Better Than Ever: TALIESIN The 2002 NEWSLETTER Fellowship … · 2009-01-17 · NEWSLETTER TALIESIN FELLOWS NUMBER 9 OCTOBER 15, 2002 continued on page 11 I t seems like only yesterday

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NEWSLETTER

TALIESINFELLOWS

NUMBER 9 OCTOBER 15, 2002

continued on page 11

It seems like only yesterday that we were having our first Taliesin reunion in 1992 at the Spring Green home and school of Frank Lloyd Wright. Over these ten years, many changes have beenmade in the educational program and staff of the Frank LloydWright Foundation. But due to the efforts and hard work of thededicated core of “old guard” Taliesiners, little has changed inthe grounds and buildings, except for restoration and improve-ments. Taliesin and its grounds are basically the same astheywere in the past. It was in this atmosphere of the old Taliesin, that some 200 staff,former staff and apprentices met September 25-29 to rekindleold memories of their former lives at Taliesin. This reunion wasmade possible through the organizational efforts of a committeeheaded by Minerva Montooth. It was attended by formerapprentices of all generations going back to to the 1930s. The activities began with a business meeting all day Wednes-day by the Fellows board of directors that met in the VisitorsCenter located north on Highway 23, overlooking the WisconsinRiver. On Thursday, September 26, the main events began withan open house held near the Wrights’ home at Taliesin whererefreshments were served in the court. At Hillside, apprenticearchitectural work was exhibited in the studio using the media ofdrawings, pictures and slide projections. The drafting room tableswere filled with drawings, models and pictures of current studentwork. That same evening, a picnic supper was served on the hillbetween Tan-y-deri and Midway. It was at this event that manyof us found old friends and new people of Taliesin. As night anda chilly wind set in, a large bonfire on the hill was the around-the-fire setting for the comedy of Tom Casey and Grattan Gill asTaliesin’s “Irish” cops. On Friday morning, in a large tent connected to the rear ofHillside studio, the attendees heard reports from the various staffmembers and others of what is going on at Taliesin and with TheFellows organization. Effi Casey welcomed the attendees and told of the variousactivities at Taliesin and at our reunion. CEO Jim Goulka relatedsomething of his background and then launched into a descrip-tion of Taliesin’s state of affairs, the nature and work of thevarious divisions, their programs and the needs of The Fellowship.Many of the activities producing income, such as the visitors’tours, licensing, bookstores and preservation programs are run byothers so Taliesin receives only a percentage of their income. In discussing the needs of The Frank Lloyd Foundation, herequested help from the outside in raising funds for the school,procuring commissions for the architectural division, recruitingnew students, the need for the utilization of apprentices inoutside architectural offices and hiring them after they receivetheir degrees from Taliesin. He also informed us of the many partsof the physical complex that needed costly repairs, restorationand additional space. Like the rest of the economy, Taliesin hashad to cut back in expenditures due to the reduction in incomefrom all its sources of revenue. All of these various divisions haveseparate boards where Taliesin staff are represented in order topreserve the “the idea” and architectural character of OrganicArchitecture. Larry Brink, an architect from Ann Arbor and president of theFellows organization, told of the aims of the Fellows, theirpublications and needs for additional membership to fund suchprograms. Jacqueline Kimber related her position and activitiesin the architectural division. Jay Pace, one of the new deans,outlined the programs and activities of the now accredited

The 2002Fellowship Reunion

Taliesin Hillside photos courtesy Bill Storrer,©MINDaLIVE, Frank Lloyd Wright Companion

Better Than Ever:

FURTHERING THE PRINCIPLES OF FRANK LOYD WRIGHT

NUMBER 9, OCTOBER 15, 2002 TALIESIN FELLOWS NEWSLETTER TALIESIN FELLOWS NEWSLETTER TALIESIN FELLOWS NEWSLETTER TALIESIN FELLOWS NEWSLETTER TALIESIN FELLOWS NEWSLETTER

Quarterly publication © The Taliesin Fellows P. O. Box 5930. Scottsdale, AZ 85261

Published at Midglen Studio831 Midglen Way

Woodside, CA 94062

Send all editorial correspondence to Midglen StudioE-mail: [email protected]

650.369.0416 Fax 369.0417Website: www.midglen.com/taliesinfellows

Editor: William Arthur PatrickEditor: William Arthur PatrickEditor: William Arthur PatrickEditor: William Arthur PatrickEditor: William Arthur Patrick

Contributing correspondents: Richard Keding, Frank Laraway, Earl Nisbet, Barry Peterson, Milton Stricker Editorial assistant: Reza Javandel

letters . . .

continued next page

editor’s corner . . .

Bill Patrick

2 / TALIESIN FELLOWS NEWSLETTER, OCTOBER 15, 2002

The opinions and articles appearing in the Newsletterdo not necessarily reflect the policy or statements

of the Fellows Board of Directors or theFrank Lloyd Wright Foundation.

Editor:

Regarding the basic primer for organic architecturewhich appeared in the TALIESIN FELLOWS NEWSLETTER, IssueNumber 8 (July 2002): Item 2 (Materials must be chosen andallowed to express their nature — no paint cover-up, nopretense to be something else.) This statement is, in my opinion,misleading and arbitrary. Such a blanket statement disregardsreality.

Painting a building or some of its surfaces is at timesnecessary. If I am not mistaken Mr. Wright, himself, designed anumber of buildings that required the use of paint-- theGuggenheim Museum, Florida Southern College buildings andthe Kansas City Community Church, I think are paintedbuildings.

Also, painting is sometimes required for the protectionof certain materials which, without a protective skin of paint,would degrade and disintegrate. An obvious example wouldbe exposed steel members in a structure. I am sure Mr. Wrightwould not have advocated leaving steel unprotected, nor washe against staining wood, a form of painting in my opinion, orthe addition of coloring to concrete floors or plaster, whosenatural state and color might not be to his liking. One must use

The seventieth reunion of the Taliesin Fellowship passesinto Taliesin history as a notable success and celebration.Nearly 200 participants enjoyed three days of talks,

reminiscences, and an opportunity to renew former friendshipsand to make new friends amongst those who have followedsince their own days as apprentices in the Fellowship.

