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.
Also, Brendan Gill isn't quite the ogre I expected -- so far, anyway ! And I'm pleased that the film starts off with a favorite critic, William Cronon.
I didn't realize you hadn't seen the Ken Burns show before. It was released in 1998 -- it's surprising to suddenly realize in a few months it will be 20 years old.
Here's a link to the second half:
Some of the other Scully moments occur at these marks:
If you watch the entire episode, you'll see Edgar Tafel do his best to dramatically retell his version of Wright's immaculate conception (and 120 minute presentation drawing) of Fallingwater with EJ en route, all the while Ken Burns slides across the screen the famous rendering and multiple inked presentation plans and sections, suggesting ....
I'd be eager to hear your impressions.
Photographs of Wright are presented often in the video and appear to be correctly placed, chronologically. If so, it may be that Mamah's death, and the first and greatest Taliesin tragedy, turned Wright's hair from dark to light ?
There is a shot, the last frame of the first video, showing a wooden gate (?) with what appears to be Wright's carved sign from the Oak Park studio. Is that an early gate at Taliesin ?
It must be.
Plus, also note what appears to be the "Flower in the Crannied Wall" sculpture just beyond, which found its way to the tea circle in the courtyard where it stood for many years, but now there is a duplicate made of resin in its place. The original is (as of last May) inside in the drafting studio on the spot where the Call Building model sat for awhile.
In the old photo when she's beside that gate she appears to have her arms. Nowadays they're long gone:
One disjunction that ought to have been caught is when FLW's notorious habit of overspending on construction is mentioned while the images are of Frederick Robie and his house. An interview with Robie by his son was published in Leonard Eaton's book "Two Chicago Architects and Their Clients," pp 126-133:
Relationships with Mr. Wright were ideal. It seems inconceivable that the foresight, the knowledge, and the intense desire to do just the right thing could have been imbedded in a man like him - possibly it was in his hair - remember, it was kind of long.
Were there any extras on the job?
None. The actual total cost of the house proper, including all items - even interest and taxes, was $35,000. The cost of the lot was $14,000. Special furnishings, such as a hand-woven rug from Austria, which were provided under Mr. Wright's direction, came to about $10,000.
So your total cost was about?
And the budget you had set up in your mind was what?
$60,000. It was one of the cleanest business deals I ever had.
If I remember correctly the narrator comments at some point about a Presbyterian minister condeming Wright for leaving his wife for Mamah.
Does the film mention who that minister was or where he was located?
I recently found a connection to North Carolina with the minister of Lake Forest Presbyterian in Chicago at this time in Wright's career.
I'm wondering if it's the same guy?
On a side note, the music in the film kept up with the times, with a consistent return to Beethoven, appropriately. In the 'thirties somewhere we get a bit of Benny Goodman and one of his early quartets.
What vibraphonist Lionel Hampton brings to "Sweet Sue," the number in the film, absolutely knocks me out. It's at 15:00 on this video:
Evidently the suburb was started by a bunch of Presbyterians who supported Temperance and frowned upon dancing.
The family of Cyrus McCormick was part of this.
Harold McCormick, son of Cyrus, whose wife chose an Italian Villa over Wright's design was part of this too.)
I'm seeing a full jaw, and a certain mouth, in all five faces -- with the exception perhaps of Miriam Noel, whose jaw is more pointed.
It has been shown that people choose mates based on a number of physical factors, consciously and not; examples include length ratios to various limbs, and proportions and dimensions of facial features, which often reflect those of the subject him- or herself.