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Taliesin
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Roderick Grant



Joined: 29 Mar 2006
Posts: 8515

PostPosted: Wed Oct 03, 2018 12:58 pm    Post subject: Reply with quote

SDR, the plans you list side by side in your attachment, "Publication plan of Taliesin I c. 1941" and "Wright, Original Taliesin, 1912 (unpublished)," show a difference in the servant's bath. A photo in Ron McCrea's book (page 93) taken shortly after construction shows that the unpublished version of the bath was built, contrary to Hitchcock's plan.
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JChoate



Joined: 04 Feb 2016
Posts: 903
Location: Atlanta

PostPosted: Wed Oct 03, 2018 3:51 pm    Post subject: Reply with quote

More follow up on the decorative screen outside FLW's bedroom in 1937:
Looking around a little, I spotted the same screen hanging on the studio wall in a 2004 article in Architectural Digest (featuring a photo by Jon Miller of (ironically enough) Hedrich Blessing). Seeing it in the studio, it's a lot wider than we'd suspect seeing it in the hallway image.



Refering back to Mr. Jaureguiberry's recent (August 2018) Flickr photos, we see that there now is a different, but similar, screen hanging in that spot in the studio.




It's a pretty amazing job of placing similar pieces, especially given the horizontal dimension which fit snugly between the corner of the room and the projecting pilaster.



An obvious difference, the current screen is covered by a layer of glass. Judging by the funky color of the window reflection, it's probably a special UV resistant glass to protect the screen from fading. Perhaps, that explains why the previous screen was removed -- to deal with UV damage (?).

Now, I want to go back to look at old photos in the studio to see what might've been hanging on that studio wall while the screen was over in the house near FLW's bedroom...
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SpringGreen



Joined: 31 Mar 2006
Posts: 508

PostPosted: Wed Oct 03, 2018 4:48 pm    Post subject: Opening into Wright's bedroom Reply with quote

It didn't seem that he had a door. Johnny Hill (Taliesin Fellowship, 1938-53; 1963 until his death in 1996) told oral historian, Maggie Valentine, in an oral history in 1990 that Wright had a folding door in front of his bedroom. Mrs. Wright had put in a door that Taliesin Preservation removed in 2010 when doing work on Mrs. Wright's bedroom. We've not found enough information to figure out what was actually there (others said he had a cloth cover for awhile). Drawings are inconclusive & there are no good photographs looking down there.

You can see a view down the hallway in House Beautiful magazine, Nov. 1955, p. 320. You can see it goes straight down the hallway. That photograph was taken by Maynard Parker & is available in the Maynard Parker collection at the Huntington Library in CA. I'll provide a hyperlink to the photo. Here it is:
http://hdl.huntington.org/cdm/ref/collection/p15150coll5/id/10247

Regardless, that's what we know about the entry to his room. The drawings only show us the possibility of a door, but nothing definitive (like there is for the Guest Bedroom, which used to be his bedroom until 1936).

What else... I hadn't realized the screen that used to be in his studio was the one that showed up in the Hedrich Blessing photos - thanks, JChoate!

As for the "glass" on the screen: that's a material called "Tru Vue". It's museum grade material & keeps UV rays off the screens (most of the screens you see in the public spaces at Taliesin have been restored 0 by Studio TKM in Boston). If you look straight on at the screens, there's no reflection, but it's difficult in Taliesin. We can only do so much.
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"The building as architecture is born out of the heart of man, permanent consort to the ground, comrade to the trees, true reflection of man in the realm of his own spirit." FLLW, "Two Lectures in Architecture: in the Realm of Ideas".
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SpringGreen



Joined: 31 Mar 2006
Posts: 508

PostPosted: Thu Oct 04, 2018 10:43 am    Post subject: Screen in Drafting Studio Reply with quote

JChoate said:
Quote:
An obvious difference, the current screen is covered by a layer of glass. Judging by the funky color of the window reflection, it's probably a special UV resistant glass to protect the screen from fading. Perhaps, that explains why the previous screen was removed -- to deal with UV damage (?).
The screen was removed because it was not in the space originally. The screen that's there now was in the Drafting Studio as of the Taliesin II era and was seen in all other photos taken inside the studio through Wright's lifetime.
https://www.wisconsinhistory.org/Records/Image/IM66179
_________________
"The building as architecture is born out of the heart of man, permanent consort to the ground, comrade to the trees, true reflection of man in the realm of his own spirit." FLLW, "Two Lectures in Architecture: in the Realm of Ideas".
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Roderick Grant



Joined: 29 Mar 2006
Posts: 8515

PostPosted: Thu Oct 04, 2018 11:13 am    Post subject: Reply with quote

It's fuzzy, but the Parker photo seems to indicate a curtain at the entry to the bedroom, pushed aside to the right. Or am I seeing things?
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SpringGreen