However, the future of the Taliesin Fellows is notassured. At present only about 500 readers are supportingmembers of the Fellows in their endeavor to spread thephilosophy of Frank Lloyd Wright. Many of the formerapprentices are retired and the evidence of gray heads markedthe reunion significantly.

Though the board of directors of the Fellows hassought to establish stronger ties to the Frank Lloyd Foundation,support from that quarter in terms of finance for an alumniorganization is not likely given the current straits of the Taliesineconomy. Our suggestions of including former apprentice workin the FLLW Quarterly to show Taliesin past and present in asingular powerful voice has failed to stir the policy of exclusiv-ity in favor of its archival nature and some publication of workby the Taliesin Architects.

It is clear that the Fellows are to operate on their ownand its board of directors is in the process of seeking a grant tofund the re-establishment of the Journal of the Taliesin Fellowswhich was discontinued two years ago because of financialdifficulty. Actually, the FLLW Foundation has its main obliga-tion in the maintenance of the Taliesins and in its operation ofthe Frank LLoyd Wright School of Architecture, now a fullyaccredited architectural school. There is little to be expectedfrom the Foundation; rather the Foundation is looking to theFellows to assist in its mission.

The proposal that the former apprentices employstudents and graduates in their practice is a worthwhile goal,but since most former apprentices are either sole practitioners—an unspoken fulfillment of Wright’s individuality itself —orretired, this offers little to aid the School. It takes years for morerecent graduates to establish themselves in bankable practice.

But there is loyalty to Taliesin and its ideals in thehearts of the former apprentices. The suggestion that the FrankLloyd Wright School offer continuing education credits (nowrequired for licensing in many states) to the practicing fellowsoffers some promise of their ongoing contribution. We lookforward to the implementation of this suggestion.

Nevertheless, the Fellows remain dedicated to themission of spreading the word. And we shall seek more ways tobring the Taliesin Community together. The world needs usmore than ever.

TALIESIN FELLOWS NEWSLETTER, OCTOBER 15, 2002 / 3

. . . letterscommon sense -- certain materials require painting or coloring; some cando without. Is a building less organic if it is painted? I think it depends onthe character of materials used and whether they are pleasing or not.

Calvin Stempel, 1948-49 Miami, FL

In the attempt to simplify the dictum expressinghonesty in the use of materials as principles espoused byWright, the premise of unadorned materials could perhaps bemisunderstood. Paint applied as a preservative, as in water-proofing, or color integrally installed in a concrete finish doesnot violate the organic principle or change the nature of thematerial. Staining wood does not destroy its nature, but onlyprotects it -- paint obscures it. --Editor

archie tekkerFollowing a design by Frank Lloyd Wright for the NakomaCountry Club in Madison in 1924, The Taliesin Architects haveadapted this original work as the centerpiece of the on-go-

ing Gold Mountain development near Lake Tahoe. JohnRattenbury and Arnold Roy were the architects for the project.Dariel and Peggy Garner are the owner-clients for the develop-ment.

The adaptation of the origi-nal maintains the dramatic charac-ter of the Wright design with specificrearrangement to provide a facilityappropriate for its current use. The fin-ished work is a real credit to both Royand Rattenbury though several par-ticular elements are disturbing tothose who look for original Wright pu-rity. The monotonous in-and-out pro-jections of horizontal banding of thestonework creates a regular striatedtexture compared to the random pat-tern used by Wright in the 1920s andbeyond, and lacks the charm ofthe early technique so visible in Taliesinand other sites.

The wigwam room as executed captures the flavor andbeauty of the original intention except for the massive centralfireplace masonry, which rises outwardly to hold a periphery ofinap-

Perhaps to date the Gold Mountain version represents themost ambitious of the creation of an un-built Wright design. However,it raises the question of the use and adaptation of FLLW’s original de-signs in

NAKOMA Is Built

Wright’s Original Elevation (fromthe 12 vol. “Monogram” edition)

inappropriate planting halfway to the roof. Fireplace faces seeminhospitable locations for plants. Even if an automatic wateringsystem is provided, the planting would be a nagging maintenanceproblem, and eventually it might become artificial ivy, an anath-ema in the Wright lexicon.

the hands of the successors at Taliesin.

We are aware of Wright’s use of earlier unexecuted designsin the busy last decade of his practice, but they were his designs and

not executed by others andsubject to their interpretation.Don’t imitate these effects,boys—capture their essence,he said. Roy, commentingon this point said “. . . whathe would be doing herewould be quite different fromwhat we mere mortals aredoing.” (San FranciscoChronicle).

Quibbling aside, however,Wright’s inspiration has pro-duced a beautiful creation.

Congratulations are in order.

archie tekker

f

For a complete story on theNakoma project see theMay-June issue of The Artistic Trav-eler, [email protected] It is alsosoon to be published in ArchitecturalDigest. Top photo © R, Hovey.

Other photos © Wayne Sorce bypermission of Nakoma Resort andSpa. www.nakomaresort.com

Taliesin Architects Adapt Wright’s1924 Design

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________________

Jim Goulka

®4 / TALIESIN FELLOWS NEWSLETTER, OCTOBER 15, 2002

WELCOMEWelcome ro the 70th Year Taliesin Fellowship Reunion

©

Greetings from the CEOThe beauty of the landscape at Taliesin has been captured in abooklet by Frances Nemtin, resident staffer at Taliesin since1946.

Nemtin relates the story of the loss of the magnificent oakduring the violent storms of 1998 and ’99 which centered theTea Circle at Taliesin and shaded the front garden (shown asthe cover photo here). Significant damage to the studio wingoccurred when this 250 year old giant was destroyed and afirst replacement has failed. A new replacement will beplanted this fall.

