A quality roof by Frank Lloyd Wright

We have started our major project for the year, removing 1970s tin flashing in order to  expose and restore the 1930s cedar soffits and facia. We will paint the entire house in appropriate Prairie colors, replace the 25-year old shingled roof (near the end of its life), and importantly, upgrade the ugly, dysfunctional gutters, which have been flimsy, leaky and sagging and not up to the task. Our new gutters will be period and architecturally appropriate and work better.

Frank Lloyd Wright took special care in specifying the gutters on American System-Built Homes and it paid off. These houses typically did not leak. He wanted the gutters to handle the volume of water and to last a long time; key to a good roof.

He directed that the factory would provide and the contractor would then install “…galvanized iron gutters and down spouts wherever and as indicated on drawings.” 

He was careful to include sufficient flow and a proper destination for the water, specifying the number of down spouts and “connecting same to the drainage system and so installed as to comply with the requirements of the city sanitation department.”

He directed that those gutters and down spouts should be properly treated for long life: “shall be given two coats of lead and oil point to match stained wood work.”

And finally, he wanted the materials to be of the highest quality. He wrote that “lead shall be pure white lead. National Lead, or equal. Oil shall be pure kettle boiled linseed oil. ” 1

We have taken delivery of some 200 feet of half round 6″ gutters and smooth round galvanized downspouts, exactly the shape and size as originally seen on the house (but subsequently removed and replaced with cheapies sometime in the last 70 years.)

The raw metal of our new vintage gutters is to be painted, as Wright directed, to ensure long life. Of course, we won’t be using lead paint. But we’ll come close in terms of performance.

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We started by removing the oil residue left by the factory with dish detergent and then we etched the surface with white vinegar and let it dry. We have applied an oil-based bonding primer, and will finish it with two coats of enamel paint in a color that matches the original exterior trim paint color, still visible in the sunroom, and that will reappear on the whole house again soon. The old gutters will come off on Monday, and the new ones should be installed sometime in the next week or so.

We’ll post more images as the project progresses here and at our Instagram page.

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1.Specification of materials and labor required for the American Model ____ in accordance with drawings prepared by Frank Lloyd Wright Architect, The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York) FLWFA Specs Box 2 1112-1903 –

Learn more about the tiny Frank Lloyd Wright house in Shorewood, Wisconsin

Neighbors, friends and the historically curious are invited to attend a presentation – chock full of photographs, tales of stewardship and mysterious backstories – about the historic Elizabeth Murphy House, the only Frank Lloyd Wright-designed home in Shorewood, Wisconsin. You’ll feel as if you’ve been on a virtual tour!

This event is co-sponsored by the Shorewood Historical Society, the Shorewood Public Library and the Shorewood Senior Resource Center and will be held on Tuesday, September 17 at 7PM in the Village Center (3920 N. Murray Ave.)

This special event is free and open to the public and coincides with the launch of the Shorewood Historical Society’s “In-House Research” project, which will be open for inspection on September 17.  From the society’s newsletter:

“The Society has collected and organized all of its home research materials in the Sheldon Room in the Village Center in order to better assist Shorewood homeowners who wish to research their homes.”

Contact (414) 847-2726 or email shorewoodhistory(at)yahoo.com with questions about this event and others.

Preserving Shorewood’s Rich History

County Supervisor Chris Abele’s tone-deaf decision to buy and destroy a historically important lakefront home in Shorewood was so tragic and awful that we hope it costs him his position. A key ingredient of competent governance is enthusiastic stewardship of important local assets: the art, architecture and natural environments that define our culture.

We should all vote against him.

However, it is important that we do not allow our anger to create a system that punishes the very stewardship that most of us agree we want.

Stewardship is not a product of special oversight placed on historic homes. It comes, instead, from a shared commitment to storytelling, passed between generations and among neighbors.

Historic homes begin with a mark against them. As evidence, consider that the Elizabeth Murphy house languished unsold in a hot market once it had been identified as a Frank Lloyd Wright design, precisely because prospective buyers were concerned that they would not be able to afford the basic upkeep, given its significance. They were worried about regulation creating downward pressure on value and upward pressure on upkeep. Their worries were not without merit.

Old homes require special care, time and money to keep them safe and useful. Old historically-important homes, like Abele’s now pulverized Eschweiler-designed mansion, require a deeper level of care: sensitivity to the architectural DNA and the importance of the artifact, a respect for former caretakers, and a willingness to spend the time to understand and share context. Abele didn’t have the patience for any of these things. He just wanted a view.

However, we have seen firsthand that many, if not most village residents understand  that stewardship flourishes in communities that reward the care-taking of all of the homes in a neighborhood.

