UNESCO Plaque Celebration

© Mark Hertzberg (2021)

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The early morning fog burned off in time for two ceremonies at Taliesin Wednesday September 15, one to cut a ribbon for the restored Tea Circle, the other to unveil two plaques marking Taliesin’s place in architectural history. One plaque notes Taliesin’s designation as a National Historic Landmark in 1976, the other notes it as one of eight Wright sites collectively named UNESCO World Heritage Sites in 2019. The latter marked years of effort by many people with the Frank Lloyd Wright Foundation and the Frank Lloyd Wright Building Conservancy in particular. Wisconsin Gov. Tony Evers and Anne Sayers, Wisconsin’s Secretary of Tourism headlined the event.

First, I will show you two photos I took wandering through Taliesin before the event, showing the view of Tan-y-deri from Mr. Wright’s bedroom and studio and one I took in the Blue Loggia:

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Kimberley Valentine, left, Carrie Rodamaker and Stuart Graff, center, greet guests before the ceremony:

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Gov. Evers was introduced to Minerva Montooth shortly after his arrival (look for a profile story about Minerva and my history of photographs of her on this website soon):

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Carrie Rodamaker, CEO of Taliesin Preservation, led the ceremonies in front of the Belvedere:

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There was a break in the middle of the speeches for Phillis Schippers, left, Gail Fox, and Sid Robinson to cut a red ribbon at the Tea Circle:

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Then the two plaques on the crest of the hill were unveiled:

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Gov. Evers and Secretary Sayers then toured Taliesin:

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Sid Robinson and Minerva greeted each other:

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— 30 —

 

 

Wright Through My Lens

All photos © Mark Hertzberg (2021)

I had not been to many Frank Lloyd Wright sites outside of Racine in more than two years until a week ago. I had a gracious lunch invitation from Minerva Montooth for Sunday, and a last-minute photo assignment in Sparta, Wisconsin (west of Spring Green) Saturday, so I overnighted in Spring Green. I have always enjoyed challenging myself to see new things at familiar Wright sites on return visits. These are some of the many fruits of last week’s visit.

I photographed at the famous cantilevered Birdwalk terrace from below:

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I noticed visitors taking pictures above me while photographing the Birdwalk:

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I do not plan my photo visits for a particular time of day / lighting…I shoot what is there when I am there. I explored Taliesin and the grounds of the newly-restored Wyoming Valley School Cultural Arts Center in wonderful evening light Saturday, before dinner with Keiran Murphy and “Mr. Keiran.” I visited both again in Sunday’s morning light. I saw the familiar sign for Taliesin in a different way, thanks to the sharp angle of the morning light:

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The first thing I saw at Taliesin Saturday as I drove onto the grounds was the corn crib, dramatically lit by evening light:

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Sunday morning I saw something different with a long lens as I drove up:

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I used a powerful zoom lens to photograph Romeo and Juliet and Tan-y-deri from a distance both days:

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I continued to explore with the long lens:

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I sat on the floor to photograph through one of the fireplaces inside Taliesin:

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I explored Wright’s office – with its own cantilevered balcony – and the original drafting room:

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I photographed Taliesin itself with long and short lenses:

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Going to Taliesin means also exploring Hillside Theatre and the drafting room. The theatre is currently being restored.

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After photographing the ghost-like seats with the sheets covering them I looked for photos under the seats:

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I also looked up:

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Outside is a view of the theatre and nearby farm:

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Then I went to explore the silent drafting room, first reflected in the theatre’s windows:

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And, Hillside itself:

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I photographed Midway Barn from the road, on my trips between Taliesin and Wyoming Valley School and once from Hillside:

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The last set of photos is of the Wyoming Valley School, now known as the Wyoming Valley School Cultural Arts Center. One of the only upsides of the pandemic is that the restoration of the school was able to proceed without having to work around visitors. Many of the changes are structural and not visible. Perhaps the most visible change is that the bricks inside now approximate their original natural color…the yellow of recent years was painted over with a grayish tone.

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The desks in the classroom today are not original, but I enjoyed photographing them through the mitered glass in the evening light nonetheless. This historic black and white photo shows the original desks.

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Robert Hartmann’s wonderful 1960s black and white photos of Taliesin and the school still hang on the walls. His photos documenting the construction of Riverview Terrace are in the rear of the dining room at the Visitors Center.

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I leave you with a photo of the Marvelous Minerva Montooth and my Taliesin selfie. Technical notes: I do no “post processing” on my photos…I do not sharpen them or increase the color saturation. What I shoot is what I get. I sometimes open the midtones a bit and do a bit of dodging and burning in…nothing that could not be done in a traditional chemical darkroom. I use two camera bodies, one has a DX or crop frame sensor, the other is FX or full frame (equivalent to what would be recorded on a 35mm piece of film). The lenses used are: 14-24mm (used on the FX body); 17-35mm (on the DX body);  a 70-200mm on the FX body, and a 200-500mm, used on both bodies. When the 200-500 is on the DX body, it is approximately the equivalent in 35mm terms of a 350-750mm lens. I thank John Clouse for selling me that lens recently…I had a wonderful time exploring Taliesin and Wyoming Valley School with it!

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30-

 

 

A man, his camera, and Wright

© Mark Hertzberg (2021) Vintage photos © Estate of Al Krescanko. Portrait of Krescanko by Mark Hertzberg / The (Racine) Journal Times

Frank Lloyd Wright likely would have had conniptions if anyone had dared alter one of his drawings, but he thought nothing of altering one of photographer Al Krescanko’s negatives before signing and returning it to him. What had the architect retouched? He thought his hair looked too long, so he shaded it in on the negative.

