I’m talking about a retaining wall outside of Taliesin and I’m going to write about it today.
It’s called that because
It looks like two musical quarter notes touching end-to-end.1 You can see it in the historic photo at the top of this post, just left of center.
And you can see it in the modern-day photo below:
Used with permission.
The wall seems to have shown up after 1912, based on other photographs at the Wisconsin Historical Society. For instance, this really old photo of Taliesin doesn’t show this wall at all:
Looking northwest (plan direction) at Taliesin’s living quarters, 1911-12. Given the configuration of the building, it looks like this was taken during Taliesin’s first winter.
Then there’s one taken in 1912 by Clarence Fuermann of Henry Fuermann and Sons; and if you look closely at it, something has been built in the area, but not the retaining wall.
But we know he was doing something around there in 1913.
We know that because on June 19 of that year, The Weekly Home News2 stated that:
Work has started at Frank Lloyd Wright’s summer home. B.F. Davies3 has a crew of men laying water mains, which will supply all the buildings with water and also irrigate the gardens, vineyards and flower beds.
All of these things help to get water to the gardens, which Wright wrote in his autobiography that each court at Taliesin:
… had its fountain and the winding stream below had a great dam. A thick stone wall was thrown across it, to make a pond at the very foot of the hill, and raise the water in the Valley to within sight from Taliesin. The water below the falls thus made, was sent, by hydraulic ram, up to a big stone reservoir built into the higher hill, just behind and above the hilltop garden, to come down again into the fountains and go on down to the vegetable gardens on the slopes below the house. An Autobiography, by Frank Lloyd Wright. 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), 226.
This is the second time I posted this quote. The first time was about whether or not Taliesin had outhouses. You don’t know?! Well check it out. Of course I’ve thought about that. I think I’ve mentioned on here that sometimes I walk through Taliesin in the past to relax myself before sleeping.
Still, we can only confirm that Wright built the “notes” (the circular parts at either end of the wall) during the Taliesin II era. One of those Taliesin II images is at the top of this post.
And,
those “notes” maybe may have been functioning cisterns.
After all, that part of the hill faces mostly south, which means that it gets a consistent amount of sunlight, so it’s a place Wright, in the earliest years was trying to get vegetables grown while trying to make a go of it out here in the country.
A good Taliesin II photo of planting grids on the southern part of the hill, is below. I’ve pointed out one of the “notes” on the retaining wall:
Looking (plan) northwest at Taliesin’s Living Quarters, 1915-21. This photo is printed in the book, Frank Lloyd Wright Collected Writings, volume 2, p. 145.
But I have no idea what he could have been growing in those grids.
So, if they were cisterns, Wright stopped using them. Probably, once he expanded his land holdings, he could grow vegetables in all the other spaces as he bought more surrounding land. Yet, while he eventually had no reason to use the stone structure, he still kept it. Like what you can see in the Taliesin 3 aerial photo, below:
Photo published in Frank Lloyd Wright: Complete Works, volume 2, 1917-1942, by Pfeiffer, Bruce Brooks (Taschen, 2009), p. 145.
When I first started giving tours, we walked up to the house and took a rest at that retaining wall to catch our breaths. While they sat on the wall, I’d invite my guests to look at the view while I started telling Taliesin’s story.
nowadays, folks on the Taliesin Estate tour still walk past there before going up to have their break.
Information about this retaining wall probably isn’t common knowledge at Taliesin. But a lot of people can see it on tours, so there’s a bit of info for you.
First published on October 1, 2024.
The photograph at the top of this page was taken by Clarence Fuermann of Henry Fuermann and Sons. I talked about the Fuermann photos in my post about the Flower in the Crannied Wall statue.
Notes:
1. p.s.: I don’t think Wright ever referred to it that way, but that’s what we all call/ed it in Taliesin tours.
2. Spring Green’s newspaper.
3. I think I might have found B.F. Davies in the census. Wright wrote to a “Ben Davies” several times in the late 1920s.
Read about how Wright redesigned that part of the building after a fire in 1952.
The theater has been undergoing a restoration for several years (prolonged by, oh yah, a world-wide pandemic). The work includes moisture mitigation, climate control, and the construction of green rooms in Hillside’s dirt-floor basement. The photo below is what I think of when I think “Hillside basement”:
I took this photograph in 2009.
That ain’t so anymore. In fact, to see what’s happening is—personally—mind bending. Getting a climate control system into the Hillside Theater was first talked about in the late 1990s.
Taliesin, at least, has wooden floors. The only wooden floors at the Hillside theater are on the stage. Everywhere else has stone, concrete, single-pane glass, and metal furniture.
Taliesin’s Director of Preservation (Ryan Hewson) kept me and my husband apprised about what they were going to do, and one of my photos of him in the basement is below:
I took the photo above when Ryan gave us a tour in September, 2020.
Here’s the before/after photos from the Virtual Visit:
In my photo of Ryan, he was standing to the right of where they later put the red Exit sign.
As I watched
This Wright Virtual Visit, I thought about the work the Preservation Crew did to restore the Taliesin Drafting Studio in 1998-2000.
The work, completed in just over 2 years, mostly didn’t get press coverage.1
So that’s why today
I will give you the shorthand version of that project.
On June 18, 1998
an 80-m.p.h. (129 km/h) straight-line wind storm came through Wisconsin and knocked the 229-year-old Taliesin Tea Circle oak tree onto the roof of the Front Office at Taliesin.
Photograph by Keiran Murphy.
Of course I was there. Well, not literally standing there, but I worked at Taliesin. And those facts:
the date,
the wind velocity,
and the age of the fallen oak,
were branded into my brain.
The tree fell on the first day of my weekend.
But while I wasn’t working that day, I drove to Taliesin when I heard that something might have happened with the Tea Circle tree. As I drove up the hill around Taliesin, I was disconcerted because the tree’s crown was… in the wrong place. That’s because, of course, the tree had fallen over.
Check out images of the fallen tree and building from Taliesin Preservation’s Facebook page.
It was so weird that the big oak with its canopy of leaves sheltering the Taliesin Tea Circle—and at least half of the courtyard—was, suddenly, gone.
A positive observation
came from former Wright apprentice, Herb Fritz.2 Herb asked a friend (and former guide)3 to bring him to Taliesin after the tree and its debris were taken away.
Why?
Herb said that he had waited his entire life to see Taliesin without that tree.
Its disappearance opened an unobstructed view of the building.
Back to the point:
The tree was lost on a Thursday. The Preservation team came the next day to assess the damage, and began planning the restoration.
Ideally, you wouldn’t have to restore a space while simultaneously repairing its pre-existing problems but there wasn’t any choice.
I wasn’t yet working as the historian. But other members of the staff worked quickly to figure out the history of the room at Wright’s death.
The major restoration work
WAS NOT
in Taliesin’s Drafting Studio.
It was in the Front Office, the space adjacent to it. However, one of the restoration issues was that not many photos showed that area.
Not only that,
but the room was, at that time, the office of the CEO and staff of the Frank Lloyd Wright Foundation for 6 months every year.
It looked like an office.
It had a photocopy machine, a fax machine, and regular desks and drawers.
A door and non-original wall separated this office space from the studio, so they could keep working while Taliesin tours went on. You can see the wall in the photo by Judith Bromley in the Kathryn Smith’s book, Frank Lloyd Wright’s Taliesin and Taliesin West:
Photograph taken in 1996. The wooden tall-back benches are in front of the wall that separated the studio from the Front office.
That wall had probably been there for over 25 years.
Everyone moved from the office while tours kept going through the Drafting Studio.
For future historians: that’s why the Frank Lloyd Wright Foundation ended up in the former horse stable at Taliesin. That horse stable had been converted into office space when Taliesin Preservation started. That’s where I first worked with images and figured out the history of Taliesin’s dam.
The Preservation office created a plan on what to do.
