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exists in all of the early L-shaped Usonians. Behold Robie, Jacobs, and Rosenbaum. One enters the space from behind the chimney, to the
left, and circles this center to exit the room to the right . . .
Note that in all cases, the designer creates an extra obstacle to be overcome, before the visitor can stand before the hearth: a full inglenook
seat with column, an off-center hob, or a vertical brick mass, respectively . . .
In each case, the horizontal spread of space is countered at the core by strong vertical elements. In each case the view, the light, the south
exposure is opposite the entry path, the natural and inevitable objective. In 1909 Wright is intent upon his horizontals; by 1936 he is happy
to let the verticals and horizontals play freely ?
As for the view of the Hoult living room, its unusual banded ceiling might remind one of the Robie ceiling ? Jacobs and Rosenbaum lack this
feature . . .
https://www.antiquehomesmagazine.com/hi ... -colonial/
http://www.jgrarchitect.com/2016/06/the ... -plan.html
The Robie house has a centered chimney; its stair hugs the back of this chimney, as in plans seen on the above-linked pages.
As a bonus, perhaps coincidental, some of Wright's early houses have diamond-pane casement sash, again reminiscent of these Colonial American precursors.
Even the Robie house has a sort of diamond-pane sash design.
Differences between Wright's Twentieth-century houses and the Sixteenth and Seventeenth-century ones are many, of course. The Robie is a multi-story residence,
like many of these early examples---but its main floor is elevated. By the middle of the century Wright has dispensed with a second level and brought his house to the
ground---but the center chimney, a sheltering roof and patterned windows remain . . .
It's such a logical move to center the masonry mass and build around it.
For all of the vaunted Japanese influence on Wright perhaps us Wright lovers
should call this out as the core of the West in his work.
To go all woo-woo, perhaps this type of logic is at the core of why his work
ultimately is not of the East, resonating sub consciously of the West: woo-woo, woo-woo!
https://en.wikipedia.org/wiki/Chimney#/ ... meneas.jpg
There are reasons both for center chimneys and ones at the perimeter of a house---typically on an end wall, where it needn't extend far above the adjacent house framing. What are those reasons ?
I have read that at least some old Japanese farmhouses with thatched roofs had no chimney, only an open fire for cooking and heating. The rising smoke would filter through the thatched roof helping to keep it dry and repel insects and rodents. Is this true?
A Ã¢â‚¬Å“HibukuroÃ¢â‚¬Â� (Ã§Â�Â«Ã¨Â¢â€¹) above the kitchen serves as a chimney, carrying smoke and heat away, and as a skylight, bringing light into the kitchen
I doubt that there was very much heat from a fire that would be radiated from a chimney mass above the firebox. Perhaps, this was just an emotional response from the builder/designer who was probably very conscious of the climate conditions around him/her, before other non wood means of heating and cooking were available.
I suppose though that in the northern climate regions folks would have many more cold days that they would need to gather around a central hearth and more space would be allotted in the structure for that purpose.
Central heat goes back to the late 19th century, right? So I would bet all of FLW's locations of chimneys were based on design rather than utility. The image of a protective source of warmth was more important than the reality of it.
region. Does the size of a firebox, and the proximity of the fireplace to built-in seating, accord with the expected temperature range associated with the site ?
Without that close a look, we can note that the inglenook near the fire was a feature of a number of early houses, while in the Usonian era a row of seats
might or might not be located conveniently to the fire. To what can we attribute this apparent nonchalance in the matter, in the last decades of the career ?