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Krescanko was one of those quiet guys who said he was just doing his job when he photographed Wright some 60 years ago, but his insightful 1957 candid photos of the master architect have been republished in at least two landmark books about Wright. Yet, Krescanko’s byline has remained largely unknown. Among photographers of Wright, it has less name recognition than the work of Pedro Guerrero, Balthazar Korab, and Ed Obma.

Krescanko photographed Wright during the course of his work as a photographer for SC Johnson in Racine, Wisconsin. He also extensively photographed the construction of the Wright-designed Keland House (1954) for Willard and Karen Johnson Keland (later Karen Johnson Boyd), and took pictures for Willard Keland’s unrealized Wisconsin River Development Corporation in Spring Green.

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Krescanko died in 2005, at age 78. A few of his photos of Wright have previously been published, but the Keland House photos were unknown until recently, when the Organic Architecture + Design Archives were lent Krescanko’s photos to digitize by Mary Jo Armstrong, his daughter, for a magazine article. The Keland House photos include the only known view of the original carport which became the master bedroom after a garage was built and the house modified by John (Jack) Howe in 1961.

I would be delighted to tell you more and share more photos, but I will instead direct you to OA + D’s website where you can buy Vol. 9 No. 2 of their excellent thrice-yearly journal. Each issue is devoted to a single topic. Eric O’Malley at OA + D has long been intrigued by Krescanko’s story and photos. Armstrong readily agreed to share her father’s photos with him when he proposed devoting an issue of the Journal to him.

The full story of Krescanko’s career and 41 of his photographs of Wright at Taliesin and at SC Johnson, and of the Keland House construction are in this 40 page issue. Bill Keland, Willard and Karen’s son, helped write the captions for the construction photos as he viewed them for the first time. (I am the “Guest Editor” of this issue of the Journal and wrote the profile. It is a much more extensive profile of Krescanko than the one I wrote in 2002 when I worked for the Racine newspaper. The profile includes interviews with his brother and his two surviving children).

If we have whet your appetite to see and read more about quiet, unassuming Al Krescanko and his not-unassuming subject, follow the link below. As they (whoever ‘they’ are!) say on late night television, “Operators are standing by to take your call!”

https://www.oadarchives.com/product/journal-oa-d-9-2

Mitchell House: Corwin/Wright’s Coda?

© Photos and text Mark Hertzberg (2021) unless otherwise noted

Mitchell House 1895.jpgThe Mitchell House in 1895, from the Racine Headlight, a railroad publication. Courtesy Racine Public Library. Note the second and third floor porch railings in this photograph and the 1908 one.

Perhaps no house linked to Frank Lloyd Wright has generated as much give-and-take about its provenance as the Henry G. and Lily Mitchell House at 905 Main Street in Racine, Wisconsin. Note that I wrote “linked to” and not “designed by.” 

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Paul Hendrickson devotes four pages to the Mitchell House in Plagued by Fire (New York: Alfred A. Knopf, 2019, pp. 75-78) in the context of his writing about Corwin and Wright’s close friendship and professional association:

“This is the greatest house Cecil Corwin will ever design…”

“Call it the Last Fine Building Moment of Cecil S. Corwin.” 

There is no documentation of Wright’s involvement – if any – in the design of the stately house, but there is much thought that Corwin likely designed the house in collaboration with Wright. A definitive answer to “Who Did What?” remains the proverbial “million dollar question” even after 20 years of sometimes contentious discussion. The lack of documentation means that the Frank Lloyd Wright Foundation is unable to ascribe any of its design to Wright.

John Eifler, a well-known Wright restoration architect who grew up in Racine and practices in Chicago, in 2001 was one of the first to suggest Wright’s influence on the design. He told me in an interview in 2003 that “It was Corwin and Wright who did that job together. I imagine that it was Corwin who was responsible for presenting the thing to his client because he probably got the job through his Dad.” (The Mitchells were members of the First Presbyterian Church in Racine. Corwin’s father, the Rev. Eli Corwin, was the pastor of the church from 1880 -1888). “This collaborative thing that happens between architects happens a lot. It’s a collaboration, I think between two people, two young architects.”

His conclusions were bolstered this summer with the discovery of a 1908 photograph of the house. The photograph is in a photo album that also included 1908 photos of Wright’s nearby Hardy House [scroll down at the end of this article to see a post with those photos]. The album pages were acquired for the Organic Architecture + Design archives to ensure their preservation and accessibility for research. I will give more history about the sometimes contentious history of the house before I get to Eifler’s reaction to the 1908 photograph .

1908 Mitchell House OA+D toned.jpgCourtesy of, and copyright by, Organic Architecture + Design (2021). All rights reserved.

In terms of official records, the house was designed by Cecil Corwin in 1894. It was so stated in the April 15 Chicago Inter Ocean newspaper and in the March issue of the Journal of the Inland Architect. This was the year after Wright left Adler & Sullivan, so he no longer had any reason to hide his work. In fact, his Bagley House is listed in his name a few lines below the Mitchell House listing in the Inland Architect.

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In addition, Corwin’s proposal to remodel Herbert and Flora Miles’s house in Racine in 1899 shows a mini-Mitchell House grafted onto the existing house (the remodeling commission passed on to Wright in 1901 but was not realized).

Miles Existing? Wright.jpgCorwin’s 1899 proposal to remodel the Miles House. Copied by the author at the McCormick Library of Special Collections at Northwestern University.

The “Who Did What” intensified in 2002 when William Allin Storrer visited the house on July 12. He photographed it extensively and declared it to be by Wright in a story in the Racine Journal Times and in stories that ran in USA Today and on the Associated Press news wire. Storrer was quoted as saying “Maybe it (the design) is only 75 percent Wright’s, but it’s still Wright. If it’s 51 percent, it’s still Wright’s.” He included the house in a subsequent edition of his The Architecture of Frank Lloyd Wright: A Complete Catalogue (Chicago: University of Chicago Press, 2017). 