That first winter:
The Preservation Crew had to work one floor below. They had to push the wall back into place and structurally secure the area.
But they could not stand upright in the area with the dirt basement. So, they shoveled out the dirt by the bucketload.
The shovel handles were too long.
So they had to cut the handles down so they had room to dig.
The other work
was figuring out what things in the 1950s looked like in Wright’s former office.
Fortunately, they found photos taken by Ezra Stoller in 1945 1951 (see through the link).
As well as photos that Maynard Parker took in 1955:
Looking (plan) southwest in the Taliesin studio in 1955. By this time, he used the studio as his office.
You can see them at work in the photos below:
Two photographs taken in 1999 by someone from the preservation department. Courtesy Taliesin Preservation.
If you take a tour you walk through both of these spaces.
The left-hand photo shows that insulation was installed under the roof. They figured the extra thickness less than an inch (or about 2 cm) was acceptable. On the right-hand photograph, the red vertical lines were used for the post placement in the rebuilt bookshelf you see below:
If you want to know what was there on that wall: there had been built in cabinets that were used by the office, including all of the office supplies.
Once the crew did the important structural work they had to restore the studio.
When doing that, they reconstructed a couple of built-ins around the fireplace and a box in front of the stone vault.
Additionally,
I recall that they found Wright’s office desk. It had been in a former work space and had to be restored. Unfortunately I forget who gave the money for that. So when you go into the former studio today, that desk is original. A recent photo of it is through this link. But you see on historic photos that it was a LOT messier when Wright was alive:
Wisconsin Historical Society.
Collection: Richard Vesey photographs and negatives, 1955-1963
It looks like Wright’s secretary, Gene Masselink, is talking to him at his desk in August 1957. Photograph by Richard Vesey.
Sometimes I think Wright’s desk should still be filled with all of this stuff, just like it was when he was alive. However I think that veers into hyperreality via Jean Baudrillard. That is: the fake is better than the real. So we gotta stick with the reality that’s there at Taliesin. Because, even though I love Taliesin, I will not dress up as a female Fellowship member in the 1950s. Making bread, playing musical instruments, working in the fields, and cleaning Mr. Wright’s Bedroom would make me cranky.
Published December 1, 2023. I took the photograph at the top of this post in 2005.
Notes:
1. It’s not that we didn’t want to. There just wasn’t the money or staff. Plus, once the restoration work was mostly finished, the tour season (a.k.a. the money machine) started. All we could do was add “Come see the newly restored Taliesin Drafting Studio” on information about the upcoming tour season.
2. Herb (1915-1998) was the former apprentice whose offer of stone to Wright that I wrote about in my post, “In Return for the Use of the Tractor“.
3. That friend, Craig, is with me in this web page someone wrote about their visit to Taliesin.
4. At that time, Taliesin Preservation did the preservation/restoration work as well as tours. Since early 2020, the Frank Lloyd Wright Foundation has carried out all the preservation work while Taliesin Preservation, Inc. does the tour program.
UPDATE:
I found the episode where the tree is discussed in All Things Considered. The story comes in the last 5 minutes of the June 21, 1998 episode.
A postcard looking (plan) northeast at the western façade of Taliesin’s hayloft, summer (the hayloft is under the roof). Because the collection of people are unexpected at a farmhouse, Randolph C. Henning (who collected this postcard), thinks this was taken the day after Taliesin’s 1914 fire and murders.
I wrote The Oldest Thing at Taliesin (stuff that goes back to 1911-12), and was going to leave it at that. But before I posted, I realized there were too many things to point out. I needed to divide it into two posts. So, that was part I(opens in new tab).
Here’s part II.
Like last time, I’m going back to stone because it’s the easiest material to trace at Taliesin. That’s because Taliesin’s shingles, wood, and plaster has to be replaced. And I’m not sure how much of the window glass at Taliesin goes back to 1911-12.1
I took this photograph from the roof of Taliesin’s former icehouse. The photograph is looking northeast according to Taliesin’s plan direction. Taliesin’s “Work Court” is one floor below.
I was up on this part of the roof with a member of the Preservation Crew. He was showing me details on the re-roofing. And, NO, you cannot stand on this roof while you’re on a tour(opens in new tab).2
Almost nothing in this photograph matches what you see in the c. 1914 postcard at the top of this post.
But,
even though everything’s different here’s what got my attention: the stone pier under the hayloft.
THAT is still there! Here’s a comparison of the 1914 photo and the photo from 2004:
In the Work Court, looking southeast according to Taliesin’s plan direction. This photograph has the stone pier that I saw in the 1914 postcard. The image below has both the old and new photos, with the stones in the pier compared.
Here’s the stone pier in a close-up of the two photographs:
TA-DA!
More Taliesin 1911-12:
The next photo appeared in 1911. I first saw it two years ago when the Chicago Tribune(opens in new tab) treated us all to was in a published article:
In view behind trees: hayloft of Taliesin. Car [?] garage on the right. First published 12/29/11. Unknown photographer. (Chicago Tribune historical photo)
This photograph was taken December 25, 1911. The photographer was looking east/southeast (according to Taliesin’s plan direction) at Taliesin’s agricultural wing in 1911. The photo was taken on that day when Wright gave the disastrous press conference(opens in new tab) at Taliesin.
(opens in new tab) By Stilfehler. This file is licensed under the Creative Commons Attribution-Share Alike 4.0 International License.
Looking (plan) southeast to the chimney that’s in the photograph from 1911 in the Tribune.
Taken by Stilhefler while on a tour. Click the photo to see it on-line.
I am not publishing the second photo from the Chicago Tribune. Most of what you see in the second photo cannot be seen on a tour and if you read “This is FUN for me…”, I explain it some more.
Then there’s the Hill Crown:
And its retaining wall:
I took this photograph in April, 2005.
Most likely, there are other parts of the retaining wall that go back to 1911. However, I do not think you’ll be able to look at those places for any length while on a tour at Taliesin.
Lastly, I’ll show something else you can see on tours:
This was also published in Architectural Record magazine in 1913. Here’s (opens in new tab) where I wrote about it.
Look at the pier on the right, with the pool. The open windows on the right are at the kitchen (today it’s called the Little Kitchen). Every tour you take at Taliesin walks near that pool.
I put a present-day photo of it, below. The person who took this photo in 2018 also took the one above.
(opens in new tab) By Stilfehler. This file is licensed under the Creative Commons Attribution-Share Alike 4.0 International License.
Taken in the Breezeway at Taliesin. Looking (plan) southeast at the stone veneer on the west wall of the Little Kitchen. Photo from July 4, 1918, by Stilhelfer. Click the photo above to see it on-line. You’ll see that this photo has been cropped.
I love this area.
Wright changed things so much at Taliesin that I’m intrigued when he didn’t.
That’s all I’ve got the time to show you right now. Oh, and last thing: remember that these parts of the building I talked about were just what you can see.
So, thanks again for coming along!
Published November 26, 2022 Randolph C. Henning acquired this and sent this to the Executive Director of Taliesin Preservation while he was working on Frank Lloyd Wright’s Taliesin: Illustrated By Vintage Postcards. You can see the photo on page 39. Henning sold his collection to Patrick Mahoney(opens in new tab), AIA.
1 I could go and point out windows that seem like they were at Taliesin in 1911-12, but I dunno.
2 “WHAT – do you think we’d just walk onto the roof?”
No, I do not think you would.
However: one time a person arrived at the Frank Lloyd Wright Visitor Center(opens in new tab) in January or February and wanted to know if they could go into the buildings on the Taliesin estate. I asked, “Did you see the notice on our website that there are no tours at Taliesin until May 1?” The person replied nicely that, “Yes, we saw that. But you didn’t say the estate was closed.” So I’m double checking.
Looking (plan) east at Taliesin from the balcony of its hayloft, fall 1911. Taken by Taylor Woolley, who worked as a draftsman for Wright at Taliesin. I showed this image in the post, “This will be a nice addition“.
