Topic for Discussion
That's a really good question. I hope there will be lots of good answers to it.
I'm going to think about it in bed. For starters, there's a material combination that in my estimation had gotten far too little use: alternating courses of different-sized and possibly different-colored or textured concrete blocks and bricks. Wright didn't use this option at all as far as I know, yet it seems to me perfectly in line with his constant striving for a genuine and permanent material that is also decorative. If solid brickwork is now seen as prohibitively expensive, CMUs have not yet been ruled out on grounds of cost.
The question is: to what extent must such a material be tempered for interior use. . .
SDR
I'm going to think about it in bed. For starters, there's a material combination that in my estimation had gotten far too little use: alternating courses of different-sized and possibly different-colored or textured concrete blocks and bricks. Wright didn't use this option at all as far as I know, yet it seems to me perfectly in line with his constant striving for a genuine and permanent material that is also decorative. If solid brickwork is now seen as prohibitively expensive, CMUs have not yet been ruled out on grounds of cost.
The question is: to what extent must such a material be tempered for interior use. . .
SDR
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Paul Ringstrom
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Usonian building materials
To me, the significance of a Usonian house is the beauty of quality natural materials assembled on a plan and to a scale that FLLW described so clearly in a books, drawings, and buildings during his lifetime. His best Usonians were often the smallest homes. It is in this diminutive scale that material costs may properly be realized, as well as operating costs after construction, compared to an over-sized home often built today.
To assemble a Usonian, the builder must use cabinet-making skills. The building site should be unique, with natural features and a pleasant view. The owner must realize the joy of living in a work of art. A home for the beauty of life, not an investment. These are perhaps more important costs and rewards than trying to save on materials.
Doug Kottum, Battle Lake, MN
To assemble a Usonian, the builder must use cabinet-making skills. The building site should be unique, with natural features and a pleasant view. The owner must realize the joy of living in a work of art. A home for the beauty of life, not an investment. These are perhaps more important costs and rewards than trying to save on materials.
Doug Kottum, Battle Lake, MN
Can't argue with that. Usonian = pearls before swine. . .?
So, the real thing, old or new, will always be a boutique taste, perhaps. At the same time, America needs to be put on a new diet, in all areas of consumption. What will accomplish that ?
How does this square with the vision at the top of this thread ?
SDR
So, the real thing, old or new, will always be a boutique taste, perhaps. At the same time, America needs to be put on a new diet, in all areas of consumption. What will accomplish that ?
How does this square with the vision at the top of this thread ?
SDR
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outside in
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- Location: chicago
Sometimes it seems that Usonians are almost impossible to duplicate these days for any number of reasons - building codes being one. But if one were to think about the methods used, it probably would be inappropriate for our current predicament - more suburban sprawl ( a no-no) not to mention multiple large trees for interior and exterior finishes, very little insulation (expensive energy bills) and interior spaces that are inconsistent with American's love of "stuff" - sure, it would be nice to fit the family with the house, but I would imagine there are few potential buyers that would pay a premium for small closets, no basement and a carport!
Maybe that's why these houses are so special - a place in time when construction methods and materials were consistent with the lifestyles of the American family. A time that will never be repeated in quite the same way.
Maybe that's why these houses are so special - a place in time when construction methods and materials were consistent with the lifestyles of the American family. A time that will never be repeated in quite the same way.
Right again.
So, perhaps the Erdman model deals with some of those issues, in ways that begin to come closer to current needs -- while losing some of the things that make the classic Usonians so uniquely special ?
Does Zimmerman make sense as a Usonian that begins to move in that direction as well, while retaining some more of that early-Usonian magic ?
What will the final compromise look like ?
SDR
So, perhaps the Erdman model deals with some of those issues, in ways that begin to come closer to current needs -- while losing some of the things that make the classic Usonians so uniquely special ?
Does Zimmerman make sense as a Usonian that begins to move in that direction as well, while retaining some more of that early-Usonian magic ?
What will the final compromise look like ?
SDR
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Palli Davis Holubar
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I'm going to serious about this hypothetical, and state simply: I would build the Weltzheimer House, 1948. This time staying with the original plans as Davy Davidson drew them: perforated screen design, a smaller utility room thus the accurate placement of the carport with the brick storage room at the entrance, the landscape plan and, finally, raising the foundation on the five step berm with steps at the carport and on the terrace.
It could be done, owner-built, again. The plot site was flat pastureland with a wooded backyard; there would be no difficulty locating a similar building site. Cypress is becoming more plentiful (although a blander color in the new growth.) Red brick is easily available.
Other than arguing to minimize present code infringement on the design, the only changes, I suspect would would be necessary for contemporary living at this an age of 60 years later, would be: to install more electrical outlets; to use thermopane with the practicality of UV protection; to heat with geo-thermal technology, and: use the new white vinyl roof sheeting.
The focus seminar we give is entitled "Reconciling the first Taliesin Plans with the Revised Taliesin Plans with the House" is edifying. I wish we could host all of the Wright Chat participants for a lively visual analysis at the W-J House.
