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“According to Plans, Specification and Drawings made by Frank Lloyd Wright”

Court Case records available at the Milwaukee County Historical Society offer more clues to why Frank Lloyd Wright didn’t mention this house after sending plans to Elizabeth Murphy (via the Richards Company) to build it. Elizabeth, wife of Loan Broker Lawrence Murphy, would act as General Contractor, and hired a Carpenter, Herman Krause Jr, to construct the house. Quickly, the project was mired in payment disputes, liens and work stoppages that would take years to unravel in court.

Murphy agreed to pay Krause $3400 to build the house in 1917 and before it was complete, sold it to Arthur Kibbie for $5000 in 1919. Krause walked from the job before it was finished. The Kibbies bought an incomplete home from Elizabeth Murphy.

Moreover, knowing that the Murphys, speculators, paid something for the land, it wasn’t much of a return on investment. It is unclear if Wright was paid at all.

These must not have been good signals for the American System Built Homes project.

This will be the subject of another, longer post and a talk that we will give at the upcoming Frank Lloyd Wright Conservancy Annual Conference, in October 2018.

Milwaukee Country Circuit Court Case No. 56129 is on file in the Historical Society’s Research Library.

 

 

FLW Architectural Tiles

After fourth graders from Atwater School visited the Elizabeth Murphy House, they returned to Mrs. Hayes’ Art Class to create Frank Lloyd Wright-inspired architectural tiles, and added their own flare. Two fine examples are on display at the Shorewood Library, in the Shorewood School District Art Show, which continues ’til mid-week.

We’re impressed with some of the important details. Here, a bank of windows creates a wall of light:

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…and in this piece, horizontal lines are key elements, and the door is hard to find:

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Frank continues to inspire.

Pause, don’t Dash

* Featured image by Sara Stathas, for the Wall Street Journal.

We’ve adopted a new method when visitors visit: instead of dashing through the Sleeping Porch, we’re now closing the porch door and pausing in the space to consider the Pebble-Dash. It’s worth taking the time to take it in.

It is said that Wright first saw and appreciated Pebble-Dash (also called RoughCast) on a visit to San Diego and thought it might work well for the exteriors of American System Built Homes. The method was popular in maritime climes and praised for low cost, good looks, and uniform durability.  Pebble-Dash starts with plaster applied to brick or lath, and while wet, multi-colored Pebbles are Dashed onto the surface. Colors are what you happen to get from the quarry at the time. Here, we see grey, tan and black quartzite, granite and sparkly biotite.

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It isn’t clear that Pebble-Dash was a good idea for frame construction in Wisconsin. Experts tell us that the exteriors of the houses on the Burnham Block were all recovered within 20 years of construction and there is photographic evidence that this house had shingles over the original surface by about 1935 (fourteen short years after the first owners moved in), presumably due to rapid deterioration. One might surmise that Pebble-Dash over brick becomes a uniformly mineral-based wall, contracting and expanding at about the same pace, and therefore, staying together. However, Pebble Dash over wood lath might crumble in freezing winters since wood and rock don’t dance well together. Wright may have specified Byrkit Lath to try to prevent trouble, but it doesn’t appear he was successful.

Regardless, the unpainted Pebble-Dash in the Elizabeth Murphy House may be the last example of the original exterior of an American System Built House, anywhere. This sleeping porch — once open to the outside — was converted to an enclosed and heated space (probably in the 30’s) and the Pebble-Dash in it has been preserved in almost original condition. The ceiling is spectacular:

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Starry night

Thus, the deliberate pause to take it in. When you’re in this space, you’re in history. A history of trial and error and experimentation that would’ve been lost and forgotten, if the clocks had not been paused about 80 years ago.

Elizabeth Murphy In the News

The Elizabeth Murphy House is mentioned and pictured in the Wall Street Journal today.

Read: Is That a Frank Lloyd Wright? Prove It – The Wall Street Journal.

It was great to spend a morning with photographer Sara Stathas, Joe Picciolo and previous steward Pat Wisialowski (pictured) to get this great shot.

 

Emphasizing the horizontal

‘The horizontal line is the line of domesticity.’

– Frank Lloyd Wright

Horizontal lines are everywhere in this home. They guide your eye, contain your thoughts, and quiet your mind.