Joined: 31 Mar 2006
Posts: 508

PostPosted: Thu Oct 04, 2018 12:18 pm    Post subject: Am I seeing things? Reply with quote

Yes, it looks like a curtain or the portion of a rug. You can increase the size of the photo by using the magnifier in the yellow rectangle just above the image.
_________________
"The building as architecture is born out of the heart of man, permanent consort to the ground, comrade to the trees, true reflection of man in the realm of his own spirit." FLLW, "Two Lectures in Architecture: in the Realm of Ideas".
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SDR



Joined: 17 Jun 2006
Posts: 16126
Location: San Francisco

PostPosted: Thu Oct 04, 2018 4:56 pm    Post subject: Reply with quote

Bill -- wjsaia -- forwards a photo of the entrance to Wright's bedroom . . .


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JChoate



Joined: 04 Feb 2016
Posts: 903
Location: Atlanta

PostPosted: Thu Oct 04, 2018 7:03 pm    Post subject: Reply with quote

the confusing gift that keeps on giving ....
In this new (old) photo we see draperies on the right side of the opening, and what appears to be a folding door panel on the left side.

But, now I'm confused by the presence of the stone piers on the right side of the corridor leading right up to the room entrance, which differs from the floor plan and the current built conditions where there is a sizeable gap between the last pier and the bedroom entrance. What am I missing?

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JChoate



Joined: 04 Feb 2016
Posts: 903
Location: Atlanta

PostPosted: Thu Oct 04, 2018 7:57 pm    Post subject: Reply with quote

SpringGreen provided a link to the historic photo showing the Taliesin studio with the original decorative screen installed. In that photo, as well as another similar one, we see drawings tacked to the wall and wood trim.


This explains all the holes I noticed in the wood when I took this snapshot. At that moment I assumed the wood was riddled with bug and/or worm holes and was surprised they'd used a flawed piece of wood like that.
Now it all makes sense. You gotta love that patina of age & adventure.

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JimM



Joined: 06 Jan 2005
Posts: 1383

PostPosted: Fri Oct 05, 2018 3:12 pm    Post subject: Reply with quote

SDR wrote:
I agree that undated plans, partially redrawn by the architect, have limited use. So too, perhaps, do publication-ready drawings of something that was never
built. We have examples of both, in my chronological selection of Taliesin plans. The one characteristic they have in common is authorship by the resident
architect.

I leave it to those more astute and informed than I, to fill in the gaps. Spring Green and Jim M, and of course Roderick, are my go-to sources for the real
skinny re Taliesin.

SDR


The fourth T1 plan was prepared soon after the 1914 fire, so can be assumed an accurate representation of Taliesin's plan before any significant changes were made. Wright's first changes (almost immediately) primarily concerned the studio wing. The original sitting room was initially intended as quarters for Wright's mother (who never actually took up residence once Mamah appeared) but as noted it became the workers dining room and location of some of the 1914 murders; the door was blocked and an axe met those escaping through the windows next to the fireplace. The short lived ruse that Taliesin was meant for his mother enabled Wright to coerce $25,000 from Darwin Martin in order to build her a "small cottage up country".

The plan with JChoates' circuitous path through the sealed door into Wright's much later final bedroom is one of the most interesting plans regarding Taliesin, and I recall only one drafted plan similar (relating it to T2!), which SDR posted some time at the beginning of the year. I'd like to know the date since being superimposed over a T1 plan does not really tell much. It surely is evidence of his thoughts on developing Taliesin and could have been done before or after the first fire. The sketched addition shows a bedroom, bathroom, and an "X" omitting the wall next to the fireplace. Most likely the intent was housing for additional help, although the drafted plan is somewhat different and does not exactly reflect such an intent.

The sketch is simple, yet illusive when trying to ascertain the bridge between T1 and T2. It may represent unaddressed intentions at the time of T1 or incorporated in T2 per the drafted plan. The "loggia" notation does not necessarily relate to T2, which itself would be of interest. In any event, I'm not aware of any interior photos of this particular addition, or anything done in this area until considerably later. Unfortunately, there is almost no visual documentation at this location I'm aware of from this early period of Taliesin... at least compared to the voluminous number of drawings and time pondering the guest room and T2 to T3 revisions!
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Roderick Grant



Joined: 29 Mar 2006
Posts: 8515

PostPosted: Sat Oct 06, 2018 10:51 am    Post subject: Reply with quote

James, I think the plan and photo you show of the end of the corridor must have something to do with the enclosure of the porte cochere. The entrance to that new room needed to be widened, so 2 piers were removed. The curtained entry would appear to be located just beyond the door to Olga's bedroom, and the odd slatted element looks like the slight bump in the wall that engages the final pier. After the plan, the stair up to Io's bedroom was enclosed on both sides with stone, as I recall when Ginny and I stole up there in '95.