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Storrer once speculated that Wright may have designed the house as a gift to Corwin to thank him for letting Wright use his name on his “bootleg houses.” Those were houses that Wright surreptitiously designed while at Adler & Sullivan because his contract forbade him from taking on private commissions. 

As the discussion about the provenance of the house intensified, I asked Edgar Tafel about the house on April 7, 2003. Tafel, one of the original Taliesin Fellowship apprentices (1932 – 1941) told me, “On the very first trip to Racine (in 1936 for the SC Johnson Administration Building) we came down Main Street. In all the times I was there, we came down the Main Street, any number of times. He never mentioned anything about any house other than the Hardy House (four blocks south of the Mitchell House).

Fast forward to May and June 2021 after Eric O’Malley [of OA+D] emailed the 1908 photo to Eifler:

Eric sent the photograph to me as well, and when I saw the railings on the second and third floor, as well as the little bit of ornament adjacent to the dormer I became even more convinced of Wright’s involvement.  Most architects of the period would have interrupted the continuous rail with newel posts, or intermediate supports – I believe only FLW would have run the curved rail continuously.  I have also attached a stair photo from the Goodrich House in Oak Park (1896), with identically shaped balusters.” (Email to me June 17).

Goodrich House.jpgThe stairs in the Goodrich House, courtesy of John Eifler

For comparison, my 2002 photo of the stairs in the Mitchell House:

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And, in a follow-up email on June 21: (interspersed with more of my 2002 photos of Mitchell and 2019 photo of the Blossom House, left, and McArthur House, and a vintage photo of Blossom and McArthur, courtesy of John Eifler):

“1. the Bagley House in Hinsdale and the McArthur House in Hyde Park both utilize Gambrel Roofs and date from the same period.

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2. The Front Porch is similar to that on the Blossom House from one or two years before.  The continuous railing on top of the porch matches Blossom, as do the shapes of the “pickets”.

3. The trim on the interior of the Mitchell House has many similarities with Blossom and Charnley – for example, the window and door heads all align with the picture rail, there is no trim where the wall meets the ceiling.

4. The Art Glass in the south facing study of Mitchell is similar to some of the art glass in the living room of the Charnley House and McArthur.

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5. The wood used in the study is Santo Dominco Mahogany, a favorite of Wright (and Sullivan) and matches the Charnley Hs. Dining Room.”

Eifler elaborated in a followup email July 7: “It [an old photo of the Blossom House] shows a front porch on the Blossom House that is very similar to Mitchell – most notably it shows a railing on the second floor is continuous, with no intermediate supports, which is very unusual, and a continuous string of “pickets” or balusters, that are uniquely shaped with spheres, matching the 1896 Goodrich House in Oak Park by Wright.  Finally, the first floor of the porch is capped by a narrow projecting eave, or cornice (in classical terms) which projects out over the frieze – the proportions of which are unique, I think, to Wright.”

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Tim Samuelson, the City of Chicago’s Cultural Historian (and a dear friend of Paul Hendrickson’s…Plagued is dedicated to him), offers his thoughtful perspective, as well.

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“As we all know from Wright’s autobiographical accounts, Cecil Corwin was a close and valued friend. We also know that they shared room 1501 in Adler & Sullivan’s Schiller Building to conduct their respective architectural practices. The room 1501 was very small – essentially 12′ x 12′.  It’s possible that they also occupied the connecting room 1502 which didn’t have corridor access, but even with that, it was pretty close quarters. (1502 could have been an used by the tenant of adjoining room1505 and had nothing to do with Wright and Corwin at all). (Floor plan courtesy of Tim Samuelson)

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“The Mitchell House indeed displays many elements characteristic of Wright’s work of the period. But at the same time, there are many aspects that do not.” (I am breaking up Samuelson’s comments with some of my 2001 and 2002 photos of the Mitchell House)

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“In my personal opinion, what you see is a matter of personal and professional osmosis between two architects sharing the same space.  Would they look over each other’s drafting boards and make comments and suggestions?  Sure!  Would Wright sometimes help Corwin with difficult design issues?  Of course!

“On the basis of Wright’s autobiographical writings, Corwin recognized and admired Wright’s unusual architectural gifts. Sharing the same space and personal camaraderie, Corwin would have learned from Wright and naturally tried to emulate aspects of his work.  And for a substantial commission on the main street of Corwin’s home town, he naturally would have welcomed comments and help from an admired colleague literally close at hand to create the best design possible.

“In such a closely shared environment between friends, it’s conversely possible that Corwin might have commented and critiqued Wright’s own work. We’ll never really know, but it’s a reasonable possibility.

“There’s always the temptation to skew perspectives to advocate the presence of a “lost” Wright work. But as a result, Cecil Corwin’s presence as a competent architect and a creative person gets lost. Sadly, it’s the story of his life.”

And,  Robert Hartmann, a friend of mine who is an architectural designer and Wright scholar in Racine, weighs in, as well: “The existence of the 1908 photo offers new evidence that the Mitchell house is a  unique one-off collaborative effort between Cecil Corwin and Frank Lloyd Wright. A dichotomy design with the more inventive parts of the house (the porch, and first floor interior detailing) either attributed to Wright or Wright’s influence on Corwin. Cecil Corwin never-the-less produced a masterful house that should be celebrated on its own merits and testifies to the close friendship between the two architects.”

Let us turn to Paul Hendrickson again, and we realize that Wright was concurrently designing his masterpiece Winslow House and Corwin was on the verge of moving to New York and to some measure of architectural obscurity. 

