Penwern: The Next Chapter

Contemporary photos and text © Mark Hertzberg (2019)

Frank Lloyd Wright Drawings: © 2019 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)

2019 Reconstruction drawings © Russell J. DePietro, Architect/ DePietro Design Associates

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The gate lodge at Penwern, Frank Lloyd Wright’s Fred B. Jones estate on Delavan Lake in Wisconsin (1903) was significantly altered in the 1970s and 1980s. Among the changes were the loss of  the gate lodge greenhouse, which though commercially built, was shown on Wright’s drawings, and about half of the semi-circular boulder wall which formed the east perimeter of the gate lodge property, past the greenhouse and gate lodge water tower.

Gate Lodge 003.jpgThe greenhouse is shown at left, between the gate lodge water tower and the semi-circular boulder wall. Photo courtesy of John Hime. The two historic photos below are thought to have been taken in 1935, two years after Jones died, while the estate was still in probate. They are courtesy of Betty Schacht, whose grandparents were the caretakers of Penwern at the time.

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Canty Carport removal.jpgThe greenhouse had deteriorated significantly by the 1970 when it was replaced by a carport. The Majors had the carport removed after acquiring the gate lodge in 2001 (they had bought the rest of the estate in 1994). Photo courtesy of Bill Orkild.

Sue and John Major, stewards of Penwern since 1994, are taking another step in the restoration of the estate this fall, having commissioned Bill Orkild of Copenhagen Construction to reconstruct both the greenhouse and the wall. Orkild is working from drawings prepared by architect Russell J. DePietro of DePietro Design Associates in Delavan. DePietro was able to study Wright’s extant drawings:

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DePietro is no stranger to restoring and reconstructing Wright’s work, having worked with the Majors since their first project at Penwern, the removal of Jones’s two non-Wright (and unsightly) 1909/10 additions to the main house. He says, “I feel it’s an honor to work on a Frank Lloyd Wright restoration. I was very fortunate and I am forever thankful to the Majors for reaching out to me to help with the restoration, starting with the house and tearing off the additions to it.” DePietro has played a major role in every project at Penwern since then, including making the main house structurally sound, restoring the stable, rebuilding the boathouse from Wright’s plans in 2005 (it was destroyed in an arson fire in 1978), and in 2015 building new side porches that were in keeping with Wright’s plans for the main house.

DePietro, a native of upstate New York, and an architectural graduate of the University of Illinois, opened his office in 1985. But he was no stranger to Wright’s work. “I’ve studied most of the Master Architects’ during my career and became a Frank Lloyd Wright fan years ago at the age of 17 when my uncle took me to New York City to tour the Guggenheim Museum.  I’ve explored Taliesin in Spring Green, the Dana House in Springfield, Illinois, the Johnson Wax Headquarters in Racine, his Oak Park studio, the Oak Park, Illinois homes, Unity Temple and I’ve studied a number of
his other works over the years.  I’m planning on touring Taliesin West in Scottsdale this coming January/ February 2020.”

Architectural designer Robert Hartmann was the first to notice the significance of  half the boulder wall missing when he carefully studied Wright’s plans in 2017.  He pointed out that the lines (right, in the drawing below) echo the curves and arches that are prevalent in the main house and the boathouse.

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LR Orkild hat and Hartmann 001.jpgHartmann, left, and Orkild compare Wright’s drawings to buildings at Penwern.

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It is thought that the boulder wall was partially demolished after the property was subdivided in 1989 and a driveway was built for the new adjoining home.

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Penwern Greenhouse and Wall 8.7.19 008.jpgThe remaining original boulders (sometimes referred to as “bowlders” on Wright’s drawings, were marked and will be replaced whenever possible along the new wall structure.

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Jones was passionate about growing roses in his greenhouse but the new greenhouse will be used as an entertainment space, surrounded by roses on the outside patio. It is expected that the work will be completed by late fall.

