Tag: Iovanna Lloyd Wright

Taken under the oak tree at the Tea Circle looking toward Taliesin's Drafting Studio

First year of tours

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I took this photograph in 1994 under the oak tree at the Taliesin Tea Circle. The room with the French doors near the center of the photograph is Taliesin’s drafting studio. Wright used it as an office after he moved drafting operations to Hillside.

“1867. . . . 1886. . . . 1896. . . Oh, shit – 1901? 1902?”

That’s basically a transcription of what came out of my mouth in 1994 while I drove with Alex1 from Madison, Wisconsin to Spring Green and the Taliesin estate. The dates were important in Frank Lloyd Wright’s life and on the Taliesin estate.

The rundown of all those dates

1867: the year Wright was born.

despite how much he lied about the year he was born, which can get you into a rabbit hole on the internet unless you’re judicious

1886: the year Unity Chapel was designed/built.2 It’s the family chapel and can be seen from Taliesin.

1896: the year the Romeo & Juliet Windmill was commissioned by Wright’s aunts.

1901: the year the aunts commissioned Wright for the Hillside Home School stone structure. We were taught 1902 for a while. But, the Weekly Home News (Spring Green’s newspaper) edition of October 1, 1901 said:

“Owing to the increased attendance, the principals [i.e., the Aunts] have decided to build a new school house.  The plans have been drawn and sent from the studio of Frank Ll. Wright, architect, Chicago, and work upon the construction will begin at once.”

I recited those dates to continue my obsessive-studying over the previous week. Alex and I were newly hired tour guides. He and I knew each other because we were students at the University of Wisconsin-Madison (he studied Architectural History and I was pursuing my Master’s degree in Art History3).

On that day in the car, however, I had no idea that I would become an expert on Taliesin, and would eventually live in the village of Spring Green.

More about tours:

At that time, Hillside tours were the first ones that all guides learned. An hour long, they gave the basics on Wright’s life and work while going through Hillside’s 14,000+ square feet. Meanwhile, Taliesin House tours were new. They’d only been offered three days a week the season before this. In 1994, they went out 2 times a day, every day but Wednesday. The tours were twice as long as Hillsides, and cost more than four times as much ($35 vs. $8 / $4 for children under 12 4).

Hillside tours were also the most popular. Apparently, one year over 30,000 people took one. Also, there was an architecture firm in the Hillside building, where apprentices at the Frank Lloyd Wright School of Architecture worked in the Hillside Drafting Studio.5

Those at the school were literally apprentices working under the licensed architects. Later, the firm closed and the curriculum changed so they became actual students.

Lastly, there was an exterior Walking Tour created in ’86 or so. Before the House tour existed, the Walking Tour was the closest a person could get to Wright’s residence. And that was only while standing at the bottom of the hill around which Taliesin sits.

That summer:

Here are a couple of my Taliesin-related memories from 1994:

The first time I got a laugh on tour. It was when we came up to the exterior roof of the Hillside Theater foyer. Its ceiling rises to just about 6 feet tall. As I brought the group to the foyer, I gave the story I’d been told: that, “Wright always said that ‘People over 6 feet tall are wasted space.'”

Running through a Taliesin courtyard as birds fluttered by me, and chuckling while I thought, “what I did on my summer vacation.”

An interesting group of people

I remember laughing hysterically that summer with those funny, smart people. In fact, most of the people that I’ve encountered at Taliesin through 25+ years were whip-smart and creative, along with being devoted to Wright and his architecture. Another reason to stick around. Here’s a photograph of some from an end-of-the-season party one year at Hillside:

Staff at a party at Hillside
Photograph by Keiran Murphy.

As the buildings were (or are) unheated, closing down the structures commenced in the days after the season’s end. So, having a party allowed the staff to let off steam and prepare for the upcoming work. Plus, most of the staff wouldn’t see each other again until the following spring. Wright’s living quarters are heated now, but not Hillside. That still has to be prepped for Wisconsin winters. Unlike earlier years, the people who now close the buildings are the Preservation Crew.

Plus, my movie-viewing experience expanded:6

Alex and I were invited that summer to watch movies at the home of a Senior guide (who officiated my wedding 23 years later). He showed us The Last Picture Show, The Magnificent Ambersons, and Evil Dead, Part 2, among others I’m sure I’ve missed.