And so, there we have it. We will likely never know exactly who did what, but let us give Cecil Corwin his due for having designed a notable house, likely with help from his good friend Frank Lloyd Wright. 

This collaboration was not only a professional collaboration. It was also arguably the coda of their one-time close relationship (Hendrickson has a rich history of their relationship, elaborating on what Wright wrote in An Autobiography). 

The “Who Did What?” debate will continue with some discounting Wright’s possible involvement, absent documentation to the contrary (Tafel’s remarks keep reverberating in my mind), and others agreeing with the perspectives offered above.

Game on!

https://www.oadarchives.com

I appreciate the willingness of the Pettinger family, stewards of the Mitchell House, to allow me time to set up lights and photograph their home in 2001 and 2002.

— 30 —

(Scroll down for earlier posts on this website, including the 1908 Hardy House photographs)

Why the Flag Becomes Where’s the Flag?

© Mark Hertzberg

This is a story that has a different ending than I anticipated when I started writing about the flag on the Hardy House.

Tom Szymczak, one of the stewards of Frank Lloyd Wright’s Thomas P. Hardy House in Racine, Wisconsin, was moved by the 1908 photograph we have courtesy of the Organic Architecture and Design Archives (OA+D) to hang a 6′ x 10′ flag on the front of the house a few weeks ago. He intended to leave it up through the Fourth of July festivities which are a big event in Racine. The new flag was not a political statement. Quite simply, he wrote me, “The 1908 photo was the inspiration.”

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I took this picture after he hung the flag. It was to be a place holder in my files of photos of the house because I greatly looked forward to photographing Racine’s Fourth Fest parade passing by the house this morning with the flag as the background. Racine’s parade is legendary…it normally has 120 units and takes more than two hours to pass a given spot (this year’s parade was significantly smaller because of the pandemic). Below are photos which Dave Archer took when his family lived in the  house from 1947 – 1957, and one which I took in 2004:

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So where is my photo of today’s parade? I didn’t see a flag when I went to the house. I emailed a “where is the flag” query to the Szymczaks and got a surprising and disappointing call back.

Their neighbor caught someone stealing the flag late Sunday night. How did the thief get the flag? She climbed onto the outside extension of the front hall cabinets in front of the house to pull it down. The neighbor got in a tussle with the thief. She lost the fight for the flag, but she got the thief’s license plate number and police are on the case. I used a common, but loathsome, expression when the Szymczaks told me what happened: “That really sucks.”

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The thief did one positive thing, though. She left a nice palm print for the police.

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Hardy Homecomings

Two people who grew up in Frank Lloyd Wright’s Thomas P. Hardy House in Racine, and a man who had the house on his paper route in the 1970s visited the house in May 2021. These are their stories.

© Mark Hertzberg (2021) with black and white photographs by Dave Archer and Anne Sporer Ruetz, used with their permission. Most of the photos in this article are Archer’s. A wide selection of Ruetz’s photographs are in the preceding article, below this one, or at:

https://wrightinracine.wordpress.com/2021/05/22/hardy-house-photo-proof-positive/

IMG_7194.jpegDave Archer greets Anne Sporer Ruetz who last saw Archer was he was 8.

Many people remember getting their first bicycle for Christmas. But unlike Dave Archer, few can say that momentous event happened in a Frank Lloyd Wright house. Archer was six years old when his parents became the third stewards of Wright’s Thomas P. Hardy House in Racine, Wisconsin in 1947. Two years later the young boy became the proud owner of a blue Huffy bicycle in the Prairie-style house built into a bluff overlooking Lake Michigan.

And, not many people can say that their future career – as a builder and developer in Florida – was inspired by listening as a youngster to Wright at the family dinner table as he told the story of his dendriform columns at the SC Johnson Administration Building. Wright was dining with the Archer family at the Hardy House, just blocks away from SC Johnson.

The Archers lived in the house until 1957, when they moved to Florida. Archer was back in Racine and visited the house May 28 for the first time in more than 40 years. He last saw the house, from outside, around 1980, on his way to Bozeman, Montana to go fishing. Archer was joined on his recent visit by Anne Sporer Ruetz, who grew up in the house from 1938-1947. Her parents had bought the house from the bank after Hardy lost the house in a court fight following its sale at sheriff’s auction in 1937. The last time she saw Dave, she said, he was just 8 years old. Our hosts were Curt and Mallory Szymczak who live there now. They were married in the house two years ago. Curt’s late uncle, Gene Szymczak, rehabilitated the house after buying it in 2012. 

Ruetz has visited the house more recently, so the morning was mostly Archer’s as they reminisced for three spell-binding hours. Before entering the house, Archer commented that there is no longer any evidence of window wells between the two entrances to the house. The window wells  are visible, along with what was likely a coal chute, in some of the photos young Anne took. Archer said the windows were in the sub-basement, or pantry level, below the kitchen level. There is no longer any evidence of the windows inside the house.

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Once inside, looking around the two-story living room, Archer first talked about bringing the family Christmas tree – the one the blue bicycle was under – in through the two story living room casement windows. He and Ruetz remembered decorating their family’s trees from the balcony above. Archer then talked about the two-story windows that look out on the lake. “These windows leaked when we had bad snowstorms. The windows bowed and we had snow on the seats. We had to get storm shutters.”

Archer tree.jpgArcher and Star, his beloved collie, by the family Christmas tree in the living room.

The pear trees that were in the north and south courtyards were so well known in the neighborhood that the Pfisterers, stewards from 1963-1968, once told me neighbors held a wake for one of the trees when it blew down in a storm. The trees were even with the upper level bedrooms. “I used to climb out the windows to get the pears,” remembered Archer. He also shimmied up one of them to get on the roof of the house to do mischief, mischief for which the statute of limitations has expired. Unlike Archer, Ruetz did not confess to any mischief on her watch.

