접시꽃 하우스의 역사

일직선으로 반스 달 & 프랭크 로이드 라이트
셰릴 리 존슨

mwwest2 일직선으로 반스 달, 반스 달 예술 공원의 기증자, 궁극의 우상 파괴자했다, 근본적인 원인 중 누구의 지원에 대한 FBI의 감시의 눈에서 그녀를 유지 24 년. 그녀는 그들을 믿고 있기 때문에 그녀는 많은 근본적인 원인을 지원되지 않습니다, 하지만 그들은 모두 적합성에 그녀의 반대를 공유.

맹렬하게 독립적 인 페미니스트, 보헤미안, 실험 극장의 신봉자 생산, 그리고 엄청나게 부유 한 상속녀, 그녀는 여성들이 단순히 하나의 어머니되지 않은 시간에 하나의 어머니였다. 더 중요한 것은, 그녀는 또한 현대 건축의 진정한 어머니였다, 프랭크 로이드 라이트를 데려온, 루돌프 쉰들러, 캘리포니아에 리차드부터 Neutra, 그녀는 올리브 힐에 대한 구상 아반떼 예술 극장 식민지에서 작동하는, 여기 로스 펠리 즈에서.

그녀의 삶의 많은 부분 또는 국가의 주위에 뿌리고 그녀의 많은 가정에서 도로와 바다에있는 동안, 그것은 일직선 반스 달이 사망하고 귀중한 유산을 남긴 여기에 올리브 힐이었다, 예술, architecture, 로스 펠리 즈.

일직선으로 프랭크

일직선으로 반스 달 없음, 프랭크 로이드 라이트는 캘리포니아에 오지 않았을 것. 아직, 프랭크 로이드 라이트와 함께, 결합하다, 많은 다른 이들처럼, 폭풍우가 있었다, 감정과 기괴한 관계. 그들은 여러 가지 방법으로 정신을 친척했다, 규칙에 난간 서로, 때로는 까칠한 모두, 그는 영원히 전제.

그의 악명이 자신의 국내 사례를 죽인 후 밖으로 도달 및 프랭크 로이드 라이트를에 자금을 누가 반스 달이었다. 그녀는 엄청나게 관대, 지원 및 환자, 라이트는 자신의 개인 고생 도쿄에있는 기념비적 인 임페리얼 호텔의 건설에 소비하는 동안.

An egotist par none, Wright reciprocated with a maddening neglect of Barnsdall’s expansive plans for Olive Hill. His autobiographical reflections on Barnsdall are less than flattering, commenting about her strong will, her “disingenuous expression” and describing her as “neither neo, quasi, nor pseudo” and as “domestic as a shooting star.”

And while Barnsdall, for her part, thought that Wright was brilliant, she often despaired of his neglect, even hiring another architect to replace him, despised the Hollyhock House Wright finally constructed for her on Olive Hill and promptly gave it away, and was in litigation with Wright only to hire him thereafter to design yet another house for her in Beverly Hills.

The Barnsdalls—Marriage Be Damned

Fortunately Aline’s family fortune allowed her to indulge the extravagance as well as the frustrations of dealing with Frank Lloyd Wright.

Aline’s father, 시어 도어 반스, was the largest independent oil producer of his times in the United States. At 6?5? 과 250 pounds, he towered in a stormy relationship with Aline’s mother, a young music teacher whom he married nine months before Aline’s birth in 1882. But later when he wanted a divorce, she refused, so he went ahead and had a second child by another woman.

Meeting Mr. Wright

In later years, Aline would travel extensively with her father throughout Europe, where she studied theatre, her real passion in life. That passion landed her in Chicago in 1913, where a pioneering, avante garde theatre troop was resident in the Fine Arts Building, one that also housed Frank Lloyd Wright, who Barnsdall met shortly after his Taliesin disaster.

Wright was a celebrated, prominent architect at the time, that is, before his major self-destruction.

에 1909, Wright had fled to Europe with the neighbor’s wife, abandoning his wife and six children as well as his thriving architectural practice and reputation in Chicago. He later brought his mistress and her children to a home and studio he built in Wisconsin, dubbed “Taliesin”.

On the day World War I was declared, 8월 15, 1914, a servant of Wright’s went berserk at a dinner party and burned and axed down his new mistress and her kids along with several other dinner party guests at Taliesin. Wright was just beginning to overcome the notoriety of his having abandoned his family when this bit of horror put him back in the headlines.

그리고 그것은 일직선 반스 달 및 프랭크 로이드 라이트가 처음 시카고에 교차이었다. 그녀는 즉시 내장하지 않은 새로운 시카고 극장을 설계 라이트 약혼.

