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The Pausons built here to be close to the social life at the Biltmore in the winter season. Could this have been in Wright's mind as he "choreographed" the walk to the house?
been described, by Wright/Hitchcock, as "in the grounds of" the hotel). A nice and concise description of the essence of the thing, in its place.
The "hexagonal rear oasis" might be echoed in the (unbuilt ?) hexagonal feature seen in the Hitchcock site plan at the top of the thread. . .?
I guess that the house would have been easily seen from the hotel ? Perhaps we can be glad that the earlier version of the western facade, seen in the color
rendering below, was replaced by the simpler one that was built ?
. . . . . . . . . . . . . . . . . . . . . . 10
. . . . . . . . . . . . . . . . . . . . . . 11
Anyone interested in the Pauson house who visits the Biltmore should look for two period photos hanging, if I remember correctly, in the corridor near the coffeeshop next to Wright's. One is an aerial shot, the other, a shot looking east from the hotel toward the old Catalina pool. Both show the house in context.
The kitchen in this house is a "galley" -- see 4). Earlier versions of this entrance feature included perfs rather than ports (16, 28 ). Drawings 2, 6
and 25 indicate five portholes.
Note the row of little light-colored rectangles above the ports, in photos 26 and 27; by comparing photos, they appear to be painted on (?). They
also appear to have darker centers. What were those things ?
Section 16 also shows a small skylight in the gallery ceiling, which doubles as an electric light fixture. Drawing 23 indicates a row of six of these
sky/lamps. It would seem normal for Wright to align these with the similar-sized and -spaced porthole windows -- so there may have been
four of them in the house as built ?
26 (Hitchcock) (see 11, above)
27 (Monograph) (see 10. above)
Could FLLW have touched-out the little rectangles, in this photo ?
29 Goofy ship-at-sea perspective ?
Is the dropped roof above the living room intended to be a roof terrace?
You certainly are on to a great topic that has not been investigated in a scholarly manner. A book on this topic would be so much more fascinating than another picture book on FLW with out intellectual meat. I don't know about the Pauson sisters. but I can add this insight. The wives of FLW Prairie House clients had strong tendencies to forward thinking individuals that challenged female stereotypes of the day. FLW went to great extremes to win the endorsement of the wive when pursing new work.
IMO there is a pattern of FLW doing some of his most innovative and great works for either a pair of females or a female living alone. The following buildings immediately come to mind. Mrs. Thomas Gale House, Hollyhock House, La Miniatura, Goettsch Winkler, to name a few.
In my own personal experience as an architect, when females have assumed the lead role for the client on one of our projects, the design that was developed was always extraordinary. We were able to move well beyond banal, obvious solutions and do a project that was innovative and special. In many cases there were real budget limitations for whatever reason, but the budget did not squeeze the life out of the design. Those same clients readily embraced green design strategies. Those projects took more time and effort than normal. We rarely made much if any profit on those commissions, but the end result was an absolutely superb architectural work that the clients really appreciated.
The table clearly echoes the stepped lapped-board walls that, along with some interior Usonian sunk-batten partitions, makes up the wooden fabric
of the house. The vertical coursing of these walls is about 9 3/4".
If the dropped roof over the living room was intended for use, it should have had a stair or ladder for access. None is apparent, unfortunately.
Our energetic young enthusiast, Jeff Myers, has completed a SketchUp model of the house that we'll see shortly, I expect. Despite minor flaws, it gives
an experience of the property that has been missing until now. One thing that becomes apparent is the extreme linearity of the form -- extended even
more by the low wall that trails off to the south.