Archer continued, “I crawled up (the pear tree) to the Shovers’ house next door. They had two windows there.” His friend Jimmy Shovers (and Anne’s friend, Suzy Shovers) lived there. I promised him I would not write about the mischief that ensued.

Pear Trees.jpgThe pear trees in the north courtyard are visible outside the upper bedroom windows in this photo that Dave Archer took of people watching the 4th of July parade passing the house, above, and in his photo of the south courtyard, below.

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Then Archer said, still in wonderment at being back in his childhood home, “There are so many good memories of this house.” Ruetz agreed, “Me, too. I cried when we had to move.” Archer, replied, “I was too young to cry. The first time I cried, I saw Bambi.”

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He remembered a big oil tank in the lower basement. “In heavy rains, water would raise up from the drain. My job was to clean the floor up.” He talked about an old gun he found in the basement and Ruetz mentioned that her father was a hunter. Said Archer, You didn’t have to go far to hunt. We had pheasants, rabbits, squirrels, raccoons (below the house)…What I loved was the kitchen. The kitchen windows opened up so they were pretty big. And I went down to make breakfast one morning and there was a rabbit that was trapped in the cul de sac (window well) and I fed him through the window. My mom came out and saved him and put him back in the wilderness behind us. I wanted to keep him.” 

Archer 13 pilings.jpgStar explores the area below the house, an area with lots of wildlife.

Then he turned his attention to the living room balcony. “My dad and mom were entertainers. I would sneak up and lie above this closet and I would watch (the parties below).” Ruetz has also confessed to spying on her parents’ parties.

Archer Balcony.jpgArcher shows his hiding spot for spying on his parents’ parties…a crawl space above the bedroom closets whose backs form the side living room walls.

Archer admired Gene Szymczak’s rehabilitation of the house. “This is such a beautiful job. When I lived here it was getting a bit old at the edges. But Frank Lloyd Wright slept here one or two nights. He had dinner with us once.” Wright remembered having designed a dining room table for the house (the table was no longer in the house when Wright visited). Ruetz chimed in, “We used to put a ping pong net across the middle and play ping pong on it.” A photographer for the Racine newspaper took a picture of she and her friends at the table during her 14th birthday party.

Birthday party.jpgThis is the only known photo of the Wright-designed dining room table. It was taken at Anne’s golden birthday party in 1946.

The house was designed in 1904/05 before automobiles were part of everyday life, so there is no garage (Wright did not design carports until the mid-1930s). Archer said his father “thought about opening up the courtyard on this side (the north side) so he could pull his car in there, make it an open kind of spot.”

Garage Top darker.jpg

Garage Title.jpgThe Sporers also thought about having a garage in the north courtyard. Plans were drawn by Edgar Tafel August 1, 1941, before he left the Frank Lloyd Wright Fellowship after nine years. © 2021 Frank Lloyd Wright Foundation, Scottsdale, AZ. The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art / Avery Architectural & Fine Arts Library, Columbia University, New York)

There used to be a public beach just south of the house. Both Archer and Ruetz remember people thinking the stucco Hardy House might be a bathhouse for the beach. Archer also remembers tour buses with Wright aficionados. “In summer sometimes buses would come.. People were get out and take pictures of the house. I came home one day and said, ‘Mom, I need some paper.’ She asked why. ‘I’m going to make some tickets.’ She turned him down. I said, ‘Damn! I could have made some good money!”

Terrace.jpgRobert Archer, Dave’s father, built wooden slats to go over the surface of the dining room terrace which was often too hot to walk on.

Dave, Mary, Star, terrace.jpgDave and Star with Mary Archer, Dave’s mother, on the dining room terrace.

Archer Mary Painting.jpgDave sits in the living room under a portrait by his mother. She was a well-known portrait painter in Racine.

St. Luke’s Hospital, a block from the Hardy House, was building an addition when Archer was young. “They had a workman’s shack they stored stuff in. They had a Coke machine, the kind you had put quarters in [Coca Cola was packaged only in bottles then]. One Sunday we went over there and decided we were going to get some Cokes. We got two pea shooters and a can opener.” He and his friends popped off the bottle caps and used the pea shooters at straws while the bottles were in the machine which had an open top.”  “They also had a big thing with wheels for carrying equipment on it. We took it and built a tank out of it. We used a baseball bat as a gun. We used it in the 4th of July parade.”

By 1957, Mrs. Archer had died and Mr. Archer wanted to start an airline and sell real estate in DelRay, Florida. He planned to buy a section of DelRay beach and develop it. He developed the Sherwood Park golf course, among others. Dave followed in his footsteps. “I started out digging ditches in construction. I got a carpenter’s license then foreman’s, then I took the Realtor’s and broker’s exams. My father built Lanikai (a housing development), with the first underground parking in DelRay Beach, Sherwood Park, Sherwood Forest, then he bought Sea Horse Bath and Tennis Club, then East Wind Beach Club. By then I had a broker’s license and designed and built Ocean Reach and two others. He helped build golf course at Quail Ridge and DelRay Dunes. He was pretty influential in a lot of places in DelRay.” Mr. Archer died in 2002 in North Carolina. 

“I got into designing and building because of Frank Lloyd Wright. I was so influenced by this house. He also fascinated me because when he was here (he talked about) how he designed the pillars at the Johnson Wax building and how he had to fight the city (for permission to use the dendriform columns). It got me interested in construction. I was probably 12 or 13.”