Craig also figured out how to hook the History geek into the Wright world.

uh… that’s me.

So, when a “House Guard” went on vacation, he put me on the schedule with the other guard, Germaine. Germaine, whose father was Wright’s gardener, became friends with Iovanna (the daughter of Frank Lloyd Wright and Olgivanna). Germaine, this elegant older woman, who always wore dresses and her hair in a chignon, spent years in the Taliesin Fellowship and later married apprentice Rowan Maiden.

House Guards (now known as House Stewards) opened the House in the morning, by cleaning and vacuuming. They, then and now, greet people at Taliesin’s front door and, at that time, gave out booties for guests to put on their shoes.

Booties were used to protect the rugs. I guess they do, but maybe not when thousands of feet walk over the rugs every tour season. The booty fuzz—a light blue—gets all over the rugs. You almost have to use your fingernails to scrape it up.

Germaine and I had time to talk that week. She told stories of the life at Taliesin and invited me up to Iovanna’s5 bedroom (in the floor above Frank Lloyd Wright and Olgivanna’s quarters). That’s when she told me that she and Iovanna used to sunbathe outside on a little balcony.

I mentioned this in the on-line presentation I gave in 2020 through The Monona Terrace Community and Convention Center.

Another memory

Photograph of Taliesin Tea Circle in the summer of 1994.
Photograph by Keiran Murphy.

Photograph of the Taliesin Tea Circle with the oak tree. The Chinese bell is hanging off the limb veering to the left.

I remember sitting in the Entry Foyer at Taliesin’s “front” door, waiting for a House tour. A member of the Taliesin Fellowship, architect Charles Montooth, came bounding up the steps of Taliesin’s Tea Circle on break (he usually worked at the Hillside drafting studio). He ran up to the large Chinese bell that hung from the oak tree limb you see in the photo above, then stopped in front of it and drummed it several times with his knuckles. He paused for a moment to listen to its faint ring, then ran back down to where he came out.

Taliesin tours certainly struck me,

as someone who had measured my worth mostly through test scores, as a very nice way to come into adulthood. Plus, giving tours meant that I was judged for the words that came out of my mouth instead of numbers on a page.

You can read here how the tour program became integrated into my life.

First published March 7, 2022.
I took both of the photographs used in this blog post.

1. not his real name

2. We also thought 1886 was the year he designed the first Hillside Home School building for his aunts, a.k.a., the “Home Building“. That was, until being corrected by someone else. The year he designed the Home Building is actually 1887.

3. I received my degree that December with my thesis on David Wojnarowicz.

4. No kids under that age were allowed on tours going into Wright’s Living Quarters at the House. Now tours take kids as young as 10 years old.

5. Now The School of Architecture, no longer at Taliesin.

6. I’m not talking about the biweekly online series, “Welcome to the Basement“.

Frank and Olgivanna Lloyd Wright outside at Taliesin with Alexander Woollcott holding baby goat.

Guest Quarters

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Frank Lloyd Wright (left) with his wife, Olgivanna, and friend, writer Alexander Woollcott outside the architect’s home, Taliesin, 1935-43. Woollcott holds a baby goat. The west wall of a bedroom is in the background. This became Wright’s bedroom in 1936.

My years of working at Taliesin Preservation gave me time to uncover the history of Wright’s changes at the Taliesin estate. Although (no surprise, I admit), most of my interest centered on the Taliesin structure by Wright (his home, studio, and former farm).

In trying to figure out Taliesin’s history, I spent time looking at copies of his drawings. While I was/am always cautious toward them, I came to trust some that actually seemed to match what existed.

You’ll see them or a link to them in my post today.

For example

Wright drew elevations in the early 1920s of the portion of Taliesin on which he was adding a guest apartment. This work was done after he returned from working on the Imperial Hotel in Tokyo.

I noted this change when I wrote about Taliesin II (Taliesin’s forgotten middle child).

This drawing from the early 1920s is number 2501.025.

