A drawing of the main floor of Taliesin, 1936-39. The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural and Fine Arts Library, Columbia University, New York), Number 2501.048.

The Chronologies—my detailed history of Taliesin

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The drawing above shows the main floor of Taliesin where Wright lived, 1936-39. This is one of my favorite Taliesin drawings. Why? Because it actually shows the space pretty much as it existed at that time.

In this case, I’m talking about Taliesin the building, not Taliesin the estate.

            I mean: the UNESCO site, not the 600-acre National Historic Landmark1

I wanted to write about that after putting up the link to a post on my LinkedIn page.

While doing that I re-read that I told you all I should “write about” my Taliesin Chronologies some time.

This was great, because

since I don’t answer “Hey Keiran” questions from Taliesin tour guides anymore,

I was looking for something new to write.

The compact version of the Chronology project is in my post, “How I Became the Historian for Taliesin“.

The longer version

involves

as I recall,

some tears and some hyperventilation.

Over 21 years ago, Taliesin Preservation (then doing Taliesin’s restoration2) was gearing up for the Save America’s Treasures project that put in comprehensive drainage at the residence in 2003-04

(that’s when we found the window).

So, in the summer of 2003 I was asked to start writing detailed histories of each space in Wright’s living quarters.

You see it in most of the photo below:

Black and white photograph from Taliesin's Hill Crown to its Living Quarters. April 1953
Taken by Richard Braun or his brother.
Property: Taliesin Preservation, Inc.

I concluded it was best for me to tackle Taliesin one room at a time.

Because I did not intend to write a detailed explanation of what we knew about the entire floor where Wright lived after he started his home,

And then

after 56 pages or so,

write

So, in the next year….

Repeat, repeat, repeat until you got to the year 1959…

My analysis began at the southern part of this floor, with the intention of writing a history of each room to the north.

I chose this path because there were generally fewer post-1925 changes made to this wing as you go north (towards Taliesin’s living room).

I researched and wrote the complete history

Or at least I hope I did

of Frank Lloyd Wright’s Bedroom and bedroom area over about 6 weeks.

I mean,

As I’ve written before, the man often didn’t write what he was doing at his house in any detail.

Or sometimes he wrote some things that we don’t necessarily find out to be true.

Like, he wrote in his autobiography that after Taliesin’s 1925 fire,

I made forty sheets of pencil studies for the building of Taliesin III.3

An Autobiography in Frank Lloyd Wright Collected Writings: 1930-32, volume 2. Edited by Bruce Brooks Pfeiffer, introduction  by Kenneth Frampton (Rizzoli International Publications, Inc., New York City, 1992), 303.

40 sheets? Where the hell are the 40 sheets, Frank?

There are some drawings, like the one below I originally referred to as the “crazy-making drawing”:

Black and white drawing in heavy contrast of main floor of Taliesin living quarters originally drawn in 1925 with freehand additions. The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural and Fine Arts Library, Columbia University, New York), number 2501.003.

That hell-spawn of a drawing you see is number 2501.003 at The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural and Fine Arts Library, Columbia University, New York). Click on the drawing to see a more humane version of it online.

However, I have never come across what appears to be 40 preparation drawings.

Still, I had to start and, fortunately, the office had black and white photographs of some of the drawings, too, which were easier on my eyes. And I could magnify them without the computer scan dissolving into only pixels.

Since my first room was where Frank Lloyd Wright’s Bedroom is today (what he used as of 1936)4 and looked at the entire space from 1911 onward (even before a room existed).

I’ll put an early drawing of Taliesin III below. First I’ll show the whole floor he drew in 1925, then a detail of his bedroom:

Black and white drawing of the entire main floor of Taliesin as drawn by Wright in 1925. The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural and Fine Arts Library, Columbia University, New York), number 2501.001.

Main floor of Taliesin c. 1925. The Frank Lloyd Wright Foundation Archives, number 2501.003.

A detail from drawing 2501.003, in color:

Detail of Taliesin floor plan from 1925. The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural and Fine Arts Library, Columbia University, New York), Number 2501.001.

The room exists in the photo below under the shed roof beneath the arrow:

Black and white photo looking (plan) northeast at the Taliesin living quarters in summer. 1929-33. The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural and Fine Arts Library, Columbia University, New York), George Cronin collection.

George Cronin took this photograph 1929-33 while on top of Taliesin’s Hill Crown. Looking (plan) northeast.

In 1935, he built a fireplace for this room

in this photo online.

Then he took over the space a year later, and added a terrace as he made this into his personal bedroom. The photo you see in this link from the Frank Lloyd Wright Foundation has him sitting on the terrace with his daughters and members of the Taliesin Fellowship.