While people don’t ask that question at other Frank Lloyd Wright buildings, it’s part and parcel of his personal home in Wisconsin.1 After all, he was already changing things after 1912, and he probably would have made changes at his home even if it never suffered twomajor fires.
And, remarkably, there are things at Taliesin that go back to 1911-12. Even where there wasn’t any fire.
Why am I bringing this up?
I thought I would share what people asked me sometimes while I gave tours. Hopefully I didn’t overwhelm them with info. But while “don’t talk about what you can’t see” is one of the tour-guiding rules, change was a part of Taliesin.
In fact, that’s true even in the photo at the top of this post. Wright changed almost all of the stone piers and chimneys that you see there.
Now, while Wright didn’t sit down in April of 1911 and say, “I want to change my home with Mamah all the time!”, he liked the flexibility of changing things as he had new ideas. He refined his ideas all the time, and his home was the best place see these new things.
After all, I’ve heard people say that –
Taliesin is like a life-sized model.
Even Taliesin’s most consistent feature, the Tea Circle, would change.
The Tea Circle
It’s a semi-circular stone bench where Wright and the Taliesin Fellowship used to have tea.
In the photo at the top of this post, the Tea Circle will be eventually built on the right, where you can see the man working under the two oak trees. They wouldn’t finish it until 1912.
So, the photo shows that they had removed all of the dirt around those oak trees, and built the retaining walls. Then they gave the roots of the oaks a chance to settle before making more disruptions.
But Wright’s plans included the Tea Circle at Taliesin almost from the beginning.
However, you can see that unfinished Tea Circle in another photo by Taylor Woolley, below. He took this in the spring of 1912. Taliesin’s basically been built, but the Tea Circle steps, and its stone seat, don’t yet exist:
By Taylor Woolley. Courtesy of Utah State History, Taylor Woolley Collection, ID 695904.
Looking west toward the Tea Circle. The chimney at Taliesin’s Drafting Studio is on the right. The Hayloft is under the horizontal roof in the background.
I used to look for the Tea Circle on plans to orient myself when I was first learning about Taliesin. I put one of Taliesin’s early drawing below, with an arrow pointing at the stone bench. Western Architect magazine published this drawing in February 1913:
Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York), 1403.011.
In fact, herearelinks to Taliesin plans that have the Tea Circle seat.
JSTOR says the drawings are from Taliesin II, but that’s wrong. I noted before that the former director of the Frank Lloyd Wright Archives, the late Bruce Brooks Pfeiffer, was wrong on the structural details of the building. But I never got the chance to talk to him about how he came up with the dates for the drawings.2
The Preservation Crew at the Frank Lloyd Wright Foundation carried out restoration, preservation, and reconstruction on the Tea Circle in 2019.3 They had to replace a lot of the degraded/missing stone work there. Its form (and as much stone as possible) now matches what was there in when it was originally finished.
Anyway, here I was,
trying to figure out the date of Woolley’s photo showing the forecourt and unfinished Tea Circle.
that’s the problem with black & white photos: they make late fall and early spring look the same!
And, HOORAY! Wright’s scandals gave me the info.
See, on December 23, 1911, the Chicago Tribune sent a telegram to Wright asking to confirm or deny that he was living in Wisconsin with Mamah Borthwick.
(by then, she and Edwin had divorced, and she legally took back her maiden name)
The Tribune published his reply on Dec. 24,
Let there be no misunderstanding, a Mrs. E. H. Cheney never existed for me and now is no more in fact. But Mamah Borthwick is here and I intend to take care of her.
Since Wright’s telegram made things even worse, the next day, Wright and Borthwick invited the reporters inside Taliesin so he could give a public statement. He hoped doing this would explain things and take pressure off himself and his family.
It didn’t go well.
In part because Wright said, “In a way my buildings are my children”. The guy needed a publicist. But it was 1911; whatcha gonna do?
This disaster with the press answered my question:
As Wright escorted the reporters to the forecourt (now the Garden Court), he talked about upcoming work on the building and grounds. He said:
There is to be a fountain in the courtyard, and flowers. To the south, on a sun bathed slope, there is to be a vineyard. At the foot of the steep slope in front there is a dam in process of construction that will back up several acres of water as a pond for wild fowl.
Chicago Daily Tribune, December 26, 1911, “Spend Christmas Making ‘Defense’ of ‘Spiritual Hegira.'”
AHA!
There it is: at Christmas 1911, they hadn’t yet finished Taliesin’s dam! So the hydraulic ram wasn’t yet working to bring water to the reservoir behind the house, giving Taliesin running water and water for the pools!4
In contrast, Woolley’s photo has the fountain (on the left in the photo above). That means the water system was working.
More Taliesin photos
In January 1913, Architectural Record published photos taken in the previous summer. Click on the photo below for the link to a .pdf of that magazine. The link is the whole magazine for the first half 1913, so you’ll have to go through it.
You go to the link (which has 6 months of the issues). You can find page 44 of the January issue, and that’s the start of 10 pages of Taliesin photos, like the screenshot above.
These Fuermann photos are what a lot of people envision when they think of Taliesin I.
And if you love them and want All The Fuermann Photos, you can buy the special issue on them that was published in the Journal of the Organic Architecture + Design Archives. They’ve got the photos Fuermann took in three photographic sessions. Architectural Historian, Kathryn Smith, explains their history.
More to come
I was ready to post this when I realized there are a few more things that you can see on tours that go back to 1911-12. So I’ll publish another post with more.
Taylor Woolley (then Wright’s draftsman), took the photograph at the top of this post. It’s at the Utah Historical Society, here. Published November 16, 2022
1 I don’t think they’ll be offering tours underground any time soon, in part because the openings into some places are only accessible by crawling on your hands and knees. Like what I wrote on in “A slice of Taliesin“.
2 I didn’t want to come off as a snotnosed smarty pants. Although maybe we could have talked about it. He seemed to trust my opinion by the end. He respected my opinions on one drawing I asked about.
3 The restoration work is due to a donation by educator and Architectural Historian, Sidney K. Robinson.
Back then, the only way people got their weekly schedules was to pick up the printed ones at work.
Craig, at that time the head guide, thought a weekly question/answer section would remind people to pick up them up. They called it “Hey Keiran!” and printed them on the back of the schedules. I thought it was called “Hey Keiran!” because people would ask me things all the time while I was walking through the main floor. Yet someone recently reminded me that the name was inspired by what Dan Savage wanted to call his question-and-answer feature1at The Onion satirical newspaper.
“Hey Keiran!” is the reason why I’ve contemplated what side of the bed Wright slept on,2 if he knew Feng Shui,3 and whether or not Taliesin had outhouses.
Here are two Hey Keiran Q-and-As that I think are pretty cool. They were too short to write a whole post about, but I thought they deserved to be enjoyed by the masses.
Note that I’ve edited the Hey Keirans for clarity, etc., etc.:
Another geek adventure
until your questions bathe me in the sweat of hardworking researchment (or I figure out answers to questions you’ve already asked), I’ll give you this:
So,
we have a copy of a photograph that shows Frank Lloyd Wright and Olgivanna reading in his bedroom, in front of his bookshelves.
Melvin E. Diemer took it after FLLW moved to the room in 1936, but before he expanded the room in 1950
(I know this because the bookshelves show a slightly different configuration than what existed after he expanded the room).
Therefore, I took the time to look on-line for the titles of the books. I found some of the books and, as a result, came to the conclusion that this photograph was taken sometime between 1940-1950. Yay!!!!
A Storyteller’s Holiday (2 vols.), by George Moore, pub. 1928,
The People, Yes, by Carl Sandburg, pub. 1936,
After 1903—What?, by Robert Benchley, pub. 1938,
Panic, by Archibald MacLeish, pub. 1938, and
A Concise History of Gardening, by A.J. MacSelf, this ed. pub. by Garden City Pub. Co., 1940.