“2501” on the drawing usually indicates “Taliesin III” (meaning, post-1925). But details in the drawing mean it comes from the Taliesin II era (before the 1925 fire). I’ll show which portion is exclusively Taliesin II. The part where I’ve added the arrow is what became Olgivanna Lloyd Wright’s bedroom. In the Taliesin II era, that room had that small balcony that I’ve pointed the arrow at:

Elevation of Taliesin, 1920-25. 2501.025
Property: The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York

I think Wright added this “Guest Apartment” to increase the attractiveness of coming to Taliesin. Even today, you’re about a 45-minute drive west of Madison, the Wisconsin state capital. Moreover, in the early 1920s the only place to stay was in the village of Spring Green (three miles away), which had one hotel. This was a three-story building with the Hotel Myers and a restaurant on its first floor named the Dutch Kitchen.2 And in the 1920s, you couldn’t have even gotten a Brandy Old Fashioned there.

Thus, the architect designed a guest apartment (without a kitchen) at Taliesin. The two bedrooms, living room and separate bathrooms were on the same floor as the architect, separated by his own rooms by a door.

Then, the second fire happened

The April 20, 1925 fire destroyed Wright’s living quarters and he began rebuilding that summer. The reconstruction included the guest apartment. A Taliesin III drawing shows part of this in the drawing linked to here. It’s an elevation and floor plan on one sheet, labelled as “guest living room”.

You’ve seen this “guest living room” before

A door separated the “guest living room” from everything else on the floor. This door was seen in the photograph in my post “About a Wall at Taliesin That No Longer Exists”. It’s the open door on the left-hand side of the photo.

While ups and downs in Wright’s life after 1925 kept him away from Taliesin, he and his family were there in 1928 and he wanted to invite someone to his “guest quarters” when everyone was living again at home. I know this because of a letter that I found on one of my trips down to Frank Lloyd Wright’s archives when they were still at Taliesin West in Arizona.3

As I’ve written, as Wright was the architect, he didn’t have to ask permission to change whatever he wanted. So, there are very few (or non-existant) letters or telegrams to pinpoint changes. As a result, I looked for details (and, goodness, still do) in any way that I could.

What did I find?

Since I read letters between Wright and people he knew, I looked into those between him and friends, employees, etc. I knew writer Alexander Woollcott visited, so I read those letters. And, in 1928, soon after Wright and his family had returned to Taliesin, Wright invited Woollcott to visit, even encouraged him to bring a friend. On page two of this letter he wrote:

. . . . You could have my little studio with a big stone fireplace to write in, and he or she could have a little studio nearby to draw in. We would look [hook?] you up together in the guest quarters back of the house,—two bedrooms and a sunny sitting room with a big fireplace in it. . . .

FICHEID: W045B08: 1/1/1928 (unknown month and day).
The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York

Those “two bedrooms” at the “guest quarters back of the house” are the ones I’ve been writing about.

I recognized this sunny room with the big fireplace in it. It’s in the photograph below. The photo was published in the March, 1929 issue of Liberty magazine:

Taken inside Taliesin, looking southwest in Loggia fireplace. 1926-29.
Copyright David Phillips| The Chicago Architectural Photographing Company.
Published in the Journal of the Organic Architecture + Design Archives, volume 6, number 1, 2018, 73.

This image is published in the Journal of the Organic Architecture + Design Archives, volume 6, number 1, 2018, 73. That’s available through here.

I’m not sure how often these two rooms were used for guests. Anyway, in 1936, Wright changed the two guest bedrooms into separate bedrooms for his wife and himself and then re-designated their former bedroom as the Guest Bedroom.

OH, and one last point:

Wright’s letter to Woollcott shows that the architect thought of those two rooms as guest rooms. But on a practical level, originally they might have been planned as bedrooms for the daughters Svetlana and Iovanna.

I thought about all of this last year, and these thoughts evolved into a presentation on Wright’s changes to Taliesin for Iovanna, which I did for the Monona Terrace “Virtual Wright Design Series” in October of 2020. That presentation, “Life Is Not Monotonous at Taliesin” is on Youtube, here.

Originally published on September 19, 2021.

The photograph at the top of this page was published in 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), 192.

 

1 This means that I will not trust anything that man put into a drawing unless I see a photograph of it. “Fool me once…” etc.

2 The Administrator in Historic Studies for the Frank Lloyd Wright Foundation clarified the name of the hotel (as previously I just had the name of the Dutch Kitchen).

3 I would have spent useless time during my first trip to the archives if the registrar hadn’t taken pity on me and got me a very nice listing of correspondence about the actual Taliesin structure, and not just everything latter that contained the word “Taliesin”. Taliesin was mentioned in letters from people wanting to join the “Taliesin Fellowship”, or everyone wanting to get the magazine they put out for a while entitled “Taliesin”. It was so great when the Director and Curator of Collections at the Frank Lloyd Wright Foundation gave me this modified list.