Upcoming Penwern illustrated talks:

Tuesday August 20, 2 p.m., Geneva Lake Museum in Lake Geneva, Wisconsin

Thursday September 12, Cliff Dwellers Club, 200 S. Michigan Ave. Chicago, co-sponsored by The Cliff Dwellers, the Society of Architectural Historians, Friends of Downtown, and AIA Chicago.

Cocktails: Cash bar opens at 4:30 p.m. Free Program: Begins 6:15 p.m. Dinner: Available after the program, a la carte. Reservations for dinner are requested: reservations@cliff-chicago.org or call 312-922-8080. Discount parking is available after 4:00 at the garage located at 17 E. Adams – enter on Adams between Wabash and State.  Ask for a discount coupon at the check-in desk.

 

 

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Noshing with Wright, Part 2

(c) Mark Hertzberg (2019)

Last fall we presented a story about architect and gourmet chef Steven Freeman from Manchester, New Hampshire cooking his way across the Frank Lloyd Wright landscape in Wisconsin:

https://wrightinracine.wordpress.com/2018/11/01/noshing-with-wright-cooking-3-gourmet-dinners-in-3-wright-homes-in-5-days/

Steven and his cooking knives, spatulas, etc. were at it again in May, not only with a repeat performance at Wright’s Mollica House, but also at Wright’s A.W. Gridley House in Batavia, Illinois. His menu is always developed with the stewards of the particular house – in this case Peter and Laura Frost – and locally sourced. If you are the steward of a Wright home and these photos whet your appetite, Steven is looking for opportunities to cook in your home. His guiding principal is that while he is eager to experience as many Wright homes as possible he thinks it would be inconsiderate to do so without doing something for you in return. Bon Appetit! You can contact him at: freemansteven@me.com

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Freeman Dinner Gridley House 021.jpgArchitect and prolific Wright author Tom Heinz is second from left, above.

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SC Johnson Carport

(c) Mark Hertzberg (2019)

These are photos of the carport at the SC Johnson Administration Building in Racine on July 27, 2019 when we were taking a friend from New York City on his first tour of the Frank Lloyd Wright-designed buildings:

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Photographing Wright Sites, Part 4

(c) Mark Hertzberg (2019)

This is the fourth installment of showing you different things I saw and photographed while visiting new and familiar Wright sites this spring. The next post coming is the same theme, but with a few more surprising photos.

Jacobs 1 – Peeking through the carport:

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My first visit to Muirhead Farmhouse, Hampshire, Illinois:

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Visiting the restored Robie House in Chicago (photographed with permission of the Frank Lloyd Wright Trust):

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The adjoining McArthur (left) and Blossom houses in Chicago:

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The Gridley House in Batavia, Illinois, where we enjoyed another special Steven Freeman dinner…but that’s grist for another post down the road…

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Wyoming Valley School Artifacts

(c) Mark Hertzberg (2019)

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Saturday June 8, Frank Lloyd Wright’s birthday, started as an ordinary open house day for Mary Pohlman at Wright’s Wyoming Valley School near Taliesin. It was ordinary until a member of the late Paul Buchner’s family came in and presented her with heretofore unknown historic artifacts including a telegram from the architect to Buchner,  a member of the school board when the school opened in January, 1958.

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The late photojournalist Don Nussbaum did a picture story for the Milwaukee Journal when the school opened.

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Wyoming Valley School Timeline: Designed in 1956, Constructed in the fall of 1957, Opened in January of 1958. The school is now the Wyoming Valley School Cultural Arts Center. A link to the website is:

http://wyomingvalleyschool.blogspot.com

Poking Around Taliesin With My Cameras

(c) Mark Hertzberg (2019)

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This is the third installment this spring in my photographic discoveries at Taliesin…based on the premise that one can indeed see new things even on one’s umpteenth visit to a building designed by Frank Lloyd Wright. This visit was the weekend of June 8…when we were privileged to stay overnight in the Rose guest room after Minerva Montooth’s and Taliesin Preservation’s annual celebration of Wright’s birthday.

