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Small consolation that at least these images are online. I've saved a number of JPEGs from the site, but some information is still lost due to the limits of resolution.
I still question where all of these came from, and how they got to one place at one time.
A similar situation exists with art work that is privately owned, but just hanging on the buyer's living room wall, available for view by guests only. Should all art should be kept in museums? Upon the auction of her estate, it was reported that Elizabeth Taylor kept a Renoir in her bathroom so she could view it while she bathed, so even her guests weren't privileged.
Another habit I find troubling is the common behavior of writers on the subject of art to hold onto information they want to publish exclusively, sometimes for decades.
The most interesting thing, as recently explained to me by a "dealer", was that the primary value of the drawings comes from having FLW's signature in the little red square, rather than actual content of the drawing sheet itself!
Yet another Wright sub-topic that would "make an interesting research paper," is the matter of who has which drawings---and, in particular, how many clients
did not return Taliesin drawings as (so often) specifically requested. The Zimmerman drawing set was among those mentioned by Pfeiffer as having
disappeared from the archive---one way or another---and not available for inclusion in the Monographs or the Taschen volumes . . .
I have enlarged many of the Zimmerman and Palmer drawings to the maximum screen size, if anyone has a wish to see them.
as opposed to something like Jacobs and Rosenbaum?
Budget would obviously be one criteria, but there are large budget designs
of his that are more "restrained" and don't go "all out".
Second, the date of the Palmer house. It's listed here as 1930.
However some of the drawings are dated as late as 1948.
That's a studio life of almost 20 years!
That "oculus" window at the end of the living room -
and usually even when Wright goes "all out" there seems to remain
some dignity, never a complete fantasyland.
The first Paul Palmer project, based on the Ralph Jester opus, appears in Monograph 7 (pp 158-9, five plates) and in Taschen III (p 139, one plate),
and is dated 1947.
The second project appears only in Taschen (p 178, one plate); it is dated 1948.
The sources of the artist's inspiration can only be deduced by the presumptuous critic. Wright was said by his close associates to have
appeared first thing in the morning with fresh designs, and himself confessed to be awake very early. Personal experience will attest to the fact
that the mind works by itself when the owner is asleep, and that a certain amount of concentrated thinking on a problem will occur upon awaking.
But that says nothing about forms chosen, or schemes concocted. To ask the question is understandable; to expect an answer is folly.
Another client who absconded with drawings was the daughter of R. W. Lindholm. Fortunately, it was not a great design, one that Geiger insisted saw little if any direct input from FLW. It's in Mono, but I cannot recall the name.
Here's what I gleaned from the site. The initial colored rendering does not seem to belong to either of the Paul V Palmer designs; some of the Jester-derived scheme elevations appear to have desert masonry walls---but all of its street-side forms have circular elements, not seen in this drawing.
One N/S with glass infill descending outdoor terrace steps
is actual wall of house.
The other E/W separating carport from "bicycle and wagon space"
Fireplace on dining room side - looks like there is a note about the
hearth being a pool. Hard to understand
and yes - thanks for the images.
Is there an air conditioning plenum running over both bedroom and living wings of the house, with louvered openings a each end? Not sure what I'm seeing? Is the air cooled, or simply ventilated throughout the house?
So many unusual features, perhaps it will take some study to understand it all. This is a beauty that ought to be built exactly per plan, in the Southwest desert as planned.
I've tried to Google this but nothing comes up.
Would love to know the answer to your inquiry.
AC Plenums run over the living and bedroom wings as you say.
If the ends were in fact louvers how would that work?
The roof plenums seem to tie into the central masonry mass and vent down into the basement.
and there is an "air conditioning machinery room" in the basement.
how does it work?
wait a minute ... actually the plenum does not cross above the bedrooms.
The volume of the bedrooms pops up to the high ridge of the roof.
Looks like only the living room receives whatever kind of AC is going on.