They are found in the trim, the eaves, the flower box, the banding, the shelves, between windows and in the overhangs. Layers of horizontal lines stack like cherished books on a nightstand, one upon the next.

After a year of living here, we stumbled upon more horizontal lines in a subtle, but historically significant place: the masonry of our small fireplace.

We learned, while touring the Gordon house in Oregon (a Usonian house designed in the late 50’s and built after Frank’s death), that Frank often insisted that grout in the vertical seams of a brick wall be smoothed to the brick surface, while grout in the horizontal seams be inset, creating an effect of horizontal stripes, as opposed to stacked cubes. It’s a common feature of Usonian homes, which are between 20-40 years younger than this home.

Often, Usonian brickwork is of large-form cinder block and is painted, like this wall of the Gordon House. (Here, he went so far as to extend seams between layers of brick into the trim between wood siding; calling your eyes to trace an unbroken horizontal line until they land, gently, on the nearby trees and shrubs.)

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The same treatment is found in the Elizabeth Murphy House too, but it is so subtle that it is easily missed. First, the bricks are small and there are only a few of them. Then, the idea is executed in two different ways:

  1. Within the narrow columns beside the fire-box, vertical seams are grout-filled to de-emphasize the vertical, while…
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  2. … in the wall of brick above the firebox, the bring is tightly spaced, leaving no room for grout. The brick-to-brick seams are smooth on their own and the horizontal pops.
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We wonder: were these two approaches combined experimentally? Or was “smooth” specified by the architect and then executed in different ways by the construction team?

Either way, we’re looking at Frank’s fingerprints in the grout. He seems to be toying with an idea that would move in and out of his work for another 50 years.

Art glass during art class

Fourth graders from nearby Atwater School have been visiting this week. Mrs. Hayes, their Art Teacher, is collaborating with The Madison Children’s Museum and experts from Taliesin to create an expeditionary curriculum that includes field trips to the museum and into Shorewood neighborhoods to study organic architecture and compare it with other traditions. After their trips, the kids will fashion facades from clay. Their work will be displayed in the school and some may be featured in the district ‘art night’ later this school year.

So most afternoons this week, students, teachers and parent chaperones have taken a winding path through Shorewood to find and catalog architectural details like spires and gables, to see nearby houses by Wright’s apprentice Russell Barr-Williamson, and finally, to tour and learn about this Frank Lloyd Wright-designed American System Built House. It’s a privilege to have them visit.

We’ve heard many comments:

“It feels modern in here.”

“It smells like Lasagna.”

“Where’s the door?”

“The windows look like roses.”

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For Frank: function followed form

A proud wide chimney adorns the roof on the Elizabeth Murphy House. Up close, it is a thing of beauty: large hand-soldered copper panels tie a massive superstructure to cream city bricks. You can see the copper panels from space. As with other prairie-influenced designs, the chimney sets the tone for the rest of the house. It is intentionally dramatic, like Frank’s fine pork pie fedora. It is also a fake. A facade.

It took a visit to the attic to uncover the dirty secret. That, incidentally, was no mean feat. While the house would get an inflated chimney, it wasn’t designed to have an attic at all.

This American System Built House (A203) was one in a family of designs with similar footprints that had either a flat roof (A201), a gabled roof (A202), or a hip roof (A203).  The design drawings below show the concepts as drawn by Mr. Wright, but flipped, to allow for an optional left side front door.

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Key is the fact that a flat roof might be available at all, squeezing out any attic. So Frank didn’t draw an attic door. But this hip-roofed version has a space above the ceiling, so a door was added, perhaps by the builder as an afterthought. (The builder’s stamp is on the back of said door, as if to claim it as his own.) The door is buried high in a tiny coat closet.

We had done a structural inspection of the attic space while looking at the house before buying it, but today’s visit was to uncover more clues about the house. Most interesting: proof that the chimney is all talk and almost no action. It is 480 cubic feet of theatrics surrounding a measly 24 inch brick flue. All form, almost no function. Why?

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Frank’s vision for the American System Build Houses was affordable beauty, and this chimney is exactly that: an effort to minimize material and labor costs while making something different, desirable and timeless.

We think that the house would not be the same without its big, fake chimney.

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What do you think?