At the time that I wrote that Hey Keiran article, the book, After 1903—What? was in the room at Taliesin known as the Garden Room (someone took a photo of it, here).
I mentioned that in the Hey Keiran article:
I freaked out on a tour
(in a good way)
when I looked down and saw this book. Donna
(the House Steward working that day)
seemed to handle it ok. I think that is because she’s used to me coming into Taliesin and finding odd things that I get really excited about.
Ok.
Here’s another Hey Keiran!
This is the question:
Q: When was the portrait of Anna Lloyd Wright put above the fireplace in Wright’s studio? Originally, Wright had an Amida Buddha painted on a 3-part screen—if I’m interpreting an old photo correctly. What happened to that? Sold? What was up there when he died?
Here’s my response:
A: Anna’s portrait was up there when Wright died. Initially, we were told that Wright put his mother’s portrait up there when it was painted.
So we thought he put it there c. 1920.
However,
when I began looking at historic photographs, I couldn’t find evidence of that.
In fact, a couple of photographs clearly show the Amida Buddha, and those photos date from the late 20s-early 30s.
(she is the Frank Lloyd Wright Foundation Administrator of Historic Studies: Collections and Exhibitions)
Indira interviewed him at Taliesin on July 27, 1990, and he talked about the painting. Lockhart, who entered the Fellowship in 1939, said in his interview that:
“I have an idea that one of his relatives had it and it came. Because I remember when it arrived. We were living here [i.e., at Taliesin] during the [second World] war.”
Here’s a photograph of Lockhart sitting in Wright’s studio, on the built-in seat by the studio’s fireplace. Priscilla Henken likely took the photograph in 1942-43:
Wright did not sell The Amida triptych. After he removed the triptych from that wall, he put it into storage. I know that because it doesn’t appear in other photos of Taliesin interiors while he was alive. At some point, the Taliesin Fellowship brought it down to storage at Taliesin West in Arizona.
The screen was restored in the 1990s. The Frank Lloyd Wright Foundation sent it up here for viewing one summer in the late 1990s, but it didn’t go where Anna’s portrait is. After that summer, the screen went back down to T-West and has been occasionally shown at the Phoenix Art Museum.
So, that’s it.
Ultimately, I wrote hundreds of “Hey Keiran” pieces. Most were only one-page long. However I did mess with font sizes and such to get them to stay on one page.
I’ll add other things when they fit here and there.
First published August 23, 2022. This photograph was taken when I was around 30 years old. As I recall, I was answering TPI’s Executive Director (Juli Aulik) on how I was going to uncover all of Taliesin’s history. . . . Still workin’ on it.
Notes
1 Savage wanted to call it “Hey Faggot!”
2 After analyzing a couple of photos, I concluded that Wright might have slept on the left side of the bed (like the photo below),
Published in Frank Lloyd Wright Selected Houses, v. 2: Taliesin. p. 56.
3 After rejecting the idea for years, I think he might have realized something about it. Although I still don’t think he “studied” it.
4 The Frank Lloyd Wright Foundation Administrator of Historic Studies reminded me that I do know the answer now on when Anna’s portrait came to Frank Lloyd Wright’s Drafting Studio at Taliesin. Kenn Lockhart was correct: this did have to do with Wright’s family. The painting is by John Young Hunter, and Indira looked up correspondence Hunter had with Taliesin. The painter knew Wright’s sister, Maginel, and asked her if she was interested in the painting. Wright ended up purchasing it, and it was sent to Taliesin in 1939. [confirmation of it was sent in correspondence H053E09.]
Looking (plan) southeast from the Taliesin Hill Crown toward the Plunge Pool terrace, with Wright’s newly-expanded bedroom on the left. Most of the landscape you see in the distance is the Taliesin estate.
I think something that Wright did at Taliesin West (in Arizona) inspired him in a change he made at Taliesin (in Wisconsin). That change was within the work as he expanded his bedroom in 1950.
Expanded?
Yes: here’s a quick and dirty history of the room:
It was originally constructed in 1925, then became his bedroom in 1936.
(he probably did some more changes at that time, but I haven’t figured them out yet)
And, in 1950 he expanded his bedroom to its current configuration (that one sees on tours). That change was accomplished by further building out the room onto the existing stone terrace that he had initially constructed in 1936.1
While Wright himself didn’t specifically say this, the change was apparently made for a photograph. That’s because Architectural Forum magazine was doing a piece on Wright that included an insert on Taliesin.
I like to say that Wright was “sprucing up the house” for the photo.
The photo shows Wright sitting at his desk in the bedroom and was taken in the fall of 1950 by Ezra Stoller and published in the January 1951 issue.
(Since the firm that Stoller founded, ESTO, is specific about people using their images
[like, I wouldn’t be surprised if they came after my ass for showing the photo even if I linked to their org, and even if followed “fair use” ]
so I’m not gonna show it here. But you can find that issue of Architectural Forum online. That issue is scanned & reproduced here.
It’s a 190 MB pdf [Portable Document Format], to give you a sense of how long it would take to download.
Anyway, that’s not what I’m here to talk about.
I’m here to talk about otherchanges he made at the same time around his bedroom.
That’s because I was lying in bed a couple of nights ago when it occurred to me that the changes that Wright made in 1950 right outside of his bedroom were influenced by the spatial arrangements he had used at his winter home, Taliesin West.
I do some of my best Taliesin thinking at night. Unfortunately, I often forget a lot of what I think about,2 but on this occasion, I got out of bed and wrote it down.
So on this post, I’m going to explain that.
Here’s part of what Wright wrote in his autobiography in 1943 about Taliesin West:
Taliesin West is a look over the rim of the world….
There was lots of room so we took it…. The plans were inspired by the character and beauty of that wonderful site. Just imagine what it would be like on top of the world looking over the universe at sunrise or at sunset with clear sky in between…. It was a new world to us and cleared the slate of the pastoral loveliness of our place in Southern Wisconsin. Instead came an esthetic, even ascetic, idealization of space, of breadth and height and of strange firm forms, a sweep that was a spiritual cathartic for Time if indeed Time continued to exist.
Frank Lloyd Wright, An Autobiography, new and revised ed. (New York: Duell, Sloan, and Pearce, 1943), 453.
In fact, Wright changed a lot of things at Taliesin based on his winters in the Arizona desert. Only some of those things took place in the 1940s, like what I wrote in the post, “In Return for the Use of the Tractor“, he took advantage of the fact that he didn’t have to deal with Wisconsin winters anymore.
However, I hadn’t thought about changes that he made to the vistas around Taliesin due to what he’d observed in Arizona.
Not until that recent night.
Part of what I’ve noticed at Taliesin West (and I’m not alone) that he was using the exteriors of the structures to point your eyes to certain places. I think that’s part of being on the “rim of the world.”
So, while I laid in bed I remembered how, when one is in Wisconsin, the terrace outside of his bedroom (changed when he did things in 1950) gives you views that frame the nature around it that kind of look like what he did at Taliesin West.
Courtesy, Scott Architectural Archives. Taken during the Spring Green Centennial of 1957. On that summer day, Frank Lloyd Wright and the Taliesin Fellowship opened up the Taliesin estate to “locals” and let them walk around all over. The photograph shows Wright’s newly-expanded bedroom on the left, with the hills across the highway (HWY 23) in the distance. By the time this photograph was taken, Wright and the Frank Lloyd Wright Foundation owned almost everything that can be seen.
Compare to the photograph below that I took at Taliesin West early one morning in February 2007. Wright’s office is to the left, with steps leading to an upper level, with the McDowell Mountains in the background.
Compare the photo above to the Taliesin photo at the top of this post.
See? Pool—Steps—Hills
Moreover, about the photo at the top of this post:
I was confused about the puddles on the terrace (around and behind the Buddha) until I saw the photo from the Wisconsin Historical Society, below:
Wisconsin Historical Society – Vesey Collection, WHi-64877.