아나키스트, LA, 와 혼외 라이프 스타일

동시에, 그녀는 엠마 골드만 좋은 친구가되었다, 사회주의로 진화했다 급진적 무정부주의자, 하지만 일직선으로 같은 연극 서클에 여행 누가. 두 사람은 연극에 대한 열정을 공유, 골드만 삭스는 사회 불의를 노출 할 수있는 강력한 차량으로 간주되는. 그녀의 부분, 반스, 연기에 입성 후, 그녀의 연극을 연출하고 생산에 돌렸다, 하는 혼합 수신을 가져 오는 동안, 그럼에도 불구하고 단단히 극장 군중에서 그녀를 설립.

로 1916 그러나, 반스 달 시카고의 피곤했다, 짧은 시간 동안 샌프란시스코에 거주를했다, only to leave it for Los Angeles.

In Los Angeles she spent a year producing plays at a theatre at Ninth and Figueroa, which drew enthusiastic raves, one even drawing a congratulatory telegraph from Charlie Chaplin. That year Barnsdall was seen in the company of her leading star, Richard Ordynski, a Polish actor and director whom she had under contract. When shortly thereafter, Barnsdall revealed that she was pregnant and was open about the fact that Ordynski was the father, he promptly resigned and left.

Apparently money brought him crawling back. A few weeks later he returned, requesting Barnsdall bankroll his play, which she reluctantly agreed to do with disastrous results. At the end of the year, she closed down her theatre. She also released all her players under contract, including Mr. Ordynski, who she concluded was a Casanova preying on rich women, and whose name she asked to never hear again.

Her father died in 1917, leaving his estate to be divided between Aline and her half-sister Francis, who bought out Aline’s interest in the Barnsdall Oil Company for $3,000,000. Doesn’t sound like much today, but that amount of money went a very long way back then.

In the meantime, Barnsdall had retreated to the Seattle area with Roy George, a writer and author who agreed to be listed on the birth certificate as the father of Barnsdall’s baby girl. Her daughter, also named Louise Aline Barnsdall, and generally referred to as “Sugartop” was born in Seattle on August 19, 1917; for his part, Mr. George received an unmortgaged ranch.

Neither the pregnancy nor the closure of her theatre productions in L.A. dampened her desire to produce a new visionary theatre venue. Even without any particular site in mind, much less a city in California, Aline pestered Frank Lloyd Wright in early 1916 to design a new theatre colony.

Wright’s New Mistress

Her timing was very bad though. Wright, having virtually no domestic practice left, had thrown himself into construction of the Imperial Hotel in Tokyo which would keep him in Japan virtually full time between 1917 과 1921. The balance of his attention was consumed by his roller-coaster love-life with a new woman, Miriam Noel, whom he took up with shortly after the gruesome death of his former mistress.

Ms. Noel was by all accounts highly neurotic mercurial, a self-proclaimed artist, and some would say, a morphine addict.

Wright’s emotional battles with Ms. Noel continued as reflected in an incident described by one of Wright’s colleagues with him in Tokyo:

In the middle of a cold night, Mme. Noel in nightclothes burst into our bedroom crying and lamenting about the cruel treatment she was subjected to by the master [Wright], who accused her of ignoble crimes in coarse language. She could stand no more.

We offer her an armchair: Naomi kneels at her feet. The door opens again.

Frank, in an old-fashioned short-sleeved nightshirt, strides in, takes an impressive pose, and pointing a finger at me calls me a “traitor,” giving “this creature” comfort and plotting against his master, and on and on.

Then he gets into our bed, throws the bedcover over his shoulder in a most dramatic gesture a la Mussolini, and keeps up his accusations of all three of us in a sarcastic voice. I beg him to cease. We could surely better discuss all this in the morning.

Whereupon Miriam looks down upon Naomi. ‘My dear! Your are shaking! What can be the matter?’

Shortly after, Frank gets out of our bed, and they walked back to their room together.”

Ms. Noel and Wright argued and fought endlessly, and exchanged highly salacious, inflammatory letters, she accusing him of womanizing and even physical torture. Their disgruntled housekeeper intercepted the letters and turned them over to the press who had a veritable field day at Wright’s expense. Worse yet, the housekeeper insisted that Wright be indicted for violations of the Mann Act, 방어 클라렌스대로 우를 유지하기 위해 라이트를 필요로하는 충전.

