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Another built/demolished house with diamonds is Grace Fuller (XLb), plus unbuilt projects for Aline Devlin (II), Horseshoe Inn (XXXVIII) and Clarence Converse (Mono 4/136).
Vosburgh (Mono 4/124-5) has wood mullions with a single horizontal diamond spanning the width near the top of each tall window in the 2-story living room and in the bedroom windows, but not in the kitchen/dining.
Why not a simple square pattern rather than a diamond pattern? Sketch one of each next to each other. The square pattern is confining to me, uncomfortable, unlike the elegant diamond pattern.
There is some evidence to support the notion that, after the middle of the first decade, diamond patterns of various kinds appeared on rural projects while suburban and city houses sported Wright's newer ideas for glazing texture.
Plan of the "Artist's House," from Taschen. I'll do a close-up of the note on the right . . .
FYI: I know for a fact that Tom Heinz has done an extensive search of county records to find where the Grace Fuller House was built and he could find no indication that it was ever actually constructed.Roderick Grant wrote:Another built/demolished house with diamonds is Grace Fuller (XLb).
(. . . not to be confused with this mishmash from the same author !):
The possibility of this connection raises the issue of "pretty drawing vs architectural reality," where we have to deal with the fact that, from the ground, no 2D graphic on a vertical surface (the window) will be seen to align with a three-dimensional reality (the diagonal hip or hidden plane of roofing). Yes, the diagonals may speak to each other nevertheless . . .
Readers will find the Bock Atelier, Gridley, the Petit Memorial Chapel, Westcott, a drawing for the "Fireproof House for $5000," and the George Blossom garage all to have wood-muntin glazing with (mostly) square panes.
1907 begins with Coonley, which has Wright's typical luxurious multi-colored metal-camed glazing -- in an entirely orthogonal pattern (sharing this trait with the polychromed tiling of some second-floor exterior surfaces). The Coonley stable has an oversize grid of wood-framed windows. The Mrs E Martin garage is similar to the Blossom garage in its simple and seemingly orthodox windows. Square-lite windows are seen throughout the year, with some other simple orthogonal patterns, until we come to the Porter design shown above. Ditto 1908; the Boynton house is shown (above) with horizontal diamond-grid but built with an orthogonal leaded-glass design, as is Brown's bookstore. The Evans and Gilmore homes have Wrightian elaborated caming patterns, one with diagonals and the other without. Mayer May combines these geometries as well.
Other than Robie, already discussed, 1909 too has nothing but (mostly) wood muntin patterns in rectangular designs. Jumping to 1911, we start with Angster, where (for the first time ?) we find the wood-muntin window used later in the year at Taliesin -- with its vertical row of small and then medium panes abutting a larger field of glass. Balch, Sherman Booth (mostly -- see above), and the Park Shelter at Banff all have Craftsman-like rectangular patterns of muntins, while Wright's Chicago townhouse drawing seems to show an orthogonal metal-came pattern. The Sherman Booth stable project is shown with a pattern in wood derived from the Angster/Taliesin one.
The charming, overlooked Pettit Memorial Chapel, published in Architectural Record, Nov. 1982, after a restoration, has wood mullioned windows divided into 12 square lights, but each square also has art glass. A single square with heavy caming dominates each light, with small squares at the four corners. The corner glass is milk, while the rest is clear.