Shorewoodian families enthusiastically care for homes and apartments ranging from Art Deco to Tudor, Mid-Century-Modern to Prairie, and of course, the Milwaukee-flat and Milwaukee-bungalow, and together, these gems form the priceless portfolio of real estate that is our shared village, a place that many see as a cultural beacon in Wisconsin and the Midwest.

In response to the Abele catastrophe, the village would do well to promote the concept of the preservation easement, which would provide owners and sellers of historic homes with the support to ensure that their important properties are protected by carrying forward both the burden and the benefits of pedigree. If you’re not familiar with the concept, a preservation easement binds future buyers to protect the historic elements and the spirit of the home in return for modest qualified tax relief. There might be fewer buyers of a home that has an easement, but those who are willing begin their shift understanding their role in historic preservation. This is something we plan to do with the Elizabeth Murphy House whether the village steps up or not.

Programs and people who value culture, not reactive ordinances, are what foster a dynamic and sustained environment of care-taking.

The System within the System

Wright and his team at Taliesin delivered over 900 drawings to contractors to support the construction of about thirty American System Built Homes (ASBH) built between 1915 and 1918, including this home. Many of the drawings are in the Avery collection at Columbia University. Others are at the Getty Museum.

Citing this vast body of work, ASBH historians have called the ASBH project the largest single design effort by Frank Lloyd Wright. We’re finding evidence to suggest that Wright  and Arthur L. Richards, his marketing partner, may have seen the heavy lift as a necessity.

Specifically, it was not economic or practical for Wright to visit or send an assistant to ASBH job sites, which could be anywhere and happen concurrently. Lacking architectural supervision, a builder needed as much clear instruction as could be delivered remotely. So no matter how small the home to be built, each project would require in-depth plans, including drawings, detailed bills of materials with a complex numbering system, inventory management and instructions for assembly. Thus, over 900 drawings.

As evidence, see an inventory numbering system, along with quantities and sequencing stamped and drawn on the back of a section of trim in the image below.

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Presumably, 350 feet of milled lumber of the the shape called 60-455 would be assembled as the 54th step. (It is interested that Wright’s drawings call this item number B-11. Did Richards and Wright have their own lists?) The stamp was used at the lumber yard to control stock of a specific geometry. The colored pencil explained what was required to build a specific model of home. Historians with evidence to support or refine this interpretation are invited to comment or email.

Finally, so dependent on instructions like these were Richards and his subcontractors that Richards pleaded to Wright sometime in 1917, when Wright had gone to Japan to design and build the Imperial Hotel:

“every minute of your time is needed here… …you can make more money making plans”

Shortly after reading these words, Wright terminated his agreement with Richards to design ASBHs. The Elizabeth Murphy House was among the last in the program to be started, and was certainly the last to be finished. More on that in future posts.

By adding a garage, a previous owner saved this Frank Lloyd Wright house

In the life of a house, owners must make modifications to keep up with wear and tear. In the life of a historically-significant house, changes are judged on how well they balance preservation with necessity. While this house remains remarkably preserved in terms of footprint, original equipment, trim and interior surfaces, it has seen three significant changes since it was built a hundred years ago.

  1. The external stucco was covered in the 1930s with cedar shake.
  2. The single-pane windows were replaced with double panes in stages between the 1950s and the 90s.
  3. Since the house had no drive, garage or carport, a garage was added under the sleeping porch in 1976.

Purists might view the garage addition as lamentable; a “significant alteration.” Cosmetically, they would be right. The front facade is very different from Wright’s vision, since below grade is now exposed. It’s akin to that teenage trick where an eyelid is folded back and sticks. There is also a philosophical problem: Wright hated garages. He thought they were places to collect junk.

So in 2017, we began to gradually deemphasize the visual impact of the change. We removed aging veneers, fixtures and faux surfaces, replaced the garage doors, and painted all in muted colors. We’re not done.

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Yet, we are massively thankful to the previous owner who built the garage.

Structural evaluation shows that without it, the house may not be standing today. Original plans (below) reveal footings on two elevations: deep enough for a full basement under the main house and shallow under the porch (and front flower box).

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Over the years, as water moved and soil shifted, the shallower footings were quicker to move than the deeper ones, which had more surface area and were connected to concrete floors. The porch began to sag. It moved at least 3/8 of an inch in comparison with the main space.

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By adding a garage, the owner lifted and supported the porch before the problem became serious. Today, the whole house rests solidly on equally-deep footings and the foundation is integrated and sound.

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Something to give thanks for. – 11/22/2018.

PS: Mark Hertzberg: do you have that AMC Pacer image?