Photo Friday: Iron Pour

As the fountains around Cranbrook are drained and the chilly air sets in, I thought we could warm up with a little molten iron.

In 1962, Julius Schmidt was appointed artist-in-residence after the departure of Berthold “Tex” Schiwetz from the Sculpture department. Schmidt received his BFA from Cranbrook in 1953 and his MFA in 1955, working under Schiwetz. Schmidt worked almost exclusively with iron, a rough and difficult material previously unexplored at the Academy. Early in his tenure, he set about raising money from Detroit-area tool and die companies to build Cranbrook a foundry.

Iron pour in the new foundry, November 1965. Paul Reuger, photographer.

Constructed in the open space to the east of Carl Milles’ large studio, the concrete block and glass curtain wall forge building was the first physical addition to the Academy campus since Saarinen died in 1950.

Julius Schmidt, Head of Sculpture, (center) with students at commencement, May 1966. Harvey Croze, photographer.

As reported in the 1964 Cranbrook Academy of Art News Letter, the new foundry featured six furnaces capable of casting up to 1,000 pounds of molten iron or bronze. The foundry also included electric hoists, a bridge crane, grinder, mueller, electric oven, acetylene and arc welding equipment, and pneumatic grinding and finishing tools.

Schmidt and some students used the forge extensively for their work, perhaps to the disadvantage of students who didn’t want to work with iron. In 1966 students working under Schmidt designed, sculpted, cast, and then fired a cannon featuring a caricature of Zoltan Sepeshy’s nose and mouth. Schmidt left Cranbrook in 1970, and I can’t find evidence of iron pours after his departure (today, students who wish to cast their own iron participate in an annual pour at the College for Creative Studies.) In the forge now is the Academy’s metal shop as well as equipment for 3D printing, laser cutting, and vacuum forming–all situated around the forge equipment.

Cannon being fired out of the foundry, May 1966. Paul Rueger, photographer.

If you would like to visit the foundry, join me on the Behind-the-Scenes tour: Saarinen House: Presidents/Residents, next Saturday, October 27th. This is the final date for this tour that includes a visit to the exhibition at Saarinen House, the studio space of Wallace Mitchell, the foundry, Cranbrook Archives, as well as several other stops. Click here for more information.

Kevin Adkisson,  Collections Fellow, Cranbrook Center for Collections and Research

Man and the Starry Heavens—The Story of Michigan’s First Public Planetarium

“Science and Art are not only for the scientist and the artist, but are for everyone who longs to enrich himself with true cultural interests.”

-George G. Booth, letter to Dr. Samuel Marquis, June 6th, 1934

Astronomy was included in the curriculum at Cranbrook School from its beginning in 1927. Judge Hulbert was chairman of the Observatory Committee and, with Prof. Curtis of the Astronomy Department at the University of Michigan, pursued plans to create a school observatory in what is now called Hoey Tower. The tower conditions were not conducive to keeping a telescope and an alternative location was sought. Consequently, an observatory was included in plans for an Institute of Science designed by George G. Booth in 1930 and the telescope was moved there. William Schultz, Jr. supervised the relocation of the telescope. Schultz was a general science teacher from 1930 to 1969, and Head of the Science Department at Cranbrook School (1938-1965). He was also an Associate in Astronomical Education with the Cranbrook Institute of Science from 1945. You can read more about the history of Cranbrook Observatory here.

William Schultz, Jr., October 1967
Copyright Cranbrook Archives, Photographer: Harvey Croze.

By 1932, it was clear that expansion and a new CIS building was necessary. Eliel Saarinen designed the second building between 1936-1937, and it was dedicated in 1938. The CIS Newsletter of April 1937 reported:

“Even in its uncompleted state one is impressed by the beauty of the new building—the sheer simplicity of the architecture, the artistry of its mathematical precision. One feels that it not only embodies the spirit of a scientific institution in its severity of line, but that the details of design give it a unique individuality. From the empty air, as it were, Mr. Saarinen has created one more evidence of his architectural genius.” (Aimee S. Lambie (Ed.), CIS Newsletter, April 1937).

The newsletter also reported the addition of a Copernican planetarium, a gift of Mrs. George G. Booth. The planetarium was made to order in Munich, Germany.

In the spring of 1953, the Astronomy program began to include demonstrations of the constellations on the inside of the observatory dome, using a star projector designed and built by William Schultz, Jr. Schultz was already using the projector to teach astronomy in general science class at Cranbrook School because it produced, “an amazingly good illusion of the starry heavens”. Developed with a materials cost of 45 cents, Schultz’ innovation was a distinguished addition to the astronomy program, but it also created the impetus for a facility and a projection instrument of wider application.

