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This is a summer cabin; Wright may even have intended exposed studs inside, like many a summer "camp" or shore house I've seen. The Smith house was to be a year-round residence ?
The kitchen may be labeled "court," but I don't buy it as an outdoor space. (It would be helpful, even necessary, to become familiar with the other cabin plans, as the group was designed together and there might be useful corroborating shared details or conditions.) I see a door leading to each
"loggia," which I take to be porches. Wright's dashed lines where their parapets would be are unorthodox -- but I'd say there has to be a line there, which would complete the envelope and keep the drawing from representing an impossibility (?).
I can't see another reading for what's indoors and what's out, on Wright's drawing. Too bad we don't have an elevation of that side; what are the kitchen windows like, for instance . . .
The roof is certainly complex. There are some off-axis red lines on that drawing -- I mean crooked ones. But I've never caught Wright fudging architectural resolution on a drawing, so I'd expect your elevation to match his. But maybe I wish for too much ?
Carry on, corporal . . . !
My justification for changing the door swing is that the way Wright shows it means the door opens towards a longer wall perpendicular to the door. If you're carrying something, you have to wait until the door is almost 90 degrees open in order to go through, but if it opens the other way you have more space because the other wall doesn't stick out as far. Does that make sense?
I will look at other cabins for clues. I feel as though the kitchen cannot be an outdoor space as well, but there does not seem to be any indication of glazing. We'll see where this goes.
Those rows of square columns presumably have glass between them, including the small space at the "bottom" of the row. But that's the easy part; what Wright intended by the dashed lines, and what sort of glazing is at the "prow" of the kitchen is mysterious. I'm sure you'll come up with something reasonable.
It would be great to find an authoritative description of these cabins. I'll rummage around some more.
Previously unpublished Nakoma drawings here ?
https://www.nytimes.com/interactive/201 ... -moma.html
Published elevation and section to follow . . .
The grid shows the hallways to the kitchen as two units wide, which strongly suggests a 16" square grid and 32"-wide halls. The 32" glazed space betwixt the columns were probably meant to be doors leading to the loggias, otherwise the only way to reach them, if the glazing is fixed, would be through the kitchen, which seems unlikely. If this is a block house, the 16" measure gives you the entire enclosure. Just count the blocks and draw.
I don't know why you have a problem with the roof. The overhang is drawn all the way around. It's just a matter of connecting the dots. It is an overly complicated roof design, but from a graphic standpoint, hardly difficult to figure out. Since the overhang includes the "kitchen court," obviously the kitchen is not outside.
I agree that the chimney in the perspective would be the choice rather than the broad flat one, although the Davis chimney is flat.
I would love for the grid to be 16" wide, but if you look at the scale drawn to the side, I think it indicates that a square is to be 12". If you can come up with a way for it to be more, I'd love for that to be the truth.
My problem with the roof isn't in understanding it, it's in creating it. It's fine to draw some lines and have everything come to a point, but when you're working with unusual angles it can be quite tricky to get everything to come together properly.
I'm definitely in favor of the angled chimney.
SDR, thank you for the Nakoma information! I think we can all agree there are some distinct similarities.
alphabet ?) at the centerline.
I buy Roderick's contention that the grid is a 16"x16" one; the lettered master would then be a four-foot grid, common to so many Wright plans.
The 12" scale may be intended for the vertical; once the plan and elevation are coordinated, the scale could be tried on the elevation, for confirmation. Perhaps Wright's use of that scale is incomplete as drawn . . .
I see only a pair of doors from the corners of the kitchen to the loggias. We can pretend, or not, that Wright would have made a row of doors between the columns -- but that's not what's drawn in this sketch plan.
(Doors at the narrow end of the loggias would have opened from the living room, but that's not drawn either -- nor is it possible given the geometry thus far provided.) As there is a massive terrace on the downhill
(view) side of the house, these little "kitchen loggias" make sense to me as drawn. We'll never know what the Old Man intended, beyond what's in this sketch. (The dashed lines at the loggias are indeed peculiar;
how do you read those, anybody ?)
The loggias originated here as left-over space, I'd say; too small to be useful rooms, they need to be left open for light and view from the kitchen ? The architect's impulse to introduce orthogonal order in his ovoid
plan via a pair of colonnades is perfectly understandable; otherwise small lozenge-shaped rooms could have occupied the space, narrowing the kitchen almost not at all, but introducing a passage problem. Messy . . .
It would be possible for a fully-roofed summer kitchen to be open at part (or all) of its perimeter; the two conditions are not mutually exclusive. With doors as drawn, that's unlikely here, it seems to me.
The numbers or letters, or whatever they are, across the top are 4' apart, and 3 units.
The glazing between the posts may be fixed glass, but that would mean the loggias were little more than service porches. Notice the uppermost opening on the right and the center one on the left: They appear to have a line dividing them in two, which could indicate double glass doors.