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So if they made you curator and gave you infinite budget, what would be your punch list of things to do to make it qualify?Roderick Grant wrote:What has been done is very encouraging (aside from that dish cloth hanging from the dining room light fixture). But it is only a beginning. There's so much more that needs work before it can truly qualify as a restoration.
Living Room: Add all 10 brass'n'glass light fixtures and fireplace screen. Finish gold highlights in relief over fireplace. Add the art glass to doors. Eliminate small window in north wall (added in 1946). Research wall colors; new paint job doesn't look right, but I may be wrong. Restore skylight curtain, with portieres, a necessary design element, and so 1920s!
Loggia: Replace wood floor with concrete all the way through, past the library to conservatory. Build loggia chairs designed for the room (which Don Lovness created for Lovness Cottage). Finish west wall in same manner as exterior walls. Correct newly restored folding doors. Remove door to passage behind colonnade and 'restore' original built-in desk between dining room steps and pier, with fixed window and slats above. Delete the stairs to the basement and restore the powder room originally in that area. Add the L-shaped carpet leading up the dining room steps. Replace the solid concrete doors with FLW's original design.
Music Room: Delete Lloyd's cabinets, restore cabinetry at north end. Review various designs for divider between music and entry (though probably the existing one is best).
Library: Convert ceiling light into skylight as designed.
Dining Room: Replace ceiling light with FLW scheme. Replace south doors with windows, as planned.
Gallery: Remove gallery; restore bedrooms.
Pergola: Finish south wall in same manner as exterior walls. Fill north 2/3 of space with potted plants. Get rid of fluorescent lights in ceiling. Restore clerestories between pergola and bedroom wing.
Lobby: Remove closet between Sugar Top's room and guest wing, add glass door to south lawn.
Sugar Top's Room: Add mural over fireplace and built-in bench next to it.
Aline's Day Room: The main bedroom was intended to be a day room, with the bedroom at the north end of the upstairs to serve as Aline's bedroom. Finish day room with built-in bed in bay and enclosing screen, per plan. Add mural over fireplace.
North Bedroom: Add concrete-framed opening in north wall, glass walled porch at end of room, with headboard of double bed built in.
Car Court: Remove 6" of Macadam, replace with decomposed granite, revealing first step up to entry gallery. Place statue in recess (repro, of course). Reconstruct gallery west wall to match east, per plan. Replace wood screen in east wall with wood 'frames,' per plan, to frame views of garden outside dining room.
Garden Court: Add 3' walk from stair to 3' beyond cross walk, for statue. Restore stream, lily pond and appropriate verdure in north 1/3. Eliminate base planting along south edge. Restore eucalyptus in SW corner for afternoon shade. Restore perimeter of circular pool. Reduce height of inner circular pool to below water level. Add water lilies to pool.
Completely restore Residence A, and demolish all non-FLW buildings on the hill.
As someone new to the house - and, frankly, to the whole architectural game - the biggest challenge I see ... beyond funding ... is determining the nature of the restored spaces. In the gallery, for example, it would be easy enough to replace what's their with a pair of guest suites that match the original floorpan, but is that sufficient to qualify, when we have no idea what the FLW rooms looked like? Even today, we have to cop to the fact that, nicely restored though they may be, the library, music room and kitchen are really the 1946 FLWjr versions.
Restoring the original floorplan would certainly help visitors experience the proper flow to the house, but without even one photo to help guide the finishing, I can't imagine the budget ever being allocated for it.
That said, if even one magic photo were to pop up from the period of architectural significance for any of those areas - such as the Viroque Baker shot of the dining room with your favorite lamp - it could completely change the game.
http://ens.lacity.org/restore/ph_house/ ... 242009.pdf
I'm a geek, so I find these fascinating. I've found quite a few documents on Hollyhock online, from the HABS reports to newer ones like this. Unfortunately, the one I _haven't_ found yet is the original 1989 Historical Structure Report referenced in the one above.SDR wrote:Some bedtime reading, found while searching for Viroque Baker . . .
http://ens.lacity.org/restore/ph_house/ ... 242009.pdf
For other similarly geek-minded individuals with an interest in Hollyhock, the Project Restore website where the linked report came from includes a number of reports along with a ton of photos from all phases of the restoration effort.
Project Restore - Hollyhock House
Drawings and photos exist of the music room as built. There is even information on the west wall treatment and the rug. The library is close enough as Jr. did it, except for the skylight, which I'm sure was constructed and which should be restored. The kitchen was originally divided into 2/3 cooking area and 1/3 pantry. But if it were not altered, it wouldn't matter that much, any more than the servants' rooms.
Two examples of how FLW houses should be restored are the Oak Park Home & Studio and the Meyer May House. Both became apartment buildings for the bulk of their existence, but were restored to pristine condition according to FLW's plans. Unless the same is done to Barnsdall, it cannot reasonably be said that the design was realized. Another instance, the D. D. Martin House. Mrs. Martin had failing sight, and wanted more daylight to come into the house, so she had FLW move the upstairs windows above the entrance and reception room moved to the outer edge of the eave. During restoration, there were advocates of leaving them where they were and some who insisted on moving them back where they were originally, and where FLW wanted them. The latter was done, and without damage to the legacy of Isabelle.
I call the Dept. of Interior standards restoration by bureaucracy. Not having to make hard decisions is the bureaucratic way, the easy way out.
Even more important than ridding the house of the gallery is closing the gaping maw from the gallery into the pergola. That is truly an affront and a violation of FLW's principles.
I'd also like to hear the decision for making the dining room ceiling monochromatic - there were clearly two different versions of the green/gold paint used in that room found in the light soffits.
And while I'm dreaming, I'd also like to definitively find out if the Alcove south wall ever really had a fresco done by Barse Miller of the California Art Club.
Regarding the guest bedroom/gallery space - if nothing else, I'd wholeheartedly support at least closing the Pergola wall and restoring the clerestory windows.