Cover of the Cranbrook Institute of Science Newsletter, December 1952

In June 1953, the Committee on Education made a proposal for the purchase and installation of a Spitz Planetarium to the Annual Meeting of CIS Trustees. In December the same year, L. James Bulkley and Dr. Robert McMath were appointed and authorized to act as a committee of two to pursue the Spitz Planetarium. During 1954, CIS Trustee William Edward Kapp drew up architectural plans for the Planetarium addition at no fee as his contribution to the project. The Spitz Model A-1 projection instrument was also obtained, a gift of Detroit Edison Company. The construction contract was awarded to Killfoile-Wendeln Construction Co. and groundbreaking took place on March 30, 1955.

Groundbreaking ceremony for the Planetarium, March 30, 1955
Copyright Cranbrook Archives, Photographer Harvey Croze

Construction went on through the summer of 1955. The Planetarium was formally dedicated on September 30, 1955, with an Invocation by Rev. Robert L. DeWitt, remarks by Mr. Kapp, a dedication address by Dr. Alexander G. Ruthven, President Emeritus of the University of Michigan and Institute Trustee, comments by Dr. Robert McMath, and demonstration by Armand Spitz, the designer of the projector.

The dedication of the Robert R. McMath Planetarium, September 30, 1955
Copyright Cranbrook Archives, Center for Collections and Research

When it opened in October 1955, Robert R. McMath Planetarium was the first public planetarium in Michigan. The following photograph shows Dr. Robert McMath (left), Mr. Armand Spitz (center), and Mr. William Edward Kapp (right) at the dedication event.

The dedication of the Planetarium, September 30, 1955
Copyright Cranbrook Archives, Photographer Harvey Croze

Between 1956 and 1971, there were 17,289 demonstrations in the Planetarium and it was time for a new projector. Schultz supervised the renovation of the planetarium, which reopened in October 1973 with a new Spitz 512 Planetarium instrument. The planetarium has since undergone further renovation and upgrades, courtesy of the Michael and Adele Acheson family. You can learn more about astronomy and the current programs at the Acheson Planetarium here.

“The planetarium reproduces the great panorama of the heavens, supplementing the telescope, which provides the intimate view… [It] is a successful adjunct to other forms of teaching science, from elementary to university levels, and to the study of navigation, mythology, literature, and spherical trigonometry. But it is above all a useful, ever-ready device for aiding people of all ages and degrees of education to study the sky around them and to set them thinking in terms of a “master plan.” (Robert T. Hatt, March 1956, CIS Newsletter, Vol. 25, No.7.)

Laura MacNewman, Associate Archivist

 

Allurements of Flinch

Allurements of Flinch by James Ball Naylor*

There’s people down to Clovertown
whose only end an’ aim
Is jest to set an’ fiddle with some dern
fool, silly game
They used to play at tid’lywinks an’
authors – an’ I guess,
They hankered after dominoes, an’
crokinole, an’ chess:
An’ as fer checkers – goodness me! –
they said you couldn’t find
A better thing to cultivate the morals
an’ the mind
But now – by gum, it makes me laugh
– they wouldn’t give a pinch
Of salt, fer’ all them former games:
The only thing is “Flinch”

The Booths didn’t “give a pinch of salt” and had a number of copies of the game “Flinch.”  Henry Scripps Booth wrote, “The commonest social entertainment when we lived in Detroit was playing the card game of Flinch. It was also popular across Trumbull Avenue at the Scripp’s home. Later we also played it at Cranbrook.”

CECT277 (1).JPG

One of the Booth’s copies of the game Flinch (CECT 277)

Invented in 1901 by Arthur J. Patterson (1869-1948) of Kalamazoo, Michigan, “Flinch” is the card game that took America by storm in the early 1900’s. The object of the game is to stockpile and then get rid of all your cards.

According to the BoardGameGeek website,

Flinch is played with a deck of 150 cards numbered 1-15. Players can play cards in sequence (building up from 1 to 15) to piles formed in the center of the table. “1” cards must be played to start the piles, but others may be played or held at the player’s discretion. Cards may be played from several sources: a player’s hand (five cards to start), a player’s “game pile” (a stack of 10 cards of which only the top card is face up and playable), or a player’s “reserve piles” (whenever a player passes or completes a turn, they must add a card from their hand to their reserve piles – up to five reserve piles may be formed). Hands are continually replenished with new sets of five cards during the game. The object is to play all 10 cards from game pile to the center of the table.

– Leslie S. Mio, Associate Registrar

*”Allurements of Flinch,” Kalamazoo Gazette, 12 July 1903, page 14, column 4

The Iconic Kitty Kingswood

A colleague recently inquired about a painting on the mezzanine wall leading to the music practice rooms at Kingswood School. The painting is of a girl, “Kitty Kingswood,” who is holding a pennant and is accompanied by a swan on the waves of Kingswood Lake. Eliel Saarinen painted the image in the 1930s to camouflage clay sewer pipes.

Painting by Eliel Saarinen in Kingswood School of Kitty Kingswood. Photo courtesy of Cassandra Nelson.