Loss of the giant oak has required a change in the flowerbedfrom shade to sun flowers, Nemtin relates. She includespictures of other landscape endeavors such as flower plantingat Hillside in a curving bed originally created by Jack Howe

and reports on plantings at Wright’s gravesite and markers forhis children and Fellowship members. Taliesin farmland isbeing converted to organic farming and will achieve certifica-tion in three years. The vineyard is being revived and aftermany years winemaking is underway.

Following the storm disasters of 1998 and 1999 a Trees forTaliesin program was initiated with plantings of new maples,elms, birches and aspen along with transplants of oaks andpine. “This program continues as we still receive contributionsto help us maintain our valley’s beauty,” she concludes.

Pencils made from the fallen oak were distributed to partici-pants at the reunion, and will be available for sale at theTaliesin book store.

The Taliesin Landscape

We are fortunate that somany of us are together at this re-union. We have many memoriesthat connect us. All of us share arich tradition that binds us together,from the founding generation tothe youngest and newest Appren-tice at Taliesin today. The traditionof looking to Nature for inspiration,designing to embrace the whole oflife’s experiences, and building tosuit land, client, and the time, in-fuses the work of all who havebeen, are, and will be at Taliesin.

You will find much that is familiar at the Reunion.The buildings continue to need much work and preserva-tion. The fields are rich and rolling. The architecture contin-ues to startle and inspire, no matter how many times onehas looked at it. The faces of the current Apprentices maybe new, but their intellectual drive, passion, creativity, andcandor are undiminished.

The Studio remains the center of creativity for Ar-chitects and Apprentices. Computers abound. As those cur-rently in practice know, technology is a blessing and, fromtime to time, a frustration. Box projects are a blend of handdrafting and rendering, models and computer generatedimages often moving through virtual space as 3D render-ings. As in the past, the Apprentices represent the global in-terest in Mr. Wright’s ideas; current countries indude India,Venezuela, Mexico, Japan, Switzerland and the UnitedStates. (The Senior Fellowship adds China, Germany andCanada to this list.)

The Reunion Committee has worked hard to offeran array of opportunities to rekindle old friendships, makenew acquaintances and re-engage in the education andlife of Talesin. All of us at Taliesin hope that you enjoy yourtime at the Reunion and that we all find new ways tostrengthen our future together as envisioned by Mr. and Mrs.Wright.

Sincerely,

James E. Goulka President and Chief Executive Officer The Frank Lloyd Wright Foundation

DESIGN THROUGH THE ABSTRACTION OF NATU


Warren Callister and His ArchitectureWarren Callister and Jack Hillmer began their architecturalpractice in San Francisco in 1946. Over the years their firmproduced a steady stream of beautiful buildings, each cre-atively conceived. These enchanting structures have with-stood time’s test; they still speak to the soul. Callister’s prac-tice continues to this day. Recently, in a series of conversa-tions with our correspondent Richard Keding, he reflectedupon his life and his approach to architecture. We acknowl-edge his interpretation of organic architecture, though hewas never apprenticed at Taliesin.

Keding: I understand that you grew up in Texas. How did youhappen to start your practice in San Francisco? Was it a con-scious choice?

Callister: I was born in Rochester, New York, but my family lived inSan Antonio for many years. After college, I spent five years withthe Army Corps of Engineers working on the Alcan Highway, andduring the war I was in the Air Corps in the B-29 program. My wifeand I considered various places to live when it was over; weconsidered San Francisco, also Denver and Seattle. By the time Ireceived my pilot’s wings the war had almost ended, but I hadflown over the Bay Area and it looked good to me from upthere!

The first thing Jack Hillmer and I did was to go around town,rather arrogantly perhaps, talking with architects. Most of themassumed we were looking for jobs, but we just wanted to talk tothem. I remember Ernest Kump, in particular, was put out that wedidn’t want jobs.

Keding: Architectural practice has certainly changed since then.What do you feel is most critical in architecture, or most neededtoday?

Callister: Well, I learned an important thing in 1960. It beganwhen Ernest Kump and I met at a party on a Saturday night andhe asked me, “Warren have you traveled?” I had to reply, “No, Ihaven’t had the money or the time.” But he insisted, “Well, youhave to travel!” And since I wanted to travel, I asked, “How doyou do this?” He came back unequivocally, “You say right now ‘Iam going to travel’ and stomp your foot!” I did that.

You won’t believe this, but on Monday a client called me saying,“Warren we are going to Australia by way of Japan, Tahiti, andSoutheast Asia. We are leaving on Friday, and we’d like to haveyou come with us, and we’ll discuss the house as we travel.”

Well, it was a 24,000 mile trip, and a really great revelation cameto me in the course of it. The thing which struck me so forcefullywas that the Japanese celebrate the “doing” more than theend result. We think the final accomplishment is everything. Theyfind greater value in the “doing”.

When I recall my own experience, I think of the friends who now

come and say “Gee, what a great time we had working in the of-fice.” I then come back and say, “That’s true. We had a greattime; we had a wonderful time! ”. We tried to foster a congenialitybetween people in our office and our clients. I think, that might bemissing today. Architecture, possibly, doesn’t involve people inthat way as much as it once did.

Keding: Your buildings, especially your houses, are remarkably in-dividuated. How do you account for that?

Callister: I find that the differences are really the different clients. Ivisualize each of these projects that I have shown you here (refer-ring to photographs) as a client. You see, it looks like the client.Some subsequent owner may now have changed things andpainted the house white, but that’s not the original client.

Keding: I am sure you have had all sorts of clients. How do you ap-proach the architect-client relationship?

Callister: A very important part of the wholestory. I did a house for two women from Texas,Helen Craig and Nancy Pierce. Unfortunatelythe house burned in the Berkeley fire, butHelen once asked me, “Warren, would yourown house be like this house?” And I said,perhaps too emphatically, “Oh, no!” She wasupset, and because of her reaction I quicklyadded, ”I didn’t mean I didn’t think it was anice house, it’s just that it wouldn’t be what Iwould want to do for myself.” Because, actu-ally, it was for her, not for me.