Archer added to the Hardy House lore with a new name for his upper level bedroom. Among all his designs, Wright unknowingly designed a penal institution at 1319 Main Street. As Archer related stories of his mischief and told about often being banished to his room, “I was up in jail again.”

He had one birthday story to relate. “My grandfather was in advertising and hired Buck Rogers and his cohort girl to come down for my 10th birthday party here. Boy, was I famous for awhile! I was looking so forward to my 10th because I would be a teenager. ‘No, son,’ my father said, ‘You aren’t a teenager yet.’  I was so peeved. What made up for it was when Buck Rogers came for my birthday!”

After listening to Archer and Ruetz, Curt chimed in about what the house means to him and Mallory. “It’s a whole other world being in here. The moment you are in here or out on the deck you are transported into a whole different world. It’s magic. You forget you are in Racine, in the Midwest, you are in a whole different world.”

Curt Archer Ruetz.jpgCurt Szymczak bids adieu to Archer and Ruetz in the front hallway.

I had stopped at the house one morning in early May when I saw Joan and Tom Szymczak, Curt’s parents, in front, doing yard work, when a man walked up and asked if we had any connection to the house. He explained that he is a Residential Designer/CAD Drafter/Estimator in Milwaukee, and that he was greatly influenced by the Hardy House when it was on his paper route when he was 12 – 16 years old. I asked him to email me his recollections of the house and how it influenced him. I have edited them for brevity. Paul Alan Perez’s story continues the tale that Dave Archer tells about Wright influencing his future career.

Perez Hardy.jpg

I had several paper routes (including the Racine and Milwaukee newspapers and the Chicago Tribune) from 1975 to 1979. One of my customers was the Hardy Residence on Main Street. I did not know much about the owners except that he was a nice middle aged man, (Jim Yoghourtjian), although I think he had black hair and glasses looked like a professor or an attorney who had two really big dogs that barked a lot when I came to collect at the residence semi-private front door entrance (Yoghourtjian was a famed classical guitarist). He liked his paper inside the screen door and not folded. He didn’t say much but tipped me well when I gave him the next years calendar at Christmas time. 

I finished delivering my routes everyday near Johnson Wax and back then in the Mid to late 1970s there was no gates surrounding the complex like there is today and I would enjoy riding my skate board thru the smooth pavement and very cool architecture of the Johnson Wax Parking Structure (carport) because it was always open. It was then and there that I feel in love with the wonderful art of architecture. 

Later in life as an adult when I was studying graduate architecture at UWM-SARUP (University of Wisconsin – Milwaukee) I saw the movie documentary about Louis Kahn’s life and career and his son told his father’s story as he roller blades thru all his famous works. I thought that was a very unique and special experience that I once shared as a young boy with Mr. Wright’s famous works in Racine.

So it was really that experience coupled with my 7th grade ‘World of Construction’ class where we saw a documentary of Eero Saarinen’s ‘Gateway Arch to the West’, the building of the St. Louis Arch, and me and my school buddy got to design and build our own house in class. I was hooked and madly in love with the architecture and building things like tree forts to hide out and play cowboys & Indians. We built one that was really big with 3 levels the city eventually came and demolished it. 

Once in high school I began taking more courses related to architecture and construction and excelling in architecture and mechanical drafting classes which gave me confidence and the curiosity to learn more and found a wealth of information on FLW at the Racine Public Library and then I remember my last paper route customer was Cong. Les Aspin whose office was at the Post Office. After him I usually went straight to the library to read FLW books cause they had lots on him and that is really what fascinated me so much about FLW was his art of architecture in all those books.

(Perez describes the intricacies of a private millwork commission which I have chosen not to identify) It is a typical example of architects designing things that physically can’t be done yet. FLW was the best at doing that and that’s why we LOVE him so much!

Over the course of my professional career in the construction industry I have become a highly conscientious, detailed minded architectural professional who has built an excellent reputation for quality and in-depth knowledge of all facets within the architectural and woodworking fields owing it all to the wonderful experiences I have been blessed with growing up in Racine on Park Avenue near all of Frank Lloyd Wright’s masterpieces.

— 30 —

 

 

 

 

 

 

 

 

 

Happy Birthday, Mr. Wright

Photos © Mark Hertzberg

There is a small gathering to mark Frank Lloyd Wright’s birthday (June 8)  at Taliesin this evening, in lieu of the big celebrations of pre-pandemic years. My wife and I have been privileged to have been invited by Minerva Montooth to those lively evenings. We stopped to see Minerva Friday on our way to Minnesota. I honor Wright’s birthday this year with a photo taken yesterday of Minerva’s smile and the seemingly ever-present gleam in her eyes.

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Thank you, Minerva, for yours and Charles’s friendship, and for all you do to keep Wright’s legacy – Mr. Wright to you and the Taliesin family – alive for the World of Wright. You are always stylish when we see you, with a lovely scarf! We love you!

Hardy House: Photo Proof Positive

© Mark Hertzberg (2021)

Several features of Frank Lloyd Wright’s Thomas P. Hardy House in Racine have been the subject of speculation for years because of the dearth of historic photos. Three newly discovered 1908 photos of the house, which was completed in 1906, end the speculation.

The first of the 1908 photos, showing the Main Street side of the house, may have been taken on Flag Day or on Independence Day:

LR 1908 Hardy Main.jpg© 2021 The Organic Architecture + Design Archives, Inc.

 

We can now definitively answer questions about the two front gates to the house, front plantings, the seven front hall windows, the south first floor bedroom windows (on our right in the photo above), the original dining room windows, and the rear gutter and downspouts.

Many people contributed to our getting the new photos and to understanding them. They are credited at the end of this article.

