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.
I wonder if the twinned lighting fixture over the dining table is original to the house. Its planar geometries seem a bit early for 1901 ?
The spindled grill or screen on the east side of the entry porch, absent on the west side, perhaps responds to the asymmetrical placement of the entry door, both visually and as an acknowledgment of weather . . .
There are also spindles in the garden wall (perpendicular to the entry) in front of the stair/lav/trunk closet above and the maid's room below. Perhaps they were meant to be complementary? If there were spindles on both sides of the entry, it might have looked too confining.
generally omitted normal gutters and downspouts from his drawings, though any of his Prairie period houses have gutters built into the roof edge. Here
we have an outboard gutter specified by the architect. I can't say what the vertical triangle at the bottom of this device is meant to be.
The other item is the extra lines added to the roof in the elevation drawing. These seem intended to modify the roof pitches, which are identical as drawn
originally. The designer seems to have realized that, from the ground, the surfaces of the upper roof would disappear from view as the observer moved
closer to the building while the lower ones would remain in view. To correct this, so that both roofs would be visible at a certain distance from the house,
and would disappear more or less simultaneously as the viewer drew near, the modification indicated would be necessary.
This could be proved easily, on this drawing, by extending the roof profiles toward the ground, to see where they would converge, in each case, at about
five feet above grade.
I believe I have detected a similar strategy visible on other Wright elevation drawings of the period . . .
At the Blossom Garage, the pitch of the upper roof is substantially steeper than the lower roof, which makes the two elements seemingly equal in pitch as viewed from the street. I don't know if FLW did that trompe l'oeil gimmick anywhere else.
Since Henderson and Hickox are essentially the same design, with only the roof differing on the exterior, is there evidence that he fiddled with the pitches on that one, too ... not to mention Bradley.
https://www.chicagobusiness.com/residen ... value-land