So I think the architect needs to render a ser-vice to people, to help people, to be able tointerpret the client. When I sit and talk withcouples, I often will try to talk to them sepa-rately, not necessarily together, becausesometimes they won’t tell you everything inconcert. I think the psychological characteris-tics of people are very important. If it’s a fam-ily, you have more people to talk to and

have rapport with. It’s important to develop rapport with each in-dividual. Unfortunately, sometimes they won’t allow that rapport.

And then you set up your people’s likes and dislikes. I very muchvalue the clippings, the cutouts, and the scraps that people col-lect. I find that is just a wonderful thing. At first I couldn’t, but now Ican read people’s likes and dislikes pretty quickly. If it’s a couple, Iask them to not agree on things necessarily, but both tell me whatthey want, because that gives me a chance to find some contra-dictory things, or design things that can be both ways. In one ofthe first houses Jack Hillmer and I did, the woman was very shortand didn’t want high ceilings, but he was very tall and wanted

continued next pagee

by Richard Keding

high ceilings. So we sloped the roof--pretty simple! The low wasvery low and the high was very high. I don’t think that wouldhave happened if I hadn’t discovered their differences.

The woman often has different attachments and different feel-ings about things than the man has. Sometimes, they would havethings they loved, you know,furniture - and maybe it was uglierthan hell! Nevertheless, it had sentimental value, it had history,and things of that sort, and so you had to respect that. Awoman, you will learn, sometimes sees things that are not obvi-ous. If the man is seeing it, he is seeing it in a different light. But Idon’t mean by this how efficient the kitchen is, or anything likethat. I’m talking about the mood of the place, the feeling of theplace.

Keding: Your process seems to be both neutral and searching;how did you develop this approach?

Callister: Architects should study psychology along with engi-neering, I guess. My father was a salesperson and I suspect I ab-sorbed his thinking of how he tried to work with customers. Mymother designed clothing, and, of course, that’s very personal.

Keding: Did the organization of your firm, possibly, reflect yourprocess?

Callister: We were quite large for several years and since we hada diversity of people, we would organize project groups thatwould be good matches for the clients. That went with fosteringthe congeniality I mentioned earlier. I would ascertain anindividual’s interest in the project, and assess his or her previous

At other times we put all the left-handed people to one side.We had engaging lunches on a little terrace at the end of thedrafting room, overlooking the bay; a different person wouldfix lunch each day. We had parties in the office, of course. I’vealways thought our esoteric practices made everything workbetter.

Keding: I suspect that each of these wonderful houses has astory. Would you share such a story from your experience?

Callister: In the 1950s we did the Gordon Onslow-Ford project--George Furness, Jack Payne, and I. Gordon Onslow-Ford wasa painter. He bought 300 acres in Inverness and put his studioon it.

And much of the design came about in the wonderful picnicsthat we had. Jacqueline Onslow-Ford prepared something likean old-fashioned picnic with a picnic basket. Wonderful food!We picnicked there many times, sitting outside and contem-plating what would be. Jacqueline was a poetess and she re-cited her wonderful poems for us. Then I was beginning tohear the importance of things to each of them, what theyliked and so on. Actually the form of that roof curve camefrom Gordon’s paintings - his line, circle, dot as he considers it.

He has a whole philosophy built around the line, circle, dot.And so that began it.

experience in relation to that project or client.

We did a lot of fun things in our office. At times we putall the bearded guys together on one side of the room.


It’s in a gorgeous spot. The fog had a way of coming in andsettling just about two feet off the ground, outside at the lo-cation of the site. And you had a plateau of clouds, so I setthe seat height at two feet. One of the most exciting mo-ments was to be there one evening when this fog phenom-enon happened. It was incredible! It was as if you could walkright out on it, with the Bishop Pine trees coming up throughit. Very exciting!

In the studio, Gordon paints on the floor. He puts downblocks and planks. We had to design the studio with a mez-zanine so he could stand back and look at his paintings; thatgenerated the building. I find that things like this are inherentin the process of listening.

Keding: Could you describe your creative process?

Callister: I learned a wonderful thing from Minor White, whodid a lot of architectural photography. He did many of our

It was a very simple building. The house is one large room witha kitchen, and a dressing-bath room. It’s just as simple as that!Then, how to support the building? It’s on the San AndreasFault. How to get materials up there? There was a very circui-tous road going up to the site. All those things came together.

it in different lights, at different times of day, and so he would takemarvelous pictures.

I wanted to study photography with him. And one summer he con-ducted a photography course at the Art Institute in San Francisco. Itwas an exciting experience, a Zen sort of thing. I will never forget it!He was a great teacher!

He had an easel upon which he would place photographs and hewould ask us to look at them for several minutes. Then he would askus to write down what we thought was the photographer’s intention.We had about twenty-five people in the class, and it was amazingwhat those photographs conveyed! Similarities were exciting; some-times it was all different comments. We all began to learn that youcan examine the photographer by looking at the picture, and thatgoes beyond the frame of the picture. That’s so important, he said.

He took us to the Japanese Tea Garden in Golden Gate Park, andasked us to put our cameras in a pile by the entrance, saying, “ I’llstay here and watch. I want you to remember that the camera isnothing but a box with a hole in each end of it”. You see, he wantedus to dismiss the device. “I want you to go through the garden andthen come back and get your camera. And I want you to decide

what is the dominant image in the garden.”

People had different interpretations. I tookthe trees to the sky; that to me was the domi-nant image. Some took the waterfalls, thebridges, the plants and so on. But he wantedus to not even look through the camera tofind the picture. You should look beyondthat, he said.

That was significant to me because that’swhat you have to do with CAD, or even inconventional drafting. You have to look be-yond the devices we use because thosethings can stop you right there; you will stayat that level and never go beyond it. He toldus, “Don’t ever go out with your camera andlook for a picture; go out and listen for a pic-ture.” That’s so simple! So true!

And that’s what you do in architecture.Some of my colleagues say, when ap-proaching design “Oh, I know what I want todo.“ And I will say, “Well, I have to listen be-fore I can proceed.” I took that literally asbeing a way of finding architecture. Youmust heighten your sense of being able tohear all these things and transcend what-ever means you have at hand.