When Wright no longer lived in Wisconsin in the winter, he extended his bedroom onto the terrace in 1950, like you see below:

Color photo of Frank Lloyd Wright's Bedroom Terrace at Taliesin taken from Taliesin's Hill Crown in the summer of 1957. William Blair Scott, Jr. Collection, OA+D Archives

Photograph taken in 1957. William Blair Scott Jr Collection, OA+D Archives.

As a result of my work,

my “first go” at the detailed history of one room was over 100 pages long.

So you can see why I can walk through the rooms in my head in the past. 

5 or 6 months later,

I was on the third room

(out of 10 rooms on that floor).

Then

the Executive Director5 came and asked me to complete the write up of the history of all of the rooms in this wing of the building

over the wing’s three floors, and totaling 20 rooms

in 10 weeks.

While listening to her, I was probably nodding. When she said I had to finish all of this in 10 weeks, I probably took on an expression of,

well,

“terror” might best explain it.

Truth is,

that led me to, an hour or two later, putting my forehead on the desk and crying.

10 WEEKS!…

I went home early.

So, that night,

I decided to throw out anything about the rest of the rooms that took place before c. 1950 and combine a few spaces.

And I did it!

In early April,

in other words, 10 weeks later,

I presented the Executive Director with 12 documents that had a total (as I recall) of 821 pages.

At least 821 is the number I remember putting in size 56+ font on my computer desktop for a couple of days after completing the work.

Then a month or two later Carol directed me to write Chronologies for the rest of Taliesin (over 100 rooms).

 

 

First published December 17, 2024.
The drawing at the top of this post, Frank Lloyd Wright Foundation Archives Number 2501.048, is available here at JSTOR.


Notes:

1. wtf, Keiran: the estate is 800 acres. So much for this “Taliesin Historian” crap!

The NHL is for the 600 acres that Wright had and was owned by the Foundation when it received NHL status. In the 1990s, the Foundation bought the neighboring 200 acres, originally owned by Wright’s Uncle Thomas. This creates a land buffer.

2. In early 2020, the site owner, the Frank Lloyd Wright Foundation, completed what it had been doing for several years: moving all of its preservation and restoration staff from Taliesin Preservation back under its management. The two organizations still work together, but care of the NHL is again under the Foundation.

3. Note to those who are convinced that Frank Lloyd Wright didn’t refer to his home as Taliesin II or Taliesin III until Henry-Russell Hitchcock wrote In the Nature of Materials in 1942: Wright referred to his rebuilt home as Taliesin III in his autobiography first published in 1932. I know ‘coz that quote above is from my own paperback copy of it, published in 1933. Sorry – it’s just an ongoing argument in my head. Carry on.

4. Some people might think it’s weird that the Wrights eventually had two bedrooms, but I know people who also made that choice, because they sleep better.

5. I referred to Carol here when I wrote about “The Album”.

This is drawing number 4930.006 in the Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Library, Columbia University, New York).

I found another Taliesin drawing

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This is drawing number 4930.006 in the Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Library, Columbia University, New York).

Two years ago I wrote here about when I found a Taliesin drawing of bunkbeds for a room at Taliesin in 1911.

srsly: someone needs to give me a commission for suggesting that the Frank Lloyd Wright Foundation use this to market Wright-designed bunkbeds.

My post today is about another Taliesin drawing I found.

Several months ago I went looking at the drawings that show Wright’s drawings related to buildings on the Taliesin estate.

I did that because researching things related to Taliesin makes me happy.

C’mon: you know you’re not surprised.

You can see the drawings from 1910 at the Wasmuth Portfolio and in a number of books. But you can see also a lot of online black and white photos in the Frank Lloyd Wright Foundation Archives here, through JSTOR.1

JSTOR is “part of ITHAKA, a not-for-profit organization helping the academic community use digital technologies to preserve the scholarly record and to advance research and teaching in sustainable ways.

Every drawing in the Frank Lloyd Wright Foundation Archive has an identification number. The first four digits of each ID comprise the project number.

So, like, all drawings for Wright’s Guggenheim Museum commission start with “4305.”

The first two numbers are because the commission started in 1943. Bruce Pfeiffer (a member of the Taliesin Fellowship who became the archivist for Wright’s collection) numbered the Gugg as that year’s 5th commission. So: 4305.2

I’ve got the project numbers for all of Wright’s buildings on the Taliesin estate. So I searched for those numbers.

You can do it, too, if you have the time. Just go to this page. Might not be something you want to do in the summer, but you could. Sure, you could!

One of the building projects that I studied was labelled:

#4930

4930 were drawings executed during the planned renovation of the “Home Building” at Hillside. Hillside is one of the buildings on the Taliesin estate. If you’ve taken a tour that went anywhere near the Hillside building, your guide might have told you about the Home Building. It stood there from 1887-1950, and is part of the site’s history.