그러나 그의 문제의 중간에, 어떻게 든 사이 1916 과 1918, 라이트는 반스 달의 극장 및 거주의 일부 거친 스케치를 노크 몇 순간을 훔치는 관리. 접시꽃 하우스를 포함하여 이러한 이전 스케치; 그러나, 집이 팅 될 어떤 생각없이 수행되었다.

올리브 힐 구매

최종적으로, 에 1919, 반스 달 버몬트에 묶여 로스 펠리 즈에있는 토지의 36 에이커의 음모에 정착, 할리우드, 석양과 에지 몬트, 소유자가 올리브 나무가 심어 져 있었다 음모. 이미 랜드 마크 상태를 달성했다, 매년 부활절 일출 서비스의 사이트가 된 급속하게 발전 지역에서 눈에 띄는 오아시스와.

Barnsdall bought this parcel with its gently rising hill with vistas of the Pacific Ocean and the surrounding citrus groves and olive hills in 1919 에 대한 $300,000. The purchase was not without controversy. Anticipating a fight from a local park association that believed the Olive Hill parcel would make an ideal park, Barnsdall responded by offering to donate a corner to the Hollywood Community Theatre if money were raised. It never was.

A few days after Barnsdall’s purchase of Olive Hill, the press reported her plans for Olive Hill included an ambitious art community with “one of the most exquisite theaters the world has ever seen” to face Vermont Avenue with seating for 1,250 persons, with “supreme attention to acoustics,” promenades among the olive groves, a residence for Miss Barnsdall, and buildings for the training of actors and dancers.

The Easter Sunrise services continued at Olive Hill under Barnsdall’s ownership, until they were permanently moved to the Hollywood Bowl. Barnsdall was an active member of the Board of Directors of the Hollywood Bowl, and helped finance the land on which the Bowl sits; she was most likely instrumental in the relocation of the services.

“We Can’t Learn Anything from Europe”

Wright came to Los Angles with several sketches of Olive Hill showing the proposed theater and house. When she met Wright several months later to see the developments in the plans, she brought with her Norman Bel Geddes, a young stage designer, screen writer and director who she had hired during her LA theatre run.

Geddes had been forewarned by Barnsdall of the “importance of Mr. Wright to our plan. A place to work that is also an architectural masterpiece would be an inspiration to everyone. It would also have an element of permanency which would bring confidence from the community and even the country.”

Wright, after pontificating about the ongoing Imperial Hotel project, finally mentioned the Olive Hill project and brought out some blueprints of the theatre and the house. When Barnsdall protested that they were the same blueprints he had shown her five months earlier, Wright brazenly promised new drawings of a bold new theatre in a couple of weeks.

Geddes questioned Wright on the nature of his bold inspiration, and asked if he was familiar with some of the European theatre innovations. Wright retorted “We can’t learn anything from Europe. They have to learn from us. Europe is a dying civilization. The theatre in Europe died in Athens in 500 B.C.”

“Will You Give It Up?

Several months later, Geddes and Barnsdall again met with Wright who had in fact continued to work on the theatre, but Wright knowing little about theatre, had neglected to include curtains, scenery and lighting, and had provided poor sight lines. When Geddes persisted in questioning Wright on the deficiencies, Wright shot back that the simple stages used by the Greeks were ample, and warned that if he was left alone “I will give you the finest theatre in the world. If you are unable to leave me alone, I will not waste my time going any further with it.”

In the face of Wright’s prickly and dilatory ways, Barnsdall exercised the patience of a saint. But when the plans for the Olive Hill project were not completed even a year after the purchase, she finally contacted another architect who designed a house for her on Olive Hill estimated to cost $300,000.

This however prodded Wright to actually produce the long-overdue plans with amazing alacrity. When Wright insisted Barnsdall should commence construction of the theatre—though he had no complete drawings—she threatened to abandon the project all together if he could not get his act more together:

“If you cannot have your Theatre complete, even as to form of lighting equipment before you start contracting for work, I would rather not begin… The house must be finished—but if you find it impossible to continue with the theatre in the only way that is safe for me—we must decide to give it up. Though I earnestly hope this will not be necessary… We won’t argue further—only give it up as too gigantic an undertaking. Will you give it up? Take a year or two to complete it in detail? Or have it ready by spring, beginning everything at once, after we have an intelligent, workable understanding?

Son of Wright

When Wright finally delivered a set of theatre plans through his son, Lloyd Wright who had been engaged to do the Olive Hill landscaping, she was decidedly displeased and let Wright know that the plans lacked ingenuity and care; that there was not enough light and too many windowless rooms. Even the angles in the lobby entrance she found were wrong and she made her disappointment in his lack of attention to her Olive Hill project well known.

