locking hardware for tables with leaves is similar to a sash lock, but with the advantage that it clamps the leaves together; pegs drilled into one side of each leaf mate with matching holes in the opposite edge. This visible device may not be considered acceptable in the case of these sectional tables with their finished edges.
Most of the time we use 3 of the 4 tables for dining. Yes, they are meant to simply be pushed next to each other, but in reality, if you're not careful and lean in at the wrong spot, you will find your dinner in your lap! The previous owner attached small C-clamps underneath the tables and we do the same.
As seen in original photos, we push the remaining table section against the brick wall adjacent to the kitchen.
For large parties we sometimes arrange the tables around the room. They remain fairly stable if pushed securely against a wall.
One thing to be said for three-legged tables is that they won't rock when resting on an uneven plane -- typically in an outdoor setting. But the three feet of the Goetsch-Winckler sectional tables are awfully close to each other, relative to the size and weight of the top. The C-clamps are the perfect solution, as they won't mar any visible part of the table and are quickly removed when necessary.
At Weltzheimer, the dining tables are all free standing. I have always understood that this was key to the use of the Great Room space. The tables could be used for dining or as an end table (Pope Leighey shows this). They could be used as one surface or separated for increased dining seating. They could be taken outside to the terrace for alfresco meals. Thus the one large room can serve many different purposes.
This is a key point in understand Wright. The room was not meant to be static,
but would be arranged per each use. Am I misunderstanding the intent?
Since the natural and normal dining-seat place is two feet wide (more or less), each of these loose tables was apparently intended to seat two additional diners.
Mr Wright intended these "sectional tables" to simply be pushed up against the each other, as required. In the architect's mind -- any and I suspect many architects' minds -- materials used in their constructions arrive at the building site straight, flat, and perfectly planar, just as they appear on the drawings. Poured floors are likewise perfectly flat. In that ideal world, objects of identical height will of course meet others of their kind without a problem; a smooth and unbroken plane will result. Would that this were so, in the real world !