Summer photograph in Taliesin's Garden Court looking plan west.

Wall at Taliesin’s Garden Court

Taliesin’s Garden Court photo taken in August, 2002 by Doug Hadley, then the Landscape Coordinator.

In this post I’m going to write about when a stone wall was built at Taliesin’s Garden Court, changing it from an entryway into a private courtyard.

The Garden Court used to be the courtyard where people stopped when they arrived. I showed a couple of old photographs of that courtyard in my post, “When Did Taliesin Get Its Front Door?” The courtyard was the forecourt from the time that Taliesin was built in 1911, until after its second fire.

After that, Wright made it into the Garden Court.

Ok – got it. But why do you have to use capital letters in front of the words Garden and Court, like a snooty know-it-all?

I think it’s because Garden Court is its proper name. I didn’t name it that. Plus, when you’re at Taliesin (or talking about it), you say those words and everyone knows what space you’re talking about.

Like, when I went to Taliesin West (Wright’s home in Arizona) people said “Kiva“, “Cabaret” and “Pavilion“, while talking about those spaces. I didn’t really know what they were talking about, but tried to not look as confused as I felt. I knew they’d tell me on tour, so hopefully I’d learn. Although, I still have to check with myself on The Cabaret vs. The Pavilion.

Besides: it’s not “snooty know-it-all”. . . it’s “socially awkward…” I don’t think I’m snooty, anyway.

Besides,

Wright labelled the court in the drawing published in the book, In the Nature of Materials. And also in one other Taliesin drawing, below:

Taliesin drawing, circa 1943. #2501.060, cropped.
The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York).

If you click the link, you’ll see the whole drawing is larger. I made the label “Garden Court” a little bigger, and lighter.
The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York).

Back to the Garden Court

Like I said, Wright created it after Taliesin’s two fires. It might be because Wright didn’t like people driving right up to the living quarters.

This was even though he might have had reason for optimism about his career in 1925.

This is despite the 1925 fire that had destroyed so many of his art objects. And, oh yeah: his damned home. Again.

But there were probably some positive signs floating around. After all, he had done some interesting work in California, and was well known because of his Imperial Hotel. That building was one of the few that stood in Tokyo after Japan’s devastating Great Kanto earthquake two years before.

And, finally, on the personal side, Miriam Noel (his second, unstable, wife) had left him (the year before), and he was newly in love with Olgivanna (with whom he spent the rest of his life). 

Regardless, he no longer wanted people driving right to the forecourt when they came to Taliesin. So he added a few things to redirect people on their way up.

So he blocked the old drive in two ways:

From the south:

He built a stone court that ended with a parapet. You see the wall at the end of the terrace in this 1932-33 photo from the Wisconsin Historical Society:

Aerial of Taliesin, in the summer.
Published originally in 1933 in the original prospectus for the Taliesin Fellowship.
Wisconsin Historical Society, image ID: 38757

The arrow in the photo points to where the carriages used to drive when there was a road that continued way.

From the west:

This west here is the part of the building on the left in the photo; under “Image ID: 38757”.

It might have been easier to drive up that way because you didn’t even have to drive up a hill, to get right outside of his studio. So, men and women could be working in the studio, then look up and see people they didn’t know right outside of of the windows. Or those people might walk into the room.

In order for them to drive from the west to the studio

They would have driven through a couple of gates, then under the old hayloft and past the former horse stables.

I suppose it wouldn’t have been bad if Wright were waiting for a client. Plus, there was a door under the hayloft to keep random people (and cows) out. But if the draftsmen forgot to close the door, and people came in, it could really interrupt you.

Like, for a couple of years, when I worked more in the tour department at Taliesin Preservation. On the first floor of the visitor center, there’s a door that goes out to a loading dock. That’s because one summer, at least two groups of people walked in, thinking the door was the building’s entrance.1 We had to tape a little sign on the door telling them “This is not an entrance”. Seemed to work well.

You can imagine other draftsmen or -women,  working on a nice drawing in Wright’s studio, when a stranger comes walking in to the room, wanting to know if this was the “Crazy House” (like I mentioned in my post, “This Stuff Is Fun For Me“).

btw, at that time, they didn’t ask if Taliesin was the House on the Rock. Because that didn’t exist yet.

So, the wall might have been an effort to make a journey to the studio more onerous. The wall isolated the former Forecourt, and allowed an expansion of the gardens.

He took one of his drawings to figure out his plan

Here’s a Taliesin II drawing where he made changes in pencil. An arrow is pointing at the wall below

Taliesin drawing, c. 1917 with changes made 1925-1943.
The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York).

The drawing above links to the version online. If you click on it, you’ll see that the actual drawing is a lot bigger.
The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York)

One of the changes Wright wanted was to make the old CARRIAGE HOUSE into bedrooms. So, he took a pencil and drew in bay windows at the Carriage House.

One of those rooms with bay windows is where George Kastner lived when he started working for Wright. You saw two photographs inside Kastner’s room in my last post, “Oh My Frank, I Was Wrong!

Kastner also took a photo outside of his room. At that time, November or December, 1928, he was living at Taliesin. The photograph shows the Garden Court wall being built:

Exterior photograph taken at Taliesin in the fall of 1928.
Photograph by architect, George Kastner. Taken on November 28, 1928.
Courtesy of Brian A. Spencer, Architect

Taken in the Middle Court, looking (plan) northeast. The new bay windows are on the left, with the Taliesin III living quarters in the distance on the right. The chimney for the studio fireplace is the second chimney on the right.
The chimney on the left eventually became the fireplace for the living room used by Wes Peters, and his wife, Svetlana Hinzenberg Peters.

A photograph I took in this area is below. The stone wall is slightly taller than it was in Kastner’s photo. Stonemasons later heightened the wall by a stone course or two, probably in the year after Kastner took his photograph.

Looking plan east in Taliesin's Middle Court toward the Garden Court. 4-29-2004.

I took this photograph in April 2004.

First published, May 20, 2022
The photograph at the top of this post was taken by former Landscape Management Coordinator, Doug Hadley


Note:

  1. My theory on why people would walk in the door was is that the grounds people had cut down the yew bushes, so people saw the door more easily when driving by the building. But putting up the sign on the door stopped people from walking in unexpectedly.
Black and white photograph of dormitory room at Taliesin

Oh my Frank – I was wrong!

A bed in a room at Taliesin. I’ll explain why it’s here 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 –

18 years!!

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):

Looking (plan) southeast. Room was later the bedroom of William Wesley Peters.
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:

Looking (plan) northeast. Room later became the bedroom of William Wesley Peters.
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:

Drawing of Taliesin published in Wendingen magazine in 1924, 1925.
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”.

Detail of Taliesin drawing published in Wendingen magazine in 1924, 1925.
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:

Looking (plan) southwest at N facade of Taliesin.
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.

Today, it’s still a bedroom.

 

First published May 6, 2022
The image above is at the Wisconsin Historical Society on this page.


Notes:

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.