In 1887, Wright designed the building for his aunts, Jennie and Nell Lloyd Jones when they were planning their new school (see the whole history of it here).

You can find lots of photos of the Home Building at the Wisconsin Historical Society. Here’s one below:

Black and white photograph of the Home Building at the Hillside Home School. Real photo postcard at the Wisconsin Historical Society.

From a postcard. Photo taken 1887-1915 (although probably pre-1915). Looking northwest at the Home Building. The postcard says “Hillside Home School”, which was the name of the school, but not the name of the building. Wright’s later Hillside Home School building (the stone building) was built to the left of the building you see in the photo.

When Wright published his autobiography in 1932, he described the building as

[D]esigned by amateur me and built by Aunt Nell and Aunt Jennie in 1887 to mother their forty or fifty boys and girls.3 

Actually, he was so young when he first designed it, that none of the detailed drawings survive.4 But here’s part of what Aunt Nell wrote to the young Wright after he’d arrived in Chicago:

…. Do not take time to make elegant drawings if you are busy but send a rough sketch of what you think the best plan as soon as you can – as we hope to get men at work upon it as soon as the ground is fit in the spring….

 I write in great haste but with much love –

                        Aunt Nell 5

Really: it was not a bad building for a 19-year-old to design.

After Wright’s aunts closed their school in 1915, the building and grounds stood idle for years.

Then,

in 1932 he and wife Olgivanna started the Taliesin Fellowship (his apprentice program).

The photo below

Shows work taking place at the Home Building. Apprentice Edgar Tafel took it and it’s published in his book, Apprentice to Genius. The photo was taken in 1932-33:

Looking northeast at two people working near the Home Building during its initial renovation. Photo in Apprentice to Genius, p. 29.

We saw this side of the building in the earlier photo. In the photo above, we’re looking northeast. In the earlier photo, we were looking northwest.

Apparently, he wanted to do a lot more, but he never got around to it.

Yet in 1949, he addressed the building again.

And that’s how come,

Bruce numbered this collection of drawings “4930”.

When I looked at them, I realized one of them wasn’t the Home Building at all.

It’s drawing 4930.006 and

it shows the old dining room. At Taliesin.

Check it out:

I put a drawing of the old dining room on the left and the drawing in the 4930 collection on the right:

The first thing you can see is the fireplace.

It’s shaped like an upside down “T”.

Not that far from it is the “entry” and the “cooling” room, just like they were in that part of the building. You can see where Wright drew little tables and chairs in figuring out the seating. 

After looking, I sent the compared drawings to Kyle Dockery, the Wisconsin onsite Collections Coordinator for the Frank Lloyd Wright Foundation.

He agreed that I found another Taliesin drawing and that 4930.006 shows Wright’s thinking about expanding the room. Which is why he had that large part (also shaped like a “T”) coming off on the left.

After this, I wrote my thoughts to someone at the Avery Library, since they have the drawings. I gave them my theory and sent them the comparison drawings. Shelley (from the Avery) wrote me back, agreeing with me and thanking me for my “meticulous eye”.6

By the way:

Wright halted the renovation of the Home Building in 1950 and ordered his apprentices to destroy the building.

That lead to this fantastic photo of Wright conducting, as the photo’s caption says, “a symphony of destruction”:

 

You can see it on page 6 of The Harvester World at the Wisconsin Historical Society. The image above links to that page of the magazine.

Why did Wright get rid of the Home Building?

It was part of Wright’s “cleaning up” of Hillside over the years. I think he did this because Hillside became his testing ground for large-scale designs. Here’s a photo of the walk up to Hillside that he created:

black and white photograph of Frank Lloyd Wright's Hillside building by Maynard Parker, 1955.Photograph that Maynard Parker took for House Beautiful magazine in 1955. Looking east at the Hillside Home School structure.

Previous to 1950, you really could not have gotten a view like Parker’s in the photo above. That’s because Home Building would have stood right in the way of the photographer.

 

First published July 2, 2023.
The drawing at the top of this page is property of the Frank Lloyd Wright Foundation and is from The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art|Avery Architectural & Fine Arts Library, Columbia, New York).


Notes:

1. Prior to late November 2024, the link took you to ARTSTOR, “a nonprofit organization that builds and distributes the Digital Library….” That changed in August to JSTOR.

2. I think the second number is the commission for that year. No one ever told me, but it seems logical.

3. Frank Lloyd Wright. An Autobiography (Longmans, Green and Company, London, New York, Toronto, 1932), 129.

4. One was published at the time in Inland Architect. It’s on this page.

5. Nell Lloyd Jones to Frank Lloyd Wright on March 9, 1887. FICHEID #: J001A03

6. Someday I’d like to get to the archives and look at everything they haven’t identified.