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I'm wondering if Wright Chatters could help answer two questions:
1. How many buildings use this diamond paned glass motif
2. Why did Wright fancy such a historically period (thin "Old English") motif and use it so liberally?
He was clearly after something "different," a motive which only became stronger as he matured. (Later in life, he referred to the Oak Park house and studio as "a play of volumes," as I recall it.)
That would be the Roberts residence, remodeled by Wright in 1955 for Robert Scott. Was the glazing redone at that time, or is it original to the 1908 construction ?
The earliest drawing showing horizontally-oriented diamond panes comes very early indeed: It's the second of the small Unitarian chapels Wright designed in the 1880s, the one for Sioux City, IA. The next time that horizontal diamond panes appear is in a drawing from 1902, for the unbuilt Lake Delavan Clubhouse. The appearance of this structure, with a double-height central volume lighted on three sides and flanked by single-story wings, re-appears in several subsequent residential designs, all of which are drawn with horizontal-diamond sash: the Guthrie, Roberts, Davidson, F J Baker, and Melson designs share the same tall central element and horizontal-diamond sash -- at least in drawings.
Lake Delavan Clubhouse 1902
Following the Lake Delavan Clubhouse of 1902 is a drawing for an "Artist's House" (1903) for an unknown client. This marks the first appearance of the oversize-pane horizontal-diamond sash, where in the narrowest casements a single diamond spans the width of the sash. This detail appears next in another design with no designated client, the "Wood and Plaster House" of 1904 (delineated by Wm Drummond, incidentally). Subsequent projects include a design for Walter Gerts, the first iteration of the A W Porter house at Taliesin, the Melson house mentioned above, and the W S Carr summer house seen earlier.
"Artist's House" 1903
"Wood and Plaster House" 1904
Porter 1907/1911 (?)
Notable projects featuring vertical diamond-pane sash include the demonstration drawing Wright made for Louis Sullivan (1887); Wright's Oak Park home; a preliminary presentation rendering of the Winslow house; and the Nathan Moore residence (among others) -- before the turn of the century. Missing among these, it might be mentioned, are two important commissions, the Heller and Husser designs.
Almost the first "Wrightian" geometric-patterned sash to appear are those at Bradley and Hickox -- greeting the new century. But he wasn't through with the diamond pane yet: the well-known rendering of "A Home in a Prairie Town" for the Ladies' Home Journal is fully fitted with them. From here forward, as before, it appears that far more such sash are shown in drawings than made it into built structures. Examples include the Quadruple Block Plan for the LHJ and Lexington Terraces. One major built example occurs in 1902, namely the Hillside Home School.
Moving forward, row housing for the Larkin Company workmen is illustrated with diamond sash, as is the Yahara River Boathouse. Beginning in 1906, Wright plays with rectangular (orthogonal) metal and wood-muntined glazing patterns; these continue throughout the remainder of the early years, alternating with a wide variety of diagonal designs. In a house drawn in 1908 for FS Baker, both diagonal-square and vertical-diamond panes appear (albeit sketched very lightly), while in the same year a house with smaller horizontally-oriented diamond panes appears for only the second time, for E E Boynton; the built residence doesn't carry them.
FS Baker 1908
The large-pane diagonal design may have led to the pattern employed at the Robie house. Here, a drawing for a bronze passage gate seems to build upon the simplicity of the previously-seen horizontal-diamond sash. The majority of the leaded windows at Robie have their busiest work near the top of the lite; designs for other structures following Robie echo this parti. They include a bathing pavilion for E C Waller (demolished), the Sherman Booth opus and a house for E Schroeder, both in 1911 (unbuilt) -- and the Vosburgh "Roberts-type" of 1916.
(None of these designs is included in the list of 54 diamond-lite sash projects; they may or may not be an outgrowth of that motif.)
Waller Bathing Pavilion 1909
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There's even an elevation drawing of the Imperial Hotel showing what appears to be diamond-lite glazing on one pair of elements !
Diamond panes of any variety appearing after 1916 will have to await further study; I suspect that the list will be quite short.
I'm blown away with the frequency and breadth of commissions that employ this motif. Why?
Was it cheaper as a decorative art glass design to employ? Was there sentimentality at play or special meaning to Wright? Is it just coincidence?
There was a time when size in glass was at a premium -- when small pieces were easy to come by while large sheets (2 or 3 feet square, say) were much more precious. I expect that time had passed by the time Wright had got underway ?
I'd entertain any suggestions as to why he would so often include that ancient texture in his designs. Perhaps he had the same nostalgia for it as he had for stone and brick, for timbers, for fire ?
In regards to the diamond pattern running horizontally, this seems logical with the Prairie designs which accentuated the horizontal line, low to the ground principles.