You can see the stream of water, the white vertical line from the pool, and in front of the balcony. The puddle on the flagstones is in the foreground from that little fountain. It’s to the right of the metal Buddha in the middle of the photograph.
It you were standing at that spot then turned around, you’d see the landscape and fields just south of the Taliesin structure.
another building on the estate. That’s the house that Wright designed for his sister, Jane. The photograph below was taken toward Tan-y-deri by Janet Caligiuri Brach. She took it on Sunday, April 24, 2022 while on a tour:
Photo by Janet Caligiuri Brach. Used with permission.
Taken at the edge of Frank Lloyd Wright’s Bedroom Terrace, looking (plan) south. At the mid-point is the tower. This is the Romeo and Juliet Windmill. Tan-y-deri stands to the lower right of “R&J”.
Oh, and before I go:
Here’s something else from Taliesin West that Wright brought to Taliesin in 1950. That terrace with the pool (called “the Plunge Pool Terrace”) ends with the same kind of masonry that’s used at Taliesin West.
This was a dry concrete that the apprentices put into forms, with the limestone facing out. They put newspaper or other things over the stone, so when they took away the forms, you could still see the rock.
You can see this masonry in another Taliesin West photograph of mine, that I showed in, “Taliesin is in Wisconsin“
I can show this type of masonry in a photo of the terrace that I took in 2005, below:
Looking (plan) northwest at the edge of the Plunge Pool Terrace with the that’s inspired by Taliesin West. This terrace was also apparently executed in 1950.
Published June 18, 2022. The photograph at the top of this post is from the Wisconsin Historical Society – Vesey Collection, WHi-64841. Click here to get to their page with the image.
Notes:
Since it’s been awhile since I wrote this, I’ll add it again: when I write, “he/Wright constructed this-or-that”, or “he/Wright expanded this-or-that”, what I mean is that he was designing or directing the work. His apprentices in the Taliesin Fellowship were doing the physical work.
That’s why my husband wants to get me something to write on at night.
A bed in a room at Taliesin. I’ll explain more in the post below.
About what? About a photograph.
But, while I’ve been wrong sometimes about things with Taliesin, I haven’t usually communicated those things to other people.
In this case, I was wrong about a photograph I put in a post of mine from last year: “Preservation by Distribution“. While I’ve taken the misidentified photo out of that post, in today’s post, I’ll explain what the photo really shows, and how I figured out I was wrong.
Let me explain:
The top of today’s post has the same photo I got wrong. I originally showed the photo in “Preservation by Distribution”. That post is about a generous gift from two women whose aunt, Lucretia Nelson, was an apprentice in the Taliesin Fellowship.
(read about the gift from the women, and their aunt, in the “Preservation by Distribution” post).
The women gave us copies of letters that Nelson wrote to her parents. In one of the letters, Nelson described a change that was going to happen under her room. When I wrote “Preservation by Distribution”, I thought the change Nelson wrote about was going to happen on the outside of the room that’s in the photograph.
But I was wrong. Not about the change; just about the photograph.
That is:
everything that I learned from what Nelson described remains unchanged. All I got wrong was the room that I thought photo showed. I think I figured this out yesterday.
But since learning I was wrong, it’s taking me a little while to re-think the space. Because
I’d been mistaken for 18 years.
I got this wrong in 2004.
And, since discovering my mistake, I corrected the “Preservation by Distribution” post. But, still –
Ok, fine. Then what room are we seeing in that photo?
The photograph appears to show a bedroom a couple of rooms to the west of Taliesin’s Drafting Studio. I only started to figure this out
2 days ago,
when I was thinking about writing a new post. While I didn’t look at the photo above, I looked at photos by George Kastner, an architect and draftsman who worked for Wright in 1928-29. Kastner came to Taliesin in November, 1928 and took photographs there in that month, and in December.
If you’d like to read about Kastner, The Organic Architecture + Design Archives1 published a journal issue on some of his collection in 2019.
The article is by Randolph C. Henning, and it’s published in Volume 7, Number 3.
Regardless, here’s the Kastner photo that got this started:
This photo shows Kastner’s room at Taliesin, which had a bay window (on the right):
Photograph by architect, George Kastner. Taken November 28, 1928.
Courtesy, Brian A. Spencer, Architect.
Photograph taken on November 28, 1928. By architect George Kastner. Courtesy of Brian A. Spencer, Architect. Looking (plan) east/southeast in what later became the bedroom of Wright’s son-in-law, architect Wes Peters.
Although I’d never seen this room before, I knew right where this was: I was looking at part of a former carriage house at Taliesin that Wright turned into a bedroom.
Like I wrote in my post, “Guest Quarters“, Wright wanted to make Taliesin an attractive place to stay, so he converted spaces into bedrooms.
The bay window on the bedroom faced Taliesin’s Middle Court.2
Next
I looked at another photograph of the room by Kastner. You can see it’s the same room, because of the night table that’s on the right. It has the same lamp. And the same screen is against the wall:
Photograph by architect, George Kastner. Taken December 17, 1928.
Courtesy, Brian A. Spencer, Architect.
So: there’s the screen that you see in the photo at the top of this page, and the desk with the lamp that you see in the last photo. Looking east/northeast.
So looking at these two images made me realize that I was wrong about the room in the photo at the top of this post.
Because
the room I thought was in the photograph had the same Japanese screen, but never had bay windows. So, I mentally searched for Taliesin’s rooms that had bay windows at one time. And I looked for drawings to show me the windows in the rooms.
I double- checked, and I think I found the best floor plan of Taliesin with the bay windows. It was was drawn in 1924, and I put it below.
Since the room I wanted to show is pretty small, I thought I’d show the whole plan to give you an idea of what I’m trying to show. What you see is the floor plan for several courtyards in the Taliesin complex:
Originally published in Wendingen Magazine, 1924, 1925.
Published in the book, The Life-Work of the American Architect Frank Lloyd Wright, by Frank Lloyd Wright, H. Th. Wijdeveld, ed. (Santpoort, Holland: C. A. Mees, 1925).
Location of original drawing unknown.
I’m going to show a detail from the lower right hand side of the drawing. That’s below, with the courtyard labelled “Mid-Way”.
Originally published in Wendingen Magazine, 1924, 1925.
Then the magazine issues were published as a book, The Life-Work of the American Architect Frank Lloyd Wright, by Frank Lloyd Wright, H. Th. Wijdeveld, ed. (Santpoort, Holland: C. A. Mees, 1925).
Location of original drawing unknown.
The drawing, published in 1925, has an archival number of 1403.023. But those who put the magazine (then book) together didn’t return the original drawing. So, the Frank Lloyd Wright Foundation gave it a number, but didn’t have the drawing.
The bay window in the photo was next to the door of the “STUDENTS BED ROOM” in the drawing.
The room has two small windows on the wall opposite of the bay windows. I think the photo is showing the window on the left in the room.
And, fortunately,
George Kastner took another photo that’s really helpful to figuring this out. This is an exterior photo that shows that wall with the two windows. That photo is below. I added an arrow to the photo so you can see where the window is:
Photograph by architect, George Kastner. Taken December 19, 1928.
Courtesy, Brian A. Spencer, Architect.
Looking (plan) west/southwest at the north façade of Taliesin. I put the arrow into the photograph to show which window I think is showing in the photograph at the top of this post.
What happened to this room?
So, this area was always used by apprentices in the Taliesin Fellowship after Wright and his wife, Olgivanna, started it in 1932. Apprentices in the Fellowship lived in the bedrooms. Later, Wright had the apprentices add three more windows on the wall with the two windows.3
The final changes were made before Wes Peters, his wife, Svetlana, and their son moved in there in 1943. Apparently at that time they—the Fellowship as a whole, or just Peters and his wife—removed the bay windows.