The role of the W-J House in the body of Usonians is to illustrate the domino-like problems (and subsequent solutions) that occur when altering or mis-understanding the Taliesin plans during construction.
As an artist also, I marvel at the depth of the trust FLW had in the power of organic architecture to teach through "doing". He assumed the process of work, laying a rock on another rock, a brick on a brick, a board against a board, would naturally develop the aesthetic of workmanship, the connoisseurship of design. Disappointed often, the artist in him still worked and trusted. Architecture is the most difficult art form- even more than music composition- because it is dependent on the will and understanding of others.
It could be done, owner-built, again. The plot site was flat pastureland with a wooded backyard; there would be no difficulty locating a similar building site. Cypress is becoming more plentiful (although a blander color in the new growth.) Red brick is easily available.
Other than arguing to minimize present code infringement on the design, the only changes, I suspect would would be necessary for contemporary living at this an age of 60 years later, would be: to install more electrical outlets; to use thermopane with the practicality of UV protection; to heat with geo-thermal technology, and: use the new white vinyl roof sheeting.
The focus seminar we give is entitled "Reconciling the first Taliesin Plans with the Revised Taliesin Plans with the House" is edifying. I wish we could host all of the Wright Chat participants for a lively visual analysis at the W-J House.
The role of the W-J House in the body of Usonians is to illustrate the domino-like problems (and subsequent solutions) that occur when altering or mis-understanding the Taliesin plans during construction.
As an artist also, I marvel at the depth of the trust FLW had in the power of organic architecture to teach through "doing". He assumed the process of work, laying a rock on another rock, a brick on a brick, a board against a board, would naturally develop the aesthetic of workmanship, the connoisseurship of design. Disappointed often, the artist in him still worked and trusted. Architecture is the most difficult art form- even more than music composition- because it is dependent on the will and understanding of others.
Outside in, that is it in a nutshell. No Usonian families.
However, what about Usonian retirees? There are millions of them wondering where in the heck they are going to retire. And there are wonderful, scenic rural settings all over America where these folks may gently build these tiny, artsy Usonian homes into the landscape. They know and probably desire a less-cluttered lifestyle. Small closets, no basements, carports - perfect.
Zimmerman is suggested as an example because of fine materials and design on a minimal footprint. There are many, many designs that may be derived from this concept. I don't see any need for compromise in design quality. In rural America building regulations are less restrictive, land costs much lower, and labor less expensive.
Doug Kottum, Battle Lake, MN
However, what about Usonian retirees? There are millions of them wondering where in the heck they are going to retire. And there are wonderful, scenic rural settings all over America where these folks may gently build these tiny, artsy Usonian homes into the landscape. They know and probably desire a less-cluttered lifestyle. Small closets, no basements, carports - perfect.
Zimmerman is suggested as an example because of fine materials and design on a minimal footprint. There are many, many designs that may be derived from this concept. I don't see any need for compromise in design quality. In rural America building regulations are less restrictive, land costs much lower, and labor less expensive.
Doug Kottum, Battle Lake, MN
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Palli Davis Holubar
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- Location: Wakeman, Ohio
To echo others:
A distinctive landscape is a joy and we remember Fallingwater wedded on that hillside overlooking the run. But, really, a lot of the Usonians were on unremarkable land, the "commonplace" terrain of the midwest. "Land nobody else wanted", FLW said. That didn't always mean challenging or difficult. Often it is the Usonian profile lying on the land that makes the landscape noticeable, beautiful.
Now our cities creep into the cornfields of the Northwest Territory's rigid grid of county highways with fake oversized farmhouses and ante-bellum mansions of empty rooms. The buildings sit stubbornly on the bull-dozed landscape as if in shock. A Usonian would lie comfortably, relaxed in the sun and the snow while the new grasslands grew up around it, happy for the company. That would be true land renewal.
The landscape, now being stolen from the harvester and denied to the confined livestock, could be used for community housing without first torturing the land into "economical" uniformity. Landscape plans could re-represent the grasslands and, in time, the woods, that agriculture destroyed. The sustainable gardens of Broadacre City houses would bring charm to any new Usonian. A horizon for sunrise and sunset is all that is really needed. A ravine cliff is not always necessary for awe.
The landscape plan of the W-J House was laid over a cow pasture. Jacobs II was just a gentle sloping open field also. And, strangely enough, many rural townships require building lots to be even larger than a Usonian acre.
A distinctive landscape is a joy and we remember Fallingwater wedded on that hillside overlooking the run. But, really, a lot of the Usonians were on unremarkable land, the "commonplace" terrain of the midwest. "Land nobody else wanted", FLW said. That didn't always mean challenging or difficult. Often it is the Usonian profile lying on the land that makes the landscape noticeable, beautiful.
