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Take your pick of plans:
The second view is the one sold by Heritage Auctions . . .
images Ã‚Â© 2009 by TASCHEN GmbH and by the Frank Lloyd Wright Foundation
Ã‚Â© 1986 A.D.A. EDITA Tokyo Co., Ltd. and by the Frank Lloyd Wright Foundation
This is unusual, no?, as all residential Wright designs after the 1940s or so featured living rooms with cantilevered corner window "releases" with mitered glass....?
of columns creating a rectangle in plan. In this instance Wright recalls the Greeks---another of his "exceptions that [somehow] 'prove' a rule."
Draw one of those plans with the corner column missing. How does it look ? How far apart do you place the columns nearest the missing corner ?
It really derives its visual strength from the completion of the "box"---in this case. And not just visual strength; how would the architect support that
cantilevered pergola outside the peristyle, with the corner column missing ?
Of course, Mr Wright plays with the peristyle as only a modernist would, by interrupting it with solids, deploying a pattern and then causing it to
intersect other patterns, solids, and voids: symmetry made asymmetrical, astronomical collisions in a solar system, a universe of his own devising.
In each case, had the plan consisted of rows of square or rectangular piers instead of round columns,
the corners would have been either open or would have terminated in a wall. See Sunday House, S. 393.
Worth a look to compare and contrast approaches:
https://www.paulrudolphheritagefoundati ... -residence
from the Prairie period, for the Shaw and Robie projects, turn out to be the work of George Mann Niedecken.)
There were a couple made of the Suntop Homes, and one of Hoult; both of these are section-perspectives in which some connection to the exterior of the
building is included; indeed this is true of the majority of the late-period interior views---Miller-Monroe and Price Tower are two more that come to mind.
(Certainly not the intersecting patterns, solids, and voids you are able to see.)
In the Affleck II design, perhaps Wright isn't making an exception to his rule, regarding "released space"Ã¢â‚¬â€œÃ¢â‚¬â€œI notice the roof over the living area, which he labels the "patio living room", has a "glass top".
I assume that feature would more than adequately make the living room a fully "released" space, regardless of corner columns.
This line of thinking comes from one of my favorite quotes from the Donald Hoppen book:
"Wright hated the "trapped space," the dark corner where the cornice joins vertical wall to horizontal ceiling in the traditional house.
At one Sunday talk Mr. Wright said to us, "Boys, you must learn to avoid the re-entrant angleÃ¢â‚¬â€œÃ¢â‚¬â€œthe acute angle in a ceiling terminating against a wallÃ¢â‚¬â€œÃ¢â‚¬â€œ
which traps space and avoid an angle in which space cannot be released through an opening or skylight.""
The VC Morris house does not appear to have a skylight feature in the living room.
https://images.squarespace-cdn.com/cont ... rmat=1000w
We might note that this is not the only feature shared by the two designs; there is the upturned eave detail and the heavy cantilevered and punctured eyebrow around the central space.
The V C Morris House 2 living room is surmounted by a roof terrace which serves the "penthouse" master bedroom.