1 Their website is: https://www.oadarchives.com/. As of early May, the site administrators were having problems with it, but I’ll take this notice off when the site’s working again.
2 Here’s where I always wanted to “correct” some guides and staff at Taliesin Preservation. Starting around 2005, guides, drivers, and other staff members began referring to a tour drop-off area as the “Middle Court”. I think that’s because this area’s right near Taliesin’s “Lower Court”. So, that’s on your left, and there’s a courtyard in front of you. But that courtyard was known (in drawings) as the Upper Court. The Middle Court was called that because it’s between two courtyards.
3 The windows are in a drawing published in the January 1938 issue of Architectural Forum magazine.
My May 2004 photograph looking at Taliesin’s entry and entry foyer.
I find humor regarding Wright’s placement of his own home’s front door, so my post today is going to be about that.
I say “humor” because of how Wright is praised on his placement of the front doors of his homes. That he placed the entrances in ways that create a journey of surprise to visitors as they seek them out.
Therefore, his houses do not usually have the front doors smack dab in front of you.
Ok, well there was that one time.
And he was young! The house (the Winslow) was his first independent commission in 1893. He was 25 or 26. Haven’t we all done things as we’re learning the ins and outs of our own lives?
Well, THAT’S an apartment building. You gotta make the entry really large to help people to go in —
STOP THAT!!
Those are all photographs of Wright buildings, but I’m trying to make a point.
. . . . Against my fictional self.
But, seriously: I find the history of Taliesin’s “front door” funny because, when he first designed his home in 1911, when you arrived at Taliesin’s first courtyard, a door was one of the first things you saw, but it wasn’t the front door.
Let me back up and show you:
So, in 1911, you would drive past Taliesin’s waterfall, and along the carriage path up the hill, and stop under the roof of the Porte-Cochere, in the photo below.1
This photograph was taken by Wright’s draftsman, Taylor Woolley, in the late fall or early spring, 1911-12.
And once you stopped under the roof, you could get out of your vehicle and walk into the “forecourt”. And here, you saw this door, behind the vertical wood strips there at the low wall near the middle of the photo:
And yes, behind the vertical pieces of wood are bug screens. Even though Wright supposedly hated them. I think it took only one summer in Wisconsin, with the Taliesin pond, for Wright to understand that the mosquitoes in Wisconsin can be pretty nasty.
Knowing me, if I were invited to Taliesin in 1912 I probably would have walked right up to that door, figuring that was the main house entry. But that’s not where Wright designated the front door. No; apparently Wright’s planned trip for visitors to the main, formal, Taliesin entry was that they would walk straight from the Porte-Cochere, through the forecourt, and up three steps and under the roof on the left that you see in the photo above.
The photo below I think shows you the straight shot he wanted you to take.
The continued walk to the door:
You go up those steps and under that roof. And on your left was another door. Which was not the front door.
Here’s why I think this is funny: in many of his designs, I get the impression that there is just one door that he intentionally leads you to. But at his home, he’s got these other doors and I think I’d get frustrated after awhile.
Although under the roof, you could see the river
I think he hoped to draw you to the view in the distance to see the Wisconsin River.
And, then you’d see the front door. It would be on your right.
The best view of the door is actually in a drawing:
I’ve never seen a photo of that door on the outside during Taliesin I or II.
The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York).2
You can only see the door at that time from the inside, at Taliesin’s living room. You can see one view on the other side of the inglenook which I wrote about in my last post, 1940s Change in Taliesin’s Living Room.
But the other thing that is really interesting was that when you walked through Taliesin’s “front door” at that time, you walked right into the Living/Dining room of Taliesin.
And before that, you walked passed the kitchen.
This caught my eye starting about three months ago:
That’s because I was writing an article on Wright’s kitchens at Taliesin. This will appear in the Spring 2022 edition of the magazine, SaveWright . SaveWright is the magazine put out by The Frank Lloyd Wright Building Conservancy.
Here’s one thing Wright wrote about kitchens in 1907:
… Access to the stairs from the kitchen is sufficiently private at all times, and the front door may be easily reached from the kitchen without passing through the living room.
“The Fireproof House for $5,000”, in Frank Lloyd WrightCollected Writings: 1894-1930, volume 1. Edited by Bruce Brooks Pfeiffer, introduction by Kenneth Frampton (Rizzoli International Publications, Inc., New York City, 1992), 81-2.
So, he’s not paying attention to this, in his own home. At that time at Taliesin, the only way to get to the front door would be by walking past the kitchen. And, if you were inside the kitchen, the only way to get to that front door would be by going through the living room/dining area.
Although I think by that time, he tried to hide that first door when you stopped at the Porte-Cochere.
Here are a couple of Taliesin II photos:
Wisconsin Historical Society.
Collection Name: Henry Fuermann and Sons Taliesin I and II photographs, 1911-1913, 1915Wisconsin Historical Society.
Collection Name: Henry Fuermann and Sons Taliesin I and II photographs, 1911-1913, 1915
Taliesin’s front door is past the ceramic vase you see in the shadows. The kitchen is through the open windows that you can see above the low, stucco, wall.
So, Wright keeps the door in the same place, but changes how you get there. And, for almost 15 years, he had you drive east of the living quarters to get arrive at the front door. An aerial photograph showing the road is below:
From the William “Beye” Fyfe collection at The Frank Lloyd Wright Foundation Archives
From the book, The Fellowship: The Unknown Story of Frank Lloyd Wright & the Taliesin Fellowship, by Roger Friedland and Harold Zellman (Harper Collins Publishers, New York, 2006). This image was published in the page opposite page 1.
That road in the aerial brought you to the steps on the way to the front door that you see below in this 1929 photograph.
The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York), Karfik Collection.
These steps took (and take) you to Taliesin’s entry. When this photograph was taken, you would walk up the three sets of steps and the door into Taliesin was to the right of the chimney.
Here’s what former apprentice Edgar Tafel wrote about his first experience walking into the house:
At Taliesin, we went through a Dutch door, its top half swinging open. Below, flagstone, and all around us natural stone. The ceiling was low, sandy plaster just above our heads. Wright led the way into his living room. What an impression that room made! It was my first total Frank Lloyd Wright atmosphere. How I was struck by those forms, shapes, materials! It was heartbreaking – I had never imagined such beauty and harmony.
This comes from page 20 in Apprentice to Genius: Years With Frank Lloyd Wright, the book I recommended last year.
In 1943, Wright changed the entrance to where it is now:
I mentioned this book when I wrote about books by apprentices.
He described in in the chapter, “Spring and Summer, 1943”:
It seemed that some students from Harvard had complained to Mr. Wright when visiting Taliesin that they had had difficulty finding the entrance. He was going to correct this.
… These new doors were visually on the center of the garden court, and made a stronger connection between the interior of the entry area and the court.
Curtis Besinger. Working with Mr. Wright: What it was Like (Cambridge University Press, Cambridge, England, 1995), 147.
Re: “students from Harvard”:
When I gave tours, if I had time after bringing people to the front door, I’d tell them about the Harvard students. I often added that “Wright said Harvard took good plums and turned them into prunes.”3
Photograph in the book, Masters of Modern Architecture, by John Peter (Bonanza Books, New York, 1958), 47.
The formal entry was to the right of the two tall birch trees in the center of the photo. Although people usually went inside through the door to the left of the two tall birch trees.
Although the students from Harvard possibly influenced Wright to take away some of the FIVE DOORS that he had on that side of the house. Seriously: take a look at drawing 2501.048. It shows Taliesin’s living quarters, 1937-43.
First published March 26, 2022.
Notes:
Another word I’ve learned while working at Taliesin. Porte-Cochere: a “carriage porch” and “a covered carriage or automobile entryway leading to a courtyard.” The Dictionary of Architecture and Construction, 4th ed. (2006, Cyril J. Harris, ed., McGraw Hill, New York, 1975).