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Yes, as seen above, sometimes there is a reason I bring a camera into the bathroom!

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There are, indeed, gnats and mosquitoes on a warm spring evening.

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Photographing Familiar Wright Sites, Part 2

Photos (c) Mark Hertzberg (2019)

A few weeks ago I posted photos that showed new things I saw at Frank Lloyd Wright sites that I had visited “umpteen” times. I was helping lead a Road Scholar tour and had told the guests that one of the joys of Frank Lloyd Wright’s architecture is the challenge of seeing his work in new ways on return visits. For me that means I have a personal challenge to see new things to photograph. On my visit to Taliesin last Friday – just two weeks after my last visit with a Road Scholar group – I saw many new things. One cannot help but be on the lookout for new things with Cate Boldt as docent (and that is not to diminish her colleagues’ skills, but, well, Cate is Cate!).

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I cannot count the number of times I have been in the living room at Taliesin and seen the piano. This was the first time I saw it this way and thought about Wright and his apprentices sitting next to the windows and gazing out at the “Valley of the Almighty Joneses” (the late Edgar Tafel, one of the first Taliesin Fellowship apprentices, often told of Wright directing him, “Edgarrrrr, play some Bach!”). Hats off to Cate for sending me into the small kitchen adjacent to the living room to look for our friend Minerva Montooth!

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How many times have I seen the old drafting tables in the original drafting room? This is the first time I have seen photographs in them:

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This is what Wright called “the belvidere,” framed by the wisteria plants outside his bedroom:

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I led my last post with a view of the farmland framed by a window near the bird walk. I saw more things framed by windows this visit. Two photos look abstract because I shot them as my camera’s autofocus was hunting for a focus spot:

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And, seen from the entrance to Hillside Theatre:

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Sometimes the architecture itself frames our view:

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Sometimes the red shuttle bus can add a point of interest, instead of being an element to crop out of the photo:

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The next two photos are from the Jacobs 1 House and the Unitarian Meeting House in Madison:

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While I have your attention, on June 14 Nick Hayes, steward of the Elizabeth Murphy American System-Built house in Shorewood (Milwaukee) will present a program about the house and the ASB homes in Milwaukee. I encourage you to hear his presentation:

https://uwm.edu/sce/courses/how-frank-lloyd-wright-built-an-artistic-legacy-from-a-tiny-house/

 

 

Photographing Wright for the Umpteenth Time

Photos and Text (c) Mark Hertzberg (2019)

When I take guests on Frank Lloyd Wright tours for Road Scholar I tell them that one of the joys of Wright’s architecture is the possibility of seeing new things on every visit to places one has been to before. I always take my cameras with me on the Road Scholar tours for that reason and on my fifth tour for them, two weeks ago, I saw new things in buildings I have photographed many times. Alas, I did not find new things at every site we visited.

My first discoveries were at 2734 W. Burnham Street in Milwaukee, an American System-Built duplex being restored by Frank Lloyd Wright’s Burnham Block. The walls have now been stripped off and I saw these things, including the incinerator chute in the kitchen. The first photo is the view from the living room into the kitchen:

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I have photographed the Unitarian Meeting House in Madison many times. This visit I saw these views of the church. I hope to see the new copper roof by the time of my scheduled fall visits:

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I also saw a picture which spoke to the church’s statement of what Unitarianism is about, a collection of May poles amidst a “Black Lives Matter” sign. No matter what one’s beliefs, this is what the church believes, which is why the church exists, which is why there was a building for Frank Lloyd Wright to design:

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I have enjoyed photographing one of Wright’s smaller commissions, the Wyoming Valley School. This is what I saw differently this time:

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At Riverview Terrace (the Visitors Center at Taliesin), I was struck by the colors on a tree in the driveway:

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Then, of course, there was Taliesin. One of the guests asked why there are no art glass windows in the house. Cate Boldt (our superb docent) explained that Wright had no reason to shield the house for privacy and art glass windows would have blocked the views of his beloved land. What did Wright see?

