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This is the living room which is part of the dining area pictured below and this area from late spring until early autumn is in use by the Taliesin fellowship and is the focal point for many of social gatherings and meeting during the summer months. After the tragedy of 1925 Wright re-designed the living area and the loggia. He increased the hieght of the ceilings and added a balcony and second floor bedrooms. This picture also shows how Wright brought into the interior design elements on the exterior of the house with the incorporation of limestone and sand coloured plaster and wooden trimming. The chinese influence is still prevalent with various buddha's and Japanese wood figures positioned around the room. Their is also as mentioned, fragments of chinese ceramics salvaged from the fire that are visibly incorporated into the walls. |
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| The dining area stands to the left of the lounge in a corner. It is spatially part of the living room yet manages to somehow stand on its own possibly by Kathryn Smith's suggestion due to the contrast between the Japanese screen and the Wright designed furnishings(1). The Japanese print on the wall again shows how Wright carefully measured up the proportions of his walls in the initial designs to fit in the artwork, this example here being a sixfold print similar to the one Wright incorporated in the loggia of Taliesin II. The circluar chairs were added in the 1930's. |  |
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One of the rooms that epitomises the innovation and imagination of Wright's architecture is the garden room.which is situated at the end of the loggia. The edge of the room is defined by an almost freestanding fireplace that has three of its sides exposed. Wright uses furnishings vey well to enhance the rooms power. The Japanese screen on the wall to the left and Chinese wool carpet are the obvious examples. |
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The guest room again shows the use of ceramic fragments from the former Taliesin in the walls but the most noticable is Wright's use of natural light enetering form the sides and above that emphasises the complicated space he had created. |
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The long hall that begins at the living room ends at Wright's bedroom. From his bedroom window Wright allowed himself a 135 degree panoramic view of the landscape of Spring Green which takes in the Unity Chapeland it graveyard, and Romeo and Juliet. Wright constantly remodelled the room and every time enlarged it by extending further into the garden. |
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Wright's studio was the one part of Taliesin that avoided fire damage and like his bedroom was continually subject to Wright's revisions. Even after the drafting room was built at Hillside Wright still continued to work there and is used even today by the Fellowship for meetings. |
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 Photographs by Judith Bromley from Kathryn Smith ,Frank Lloyd Wright's Taliesin and Taliesin West, Harry N. Abrams inc.,1997. (1)Kathryn Smith ,Frank Lloyd Wright's Taliesin and Taliesin West, Harry N. Abrams inc.,1997. Back To Top |
This Wright-designed piece of furniture dating from 1946-49 was introduced to the garden room in the 1950's. Known as the "origami" chair because of it appearance of folded lines further goes to demonstrate the influence of the east and Japan on Wright's work on every level, not just grand conceptual design. |