If you click on the drawing, you’ll see it’s characterized as “Taliesin II”. That’s wrong. Architectural details in the drawing show that this was actually 1911-14, Taliesin I. It just hasn’t been corrected. If you know anyone close to the Avery library who wants to contract with me as a consultant to correct these dates on Taliesin drawings, I’m all up for it; please give them my contact information. Thx.
As always, I learned the “gist” of that quote, but I can’t find the actual quote itself.
Wright wrote something about the same in his book about mentor Louis Sullivan, Genius and the Mobocracy. Wright while writing about university education, says that the “creeping paralysis” in ” higher learning” takes “Perfectly good fresh young lives—like perfectly good plums… destined to be perfectly good prunes.”
That’s in the Frank Lloyd Wright: Collected Writings 1939-49, volume 4, 343-344.
I like the way I first heard it, rather than how Wright wrote it. Maybe he said it someplace else.
A photograph from 1910-1911 showing three structures on the campus of the Hillside Home School. Frank Lloyd Wright’s Hillside building is on the left and behind it, with the hipped gable roof, is the dormitory for the high school boys. The third structure on the far right was known as the Home Cottage and was for the younger boys.
In my last post I wrote about finding something during the Comprehensive Hillside Chronology. Today, I’m posting about another find made during that project.
Although, I credit this find to my research and writing partner on that project, Anne Biebel (principal, Cornerstone Preservation). She made the mental connection; I only agreed after the surrounding evidence became too strong.
What was this find?
That Wright’s Hillside structure was physically attached to another building that he didn’t design. Literally: Wright connected his building to a wooden, 3-story building right behind it.
Whew – I feel better just coming out and saying that.
No: we were looking at another drawing, dated November 8, 1920. Wright requested it from a draftsman to show the entire Taliesin estate. We were looking at the draftsman’s copy. 1
Wright’s copy of the drawing had changes he made to it over the decades. His version is at the Avery Architectural & Fine Arts Library and is reproduced in b&w here. I showed a bit of it a few months ago when talking about reading correspondence about Midway Barn on the Taliesin estate.
The draftsman who drew it:
That was Rudolph Schindler (1887-1953), an Austrian-born American architect who worked under Wright in the United States and Japan from February 1918 to August 1921. 2
Schindler’s version is interesting
His drawing (in his papers at UC-Santa Barbara) seems to show the buildings as they actually existed. This, compared to Wright’s drawings, in which Wright always seemed to add those things at Taliesin that he wanted to exist.
While I won’t show you Schindler’s drawing, I’ll show you the drawing that I made from his. 3
No: this is (more or less) a good drawing, not the mess I drew you when I posted about figuring out that photograph of the Blue room at Taliesin. I tried to trace what Schindler drew.
What you see below is my rendition of the part of Schindler’s drawing that shows the campus for the Hillside Home School:
The text in Arial font (like “Laundry…”) identifies buildings that Schindler didn’t label.
Below is that part of Schindler’s drawing that made Anne think Wright’s Hillside building was literally attached to something else.
Schindler just labelled the “Hillside School Bldg”; I added “Boys Dormitory”. But the thing that intrigued Anne was the gray rectangle attached to the right side of the Boys Dormitory. She identified that as a corridor from Wright’s Hillside School building.
By the way, if you’re curious about the open rectangle between the two parts of Wright’s building: that was Schindler’s way of showing that this was a bridge connecting the Science and Arts room to the rest of the structure.
Anne sat across from me while we looked at the drawing and said with excitement that she thought that the Boys Dormitory was attached to Wright’s “Hillside School Bldg”. I totally pooh-poohed it. Besides, another drawing (an aerial, below, done in 1910 for the “Wasmuth” portfolio) doesn’t show anything around the Hillside structure:
From the J. Willard Marriott Digital Library, Rare Books collection,
The University of Utah
Luckily I wasn’t alone on this project, because
Anne was ultimately proven right:
Over the next few weeks, I kept writing and exploring, looking at drawings with a fine-toothed comb (and probably a loupe). But I noticed things this time. Like,
Check out the building section: the building keeps going on the right:
The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York), drawing #0216.007.
The arrow pointing down on the right-hand side is showing—not the end of the building, but—a hallway coming out of it. The hallway that doesn’t really show up in the floor plans or other drawings.
In fact, this find also explained something about the Hillside drawings: there are none of the north side of the Art and Science rooms (the Roberts Room and Dana Gallery). Those rooms are seen in sections, but no Hillside drawing shows what the outside of the building looked like on the north.
Well, I finally started to believe it. Then, I re-read something and found that this very connection was written about –
In a book by a former Hillside teacher:
Mary Ellen Chase (a writer, and educator) wrote about her life as a student and teacher in A Goodly Fellowship. From 1909-1913, the Hillside Home School was her first teaching job. She wrote,
Older boys of high school age had their own homelike dormitory near by [sic]. In 1903 this was connected with an adequate and beautiful school building of native limestone, designed and erected by Frank Lloyd Wright, the son of Anna Lloyd-Jones and a nephew of [the Aunts] Ellen and Jane.
“The Hillside Home School” chapter in A GoodlyFellowship, by Mary Ellen Chase (The Macmillan Company, New York City, 1939), 98.
Then,
we pulled all of the information together (but no photos yet) to support the theory that the gymnasium was attached to Wright’s Hillside building. And that Wright later completely destroyed this connection by the time he started his Taliesin Fellowship in 1932.
Then, early the next year, the Frank Lloyd Wright Building Conservancy put out a “Call for Papers” for its 2010 conference (in September). The conference theme was “Modifying Wright’s Buildings and Their Sites: Additions, Subtractions, Adjacencies”. After consulting with Anne, I submitted a conference proposal to give a presentation on our find (Anne was fine with me giving the presentation).
Later, she and I were asked to turn the presentation into an article for a book. So, we worked on the article, still with no photographic proof that the buildings were connected.
Then, lo and behold,
In February of 2011, an album of photographs of Hillside in 1906 appeared (also mentioned in my last post). One of them showed the Boys dormitory, with the hallway terminating into it.
And, finally,
In March or April, 2011, as Anne and I worked on the article in the book, we went to the Wisconsin Historical Society Archives. We opened a folder of photographs in the John P. Lewis collection and—SCORE!—there was a beautiful photo showing that hallway more clearly. That’s below.
Wisconsin Historical Society, Lewis, John P. : Wright collection, 1869-1968.
Image ID: 84042
That boy is standing just west of the Boys Dormitory and Wright’s Hillside building. The Science Room (now the Dana Gallery) is behind him.
BOOYAH!
Originally posted, February 19, 2022.
A student at the Hillside Home School (class of 1911) took the photograph at the top of this post. In 2005, her daughters, Elizabeth Weber and Margaret Deming, came into the Frank Lloyd Wright Visitor Center to take a tour, giving us the chance to scan the photographs that their mother had taken while she was a student. I asked Elizabeth Weber’s permission to publish the photograph (which appears in the book in which Anne and I wrote the article). See? Another example of “Preservation by Distribution“!
1. Wright scholar, Kathryn Smith, might have alerted the Preservation Crew about Schindler’s drawing, and got us a photograph of it. Why did she let us know this—and also alert us to the Taliesin photographs by Raymond Trowbridge?—Preservation by distribution.
2. Email from Kathryn Smith to me, January 8, 2021. This information came from her book, SCHINDLER HOUSE, Abrams, 2001, p. 11-16.
3. Anne and I looked at Schindler’s drawing, but I don’t know if I can show it, since it’s not been printed anywhere.
This is a drawing of a building that Frank Lloyd Wright designed for his aunts and their Hillside Home School. They ran the school, which was south of Spring Green, Wisconsin, for almost 30 years. Wright designed this structure for them in 1901. This drawing was published in 1910.
Previously, I wrote about the project I did with architectural historian, Anne Biebel (principal, Cornerstone Preservation), about Wright’s Hillside structure on the Taliesin estate. This post is going to be about something I discovered during that project.
