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From 1892 -1894 Wright does a group of houses with a similar type of plan.
Here are the houses I have in mind:
Robert Emmond 1892, Robert Park 1892, Walter Gale 1893, Frederick Bagley 1894, Peter Goan 1894, and Frances Wooley 1894.
Generally the plan is divided in two parts down the length of the house. Typically, but not always, on one side are the living spaces and on the other side are the "service" spaces. A refinement of this concept is the tripartite division of the "living" side which will figure prominently in the 1910's.
What I'm wondering is, for it's time, how generic was this type of plan or is this plan more closely to be considered a concept of Wrights. Does that make sense?
In all of these plans the fireplace has not really emerged.
https://library.artstor.org/#/asset/296 ... 9590750692
. . .while Goan stands in for Wright's plan for his own Oak Park residence.
If the fireplace isn't yet "a major determin[ant] of space," it is at least centered within the structure, in this second type--while in the tripartite (inline) plan it is usually off-center if not atypically (for Wright) placed on an outside wall.
Indeed, in what its owner styles "the first Prairie House in Chicago," the Davenport residence, the fireplace is centered and captured by a small symmetrical inglenook---very much as at Goan, et al.
As for whether any of these plan types were uniquely Wright's, I guess you'd have a lot of looking to do, at contemporary work. I don't see anything too outrageous or peculiar about any of them, beyond the strong urge for unilateral symmetry in the tripartite examples; it is only in hindsight that we see the seeds of more uniquely Wrightian plans to come.
and yes - a lot of looking would be required - to make any conclusion.
My inclination is to say that these plans are typical and not uniquely conceptual to Wright, but...
Earlier discussions of the house go back to the earliest days of Wright Chat; you will find them by searching the index.
In cases like this we turn to William Allin Storrer, who managed to find or create measured plan drawings for virtually every built Wright structure, published in 1993 in the first edition of his "Frank Lloyd Wright Companion," every Wright enthusiast's bible.
Here are his plans of the Arthur Davenport residence:
© 1993 by W A Storrer
There are two interesting variations on the Trinity Room house plans. The first departure was Stewart, which has small, low-ceilinged areas between the 3 major spaces, creating a "pentapartite" (?) plan. In that version, the transverse axis passes from the library to the dining room just 4' in front of the fireplace rather than bisecting the room. The added anterooms both maintain an openness and establish a more definite separation. The change from Hickox - which is basically one huge room - and Stewart is dramatic. Stewart is almost the scheme used in DDM, where the transition from room to room is slightly extenuated, and the axis of library to dining room does not bisect the living room ... quite.
The other example is Barnsdall, which started out as more or less the same sort of scheme as Stewart, but with the transverse axis bisecting the space from music room to library (which originally was to open to the south anteroom), including the living room. FLW had two problems with this plan of the living room: As a 24'x24' square (shown in a perspective only ... no plan) the vaulted ceiling would have created a tent-like pyramid, which FLW would never have desired. But the bigger problem was that locating the fireplace in its usual area would have blocked the flow from living room, through loggia and into the garden, which FLW regarded as a fair-weather living room. Placing it on the south wall also was a problem with the entrance process, which is why he used the monumental couches-cum-tables-cum-torchiers to create an abstraction of the tripartite plan. This was augmented by making (for the first time) the chimney rise above the lintel level all the way to a raised ceiling with skylight. The 'cathedral' effect might be considered flaw in the design, over-aggrandized, temple-like, and not particularly useful. But there it is. He never used the plan again.
Mrs. Stewart left the house to her housekeeper, who lived there until the 1980s. She tried to sell the house for what she thought was a good price, but it did not sell. When she practically doubled the price, it sold immediately.
Much appreciated all round. RG's is a master.
He even invents a word: "pentapartite"
Quick question on the LHJ Home In A Prairie Town plan: what's going on at the entry door? The door seems to be included in some sort of passage that is formed by the extension of four of the large bays of the Hall. From the door moving left the first two bays have columns and extra lines, while the third and fourth bays are open to the Hall. I'm confused about what you do when you enter. I assume you go straight down the hall between the fireplace and stair - but not sure. What does that passage of of four bays slightly extended from the Hall to the left of the entry door get him - what's he doing here?