Tan-y-Deri Porch Restored

(c) Mark Hertzberg 2017

Tan-y-Deri 2017 002.jpg

Completion of the multi-year comprehensive restoration of Tan-y-Deri was celebrated last Friday with a ribbon-cutting ceremony as a start to Taliesin’s celebration of Frank Lloyd Wright’s 150th birthday. The three organizations charged with maintaining the legacy of Frank Lloyd Wright at Taliesin celebrated their collaboration on this project: Taliesin Preservation, the Frank Lloyd Wright Foundation, and the School of Architecture at Taliesin. The porch, perhaps better referred to as a terrace since it is only accessible from the interior, was the final piece of the project. It has been reconstructed to how it looked between 1939 – 1956. I had an opportunity Saturday to photograph the first floor of the house before the Wright birthday dinner. The Romeo and Juliet Windmill is nearby, and is in some photos. The early evening light, at the end a rainy day, was particularly welcome and lovely that day. We had driven to Taliesin under cloudy skies, and I had been pessimistic about having good light for photos.

Tan-y-Deri 2017 011.jpg

Tan-y-Deri 2017 012.jpg

Tan-y-Deri 2017 014.jpg

Tan-y-Deri 2017 015.jpg

Wright designed the house in 1907 for Jane and Andrew Porter, his sister and brother-in-law, four years before designing Taliesin. The name of the house is Welsh for “under the oaks.” Andrew Porter was then the business manager for the nearby Hillside Home and School, run by Wright’s aunts. Tan-y-Deri 2017 010.jpgTan-y-Deri 2017 017.jpg

Tan-y-Deri 2017 021.jpgTan-y-Deri 2017 029.jpg

Tan-y-Deri 2017 030.jpg

Tan-y-Deri 2017 033.jpg

Tan-y-Deri 2017 032.jpg

Tan-y-Deri 2017 025.jpg

Tan-y-Deri 2017 027.jpg

1 thought on “Tan-y-Deri Porch Restored

  1. They were still working on it Friday morning. : ) I love the porch but wonder how it fits in with the stated intention of Taliesin Preservation to restore the Taliesin complex to the 1959 target date. I recall when the Home and Studio removed several popular post-1909 features (including a cantilevered trellis at the studio entrance). It was a controversial move but Don Kalec and John Thorpe justified it by noting that the target date of restoration had been set in accordance with FLW’s last date of actual residence at the property. Similarly, the 1959 date was chosen as the target date at Taliesin because it was the end of FLW’s ‘laboratory experiments’ at that property.

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s