Until we got the new photos, the only clear vintage photograph of the house we had was this one from the Wright archives, evidently taken as the house was nearing completion in 1906:

Terrace 0506.004 raw.jpg© 2021 Frank Lloyd Wright Foundation, Scottsdale, AZ The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York)

I was sent this 1906 “real photo postcard” below by Patrick Mahoney in 2018:

LR 1906 Hardy Mahoney.jpg

The Gates: This 1906 photograph, taken around the time Hardy moved into his new home, is regrettably not clear enough to let us examine the windows, but we can now affirm that the gates were stucco. Until we got the 1908 photos, Mahoney and I thought we were looking at the stucco walls inside the gates rather than the gates themselves.

By the time that Henry-Russell Hitchcock photographed the house in the late 1930s or early 1940s for his book In the Nature of Materials, there were wood panels on the gates:

Hitchcock Hardy.jpg

The wood panels are also evident in photos that Anne Sporer Ruetz took in the early 1940s when she was growing up in the house (her parents were Hardy’s second stewards, from 1938 – 1947). You will see her photos further down in this article. The gates seem to have insets on which there could have been stucco panels. Did the stucco panels prove to be too heavy?

The gates were removed by the third stewards of the house (the Archer family, 1947 – 1957). The late Gene Szymczak, who became the seventh steward of the house in 2012 extensively rehabilitated the house, which needed major work. He also commissioned new gates for the house. He elected to use Wright’s first design, gates with diamonds atop the gates:

Drawing Main Street.jpg© 2021 Frank Lloyd Wright Foundation, Scottsdale, AZ. The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art / Avery Architectural & Fine Arts Library, Columbia University, New York)

Plantings: Marion Mahony’s elevation drawing of the Main Street side of the house shows plantings below the front hall windows. Original to the house, they are long gone, as are the climbing plants:

LR Crop 1908 Hardy Main.jpg © 2021 The Organic Architecture + Design Archives, Inc.

Front Hall Windows: There has been speculation about the original design of the seven windows between the two front doors. The 1908 photograph and Anne’s affirm that the windows in the house when Szymczak bought 1319 Main Street in 2012 were original, but they did not conform to the only Wright drawing we have of them. The windows were badly deteriorated, below, and were replaced with new ones by Szymczak:

Floor Plan Window.jpg

Wright’s drawing, below, is shown in the correct orientation. The text block was positioned as if the drawing is to be viewed as a horizontal sheet, rather than vertical, says my friend Bob Hartmann. At the upper left we see the front hall window design. The five-panel living room windows are at right. Bottom center are the bedroom windows:

image004.jpg © 2021 Frank Lloyd Wright Foundation, Scottsdale, AZ. The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art / Avery Architectural & Fine Arts Library, Columbia University, New York)

Robert Hartmann, an architectural designer in Racine, has been of invaluable help to me in all my Wright projects, helping me navigate design territory unfamiliar to me. He studied the drawing and photographs closely and observes: “The windows that we see in these photographs appear to be the same windows that were in the house when Gene [Szymczak] bought it. But, they are different than the window design that Wright put on paper. Wright’s design was symmetrical with less elements. His design (on paper) for the hall windows referred to the symmetry and simplicity of the living/dining and upper bedroom windows.

“However, the hall windows that we see in these photos are most likely original to the house. It is not unusual to see a design modification occur during construction.”

Bedroom Windows, Living Room windows: These are the second and third photos from the 1908 collection. You will see the original photos and my enlargements of them. The south bedroom windows are to the left and the two-story living room windows center. Pull down shades are evident on the windows. Anne told me that her parents removed the original living room windows because they leaked badly. They have been clear glass in recent memory. We had a hint of their design from the 1906 construction photo, but now we can clearly see Wright’s original leaded glass living room windows:

LR 1908 Hardy HIll.jpg© 2021 The Organic Architecture + Design Archives, Inc.

LR 1908 Hardy HIll Crop.jpg© 2021 The Organic Architecture + Design Archives, Inc.

Hartmann comments first on the first floor bedroom windows: “It looks like it is just clear glass in the bedroom windows.  If it were art glass we would be able to see some traces of the pattern. The key is in the window on the east side that is visible in the photo. Bright light is coming through the window and yet we do not pick up any representation of the art glass pattern. There is a curtain drawn to south side of the window in the foreground. It is pulled back to the window casing  and of a medium grey value. If the art glass were present it would stand out in contrast against the curtain. But, the photo is not in perfect focus so there is a percentage of doubt.”

LR 1908 Hardy Side.jpg© 2021 The Organic Architecture + Design Archives, Inc.

LR 1908 Hardy Side Crop.jpg© 2021 The Organic Architecture + Design Archives, Inc.

Gutter and downspouts: Many people have questioned me about the gutter and downspout on the rear (lake side) of the house. The historic photos show they are original or hew to the original design.

Anne was given a Brownie box camera, likely for Christmas, when she was around 10 years old (the same age I was when I was given my first Kodak Brownie camera!). “Not too many of my friends had a camera but I just thought it fun to take and get the pictures. It would take about a week to get them developed [at Red Cross Drug, 13th and Villa streets], hard to wait.” Her snapshots of her friends show us the windows, the gates, and what may be a coal chute in front of the house (there is no evidence of it anymore).

Dream house 1.jpg

Cushman Hill gate.jpg

Mary Hill and gate.jpg

Shovers.jpg

Sporer- Friends.jpg

Tag 1.jpg

Tag 2.jpgAnne is at left in this photo.

Turnball standing1.jpg

Hill and ball.jpg

I must credit the people who contributed to our being able to better understand how the house was built:

Mike Lilek, the force behind Frank Lloyd Wright’s Burnham Block in Milwaukee, alerted me April 16 to a 1908 photo album with photos of the Hardy House and one of the Mitchell House for sale on eBay (Mitchell is grist for a later separate article). He pointed to the 45 or 46-star flag (some of the stars are obscured). The former was in use from 1904 – 1908, the latter from 1908 – 1912. The album is dated 1908.