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Windows looking out from the guest room were uncovered in December, 2017:

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The “Hoffman rug” in the living room has been taken out:

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The Romeo and Juliet Windmill and Tanyderi:

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And, then, finally, this was the first time I saw the drafting room at Hillside Home and School without students, which meant I could go into the room and take pictures:

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The tour I accompany for three days for Road Scholar is: https://www.roadscholar.org/find-an-adventure/22976/architectural-masterworks-of-frank-lloyd-wright

 

 

An Advance Peek at “Plagued by Fire”

© Mark Hertzberg 2019

Santa Claus brought Paul Hendrickson and Frank Lloyd Wright together in 1953 when he left a maroon J.C. Higgins 3-speed for nine-year-old Paul under the family Christmas tree in Kankakee, Illinois. The bike was not hidden under a blanket, Hendrickson recalls. It was uncovered, “dominating the spray of presents,” there for him to see as he came down the stairs in the morning.

It was chilly that day, with temperatures averaging 30-degrees, the wind gusting to almost 20 mph, hardly conducive to riding far (if at all) on his shiny new bike. When winter gave way to spring three months later, the boy hung his soft brown leather Spalding baseball mitt – he thinks maybe an Eddie Mathews model – on the handlebars of his bike and pedaled away, headed for the ball diamonds in nearby Riverview Park (now known as Cobb Park).

Five blocks south of Hendrickson’s boyhood home, just before he had to swing southeast to get to the park, well, there they were: Wright’s Bradley and Hickox houses. There were other nearby houses with Prairie-style elements (including his family’s rented house), but none as striking as the two Wright-designed homes. The boy often paused on his way to the park to take them in.

Bradley House 010.jpgFrank Lloyd Wright’s Bradley House, Kankakee, Illinois

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Hickox House 010.jpgThe Bradley House, left, and the Hickox House

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Bradley House 001.jpgThe Bradley House was the more striking of the two for Hendrickson

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This October, almost 66 years after Santa delivered that new bike, Hendrickson’s latest book, a ground-breaking biography of the architect whose work impressed a little boy in ways he did not yet understand, will be published. Plagued by Fire: The Dreams and Furies of Frank Lloyd Wright tells Wright’s story like no other book has. Its genesis was simple, Hendrickson wrote me in an email, “This book started in my imagination…when I was riding past it [the Bradley House] on my J.C. Higgins 3-speed.” 

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I have just finished reading a bound proof of the book (disclaimer: Hendrickson and I have become friends since he began researching certain aspects of Wright’s life and career). I will write about the book in this essay without telling you anything specific about its revelations and interpretations of Wright’s life because that was the condition of my being able to write about it. 

Hendrickson’s goal was to humanize the often-demonized Wright. The book will not be out for another six months but it has rattled the sensibilities of a few Wright devotees, judging from their comments in “The Wright Attitude” Facebook group. They were reacting to the publisher’s advance blurb at: 

https://www.penguinrandomhouse.com/books/240133/plagued-by-fire-by-paul-hendrickson/?fbclid=IwAR1hJrTqhlIsM3t28DPcIi59A3OvhKwIlCjMOGJ4reoTnb5yxwLiaKLg0To

Some commenters were upset by “And this, we see, is the Wright of many other neglected aspects of his story: his close, and perhaps romantic, relationship with friend and early mentor Cecil Corwin; the eerie, unmistakable role of fires in his life; the connection between the Tulsa Race Riot of 1921 and the murder of his mistress, her two children, and four others at his beloved Wisconsin home by a black servant gone mad.”

Hendrickson does not stab wildly in the dark to reach his conclusions. His conclusions – and sometimes he writes that we will never know the answer to one particularly intriguing question or another – are not unsubstantiated. He meticulously outlines the facts he has uncovered (perhaps inconvenient facts for some people). His research is unimpeachable. I have already told you that I won’t spill the beans. You will have to wait until you are near the end of the book for some of the pieces of Hendrickson’s take on Wright’s life to fall in place for you, but they will. I smiled and nodded when I reached those points of understanding.