_________________________________________________________________________

Warren Callister lives and works in Novato,California.

Richard Keding ([email protected] or 707.538.2076 ) is an archi-tect in Santa Rosa, California, who appren-ticed at Taliesin between 1958-1970. Kedingand a house he designed in the NorthernCalifornia wine country are featured in theSeptember/October issue of CaliforniaHomes magazine. This home may be viewedon the internet at www.keding-architects.com.

Photos furnished by Warren Callister

firm’s photographs. He would not just go out and snap pictures. Heneeded a month to take a picture, just because he wanted to see


The Onslow-Ford House


AnotherViewThis woodcut-style view of the Imperial Hotel was featured in a mid-1920s Tokyo City tourist brochure with the following note:

“’Mr. Louis H. Sullivan, the noted American architect writing in the April 1923 issue of the Architectural Record said: ‘Su-perbly beautiful it stands - a noble prophecy.’ In that one sentence is contained a complete description of an institution the like ofwhich is to be found nowhere else in the world. It shoud be the first place inspected by the tourist.” (There is no mention of FrankLloyd Wright.)

The brochure was given to me by my cousin who passed away this year at age 103. She was secretary to the San Francisco Chamber of Commerce Far East tour of 1930. The upper right inscription translates: “Imperial Hotel”; at left “Hibiya Park”.

--Alvin Badenhop, Taliesin 1949


The Wrong ArchitectFollowing are excerpts from the November 1922issue of Architect and Engineer in an article byLouis Christian Mullgardt, FAIA, of San Francisco,which presents the establishment view ofWright’s masterpiece at the time, presentedhere for our readers’ amusement.

“Tokyo, Japan, engaged a ‘foreign’ architect todesign its brand new Imperial Hotel. It is amonstrous thing of supposedly antique influ-ence, but really prehistoric in plan, design,structure, decoration and state of decay. . . Itscost was six million yen (about three milliondollars U.S.A.)

“A thoroughly modern hotel of its size, equal toAmerica’s best, and appropriate to Tokyo’sneeds, could have been built for half thatamount. Its fantastic, prehistoric character iseverywhere in evidence. . . The superficialobserver walks around . . . and is impressed bythe various and sundry things which arecommonly called. ‘remarkably original.’ Itsoriginality is so antiquated that it embalms andmummifies the brains of the beholder—but notpermanently.

“Viewing the exterior from any angle, one seesa fortress of buff brick and terra cotta; everyfaçade has been laminated and lambastedwith a stone of exceeding rottenness, which hasbeen much carved with patterns of Yucatanese,Aztec and Navajo piffle. . . colossal stonecanopies, suspended somehow, are requiredover entrances to intercept the rays of sunshineand little drops of rain. . . The cornices are ofstone, projecting about five feet. They havepanelled perforations to the sky, embellishedwith perforated sheet copper. . . Cornices, likecanopies, balconies and beams have no visiblemeans of support.

“. . . In conclusion, it should be stated that allAmerican citizens will forever regret the inherentmistakes which have been made in building theImperial Hotel. The errors are so numerous andflagrant that it may be said this structure shouldnever have been built. . . It is most importantthat both architect and owner should have thecapacity clearly to visualize the ultimate results. . . or individuals be engaged who are knownto have that capacity, to take their place toinsure themselves and others against suchunfortunate results as this hotel exemplifies.”

And inspired by the above, in the February 1923issue of Architect and Engineer, another un-named architect was moved to write:

“The Imperial Hotel is a flagrant example of thefolly of departing from certain known and triedforms of architecture. These forms have stoodthe test of centuries, and will continue to standthe gaff of other centuries to come. . . Thearchitect who wishes to know what not to doshould take a trip to Japan, and he will soon seea real example of it in the Imperial Hotel.”

The main lobby

Banquet Promenade

Pictures and announcementfrom the original brochure

by Milton Stricker, Taliesin 1951-52

®

the circumstances. He examined the right front fender carefully,occasionally glancing up to establish eye contact. I refused toblink. Next, he examined the front license plate. Then, hepeeped through the side window checking for weapons. Next,he peeped through the opera window checking for weapons.Just when I thought he was gone he reappeared, again studyingthat front fender. And then he blinked. He walked to the frontof the bank, did a smart parade-rest, hands clasped behind hisback, and his nightstick hanging between his legs. The bank’sofficial Security Guard-Greeter came out and they talked thingsover. The Greeter then did a parade-rest next to the Cop. (Thehands-up salute in the illustration is for dramatic effect only.)They both stared straight ahead at something across the street,avoiding my presence, while conversing out of the sides of theirmouths. I wanted to smile, but instead pretended not to seetheir every move.

But this business was not over. The temperature gaugeon our get-away car was approaching the red zone. During thesummer Wes Peters had dropped a new Ford truck engine intothe Continental, commenting that it needed more torque. Do Ishut down the engine and chance vapor lock? Do I drivearound the block and get snarled in rush hour traffic? Do I burnout the new engine, and spend the rest of my Fellowship time inthe root cellar? I decided not to blink.

I reduced some stress by visualizing the scene insidethe bank: Mr. Wright intimidating the bank manager with hiscane, probing behind the teller’s counter, inspecting the vault,and autographing customers’ deposit slips.

I glanced at my watch; one minute had stretched intothirty minutes. Suddenly, a cane poked between the brass doors.Mr. Wright moved rapidly across the sidewalk for an eighty-year-old man - he must have completed the heist (the moneybag inthe illustration is for dramatic effect only). Pointing his cane in athreatening manner, he gave the two honor guards a patroniz-ing glance. As he collapsed on the rear seat he commented ina self-satisfied manner, “See, I told you it would only be aminute” . He must have had some money stashed somewhere

because he commented, “We need to pick up some groceries;tomorrow Aunt Sophie can cook a nice Thanksgiving dinner foryou boys”. As we pulled away from the curb I noticed twoarmored cars waiting in line.

