Loyd Wright
As with other homes built during this period, the set-back location of the house makes it almost undetectable to passersby. “Wright would never begin a design without first receiving a topographical map of the property,” says Dan. The 14 pin oaks that surround the house were specified in Wright’s planting plan. The homeowners proudly continue to restore the home for future generations. “We are caretakers,” says Dan. ”We need to leave this house better than we found it.”
The entry truly exemplifies Wright's notion of compress and release. This photo peers down the front gallery, showing how the space narrows and the ceilings drop, perhaps indicating the transition to more private quarters. At night, the windows are illuminated by custom-fit triangular recessed lights, while another phenomenon reveals itself by day. “The windows were designed in such a way so that as the sun moves across the sky, light and shadow work together to create a pattern of triangles on the floor,” Dan says.
Walls and counters converge to form an equilateral triangle in the kitchen (workspace). The couple added lighting above and below the original cabinetry for daily tasks. The brick wall with slit windows became an unexpectedly ideal display for more art, thanks to the homeowners' innovative glass-plate shelving within the windows' brickwork.
Minimal cabinetry lines the perimeter of the dining space, drawing visitors through the room and providing the Chrzanowskis with a gallery-style display for their treasures. “We believe the handmade aspect of the house is one of the reasons handmade pottery, baskets and textiles fit so well in the house's environment,” says Dan.
Like many Usonian homes, the Dobkins House has a hearth placed centrally in the open-plan living space. The anchored position of the dining table defines the transition into the kitchen. George Nakashima dining chairs support the home's historic design. “As you walk through the house, you begin to see that Wright designed it to have a compress-and-release effect on you,” Dan says. A dynamic sensation of movement occurs with low ceilings and intimate spaces suddenly giving way to grand vaults and slopes.
The southwest-facing terrace provides the homeowners with an open yet private spot for relaxing and entertaining. The brickwork and the pigment-dyed concrete floors on the terrace create a seamless transition into the interior of the house. The homeowners chose a vintage Russell Woodard design for the terrace furniture. Part of his Sculptura collection, the patio set and wing chair remain true to the midcentury design of the Dobkins House.
In the main living area, a pair of Wright-designed Origami Chairs adds to the Asian influence. Originally conceived for Wright’s own home, Taliesin, the chairs were later built into a number of Usonian homes. The construction of these chairs is no easy feat. “It was a challenge for even the most experienced cabinetmakers," says Dan. "There are no 90-degree joints — a complicated task not only for the woodworker but the upholsterer as well.”
Wright often integrated notions of balance and nature into his work. The wall of windows in the living room creates an almost transparent divide from the outdoors. Also known for his principles of organic architecture, Wright had almost everything in the home made of natural materials. Here, the vintage Eames Lounge Chair blends effortlessly with the handmade kilim rugs and textiles.
Wright first designed this lamp for Taliesin in the 1930s and gradually introduced it into his commissioned designs. Dan adapted the design and constructed two of these lamps for the Dobkins House. Day or night, the diffused glow softens the geometry of the space and brings natural materials to life.
Casa Hobbit
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