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Regarding those trough-like gutters built integrally into the trellis/skylight assembly, this detail is provided including specific materials (hard to read without a microscope).
I think the notes say:
"corner chipped off and filled with Carey's mastic"
"Carey's mastic under lead"
" ???? caulked with lead and sulphur"
"lead counterflashing over Carey's mastic"
"1 x 1 3/4" pine wood strip fastened to slab with expansion bolts 4'-0" o.c."
" 1" thermal "
Then, the "baseboard"- like flashing within the balcony:
The note reads:
"caulked with lead and sulphur"
"lead counterflashing over Carey's special flashing compound"
Then underneath the stone pavers, it looks like Wright's hand note says something about "Carey's 4 ply asphalt roofing ..." suggesting a version of a 'built up' roof system.
I hope that Mr. Carey got some credit for his special compounds and caulks. FLW was relying heavily on his sealant mojo.
The incandescent bulbs and sockets were removed when the wood and fabric screen was added around the time the final furnishings arrived. Fluorescent light fixtures were connected to the wiring that originally energized the sockets, with the intent to more evenly light the fabric "diffuser". Fluorescent lighting was also added to closet tops and high decks throughout the house. It was noted by docents during my 1979 and 1983 tours that the fluorescent lighting installation at Fallingwater was likely one of the first residential uses of the type....not sure if that has been verified. The Kaufmann's presumably would have been familiar with fluorescent tubes from their store's earlier Art Deco renovations by Benno Janssen.Notice the ceiling where an array of bare light bulbs await the installation of the translucent light tray.
It is not clear to me if the flat seam lead roofing on the roof detail shown was to be used on the larger expanses above the third floor. The flat seam has the ability to take paint which would enable a monolithic appearance on trellis tops or flat plane roofs visible from the second or third floors.
Regarding the detail drawings above, and applying to the typical detailing throughout the exterior, I wonder specifically how their formwork was fabricated to achieve the half-round radiused edge at most all of the concrete. Specifically what material was used to fabricate that negative shape -- large concave wooden pieces? or a metal half pipe? or something plastic?
The warmth of the fabric and the paint color on the concrete helps, but I've wondered if warm color tubes normally used in refrigerated meat cases were installed.There's nothing cold (visually) about the FW living room, so they must've managed the light temperature effectively,
Relative to the parapet tops, could the forms have been partially stripped and the soft concrete screeded? The concrete has a troweled finish...could the tops be built up? Though, I find it hard to imagine a rounded top was applied to an earlier pour given the risk of cracking, and the fact that of all the cracks found throughout the house, none seem to be at the parapet tops.
http://www.wright-house.com/frank-lloyd ... ater-L.jpg
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I wonder when the first color photo shoot would've been done there by a professional. Do we know that? Color photos dating to the 30's & 40's would've likely shown the original fixtures.
In old analog photography fluorescent light goes green when shot on tungsten film, which is used to work with incandescent fixtures.
became fluorescent." Hoffmann doesn't always keep the reader informed as to dates, but we seem to be in 1938, here. A few pages earlier, we learn, about the living-room ceiling, that "Wright planned to conceal the lights behind
panels of Japanese rice paper (which he was to buy in Chicago) . . ." but that, in the end, "the panels were filled in with beige muslin rather than rice paper." Hoffmann provides two photos, on page 7:
The color temperature of concealed lighting can be modified by painting hidden reflective surfaces . . .
An enormous trove of Fallingwater photos, taken in July 2011, can be found here:
And, again on page 78, in re Hope's sash and screens: "Between the spring and fall of 1938, for only 18,000 dollars, the architect Walter Gropius built a house for himself in Lincoln, Massachusetts, without a single specially
designed part. [Could that be true ?] Edgar Kaufmann, jr, was surprised to find better hardware from Hope's than had been supplied to Bear Run. He complained to Hope's, and between October 25 and December ten sheets of
drawings were made for revisions to the hardware of the double folding-out doors to the terraces, the single side-hung doors, the casement screen doors and so on. Nine more sheets were finished by January 14, 1939. Most of
the screens were yet to be made. When they arrived, Edgar Kaufmann, jr, suggested that they be left in the factory finish, a blue-gray, for contrast with the Cherokee red of the steel sash."
Photos in the above-cited flickr album appear to show the screens in that condition . . .
point, while the floor looks especially delicious when daylight bounces off its waxed irregular surfaces, as seen best from ditto.
By the way, photos in the Wally Gobetz flickr gallery include at least a couple that show that the floor grouting, with its raised bead bridging the varying gaps between slates, was faithfully recreated in the living room following
My question about the Gropius house had to do with the immediately preceding phrase, "without a single specially designed part." I thought I recalled an unusual handrail detail -- but perhaps it was made from stock sections ?
https://burakagbulut.files.wordpress.co ... 0429pr.jpg