Next: FLLW® versus SAFEWAY™ Illudt

The 1951 Fellowship migration from Wisconsin to Arizonawas scheduled for mid-November. I was appointed to drive Mr.Wright’s Lincoln Continental, leaving a week before the rest ofthe apprentices. Ling Po, Madame Po, Tsai KoHua (University ofYuman), and Ron Salisbury (Canada) were also assigned to theContinental. We were a conspicuous group, particularly sincewe were driving across country at the height of the Korean War.We camped out, sleeping between rows of corn stubble, in anunlocked grain warehouse (I slept under six inches of flax seed tokeep warm), and at various parks along the way. We werenever questioned, challenged, or harassed. Today, underHomeland Security, we might have been locked up beforereaching Dubuque! We arrived at Taliesin West two days beforeThanksgiving.

The following day Mr. Wright asked me to drive him intoPhoenix to take care of “some business.” I was unfamiliar withthe city and he gave directions as we drove. We traveled Weston Shea, South on Scottsdale, West on Indian School Road, andthen there followed a very, very long silence. I saw a cluster ofbuildings ahead, alongside, and then behind us. Finally, afamiliar cough and another direction, “Where are we…we havegone too far…turn around.” Could Mr. Wright have beennapping? I made a sweeping U turn in the middle of the blockand fifteen minutes later we were in downtown gridlock(Gridlock® was invented in Phoenix). After a few more right turnsMr. Wright tapped on the window with his cane “There it is, parkin that space in front of the Bank.” I pointed to the large sign, NO

PARKING - ARMORED CARS ONLY. But with an unconcerned “Nevermind, it will only be a minute” he disappeared behind the brassdoors of the Bank of Phoenix (BOP).

Now what was I to do? With just a minute to wait Idecided to leave the motor running for a quick getaway, starestraight ahead, and keep a firm grip on the steering wheel. Itwas a busy afternoon and the customized Capone-styleCherokee-red, 1940 Continental attracted special attention, untilthe pedestrians noticed the idling engine and scruffy driver. Thenthe men gave a startled jump to the far side of the sidewalk andthe womenassumed a clutch-the-breast stance.A few pedestriansducked into thebank, but no oneseemed to beleaving.

Out of thecorner of my eye Inoticed a Brinksarmored car pullalongside. Thedriver appeared tobe trying to makeeye contact, but Idecided to hold astraight-ahead, no-blink stare. Thescheme worked;after about tenminutes the Brinksguy blinked andvanished into citytraffic. Five minuteslater another Brinks arrived--to my dismay it was the same guy.He gave up after a few minutes.

As I began to relax I noticed a policeman approachtwirling a baton and nodding pleasantly to the pedestrians.Suddenly he froze in his tracks. After several minutes he slowlyadvanced, obviously trying to make eye contact and evaluate

FLLWFLLWFLLWFLLWFLLW Versus the BANK OF PHOENIX™ (BOP) Versus the BANK OF PHOENIX™ (BOP) Versus the BANK OF PHOENIX™ (BOP) Versus the BANK OF PHOENIX™ (BOP) Versus the BANK OF PHOENIX™ (BOP)


Illustration by the author


connection between the tent and building. Also, the high humidityplayed tricks on John’s violin, requiring unscheduled breaks fortuning. Everyone assisted in the clearing of tables and takingdinnerware back to the kitchen. Paid outside help did the washingof dishes and clean up there. On Sunday, the last day of the reunion, a sumptuous breakfastwas served of eggs, bacon, potatoes, rolls and breads. This wasfollowed by expression of thanks given by Effi Casey for all whomade the activities of the reunion possible.

Better Than Ever: The 2002 Reunion

Most of us left Taliesin at noonSunday to drive drive into Madison to attend the elegant cateredreception, hosted by Nan Beyer Mears, the present owner of theold Gilmore House, sometimes known as “Airplane House.” Thetwo story house was designed by Mr. Wright not long after the turnof the last century and features low ceilings, spreading hippedroofs and extended wings. After having delicious foods, winesand talk, we left to go our separate ways, heading back to ourhomes to the mundane and vulgar world of style-architecture,excessive commercialism, marketing, and mostly crowded uglinessof popular American culture. A few days of Taliesin and Organic Architecture has perhapsgiven us some relief from these aspects of life and a renewal in ourfaith in the redeeming qualities of real beauty._______________________________

Continued from Page 1

school of architecture, with testimonials given by several studentsof their life and activities. He stressed the need for outside archi-tects to assist the school in training the students for a future archi-tectural career. Indira Berndtson (62-), described the programs,facilities and activities of the archives division. The archives locatedat Taliesin West, has the task of preserving and collecting old draw-ings, pictures, letters and artifacts of the past related to Taliesin,the Wrights and former appren-tices. She is especially involvedin recording oral histories of staffand past apprentices ofTaliesin. Bruce Pfeiffer, directorof The Archives was unable toattend. Tea and pastries were servedin the theater foyer and out onthe terrace. This was followedby a slide presentation in thetheater on the life and works offormer apprentice Nari Ghandiof India. A buffet lunch on this day was served in the dining room andbalcony due to bad weather. These meals always provided aforum for meeting and talking to new people and staff. A“gathering” ceremony was convened by Eric Wright on the Hillwhile students presented a short play in the theater. Tea andpastries were served in the Taliesin court at late afternoon. Fridayevening no programs were scheduled. Saturday morning was reserved for rehearsals and work in thegarden, meeting tent and kitchen by all. A slide program of Mr.Wright’s design of the Jiyu Gakuen school in Japan, which wasrecently restored as a national treasure, was presented byJapanese students in the theater that morning. Lunch was servedthis day beside the large exteior court in front of the HillsideSchool main building, featuring old dishes of Taliesin. After lunchstudents presented their work in investigative studies of variousparts of the Hillside complex, outlining the deterioration offoundations, water intrusions and roof frame distortions. The big event of the reunion was the formal cocktail receptionat Taliesin early Saturday evening followed by the banquet atHillside. Taliesin was at its same traditional best, beauty every-where in detail, texture and design. Attendees were permittedthe run of the house whileenjoying cocktails and finehors d’oeuvres. Everyone then rushed overthe hills by car to Hillside toattend the main banquet inthe large tent attached to therear of the drafting room. Herean elegant meal completewith wines and dessert wasserved. Entertainment wasprovided by the chorus, poetryreading and the violin music offormer apprentice John Amarantides (51-73) of Greece. Unfortu-nately, the rains came down in torrents, dumping water at the