Now our cities creep into the cornfields of the Northwest Territory's rigid grid of county highways with fake oversized farmhouses and ante-bellum mansions of empty rooms. The buildings sit stubbornly on the bull-dozed landscape as if in shock. A Usonian would lie comfortably, relaxed in the sun and the snow while the new grasslands grew up around it, happy for the company. That would be true land renewal.
The landscape, now being stolen from the harvester and denied to the confined livestock, could be used for community housing without first torturing the land into "economical" uniformity. Landscape plans could re-represent the grasslands and, in time, the woods, that agriculture destroyed. The sustainable gardens of Broadacre City houses would bring charm to any new Usonian. A horizon for sunrise and sunset is all that is really needed. A ravine cliff is not always necessary for awe.
The landscape plan of the W-J House was laid over a cow pasture. Jacobs II was just a gentle sloping open field also. And, strangely enough, many rural townships require building lots to be even larger than a Usonian acre.
Weltzheimer-Johnson plan
plan and photo, W A Storrer
photo from "Essential FLLW," Caroline Knight-
ozwrightfan
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- Location: Sydney Australia
I agree with dkottom that the retiree market could embrace this concept and run with it. I imagine there are many middle aged single people who would also jump at the chance of building and owning a Usonian home. I certainly would. Surely in this day and age of computerized machinery which is capable of high quality work and minimum wastage a range of "project" Usonian homes could be produced over and over again. If project builders of McMansions can do it why couldn't builders of Usonian homes do it? This could also revitalise depressed areas and towns in the rural areas and elsewhere. Surely a win win for everybody.
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googieagog
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Purists will never be happy with any Usonian not built to Wright's original specifications. But recreations aren't realistic -- too costly per square foot. The way to make a new subdivision work is to adapt Wright's ideas to current materials, trades, lot sizes, building codes and green concerns. Panelized pre-fab using plywood & batten, cinder block and perhaps poured concrete might work. Erdmans are good candidates -- don't forget the second design, the Rudin House, and Wright's unbuilt third design. How about the never-built Cooperative Hometsead berm houses? The early L-shaped (Rosenbaum) and two-story (Schwartz) designs would work best on standard lots. Zimmerman's a start, but as built would be too elongated for most lots. Whatever the design, all would need somewhat larger bedrooms & bathrooms, more storage, hollow (not sandwich) walls and off-the-shelf windows. Most mitered boards, fretwork etc. would have to be sacrificed, but there's no reason some great plywood built-ins couldn't be batch-produced. Would they be Wright houses? No. Would they sell? Yes. Dwell would be all over it.
Dan
I suppose those are the truths. Addenda: Nothing could be easier for a CNC machine than to spew miles of even the most complex fretwork -- so a signature
and essential (?) element of the High Usonian should be no problem. Even (gulp) owner-designed perforation-patterns would look Wright, when re-re-repeated
and wrapped around the house; the essence of the look is the repeat pattern, not the individual perforated board.
One or two (or more) mitered corners units, shop-built, could be better made (tighter and more permanent) in the shop than in the field; separated from long
runs of the same (plywood) board-and-batten by a jog or a masonry pier or plane. All of these sections, up to perhaps 40 feet, could be shop-made as SIPs
(structural insulated panels) in the same way that face-brick panels on concrete are hung as units on commercial buildings now. (Mario Botta's SFMoMA was
made that way, with some very nice and quite convincing brickwork. Why not on a small scale, particularly if a number of houses are built at once ?)
With windows, it's the rhythm that's important; what could be easier than Pella or Andersen or Milgard wood-faced casement units, punctuated by fixed glass,
including the all-important mitered corner units -- pricy but few, and essential ? (An alternative would be opening-corner casements: cheaper !)
None of the elements visible in these views of W-J is beyond the capabilities of shop-and-ship technology -- including the brick pieces. It was the Old Man
himself, after all, who suggested this strategy, way back at the beginning. . .!
SDR
and essential (?) element of the High Usonian should be no problem. Even (gulp) owner-designed perforation-patterns would look Wright, when re-re-repeated
and wrapped around the house; the essence of the look is the repeat pattern, not the individual perforated board.
One or two (or more) mitered corners units, shop-built, could be better made (tighter and more permanent) in the shop than in the field; separated from long
runs of the same (plywood) board-and-batten by a jog or a masonry pier or plane. All of these sections, up to perhaps 40 feet, could be shop-made as SIPs
(structural insulated panels) in the same way that face-brick panels on concrete are hung as units on commercial buildings now. (Mario Botta's SFMoMA was
made that way, with some very nice and quite convincing brickwork. Why not on a small scale, particularly if a number of houses are built at once ?)
With windows, it's the rhythm that's important; what could be easier than Pella or Andersen or Milgard wood-faced casement units, punctuated by fixed glass,
including the all-important mitered corner units -- pricy but few, and essential ? (An alternative would be opening-corner casements: cheaper !)
None of the elements visible in these views of W-J is beyond the capabilities of shop-and-ship technology -- including the brick pieces. It was the Old Man
himself, after all, who suggested this strategy, way back at the beginning. . .!
SDR