While Barnsdall fretted about the deficiencies in the theatre, Wright focused on the house that was not her priority, further escalating frayed nerves. By fall 1919 그러나, construction began on what was to be the Hollyhock House with Lloyd Wright, who had no formal training, designated as the supervisor in his father’s absence in Tokyo.

Though Aline told Wright she wanted the house to cost no more than $30,000, the building permit estimated the cost would be $50,000, while the actual cost—like all of Frank Lloyd Wright’s projects—was multiples of the estimated amount, and estimated to be between $125,000 과 $150,000.

The construction of the Hollyhock House and the other residences on Olive Hill, now known as Barnsdall Park, have spawned entire studies and books, the most authoritative being Kathryn Smith’s “Frank Lloyd Wright: Hollyhock House and Olive Hill.”

Schindler and Neutra

The process by which Hollyhock House and the two additional residences were actually constructed was one that pitted the absent Frank Lloyd Wright against the less-than-amused Barnsdall who often fled to Europe to avoid both the construction and consternation.

When things got too out of hand, Wright induced Rudolph Schindler to come to Los Angeles to take over from his son. Lloyd Wright who would go on to become a prominent architect in his own right.

Schindler, born and educated in Vienna, had come to Chicago hopefully to work with Wright. Unfortunately due to the notoriety of Wright’s lifestyle, Wright was not in a position to offer Schindler any work until the work progressed on the Imperial Hotel and Barnsdall commissions in 1918. Indeed, according to many architectural historians, it was Schindler who drew or refined many of the plans for the home, 감독의 집, and apartments for the actors and terrace shops on Olive Hill. He also organized and supervised the construction after the permit for the Hollyhock House was issued.

In Vienna, Schindler had kindled a long friendship with Richard Neutra, who like Schindler, came to California via Chicago which was a Mecca for architecture since it was being rebuilt after the great fire and had newly developed skyscraper architecture.

At the urging of Schindler, Neutra came to Los Angeles in 1925, after most of the construction on Olive Hill was either finished or abandoned, but worked on the garden and pergola on the Theodore Barnsdall memorial site on Olive Hill, while staying with Schindler. Four years later, Barnsdall asked Neutra to design her a modernistic dramatic aluminum and steel cliffside house on the ocean, but it was never built.

The Mother of Modern Architecture

Barnsdall’s influence in bringing together these titans of architecture did not stop with her employment of them. Through her connections, they got other commissions that were soon to become recognized architectural landmarks. Some came through her school on Olive Hill.

To provide for Sugartop’s education, Barnsdall hired a teacher, Mrs. Leah Lovell, who ran the school together with Rudolph Schindler’s wife. Mrs. Lovell, with her husband, Philip Lovell, a successful “health nut” and writer were to become extremely important clients for both Neutra and Schindler (and namesakes for the Lovell homes that each built).

Mrs. Lovell was the sister of Harriet Freeman, who like Barnsdall, was interested in progressive social causes and was a well-known dancer, heavily involved in the modern dance movement. She with her husband, Samuel Freeman, a jewelry salesman, were so moved by Wright’s architecture on Olive Hill that they too engaged Wright to build what is now the “Freeman House”, though they were financially challenged.

In addition to this triumvirate of Modern Architecture, Barnsdall was also the inspiration for yet a fourth, Lloyd Wright, who designed some of the architectural masterpieces in Los Feliz in the shadows of Olive Hill. After meeting Barnsdall, he became a part of her theatrical circle and in fact, married one of the actresses in Barnsdall’s stage company. When Lloyd Wright was replaced by Schindler on Olive Hill, he started his own practice, building homes in our neighborhood for Ramon Navarro, Martha Taggert and John Sowden.

Giving It Up

Unfortunately Barnsdall did not think much of living in the architectural monument that Frank Lloyd Wright and his coterie of budding titans had built her on Olive Hill. The Hollyhock House, so named for her favorite flower, had 17 rooms and seven bathrooms, was a massive, almost medieval castle with a Mayan motif. While its details and architectural breakthroughs place it in the pantheon of famous Wright houses, it was not what Barnsdall either wanted or was willing to live in.

Indeed her dislike of the Hollyhock House was such that she conspired to give it away before it was finished, and decided against completion of the artist colony she dreamed of for Olive Hill. So in 1923, changing course, she decided to give the Hollyhock House and crown of Olive Hill to Los Angeles as a public library and park, and to remain in the smaller, more commodious Residence B which Wright lived in for a time.

Her generous donation was spurned by the City of Los Angeles who apparently didn’t want the maintenance or to relieve Ms. Barnsdall of the tax liability. Finally in 1927 the city changed its mind and accepted the donation, with the hill and its buildings to be used and devoted to an art park for the Los Angeles public.

