Road Trip: Day 78

Posted: October 13, 2016 by timjollymore in Uncategorized

Dateline: Minneapolis-thinking about Spring Green.

The finale of my tour to Taliesin happens slowly, off the premises, looking through the photos. Let me take you inside where we find out why all those windows, skylights, woodframe-glass doors, and celestory windows must be a part of Wrightian design. Without grand picture windows, or walls of glass, how can you bring in so much light?

Well, you bring it in from everywhere. Tall clerestroy windows, Tim in natural light, a five-panel screen illuminated, and light enough to play the 9ft grand by.

The light comes from high and low, from oblongs, squares, divided lights, hexagons, and picture windows, illuminates furniture, art objects, stone work, and gold, rose, or ocher surfaces.

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The light illuminates his famous chairs and benches; plants, statues, stone and ferns; and it affords framed and picture views of the grounds. The lake beyond the trees, he created first on the grounds by damming and “hydroectrolyzing” the stream.

PARTING SHOTS: yes they slept, sometimes, and gazed at the view, sometimes, and stepped out of doors, outside winter or mosquito season.

And consider this: seldom is an idea here expressed just once. It is the variation on the theme Wright established that plays so well. After all, FLW was, too, a musician.

The leaded glass is the only example here of the many windows Wright designed and had installed in his buildings. The screens define, divide, separate, and join spaces all at once. The table like the chairs is one of two together. Quite useless alone. But art objects in pairs.

“And so it goes.”

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