-Lilek’s email was followed by an alert from Racine historian Gerald Karwowski.

– I notified the stewards of the Hardy House as well as Eric O’Malley of the Organic Architecture and Design Archives (OA+D). OA+D entered the bidding to ensure that the photographs had a safe new repository. They successfully acquired the photos and quickly shared high resolution copies with the Hardy House stewards, with Hartmann, and with me.

I urge you to explore OA+D’s website, and to subscribe to their Journal:

https://www.oadarchives.com

I thank Anne Sporer Ruetz for her friendship and eagerness to share her memories of what she has called her “dream house.”

I also thank architect Patrick Mahoney of Buffalo, another friend and well known Wright Scholar, for the July 1906 “real photo postcard” he sent me in 2018.

    – 30 –

 

Wright Crosses the Pacific Again, in 2021

© Mark Hertzberg (2021)

Frank Lloyd Wright first crossed the Pacific Ocean in 1905 to visit Japan. Figuratively speaking, Wright just made another crossing with the republication in May 2021 in Mandarin of two Wright books in one “omnibus edition” by the Beijing-based China Architecture Publishing & Media Co., formerly known as the China Architecture and Building Press. The books are Grant Hildebrand’s Frank Lloyd Wright’s Palmer House (University of Washington Press, 2007) and my Frank Lloyd Wright’s SC Johnson Research Tower (Pomegranate, 2010). The translated title of the omnibus edition is Organic Architecture Landmarks of Frank Lloyd Wright: SC Johnson Research Tower, Palmer House.

This is a color proof of the handsome cover:

Chinese Cover.jpg

This exciting news (for me, as an author, as well as for anyone looking for unique ways to add to their Wright libraries) has been four years in the making.  Shuai Qi, an executive editor with the publisher, first broached the subject with me and with copyright holders of other potential books to include in the omnibus edition in April 2017. The four years of emails that ensued, concerning publishing rights, licensing agreements, contract language, payment arrangements, and myriad other details sometimes dragged out because of the 13-hour time difference between Racine and Beijing.

Prof. Yang Peng, a lecturer in Modern 20th Century Architecture at Renmin University of China School of Arts, translated the two books into Mandarin. He commented in an email, “FLLW still is and will be a great force to overcome the cultural shortsightedness.

“It is my privilege to make some contribution to let more Chinese readers know his works and ideas.”

7D5A00374CF8A71124B45DAA93A_51C3D4DE_A794.jpgProf. Peng

I asked Shuai Qi to tell me more about the interest about Wright in China. I knew of  of the great interest in Wright’s work in Japan, but nothing about his draw in China.

“Actually, Wright himself as a great architect is well known and some of his famous works is popular with Chinese people. Many books concerning Wright has been introduced from abroad and published here in China. In addition, the translator, also my friend, Prof. Yang Peng, is a true Wright fan. He has made a lot of research on Wright and even translated Wright’s Autobiography into Chinese.
“Many people in China know Wright’s famous works but few people know his works such as SC Johnson Research Tower and Palmer House. This is why we plan to introduce and publish this book into China. We think it can attract even more people’s attention and encourage them to explore more about this great architect. The target audience can be university and college students, architects, designers, and scholars, etc.”
During the four years of emails – 340 related messages are in my files – I suggested to Shuai Qi (not entirely facetiously!) that the publisher bring me to China to give my Wright lectures, including the one about the Research Tower. Not so unreasonable, is that maybe I will be able to do some Zoom lectures, now that they have become part of our “new normal.”
Now, for Stan Ecklund, Randy Henning, and all the others interested in buying the book, it is not yet on their website, but it can be ordered by emailing Li Juan by at:
2427634479@2427634479@qq.com
In 2017 the price of the book in US dollars was just under $4. I believe it is around $12 now, but that is exclusive of mailing costs, of course. If you all order enough copies the initial printing of 3,000 copies will sell out and I will get another royalty check when the second printing starts. So, you know what to do!
I apologize for the formatting problem that refuses to put the proper spacing between the last few paragraphs.

A New Take on Wright’s Work, Part Two

© Mark Hertzberg (2021)

A week ago I posted a review of Joseph Siry’s new book, Air-Conditioning in Modern American Architecture, 1890-1970. The review was Wright-specific, for this website’s audience. It merits an addendum. I confess to having written it after finishing the Wright section, and before I finished the book, to meet a self-imposed deadline.

I now need to share a relevant part of the book’s final chapter, [Louis I.] Kahn’s Architecture and Air-Conditioning to the 1970s. The context is a discussion of Kahn’s Alfred Newman Richards Medical Research Building at the University of Pennsylvania, 1957-1960.

Part of Kahn’s inspiration for the laboratory tower came from Wright’s SC Johnson Research Tower, which was extensively published upon its completion in 1950 and which Kahn visited in 1959. He said of it: “The Tower was done with love and I should say it is architecture…Architecture should start a new chain of reactions. It shouldn’t just exist for itself; it should throw out sparks to others. That is really the judgment of a piece of art, that power. If the Tower has this power to throw out sparks, to make you want to build one of the things, then I believe it functions.”

Indeed, that is quite a tribute to Wright’s landmark building in Racine, even though the company began to outgrow the facility by 1957, and moved out of it just 30 years after it opened.

Fall Sun.jpg

To view a photo of the Richards Medical Research Building:

https://www.facilities.upenn.edu/maps/locations/richards-medical-research-laboratories

The mechanical systems are in the towers you see in the photograph.