In the meantime, fur flew between Barnsdall and Wright, with them squaring off in litigation against one another over the construction and cost of Barnsdall. The matter was quickly resolved, and revealed Barnsdall’s enormous capacity to forgive and forget. For when she eyed a 24-acre parcel in Beverly Hills next to Pickfair, she once again turned to Wright to design her a new home, although she never consummated the lot’s purchase.

Thereafter, Barnsdall did not abandon Olive Hill altogether. Rather, as a condition to her donation of Olive Hill, Barnsdall provided that she could continue to live in Residence B on Olive Hill, 사실 그녀는 그녀의 팔 로스 베르 데스의 집에 선호하는 힐의 에지 몬트 측의 작은 집. (그것은 이후에 철거되었다.) 그가 주택을 필요로 할 때 반스 달 프랭크 로이드 라이트에 대여이 거주하고있는 스튜디오했다 1923, 그것은 그녀가부터 오프 살았다는 것을 여기에서 있었다 1928 그녀의 죽음에 1946. 그녀는 그러나 이동하기 전에, 그녀는 그녀의 취향에 더로 개조 쉰들러를 고용.

Mr. 무니 씨와. 후버 청소기로 청소하다

그녀의 인생의 나머지는 그녀의 자녀를 양육하고 예술 수집에 더 초점을 맞춘 동안, 그녀는 진보적 인 사회주의 원인의 그녀의 열정적 인 포옹을 포기하지 않습니다. 그녀의 올리브 힐 이웃의 경악, 반스 달은 그녀의 많은 원인에 대한 소리와 포스터 보드로 올리브 힐을 사용. 토마스 무니의 릴리스에 대한 그녀의 지원, a militant labor leader was perhaps her most celebrated, long-standing cause.

Mooney was charged and convicted of planting the bomb that exploded in a 1916 San Francisco Preparedness Day Parade. Many, including Emma Goldman and several of Barnsdall’s other friends convinced Barnsdall he was innocent and she should fund his defense. But it was not only her “pinko” friends who believed Mooney was framed; the conservative judge that found him guilty, six months later was stumping around the state proclaiming Mooney’s innocence.

Barnsdall became the chief financier of Mooney’s defense, with Olive Hill at one point being its headquarters. For years the Olive Hill property was ringed with bill boards protesting Mooney’s innocence, and in the early thirties, Lloyd Wright redesigned the billboards so they would be less obnoxious. Barnsdall used the billboards as her own personal newspaper, urging everything from the election of Upton Sinclair and Culbert Olson as governor to opposing entry into the war.

Barnsdall’s support for Mooney, even though he was eventually released and declared innocent, along with her friendship with Emma Goldman and other socialists lead the FBI to trail Barnsdall for 24 년, believing her part of the “lunatic fringe.” For more than two decades FBI reports of her prosaic doings, including her hair salon appointments and hotel trips were dutifully sent to J. Edgar Hoover, before they belatedly concluded she was just a harmless wealthy lady with bohemian leanings.

Neglect and Abuse from the City

Books could be written about Barnsdall’s wars with the City of Los Angeles for its terrible neglect of her bequest of the Barnsdall Art Park as a cultural center. The City at one point tried to turn it into a recreation part with volleyball courts and a swimming pool. Later it would allow the Park to go into such disrepair, that it contemplated razing all the Frank Lloyd Wright buildings on it, and came within inches of demolishing the Hollyhock House.

The saga of the City’s delinquent oversight continues, though Aline Barnsdall is now long gone.

Cheryl Lee Johnson is a long-time resident of Los Feliz and is very active in community affairs. She is on the board of the Los Feliz Improvement Association where she heads the Beautification Committee, and is Vice President of the Greater Griffith Park Neighborhood Council.

Johnson graduated from Barnard College, Harvard University and Columbia University with a B.A., Ed.M. and J.D., respectively. She is a partner in the law firm of Squire, Sanders & Dempsey and specializes in complex business litigation with an emphasis on intellectual property, unfair competition, antitrust, legal malpractice and banking.

Recommended Reading:

The Oilman’s Daughter: A Biography of Aline Barnsdall
by Norman M. & Dorothy K. Karasick
Carleston Publishing, Inc., 1993

프랭크 로이드 라이트: Hollyhock House and Olive Hill
by Kathryn Smith
Rizzoli New York, 1992

Barnsdall Park, A New Master Plan for Frank Lloyd Wright’s California Romanza
by Melanie Simo
Spacemaker Press, 1997