Taliesin II living quarters, approximately 1922

Taliesin II: the forgotten middle child of Taliesin

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The photo at the top of this page shows the living quarters of Taliesin: the portion of the building rebuilt after the fire of 1914 and destroyed in the fire of 1925. Someone took is around 1922.

Frank Lloyd Wright and Taliesin II:1

Frank Lloyd Wright named his home Taliesin, but later wrote that the building after the 1914 fire was Taliesin II, and that the building after the second fire (of 1925) was Taliesin III.

Taliesin II gets lost because Wright built it after the 1914 fire (caused by an act of violence). Then, in 1925, an electrical fire again destroyed it. Wright began rebuilding that summer.

The home that exists today was where Wright lived when:

    • He recovered his career in architecture
    • Started the Taliesin Fellowship
    • Designed some of his most well-known buildings (including Fallingwater), and
    • Became, apparently, the first “starchitect”

Although, as of 1939 his main studio in Wisconsin was his newly designed and built drafting studio at Hillside2 on the southern part of his Taliesin estate (which I wrote about in an earlier blog post).

So Taliesin II gets overshadowed

Also, Wright was out of the country a lot from 1915-1922 , working in Tokyo on the Imperial Hotel.

Still, by the time he finished with the Imperial Hotel, he had added two more rooms to Taliesin’s living quarters (on the ground floor and one above that). Then made that part of the building taller.

Here’s that part of the building in the early 1920s:

Taliesin II from the

From the Eric Milton Nicholls Collection at the National Library of Australia

The Griffins took the photograph above on their trip to the United States in 1924-25. Compare this photo to the one at the top of the page: the chimney you see here on the right on the photo at the top of the page is the same chimney that you see on the left in the photo above. The photographer took this photo from the Hill Crown at Taliesin. On the right hand side of the photograph was a guest room. Today, that’s part of Frank Lloyd Wright’s bedroom.

The photo comes from the National Library of Australia

Take a look at this page, where you can get more information on the photo. It comes from the collection of Eric Milton Nicholls, architectural partner to husband and wife architects Walter Burley Griffin and Marion Mahony Griffin.

Down on this page, you’ll see that I put hyperlinks to all of the photographs that the Griffins took of Taliesin.

In addition to the changes Wright did at his living quarters, he extended Taliesin to the west, adding a root cellar and ice house in 1916, and, by 1924, another horse stable, and also chicken coops, a granary and a pigsty.3

If Taliesin II had stood longer, more photographs would exist of it.

Plus, the reason for less photographs is that Wright was out of the country for large chunks of time from the late 1910s to the early 1920s. He didn’t return to live full time in the United States until 1922, after he had finished most of his work on Japan’s Imperial Hotel. Then things went sort of “sideways” with his longtime partner, Miriam Noel.

Wright and Noel married in November 1923.

Noel lived with him about 5 or 6 months as his wife. She left by April or early May the next year.

My personal opinion is that those two seemed to bring out the worst in each other. You can read about her in Meryle Secrest’s Wright biography (don’t be afraid of its number of pages—someone told me to skip the first 100). Another book is Frank Lloyd Wright: A Biography, by Finis Farr.

Or you can read the fictionalized Miriam in The Women, by T.C. Boyle.

Wright met Olgivanna Milanoff about six months after Miriam left. Olgivanna, who married him in 1928, moved into Taliesin by January 1925.  On April 20 of that year another fire (probably because of bad wiring) struck Taliesin. It destroyed Taliesin’s living quarters. No one died, but Wright lost thousands of dollars worth of Japanese art bought. While he worked on rebuilding Taliesin, Noel found out about Olgivanna (now pregnant with her and Wright’s child). Miriam’s discovery resulted in more bad press and career problems (even before the stock market crashed in 1929).

            That’s the easy version of that story.  

Although, when you know where to look, you can find photographs online of Taliesin II.

I’d love to plaster this page with Taliesin II photos, but I think I’d get into trouble (copyrights and all that). So, I will show where you can find these images for the rest of my post.

Photographs of Taliesin II

There are a couple of places where can you find Taliesin II photographs in print:

By the way: if you get the “Global Architecture” book, or “Selected Houses v. 2”, trust me when I tell you that, while the cover of the books has a Wright-designed rug on the floor of the Taliesin living room, that rug was never there while he was alive.

