Unfinished Business – Wright’s Cantilevers

Elements of Frank Lloyd Wright’s ASBH Model A203 design either never made it into the Elizabeth Murphy House, or, perhaps, were lost to reconstruction events sometime during her hundred year history. One missing element: decorative flower box cantilevers  shown here in Wright’s drawings:

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The details have been missing from the house since perhaps 1939 (the oldest known image), and certainly since the 1950s. It is unclear if they were included in the original construction.

2106Newton 1933 appraisal card

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In the drawings, the extended flower box crown is important to the flow of the facade, anchoring the main windows of the living area wall while stretching the edges of the built-in garden. The house looks boxy without it. We studied the drawings to find the geometries and proportions and matched the materials of the existing flower box trim (cedar) to construct new (or replacement) cantilevers.

Here is a before picture:

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And an after picture:

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The drawings show simple open extensions of the flower box crown with what appeared to be lateral braces. Were these braces meant for hanging baskets? With the project complete and some time to study its effects, we think that Wright’s main objective was to cast traveling angular shadows, lifting the house out and up, mirroring the louvres and art glass motif, and emphasizing, again, light, nature and the horizontal.

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How Wright Learned to Separate Art and Automation

Save the date!

The Elizabeth Murphy House will be featured in a presentative at the 2018 Frank Lloyd Wright Conservancy Conference: “Preserving Wright’s Legacy in Wisconsin” on the morning of Saturday Oct 13, 2018, between 9-11:30am.

The talk, entitled “How Wright Learned to Separate Art and Automation” will be part of the conference Education Series. From the abstract:

We will suggest, using new photographs of details, original
drawings, evidence collected during deconstruction in and around the house,
and historic references and timelines, that Wright orphaned the house and
left the ASBH program to preserve reputation and to buy time to think about
whether art and mass-production could coexist at all.

We hope to see you in Madison in the fall!

 

 

Elizabeth Murphy’s Wiki Page

A condensed history of the Elizabeth Murphy House is now available at Wikipedia. Highlights include the story of her construction, transitions and adaptations, when her architectural pedigree as a Frank Lloyd Wright Designed American System-Built Home was lost, and how it was found again.

Expert contributors are invited to add resources and details.

 

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.