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acousticians? in studio design, it is always good to have angled canted walls. could the taliesin west form be superior to a cube or cuboid for a speaker cabinet in eliminating unwanted "reflections"? this cabinet would aim the sound down and it would then "bounce" off of the concrete floor.
speaker grilles I've seen, on radios for instance -- that I can't see it as anything else, myself.
Of course, it could have been a Wrightian perf pattern, and performed the audio function as well. Either Wright wasn't given the option, or it didn't
occur to him, I'd have to surmise.
The color photo of a plain Wall hassock, on the previous page, has the same "finger-grip" handle.
we are told that "Speakers from the radio and record player were put in all the rooms."
It is said that the Walls were Wright's youngest clients; they were newlyweds just out of college when they commissioned the house. I was hoping to find
out what the "Laboratory," adjacent to the carport, was planned for.
This upturned pyramid hassock would be heavier to move although grasping through the cut-out parts would be easy. Even the implied meaning of hassocks-mobility- might run afoul of Olgivanna's intent for conversational groupings in the living room.
BTW- Peter- your production run of hassocks looks wonderful, every one perfect. What a grand gift to give your house! soon...
In one of my books there is a detail of the shaped "aquarium" spaces at Wall; a B&W photo...I tentatively identified a section of the hexagon ceiling as perforated not stickwork carpentry...that's what might be somewhat relative. I look for the image.
The effect of the deco-like circle is muted by the hand hole; another reason for me to suspect after thought, probably not under supervision.
Who were the Appentices (drafting & building) for Wall?
I presupposed the idea of language first:
to FLW language is Organic Architecture which is presented in several bodies of work; each body of work has a developed vocabulary; each individual structure develops its own grammar
in practice this is what I taught:
Organic Architecture Language: physical expressions of shelter; horizontal relationship to the earth; direct relationship of structure to terrain; inside/outside interpenetration; deconstruction of the box; integrity of materials; minimal & integral ornamentation and form is function (the language is the tenets of Organic Architecture)
Usonian Vocabulary: determinate grid on in concrete with radiant heat; two spacial zones with two facades (community-private); footprint with oblique relationship to the street; open plan community zone; clerestory for indirect lighting; gallery; pronounced roof lines elongated to make carport; glass walls & doors; fireplace masonry mass; perforated boards; board & batten walls and masonry (the basic characteristics of Usonian houses)
Weltzheimer House Grammar: L-plan, red brick & redwood...(house specific features)
at least that's how I understand and teach the words
it is sometimes helpful to me to try to define the vocabulary of the each Usonian characteristic also...at least I have worked on perfs that way...and, no surprise, my understanding of the perf vocabulary altered the more I saw.
Would we go so far as to attach dialect to the architecture of the 2 basic climates? laughter
are these terms accepted in discussing architecture as a whole, or only within the context of wrightian organic architecure? for example: the vocabulary of mies' work, the grammar of the barcelona pavilion?
palli- thanks for the kind words about the lamberson hassocks. i will pass it on to stafford norris 111, who did a fantastic job making them.
next come the occasional tables and origami chairs...
I'm not sure if I understand what you are asking or if I misled- I used Usonian as an example of a vocabulary with a grammar, different say, than the Prairie School vocabulary which he grew tired of and needed to break from (perhaps because it was being "spoken" by so many.)
Wright says In the Cause of Architecture in 1908 "...the architect must not only learn to think in such terms but to fashion his vocabulary for himself and furnish it in a comprehensive way with useful words..." Later in the essay he uses the term grammar in reference to the expression of a building"...or its grammar may be deduced from some plant form that has appealed to me...but in every case the motif is adhered to throughout and it is not too much to say that each building aesthetically is 'cut from one piece of goods' and consistently hangs together with an integrity impossible otherwise."
Whether Wright used the language term as early as those women's afternoon speaking engagements Catherine Wright arranged for her husband, I don't know for sure. Though I should, I would be more sure in the old days. I'll go to some bios and his autobiography to find the earliest wordings.
The allusion of his approach to building as Language works easily with the all-important belief that he could speak it in a "natural tongue". A language he learned from observation, work and play.
I find language/vocabulary/grammar practical terms to use while thinking in my studio or teaching sculpture. They help establish a commonsense direct line to the idea of making objects communicate.
For example Lambertson grammar is different than the Weltzheimer House- same year, different sites, different families- so the grammar is different- but they share the same vocabulary- the Usonian vocabulary.
It confused me a lot until I thought literally about the words.
We speak the same language.
We have a common vocabulary- set of words and rules for forming words
We each have a different grammar- a different subject and audience with which to put the form together to make sense and complete a whole thought or paragraph. (If we change tenses or play around with different spellings of the same word the meaning is muddled and the idea is confusing.) I know it sounds odd but it makes sense to me.
This helps with the distinction between vocabulary and grammar: a same vocabulary word can change context (grammar) and gain a new meaning but it hs to stay in clear context for that meaning to contribute to a whole idea.
discussing visual form and detail, at all scales. Having them actually mean something seems like a luxury -- but what's the point of using terms
if they don't hold a consistent meaning for all parties ?
Perhaps "dialect" would be the Weltzheimer ball-fringe -- and "regional accent" would be the local brick or stone, or maybe the specific angle and
detail of the roof edge facia ?
Wright spoke of "poetry," so that suggests and supports the use of linguistics. . .
Thanks for working on that, you two.
three pages of Wright chairs. First, a H-H "Foursquare" suite, and then a mysterious Sondern pair, one with a unique perf:
Note clear depiction of lumber-core plywood
To review, this is what we've seen previously of Sondern:
photo c/o Domino's
Dimensions are given as 28 x 22 x 22 1/4" -- compare to photo above
Note that all versions of this chair shown here have the upholstered parts
held in from the edges of the seat and back panel. . .
I did find in Monograph vol.7 a couple of the Hanna perf chair we discussed in the LR of the Walker House, 1948. Ross did 2 computer drawings of the perfs. I'll send them to SDR for posting.