Here are links to images on-line:

Eric Milton Nicholls Collection, National Library of Australia:

Nicholls worked in the office in Australia of architects Walter Burley Griffin and his wife, Marion Mahony Griffin.

The site shows seven photos taken on the Taliesin Estate: five show Taliesin II, one shows the dam and waterfall, and one shows the Hillside structure. Of these seven, the Griffins took some when they visited the U.S. in 1924-25 (like the photo I showed above). But one shows Taliesin II a little earlier: https://nla.gov.au/nla.obj-150233395/view. It looks like it was taken around 1917, before the Griffins went to Australia.

Links to the five other photos:

If for some reason these URLs don’t work, go to the Library of Australia in the Nicholls Collection: https://nla.gov.au/nla.obj-150140881

Go to Search and the Taliesin photographs are on Pages 821-840.

Here are other photographs, most at the Wisconsin Historical Society:

Exteriors

Interiors:

  • Taliesin II Dining Room:https://www.wisconsinhistory.org/Records/Image/IM83015
    • The design of the ceiling shows this to be Taliesin II, not Taliesin I. A Taliesin tour guide told me this years ago (hi, Bryan).
    • Aside from the ceiling another thing that shows this is Taliesin II is the design of the chair in the foreground. This “room” is not surrounded by four walls; so, the living room “starts” when the ceiling drops down.
  • Another Taliesin II Dining Room photo (from the Frank Lloyd Wright Foundation website), https://franklloydwright.org/an-autobiography-in-wood-and-stone/1403-0038-dining-s/
    • It’s showing the same space as the first one above. Go back and forth between the two to see the differences.
  • Frank Lloyd Wright at Taliesin, sitting at a table near the window: https://www.wisconsinhistory.org/Records/Image/IM23788
    • He’s sitting in Taliesin’s living room, along the east wall, north of the photos of the dining “room” above. So if you were sitting where he was, and looked to your left you would see the dining area.
  • Frank Lloyd Wright at the Taliesin Drafting Studio, 1924: https://www.wisconsinhistory.org/Records/Image/IM27896
    • We know where he is because of the fireplace on the left hand side of the photograph. The photographer who took this photograph was probably standing in the space where all the drafting was done (which you see in the next photo).
    • One of the things I find silly about this photo is that Wright looks to me like he’s 4 feet tall.
  • Drafting Studio. https://www.wisconsinhistory.org/Records/Image/IM66179
    • The person closest to the photographer was Nobuko Tsuchiura, she was a draftsperson4 at Taliesin with her husband, Kameki, from the beginning of 1924 to the end of 1925.
  • Taliesin II Living Room:https://www.wisconsinhistory.org/Records/Image/IM83334
    • The TII living room is noted by the long rectangle at the fireplace.

First published on March 2, 2021

I don’t know who took the photograph of the Taliesin II living quarters that is at the top of this entry. I got a copy of it from someone who convinced someone else not to throw this out.

Notes:

1 Some say the words Taliesin I, Taliesin II, and Taliesin III shouldn’t be used. That using these numbers imply the building was completely destroyed twice with a new one built on top of the ruins. But the Taliesin fires only destroyed 1/3 of the building (but not its drafting studio or farm wings).

While I don’t commonly call the house that stands “Taliesin III”, I use those terms because Wright wrote them in his autobiography. Even if someone says he’s wrong, I’m not going to disagree with his choices because Taliesin was his house, and he was a lot smarter than I am or ever will be.

2 And, in a a moment of a snake-eating-its-own-tail thing, I first wrote the Wikipedia page about Hillside that I linked to. I’m using it here to back up my  assertion. I’ll try not to link back to this blog post if I update the Wikipedia page on how much work Wright did at the Hillside drafting studio.

3 He labelled it as a pigsty in a floor plan, but someone told me that Wright used it as a goat pen. Probably because even randy goats can smell better than pigs.

4 I asked people who’ve worked in architecture what term I should use to describe Nobuko Tsuchiura. I didn’t know if “draftsman” was proper, and “draftswoman” seemed odd. Someone suggested “draftshuman”, but I thought I should go with something that is more commonly used nowadays. “Draftsperson” was the most suggested so that’s why I put that here.