The colloquialism “gumshoe” refers to detectives, sometimes private eyes. Hendrickson does not wear a tan trench coat and fedora in the style of 1950s film noire detectives, but I thought of him as a gumshoe when I read how he left no stone unturned in his research. He outlines for his readers how he came to understand facts about Wright in his narrative, rather than forcing the reader constantly turn to cumbersome endnotes. Still, his 45-page “Essay on Sources” at the end of the book is as important as the narrative itself. Hendrickson drove untold hundreds (or even thousands) of miles, walked every inch of ground in places that were important to write Wright’s story, dug through voluminous archive files, often finding rare documents that no previous Wright scholar had seen. What was the weather like when Wright left Madison to announce himself to Chicago? Just ask Hendrickson. You get the idea.

Hendrickson was not content to parrot oft-repeated anecdotes about Wright’s life if  he was unable to verify them for himself. His research took him on multiple trips to Wisconsin, Illinois, Arizona, and New York. That was to be expected. It also took him to some unexpected places in those states, as well as to unexpected states that shall remain nameless in this essay.

Working in his third floor office at home, a baseball-style cap perched on his head, Hendrickson, a former writer for the Washington Post, has taken a clean sheet of drafting paper in his computer and redefined Wright as more layered and more human than many people have previously thought. Of course Hendrickson had to start from what Wright had written about himself and what others have written about him (Hendrickson’s bibliography is four pages of single-space type) just as Wright often drew from his work-to-date when he began a new commission. 

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Photo (c) Cecilia Hendrickson

Take any story you have heard about Frank Lloyd Wright and cast it aside if it does not stand up to Hendrickson’s painstaking primary research. His word images (poetry-in-complete sentences) tumbled from the keyboard for his silver desktop Mac the way designs are said to have tumbled out of Wright’s sleeve.

Hendrickson built his narrative from both the 1933 and 1942 editions of Wright’s An Autobiography (among dozens of other books and interviews). It is well known that Wright did not get it right in many parts of his self-telling about himself. Hendrickson explains those failings, including writing about “the Wright who was haunted by his father, about whom he told the greatest lie of his life.” (from Hendrickson’s publisher’s advance publicity). What was that “greatest lie?” You will have to read the book to find out.

After Hendrickson returned from research trips he hunkered down in his third floor loft writing atelier, between the English classes he teaches at the University of Pennsylvania. He keeps folder files in a bookcase and in piles on the floor. “I try to keep things fairly clean and ordered,” he wrote me when I asked him to describe how he writes. He kept various biographies, including the two editions of An Autobiography on his large green-glass writing desk with a spiral-ringed index nearby. Two Wright placemats which he considers “talismans” are on the desk, as well. 

His screen saver is a picture of Fallingwater. There is Wright artwork on the walls, “including a photograph of the B. Harley Bradley in Kankakee.” Why that house? Because that is where Hendrickson’s Wright adventures started forming in his imagination 66 years ago as he rode past it on his way to the park and yet another game of catch. 

Note added April 11: A commenter on Facebook squirms at the mention of Wright’s affection to Cecil Corwin (and I am not divulging what conclusion, if any, Hendrickson reaches about that). I have asked him why a man’s affection for another man, or a woman’s affection for another woman, no matter what form that affection takes, should make us uncomfortable. Does that person squirm about Wright’s physical affection for Mamah Borthwick or for Olgivanna before their marriage? I think not.

Many people have pre-ordered Hendrickson’s book on-line from the Seattle behemoth that is Amazon. I urge you to instead order the book from your closest local bookshop. We have to do all we can to keep our local booksellers in business. If you don’t have a bookshop near you, you can pre-order from the publisher. That will do more to help authors than ordering from the Big A.

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