Also of interest, the screen in that photo is similar to, but not the same as, the one that ended up in the studio. How nice to have a collection of such treasures that you can shift them about on a whim.
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JChoate



Joined: 04 Feb 2016
Posts: 903
Location: Atlanta

PostPosted: Mon Oct 15, 2018 4:56 pm    Post subject: Reply with quote

here's some collateral info pertaining to the Japanese/Chinese screens and their restoration/protection at Taliesin:

https://tru-vue.com/2015/05/tru-vue-at-taliesin/

https://tru-vue.com/2018/05/frank-lloyd-wright-foundation-relies-on-tru-vue-optium-to-protect-display-recently-reinstalled-japanese-screen-at-taliesin/
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SpringGreen



Joined: 31 Mar 2006
Posts: 508

PostPosted: Wed Oct 17, 2018 3:47 pm    Post subject: Stone piers in Parker photo Reply with quote

Roderick: The piers weren't added because of the creation of the Garden Room (creation of the room in the old Porte Cochere). There were not piers there in the 1940s (Unfortunately, we don't have rights to the photos showing that area after 1943 without the piers, or the rights to show the drawing that shows the piers).

I can tell you that the piers were hand-drawn on the blueprint for the TIII drawing shown by SDR (the 6th drawing in his plans from page 1 of this thread). I'd check to see if it's in one of the Rizzoli books, but I'm at work right now. I don't know why FLW added those two piers since they don't seem to have done anything structural (there have not been huge cracks in the ceiling since they were removed).

JChoate:
Quote:
I'm confused by the presence of the stone piers on the right side of the corridor leading right up to the room entrance, which differs from the floor plan
The plan you referencing was correct at the time. The extra stone piers seen in the Parker photo, as I was telling Roderick, were added by 1955. They existed through FLW's lifetime and were removed under Mrs. Wright's direction. That means something I'm not crazy about: we will have to return the piers eventually.

JChote:
Quote:
… and the current built conditions where there is a sizeable gap between the last pier and the bedroom entrance....
I don't know what that is, but it could be foreshortening. There is that fixture with the vertical wooden posts that might be messing with the visual. We didn't find anything when we removed the drywall on there.

Quote:
what might've been hanging on that studio wall while the screen was over in the house near FLW's bedroom...
What was hanging there in the studio is the screen we've just returned that was there from the beginning of TIII. Now, where the screen that was kept after Wright's lifetime, I don't know. A box in one of Taliesin's vaults, maybe.

JimM
Quote:
The original sitting room was initially intended as quarters for Wright's mother
None of the drawings of Taliesin I indicate any particular room for Anna Lloyd Wright, so I've never figured out where that information comes from, but it's prevalent.
_________________
"The building as architecture is born out of the heart of man, permanent consort to the ground, comrade to the trees, true reflection of man in the realm of his own spirit." FLLW, "Two Lectures in Architecture: in the Realm of Ideas".
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JChoate



Joined: 04 Feb 2016
Posts: 903
Location: Atlanta

PostPosted: Wed Oct 17, 2018 4:11 pm    Post subject: Reply with quote

ahhh .. thanks for giving us that history. It's hard to deduce a logical timeline when there's the Olgivanna Wild Card in the deck. We never would've figured that out without your help.

While I understand it might be a daunting bit of renovation to endure, I think it might be great to see the rhythm of the piers reinstated. FLW was the master of architectural rhythm so I bet it will be exciting to see it replaced. I think that long axial view from BR to LR will be enhanced when there is the unbroken rhythm of stone piers from start to finish. It becomes a datum to organize the various elements & spaces long that spine.

Here's the side by side comparison of the pier-put-back. Noticing that the old photo shows FLW might've been creating a sub-rhythm of bench/opening/bench/opening ... I extended that along the revised floor plan, too.

Also, I suspect the filtered view from Blue Loggia to Garden Room (and vice versa) will be enhanced by the added layering of space.

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Roderick Grant



Joined: 29 Mar 2006
Posts: 8515

PostPosted: Wed Oct 17, 2018 5:22 pm    Post subject: Reply with quote

While we're in the neighborhood, Spring Green, when were the two magnificent doors with the carved panels and casters to handle the weight (HB 11/55, pg 258; HB 10/59 pg 232) installed where the glass slab was? And on page 259 in 11/55, there is a wonderful carved wooden panel, middle photo of three, that I have never been able to locate. Are these treasures still there?

On page 260 of 11/55 is a the wood 'post' to match the one at the far end of the gallery.
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