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Note two versions of the dining or side chair, one with a vertical front leg and the other with the canted leg.
This early interior, on the other hand, shows only tables by Wright, with many non-Wright seating pieces. . .
The chair is from Goetsch-Winkler: the G-W Details building sheet #5 (Archives # 3907.11 & plate 17 in Affordable Dreams) shows the perf on the front leg but it does not depict the perf unit drawing.
There are plan for Jester and the Pottery House. It is very rich and sadly only one has a Perf and the Pope house has the perfs showing in one photo and I just awed at it.
I can't wait to read the 1938 Arch. Record
Thanks Palli. Maybe the Chair was Built at Affleck and G-W. Just thought the interesting thing was 1938 G-W and 1940 Affleck both in MI, the perf is the same or similar. Maybe the G-W chair was a later addition by an owner.
On the drawing, the decoration (a perforation ?) might be a variant of the one we have seen in photos, but (if anything) presented upside-down -- as I see it.
In every case where we have photographic evidence, this dining chair has a flat seat, while the lounge ("studio") chair which accompanies it has what appears to be a comfortable seating posture. These chairs are found (in no particular order) at G-W, Sturges, Sondern, Rosenbaum, Wall, Baird, Affleck, and Stevens -- at least.
Without a cushion, that angle becomes very difficult. It seems that one keeps sliding down under the table...
Anyone designing a chair, or building one of his own or another's design, would be foolish to proceed without devising a test mule to affirm, and adjust as necessary, the heights and angles of the seat and back surfaces.
A friend of mine made a lounging chair years ago -- a narrow cube with ample cushioning -- in which the seat and back both took a 20 or 25-degree angle from the horizontal and the vertical, respectively. The chair was remarkably comfortable. The sides were simple planes of plywood, dressed on three edges with standard handrail stock. . .
SDR, to some extent (unavoidably, since we are all products of our own time), FLW was a Victorian. In his day, it was appropriate to sit up straight at the dining table, not touching the back of the chair, crossing legs, or any such admission to human frailty. Dining was a formal event, and comfort was not considered. Presumably one would be as comfortable sitting on a stool as on a chair, so the angle of the back of a dining room chair, or its composition was irrelevant as to comfort, leaving him to design freely for the sake of the art. His tall-back slatted chairs are as difficult to relax in as the G/W chairs. Even his three-legged chairs, which caused the Hannas such consternation, would, by his logic, actually be five-legged and stable if one sat up to the table properly. Somewhere along the way in the early 20th Century, humans seemed to have discovered that the spine can bend, even at the dining table.
scroll to #1610_09
http://homeshoothome.com/residentialpro ... perty-1610#
The lower shelf of the table makes a nice foot rest, also helping the comfort factor.
Here is the description for the chair on file at the Museum:
Wright, Frank Lloyd
Studio Chair, from the Goetsch-Winkler House, Okemos, Michigan
Redwood stain over plywood
29-1/4 x 26-1/2 x 27-1/4 inches
Gift of Elizabeth Halsted
Until 1979, residents of Frank Lloyd Wrightâ€™s Goetsch-Winckler house in Okemos used this plywood chair and stool. Wright included the chair design in blueprints and drawings for the house, although the decorative cut-out detail on the leg was undoubtedly a flourish added by artists Alma Goetsch and Katherine Winckler, the homeowners. Wrightâ€™s attitude towards designing chairs was â€œsomething between contempt and desperation,â€� as he once wrote, he also thought that sitting was â€œan unfortunate necessity.â€� The stool, one of several used around the dining room table, was not specified in the drawings, but it is a common type found often in Wrightâ€™s Usonian houses. The Goetsch-Winckler house of 1939-40 is a superb example of Usonian architecture, that is, affordable housing for people of moderate income. The flat roof, gravity heat and modular construction are hallmarks of this style from Wrightâ€™s later career, as is the functional furniture designed for the home. The Goetsch-Winckler house was originally part of a larger project of seven homes designed by Wright to be built off Mount Hope Road for MSU faculty members. When funding for this utopian community was not forthcoming, Goetsch and Winckler pooled their resources and built their home on another site. As art educators and members of the Art Department at MSU, Goetsch and Wincklerâ€™s contributions were not only to the generations of students they mentored, but as hostesses and caretakers of mid-Michiganâ€™s most significant example of domestic architecture.
Note the description comments about the perf: is this an acknowledgement that the perf is not on the furniture drawing? The mention of the flourish added by the client artists opens up a fresh kettle of fish since the perf is similar to the Affleck small post and furniture perf.
I have tried to read the note aside the studio chair drawing: (while I want the 11 letter word and following words to read: "perforations front and back") I don't think it does. Can anyone make it out?
I offer this observation/supposition: Why wood a dining chair that is usually pushed into a table have a perf and the studio chair (an exposed chair) not have a perf?