of evergreens and flowers inthe buildings, the traditionalfoods (but lacking the ricepilaf, whole wheat bread andrhubarb pie) and the generalambiance of Mr. Wright’sdesigns and architecture. Werecalled the hard, disciplinedworking life for all of us atTaliesin

but at all times, we were fortunate enoughto constantly experience the beauty of itall: the geometrical designs, the cleverdetails, the aesthetic pleasures of archi-tectural wonder, the music and thedances and the beautiful costumes of the“Movements”. There is no place more beautiful thanthe grounds and architecture of Taliesin.It was still here for this reunion. Manycommented that it was our best reunionso far. What many of us particularly likedwas that the program was by Taliesinpeople, that it was of the old traditionsof music, food, graphics and architec-tural design

The musicians group of SusanLockhart, piano, John Amaranti-des, Tom and Effi Casey andothers on violins as Vern Sway-back played solo trumpet.Especially impressive in the seriesof works was a new religiousinstrumental piece, presented bySusan, Effi and Vern. It wouldseem that Effi had reachedperfectionist highs in organization,direction and presentation of the music program at Taliesin.The large assembled chorus directed by her during other partsof the reunion was especially professional and entertaining at theevening banquet. Everything at Taliesin was at its renewed best: the grounds withtheir inherent natural ambiance and the new landscapingmade possible by “Johnny’s Fund” and directed by Frances

Nemtin (46-) and earlier byCornelia Brierly (34-); theelegant decorations

This report on the 70th Fellowship Reunion at Taliesin was prepared by Frank Laraway,apprenticed in 1958-59. He is a member of the Fellows Board of Directors and

chairs the publications committee.

Random shots of some reunion attendees furnished by Minerva Montooth.

Benjamin and Shirley Dombar (‘34-41)

Effi Casey (‘66-) updates theassembly in the big tent

Cousins Eric (‘48-56) and TimWright (‘52-53) with CaseyWright (Tim’s daughter)

Kenji & Kimiyo Ichinomiya(‘63-64)Charles Adams (‘62-64)

Frank Laraway (‘58-59) Bob Beharka (‘54-61)Grattan Gill (‘52-57) Frances Nemtin (‘46-)Leslie Bisharat (‘62-64)

Become a member of the Taliesin Fellows and support ouron-going work of returning the two Taliesins to their originaldesign as executed by Wright prior to his death in 1959, andin the cause of furthering organic architecture. Members willreceive the Taliesin Fellows Newsletter, published quarterly,and Journal of the Taliesin Fellows. Annual membership duesare $50-Friends of Fellows (open to all); $40-Fellows (alumniof the FLLW School of Architecture, former apprentices, oraffiliation with the Taliesin Fellowship) and $25-Student (withproof of full-time status). Foreign subs add $12. Send yourcheck (on a U.S. bank) made payable to Taliesin Fellows,P.O. Box 5930, Scottsdale, AZ 85261-5930.

®®12 / TALIESIN FELLOWS NEWSLETTER, OCTOBER 15, 2002

The mission of Taliesin Fellows is to preserve the principles ofOrganic Architecture as conceived by Frank Lloyd Wrightand to further the practice and understanding of this funda-mental and unique approach to Architecture.␣To fulfill its mission, Taliesin Fellows:

• Serves as a medium of exchange among ap-prentices from all the years, including the present

• Serves as a sounding board to Frank Lloyd Wrightbuilding owners, academia, and the generalpublic, to the extent appropriate to each

• Publishes␣ a Journal, Newsletter and other infor-mational and educational pieces

• Presents educational programs and events• Documents the work and contributions of those

apprentices who studied under Wright from 1932-1959 during their life at the two Taliesins

• Serves as the alumni association of the FrankLloyd Wright School of Architecture

• Promotes the work of architects involved inOrganic Architecture.

NEWSLETTER

TALIESIN

P.O. Box 5930, Scottsdale, AZ 85261®

TALIESINFELLOWS

Charles Adams 62-64Huascar Alfonzo 01 - ...John Amarantides 51-73Victor Andarcia 00 - ...Rod Anderson 64-77James Auer (press) Marilyn Auer ... Aubrey Banks 52-89Barbara Banks (52-89)Bruce Barrett 45-46Tom Barthelemy 99-02Billie Barthelemy (99-02)Bob Beharka 54-61Indira Berndtson 62 - ...Arthur Berndtson Bartley (62) ...Shikh Berry 01 - ...Karl Beyer MearsNan Beyer-MearsNicola Bingel 89-92Dennis Blair 44-45Vincent Blair Van de Venter (44-45)Paul Bogart 53-54Phyllis Bogart (53-54)Charlotte Bohrer 02...Cornelia Brierly 34 - ...Larry Brink 57-58Susan Brink Cagwinn (57-58)Robert Broward 48-50Myrtice Broward Craig (48-50)Haven Burkee 99-01Bill Calvert 54-64Regina Calvert (54-64)Frances Caraway 38-42Tor Caraway (38-42)Paula Caraway (38-42)Tom Casey 50 - ...Effi Casey 66 - ...Kathleen Chesley 01 - ...Steve Chesley 01 - ...Robert Clark 50-51Jeff Clark 88-89Kathy Briel Clark 88-89Stefania Cometto 96

