Tag: preservation by distribution

1910-1911 exterior photograph on the Hillside Home School campus.

Another find at Hillside

Posted on | by admin
Reading Time: 6 minutes

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.

How this was found out:

Anne and I looked at the Hillside drawings while researching. At that moment, we weren’t looking at drawings of Wright’s Hillside structure done when Wright first built it for his aunts.

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:

Keiran Murphy's drawing of the buildings on the old campus of the Hillside Home School in 1920.

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.

Keiran Murphy's close-up of two buildings on the old Hillside Home School campus in 1920.

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:

Aerial view drawing, Frank Lloyd Wright's Hillside Home School 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), #0216.010.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 Goodly Fellowship, 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.

PHotograph of boy in striped, long-sleeved shirt and shorts in summer, with buildings behind him.
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.

Broadacre City model in the Dana Gallery at Hillside

Preservation by Distribution

Posted on | by admin
Reading Time: 5 minutes

The model of Broadacre City, Wright’s idea/design for decentralized living. Photo taken while the model—mentioned in the post below—was once displayed against the north wall of the Dana Gallery at the Hillside building on the Taliesin estate. Raggedkompany took this photograph in 2008/09.1

One day over 16 years ago, a woman came in for a tour of Taliesin.

She did a kind and thoughtful thing

She brought photocopies of letters that her aunt, Lucretia Nelson, had written to her parents (this woman’s grandparents) while Nelson was in Wright’s Taliesin Fellowship in 1934. So this woman wanted to give this to someone associated with Taliesin.

Fortunately I was on hand to take these from her.

Her act caused me to name this post, “Preservation by distribution”. That is: you try to get copies of things out there, in order to help them survive.

I spoke briefly to Lucretia’s niece (Lois) before she took her tour of Taliesin. While she was on tour, I read her aunt’s letters as quickly as possible, while getting what info I could on Lucretia Nelson. It turns out that in 1934, Nelson had written an article for “At Taliesin”. These were weekly newspaper articles that the Taliesin Fellowship had written in the 1930s. So I copied that for her and had it when she came off the bus after her tour.

Architect and writer, Randolph C. Henning, collected, transcribed and edited these columns, which he put into a book. I wrote about this book in my post on books by apprentices.

That day I got Lois’s address, since I wanted to absorb some of what Lucretia Nelson had written. I felt I should give her more information once I had a some time to look things over. So when I did, I told her who Lucretia had mentioned, and pointed out an important event in Wright’s career that Nelson had written about.

I’ll talk about that further below. First of all, I should mention Lucretia and some of those people. And why she was at Taliesin.

Who was Lucretia Nelson?

Nelson (1912-1991) received a B.A. in painting at University of California-Berkeley in 1934. Apparently after graduation, she came into the Fellowship with a college friend, Sim “Bruce” Richards. Frank Lloyd Wright had seen Bruce’s work in Berkeley during a lecture and had encouraged the young man to join the Fellowship. So the two friends (Bruce and Lucretia) headed to Taliesin, where they met up with another former UC-Berkeley student, Blaine Drake (Drake had entered the Fellowship the December before).2

Lucretia was there in 1934, possibly into 1935. The men, who later became architects, stayed longer. Bruce until 1936; and Blaine until 1941. Meanwhile, Lucretia returned to UC-Berkeley, received a Master’s degree, then taught in its department of decorative arts, where she also became an administrator.

Her year in the Taliesin Fellowship was something that she often remembered and one can understand why: she was devoted to the connection between life and art, which she saw around her when in the Taliesin Fellowship.

Two things that stuck out in Lucretia’s letters:

She wrote about one change to Taliesin. It was planned for her room, and she told her parents that:

“You see it gives me instead of one small window on the north side under the deep eves [sic]… a south exposure and a wall almost entirely of windows.”*

This change is going to cause a problem.

The upcoming change altered the room. The southern wall in the room was moved further south. The that was the wall that she said would be “almost entirely of windows”. Then-apprentice, Edgar Tafel, wrote about this change for the July 4th, 1935 “At Taliesin”. He said that,

Fortunately, Taliesin is in an ever state of change.  Walls are being extended and new floors are being laid to accommodate our musical friends.  We are trying out the new concrete mixer – which marks a new day in our building activities.

Randolph C. Henning, ed. and with commentary. At Taliesin: Newspaper Columns by Frank Lloyd Wright and the Taliesin Fellowship, 1934-1937 (Southern Illinois University Press, Carbondale and Edwardsville, Illinois, 1991), 139-40.

This concrete caused a problem decades later:

Unfortunately for Taliesin, this concrete work blocked a drain behind this south wall. Water going behind the wall would freeze in the winter. This created a wedge from 1935 until the early 1990s. My understanding is that the Frank Lloyd Wright Foundation (the site owners) began trying to figure out this problem in the late 1980s.

By that time, the back wall (visible on tours of Taliesin) was protruding seven inches out of plumb. Here’s a drawing that Taliesin Preservation did before the start of the project, just to give you a sense of things:

Drawing of a section of Taliesin during preservation work in 1993-94.

The part people saw was to the right of the stone wall.

During the preservation work, earth was removed from the back of the wall, which was slowly pushed back into place using jacks. This made the wall once again plumb. Then two drainage systems (one behind the wall) were installed.

This big project was done the winter before I started giving tours at Taliesin (1993-94).

Lucretia’s other important note:

In that same letter where she mentioned the upcoming work, Lucretia said that “a guest last week” who “has his son here” gave $1,000 for the construction of Wright’s “Broadacre City” model.

Every Frankophile (in other words, a Wrightfan) in the audience might have done a double-take at that last sentence.

The model of Broadacre City was Wright’s thought project about decentralized living (not tied to any real site). This $1,000 gave Wright and the Taliesin Fellowship the resources to construct it.

And the guest was Edgar Kaufmann, Sr.

Who was Kaufmann?

Edgar Kaufmann, Sr. was visiting Taliesin (with his wife, Liliane), because their son, Edgar, Jr., had joined the Fellowship a couple of months before. Edgar Sr. ran Kaufmann’s, a department store in Pittsburgh, Pennsylvania.

Most importantly, in less than a year, he and Liliane would receive plans for their weekend home near Pittsburgh. That home is known as Fallingwater.

Fallingwater: the building that started to put Wright back on the forefront of architecture.

Kaufmann’s $1,000 check not only meant that the architect had the money so his apprentices could build the 12 foot X 12 foot model. The money seemed to signal that Kaufmann believed in Wright’s ideas and work. And that, perhaps, he might hire Wright for that home they were thinking of building.

Originally published, November 21, 2021.
Thanks to Raggedkompany for permission to use his photograph at the top of this post.

* I changed this post on May 7, 2020 when I realized I’d incorrectly identified a photograph. I deleted the photograph here, but talked about what room it was really showing in my post “Oh my Frank – I was wrong“.

There’s an earlier version of “Preservation by Distribution”, with the mistake. It’s on the Wayback Machine, here.

**Bonus—See my post about the glorious Wayback Machine, here.

1 In 2012 the model became part of the collection of The Frank Lloyd Wright Foundation Archives (Museum of Modern Art | The Avery Architectural & Fine Arts Library, Columbia University, New York). 

2 In case you’re wondering: as far as I know, Lucretia was just friends with both Bruce and Blaine.