About the project:
The Aunts ran the school from 1887-1915. We tried to look at the total history of the Hillside building, but also the history of the school. Since my job was to gather as much information as possible, I looked at old newspaper articles and had a lot of fun finding old facts, photographs, and drawings.
I tried to be objective about the site
So, when I started, I approached Hillside much as I approach Taliesin when studying it. That meant that I went over everything with a fine toothed comb. However, Hillside was never the same dealio (at least not as he’d originally built for his aunts: 1901-03.). That’s coz, Hello!—they were paying clients. Yes, they were his Aunts and they did love their nephew; but: still. He couldn’t mess around with their building. Not while they still had control of it!
And, because Wright was building this for someone else,
I could trust the Hillside drawings that Wright did for the original construction (unlike those he did for his home, Taliesin).
Still, only 12 drawings exist in Hillside’s earliest years. 1Three more drawings were done later: two were done in 1910 from a portfolio, known as the “Wasmuth”. That’s because the publisher in Berlin was Ernst Wasmuth. The floor plan from the Wasmuth is at the top of this post. I got it from an online version of the University of Utah Rare Books Collection.
Or if you’re feeling fancy, say the full title in German, since it was published in Germany. The original title is Ausgeführte Bauten und Entwürfe von Frank Lloyd Wright (“Executed Buildings and Designs by…”).
While looking over things:
I studied Wright’s drawings like I usually do: that is, I try to look at historical evidence without preconceptions. Otherwise, it’s easy to only see things you want to see, and miss things staring you in the face.
So, I looked at the early drawings of Hillside, inch by inch. And…
finally noticed something
in one of the rooms.
This room, a long room ending in a point, is now known as the Dana Gallery. Look at the drawing at the top of this page. At the top of the drawing is a “T”. The left side of the “T” is the Dana Gallery today.
This was originally the Science room for the Hillside Home School.
The right side of the “T” is another room which is now known as the Roberts Room. It was originally the Art room.
The names of the rooms (Dana Gallery, Roberts Room) come from two people who gave money to Wright’s aunts when they were completing the building. Wright told the story about the names in the 1943 edition of his autobiography:
One of my clients, Mrs. Susan Lawrence Dana, gave them the little Art and Science building next to the School building and equipment, complete. She loaned the Aunts twenty-seven thousand dollars more to help complete the main school building. Another client, Charles E. Roberts, 2 gave nine thousand dollars to help in a subsequent pinch….
Frank Lloyd Wright. Frank Lloyd Wright Collected Writings, volume 4: 1939-49. Edited by Bruce Brooks Pfeiffer, introduction by Kenneth Frampton (Rizzoli International Publications, Inc., New York City, 1994), 125.
How the Dana Gallery/Roberts Rooms are alike:
Among other things (I’m sure) each room is accessible through 5 steps down from the floor above; has skylights; has a “prow” window (like a triangle coming out of the building) on the end; and a chimney.
Their fireplaces are different, though.
The fireplace in the Roberts Room has a horizontal piece of stone across the firebox. But the fireplace in the Dana Gallery has a design that looks really modern. Even though it, too, is in stone, there are triangles on the design, and either side of it has angles.
Here’s a photo of the Dana Gallery with the fireplace from The Frank Lloyd Wright Foundation Archives:
Unknown photographer. Dated 1936-40. Property of The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York), #3301.0008.
The creation of the fireplace was detailed in a December 11, 1936 article in “At Taliesin”, written by Gene Masselink:
. . . . Last summer Mr. Wright commissioned Benny to complete a fireplace in three weeks.
So Benny lugged stone after stone into the Dana gallery. He worked at it at all hours–you could hear him pounding away long after it was dark outside…. The design had been carefully worked out. The lintel was six feet from the floor and the stones were all especially cut to form a pattern on the back of the fireplace. It required skill and some engineering to properly construct the flue. Finally with the help of five others Benny laid the greatest sandstone lintel block. And that night at the celebration in honor of the job, the first fire was built.
Hans, solid German carpenter, declares it would never draw and even as the Fellowship held its breath and as the flames roared up, lighting the room with their best six foot height and the smoke went up the flue out into the moonlit night, Hans still shook his head.
We drank a toast: no one that night prouder or happier than Benny.
I figured there had been a fireplace when Wright first designed for his aunts, then Benny redesigned the fireplace mantel to its current appearance. I mean, sure, the Dana Gallery had been the Science room—so maybe flammable things aren’t your first go-to in a design—but, on the other hand (a) the only flammable things I ever saw in my Chemistry classes were the controlled flames of Bunsen burners, and (b) Hillside’s gym also had a running track with a fireplace on the west side.
So, I just figured that those Hillside students weren’t “pantywaists” like I when I was in grade school.3 I mean, sure! Have open flames around those kids using chemicals, and exercising on the running track!
To get back to the point:
During the project with Anne, I looked more carefully at the Hillside drawings. And I saw, in drawing #0216.004 that, while the Roberts room originally had a chimney, the Dana Gallery did not:
The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York), #0216.004.
The chimney on the left had no fireplace, while the chimney on the right did. Looking more closely, the chimney at the Science room had two SINKS in front of it. With a WALL between them. I didn’t know what that was all about.
So, then I thought:
look at the Wasmuth drawing!
Because I knew he labelled things in it. Yes, they were in German, and I don’t have a German-to-English dictionary, but there’s Google translate.
So I looked at it. The chimney in the Dana Gallery (the chimney on the left) has this in all caps: DUNKEL RAUM
Hillside was a school out in the country. Teach those kids photography! That’s why there’s a scrapbook of photographs taken of Hillside in 1906, now at the Wisconsin Historical Society.
In fact, the floor of the Dana Gallery has a shadow of the dark room’s wall, below:4
But unfortunately I’ve never seen a photograph showing the walls of the dark room. The photograph below shows you about what’s been seen of the room when the Aunts ran the school. You can see how it was a science classroom:
First published February 9, 2022. The drawing at the top of this post was published in Ausgeführte Bauten und Entwürfe von Frank Lloyd Wright (“Executed Buildings and Designs by Frank Lloyd Wright”) in Berlin in 1910. I’ve put it here in part because I do not know who has the rights to it.
1. I’ve wondered if there were more.
2. This link only brings you to the page on Wikipedia about the Charles E. Roberts Stable (although it tells you a bit about the man himself). There’s no Wikipedia page about the Charles E. Roberts House, though. If you were feeling generous and had the interest or patience, you should write about it.
3. That’s what one of the nuns called us in the 8th grade because we weren’t fighting in the Falkland Islands war. That’s not a statement about Catholic schools; just a statement about a weird moment as a kid. As I’ve gotten older that statement makes less and less sense. In part because we were all American citizens.
4. As of 2020, tours don’t go into the Dana Gallery anymore.
Whenever I have a question regarding anything Taliesin-related Keiran Murphy is the first person I turn to.
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—Randolph C. Henning — Architect and author
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Never in my life have I been given a more sensitive and comprehending tour of anything, anywhere. Listening to her talk about Wright and looking at everything she pointed out, I felt as if my eyes had opened to twice their normal size.
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—Terry Teachout — Culture Writer, Wall Street Journal, Author, Libretti, and Playwright
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… her knowledge of Frank Lloyd Wright is close to astonishing. Over many years she has simply absorbed him—and his beloved Taliesin—into her bones.” “I am in awe at her willingness—her delight—in sharing what she knows with others.
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—Paul Hendrickson — Senior Lecturer, University of Pennsylvania and Author
Looking northwest (plan direction) at Taliesin’s living quarters, 1911-12. Given the configuration of the building, it looks like this was taken during Taliesin’s first winter. 
Photo published in Frank Lloyd Wright: Complete Works, volume 2, 1917-1942, by Pfeiffer, Bruce Brooks (Taschen, 2009), p. 145.
1951 (see through the 