Constance Conroy 99- 00Nate Conroy Mollison (99- 00)Chad Cornette 97-00Val Cox 72-84Clare Crane 41-42Loch Crane 41-42Heloise Crista 49 - ...Josh Czerniak 00 - ...Paul Dalberg57-59BarbaraDalberg (57-59)Seth Deeken00 - ...YumikoDoi94 - ...BenjaminDombar 34-41Shirley Dombar (34-41)Dr Ernest Dombar Meese (34-41)Rockell Dombar Meese[(34-41)Donyell Dombar Meese (34-41)Nathan Dombar Meese (34-41)Norman DouglasPatricia DouglasBarbara Dresser 45-47James Dresser 45-47Art Dyson 58-59Audrey Dyson (58-59)Ted Eden 62-63Beverly Eden (62-63)Debra Einweck 78-85Joe Einweck (78-85)Margaret Evans 37Don Evans (37)Joe Fabris 48 - ...Donald Fairweather 48-52Diana Fairweather (48-52)Patrick Finerty 71-74Anita Fletcher (60-63)Patterson Fletcher 60-63Eloise Fritz 37-41Stephen Gegner 62-63David George 47-48Ron George Bradshaw (47-48)Grattan Gill 52-57Jahmai Ginden 99 - ...James Goulka] 02...

Ann Goulka (02...)Robert Green 58-59Nelson Green Brackin (58-59)Roy Guderian 58-61Floyd Hamblen 87 - ...Caroline Hamblen 88 - ...Lukas Hamblen (87-...)Noah Hamblen (87-...)Masatoshi Handa 81-83Gary Herberger 58-64Jeanne Herberger (58-64)Monika Herrmann 96-01Michael Heublein 02 - ...Norman Hill 40-42Ruth Hill (40-42)Richard Hofmeister 90-95Karen Holden 91Lu Sparks Howe 51- 64Kenji Ichinomiya 63-64Kimiyo Ichinomiya (63-64)Gustad Irani 93 - ...Monthana Irani 98 - ...Jay Jensen 91-99Martine James (52-53)George James 52-53Aaron Kadoch 98-01Maria Kadoch Vu (98-01)Barbara Kaiser 70-80Dr Janice Kalec 65-69Don Kalec 65-69Harveen Kalra 01 - ....Paul Kardatzke 91-97Julie Kardatzke 91-99Megan Kaveler 02 - ...Richard Keding 58-70Keith Kennedy 74-78Terry Kerr 94-...Jaimie Kimber 93 - ...Jacqueline Kimber 93 - ...Patrick Kniss 02...Benjamin Knowles 00 - ...Peter Korman 88Reshma Kurup 02 - ...Frank Laraway 58-59Jack Lee 58-60Marsha Lee (58-60)Linda Lee Dominick (58-60)Eric Lindstrom 97 - ...Leslie Lockhart 48-68Susan Lockhart 58 - ...Brian Lockhart 66-70Bill Logue 57 - ...Sarah Logue 57 - ...

Harold Long 58-59Anna Lira Luis 97-00Mike MartyShirley MartyLarry Martyn 50-54Richard Miller 59-62Barbara Miller (59-62)William Miller 59-60Carole Miller Lea (59-60)Charles Montooth 45 - ...Minerva Montooth 52 - ...Gerry Morosco 81-86Marilyn Hammes Mueller 48-49Hellmut Mueller (48-49)Hideo Murakami] 54Teruko Murakami] (54)Sarah Murphy 00 - ...June Muzzi volunteerDave Myers 01 - ...Frances Nemtin 46 - ...Stephen Nemtin 59 - ...Ichiro Nomura 76-77Daniel Novak 57-61Alan Olin 75-79Suzette Olin (75-79)Kelly Oliver 49-59Tom Olson 52-61Merle Olson Sykora (52-61)Royo Oshiro 61-67Mrs Royo Oshiro (61-67)Jay Pace 63-64Suzi Pace (63-64)Charles Paterson 57- 61Fonda Paterson (57- 61)John Paul 50-52Martha Paul 50-52Michael Paul (50-52)Quinghua Peng 97- 00Brandoch Peters 47Ken Peterson 47-48Rachel Peterson (47-48)Maxine Pfefferkorn 52-72Jim Pfefferkorn 52-72Ling Ming Poliandro 92-93Len Poliandro 92-93Robert Pond 50-55Sim Posen 70-73Sim’s friendTony Puttnam 53 - ...Robert Rasmussen 56-57John Hovey Raup 57-58Stanley Raup Terpstra (57-58)Daniel Richmond 92-94

Mazie Richmond HuhSidney RobinsonSarah Robinson 91-95Paolo Robinson Brazzurro (91-95)Peter Rott 78-86Luis Salazar 01 - ...James Schildroth 59-61Jill Schildroth Snyder (59-61)Christian Schnieper 99 - ...Sue Schuetz volunteerMatthew Skjonsberg 97-01Terry Sewell 63-65Marcia Sewell (63-65)Franklin Sidler 54-55Victor Sidy 94-00Saskia Sidy Jorda 94-00Jeffrey Small 62-64Sherrill Small (62-64)Leonard Spangenburg 46-47Pamela Stefansson 86-...Jeff Stoddard 64-70Arthur Stopes III 56-59Suzanne Stopes Cimone (56-59)Yukie Suzuki (88-90)Luna Suzuki (88-90)Yatto Suzuki 88-90Vern Swaback 57-78Jan Swenson volunteerKimbal Thompson 67-68Jone Thurmond 58Weiland Thurmond (58)James Underwood 00 - ...LaDon VanNoy 61-62Carien VanNoy (61-62)Paul Wagner 65-91Sherrill Wagner (65-91)Jochen Walther 95-99Mary Walther (95-99)Philip Weber 81-90Chester Wisniewski 48-49Eric Wright 48-56Mary Wright (48-56)Tim Wright 52-53Casey Wright (52-53)Karen Wright Elzey (52-53)Thomas Wright 98-01Jeni Wright (98-01)Robert Wu 57-58Robert Wu Doering (57-58)Lang Yue 92 - ...

The Reunion ParticipantsThe official listing of attendees at the 70th Fellowship Reunion

follows. The names are listed alphabetically followed by theyears of their apprenticeship. (Parentheses indicate accom-panying guests.) Resident staff and current students are shownwith - ... following dates.