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http://www.roanokekc.org/SondernAdlerCo ... onPics.htm
BTW, Sondern was designed with a perforated board and the design has been placed on the Perf Project Chronological Timeline. You can see it yourself at
Although there is a picture perfect upper clerestory, the perfs appear to have not been installed. Construction photos and other early photos (seen so far) don't show them at least. If anyone has any information about these perfs or any perf furnature in the house, please contact us by private messaging?
The perf unit drawing on the building sheet mentioned is particularly interesting as it helps understand questions about the G-W intial perfs.
How construction has changed in the three fourths of a century since 1940. There are images of the trenches for footings being dug with pick and shovel, and wheelbarrows lacking pneumatic tires. [I can recall seeing trenches for footings being dug by hand in Europe in the late 1950â€™s].
There would appear to have been adequate area on the site, yet the organization of the works was haphazard at best. A site that is kept tidy is of benefit to all those working there.
Piles of roof framing lay, unprotected, on the ground, as did half batts of extruded brick. Areas of the totally unprotected, completed concrete slab were covered in heaps of rubble. The staging used by the brick masons and carpenters would cause a modern day occupational health inspector to suffer cardiac arrest.
Not all that passes for progress has been beneficial, altho I am relieved that sawpits are no longer in use. The nail gun is an abomination, and furnishes an inferior connection to that provided by a carpenter driving two requisite nails with a hammer.
Why do architects continue to specify extruded bricks? If the North American version is similar to those manufactured here in Australia, then they are unadulterated rubbish.
Stern bequeathed the house to the Nelson-Atkins Museum of Art, which could conceive of no use for it and merely sold it. (The director then was Marc F. Wilson, who snobbishly remarked that perhaps it could serve as his pied-a-terre.)
The house stands next door to Thomas Hart Benton's house, now a state historic site. Benton was amused by Wright's so-called persona, and recalled him as a "ham." When they dined at the Hotel Bellerive, around 1940, Wright warned the artist to slow down on his drinking as he grew older. Those were the good old days of Kansas City.