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http://wrightchat.savewright.org/viewto ... =governors
By the way, the word is "flair," not "flare"---unless we're talking about a fire.
Wrightians are going to have too look more closely at their ubiquitous mention of "compression and release," if their aim is to make a meaningful distinction between his houses on the one hand, and practically any building with a confined entrance area, on the other. At any houses in the world where a small porch at the entry, or a vestibule, are present, these might qualify as the "compression" half of the equation---assuming that the rooms beyond are larger and airier, which they are almost bound to be ?
Perhaps a sharper pencil will be employed, metaphorically, to make clear what it is about Wright's houses and other buildings that make them unique in this regard ?
The house’s “prominent linear lines”...
As for compression and release- What makes Wright’s use of this unique is that he does this not by accident or to save space, but to create a specific sensation. Plan and elevation are both squeezed simultaneously to move us forward, and to intentionally trick us into experiencing the space beyond in an exaggerated way.
I can’t think of an extremely small Wright designed space that is also tall. American tract houses have narrow hallways which are often the same height as the living room. Wright would avoid that. The exception might be some Usonian workspaces made tall to allow cooking odors and heat to rise. He also understood that the inhabitant is typically standing while preparing meals.
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He might couch the matter in terms of "continuity" or some such, to satisfy the curious and impressionable journalist, but it's just a matter of having the wit and care to streamline his work and to avoid a distracting visual hiccup. I don't find a detail drawing of his building that clearly defines his solution, but the evidence is clear in photographs: he simply tilts the corresponding horizontal mullion so that the miter is accomplished directly. Compare the exterior and interior views of the Peterson and Lovness cottages with those of the new building:
Photo Thomas Heinz
Photo Peter Maunu
Photo of the Lovness cottage, Yukio Futagawa
Despite the fancy that his roof is carried only by the glass, Mr O'Donnell's framing is robust and unavoidable. A look at the bedroom corner can be compared to the somewhat more subtle framing that Wright employs there:
Nevertheless, Mr O'Donnell's building has charm aplenty; the stonework is lovely, the stone floor a delight, and the quality of construction is self-evident.
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Realtor listing: https://www.sothebysrealty.com/eng/sale ... a-fl-33629
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Love the Haywood Wakefield dining chairs.