In 1950, Lillian Holm (Head of Weaving at Kingswood School from 1933-1965) copied the pattern of the gown from the painting and Louise Raisch hand-wove the first Kitty Kingswood doll. This doll was auctioned at the 1950 Autumn Festival.

The original Kitty Kingswood doll auctioned at the 1950 Autumn Festival. Photograph by Harvey Croze. Courtesy Cranbrook Archives.

Is there more to the Kitty Kingswood story? A recent trip over to the Girls Middle School, as well as a dive into our files here at the Archives, indicates that there is much more—and the iconic Kitty still plays an integral role.

Fast forward to 1964. The Kingswood Alumnae Association presents a new award to a seventh or eighth grade girl who has contributed to the spirit of Kingswood and is an outstanding citizen. The Association commissions Kingswood sculpture teacher, Pamela Stump Walsh, to create a statue of Kitty Kingswood for the award. The Birmingham Eccentric describes the sculpture as “a typical KSC girl who holds a hockey stick and a pennant and stands on the KSC seal.”

A sketch for the Kitty Kingswood award by Pamela Stump Walsh. Courtesy Cranbrook Archives.

Today, the statue resides at the Girls Middle School as does a plaque (also donated by Pamela Stump Walsh) with the award recipients’ names. An additional case at the middle school displays a Kitty Kingswood doll, which was reproduced and auctioned off for many years to raise funds for the school.

Kitty Kingswood sculpture by Pamela Stump Walsh at the Girls Middle School today.

The Kitty Kingswood Citizenship Award is still presented to an outstanding student each year at the Girls Middle School. The award is determined by vote of the faculty. Pamela Stump Walsh presented the award to the first recipient in 1964, and her words still inspire students today: “Good citizenship is more than simple obedience to a set of rules or laws. It is a loving obedience to just laws and the courage to change the unjust…but most of all, it is serious concern for the condition of others, even for the condition of our enemies.”

Gina Tecos, Archivist

Photo Friday: Thornlea Studio

In this moody photograph by Jack Kausch, we see Henry Scripps Booth with his plants, prints, antiques, and drawings in the Thornlea Studio alcove.

Thornlea Studio Kausch 1981

Henry Scripps Booth at his desk in the Thornlea Studio alcove. October 1981. Courtesy Cranbrook Archives/Jack Kausch Photographic Collection.

Henry designed Thornlea Studio as a working retreat behind his house, Thornlea, off Cranbrook Road. Completed to his own designs in 1937, here Henry worked on architectural projects for himself, for Cranbrook (like redesigning the Art Museum bathrooms and building the Cranbrook House gatehouse), and for friends and clients. He also used the studio as a place to write and read next to the cozy fireplace or beautiful expanses of windows.

Thornlea Studio Askew 1940

Henry built this studio in 1937; in 1988 it was converted into the home of the Cranbrook Archives. Richard G. Askew, photographer, 1940. Copyright Cranbrook Archives.

After Henry’s death in 1988, the studio was converted into a home for the Cranbrook Archives. The Archives were begun in part through Henry’s efforts sifting and organizing the Booth family papers and ephemera held at Cranbrook House. Relocated from the (very wet) basement and (very hot) attic of Cranbrook House, the Archives and its professional staff moved into Thornlea Studio. The most significant change to the building involved converting the Studio garage into a vault, with the reading room occupying the first floor drafting room and the alcove and offices on the second floor.

In 2012, the Archives offices, Reading Room, and certain parts of the collections were moved into the lower level of Cranbrook Art Museum. This summer, with the help of former Art Museum Preparator Mark Baker and Cranbrook Capital Projects, we moved again, into the Collections Wing.

Gina and Laura in Reading Room Sept 11 18

The new Archives Reading Room in the Cranbrook Art Museum Collections Wing. PD Rearick, photographer, 2018. Courtesy of the Cranbrook Center for Collections and Research.

In our beautiful new Archives Reading Room, we’ve hung a 1922 portrait of Henry Booth to commemorate his efforts to create and steward Cranbrook Archives. To visit our new Reading Room, see treasures from the Archives, and hear new research from five patrons of the Archives, come to our Open Archives event this Sunday from 1 to 5pm (short talks begin at 3pm). More information is available on our website.

Register online or at the door for this free event, and join us Sunday to celebrate Cranbrook Archives and see the new Reading Room!

Kevin Adkisson, Collections Fellow, 2016-2019, Cranbrook Center for Collections and Research

Editors Note: The Archives is also excited to announce new hours! We will be open on Tuesday to Friday 11 to 5pm and the second Saturday of each month, 11 to 5pm.

Brighty of Thornlea House

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Peter Jepsen, Brighty, cast bronze. 1966. Collection of Thornlea House, Cranbrook. Courtesy of Cranbrook Center for Collections and Research.

In the foyer of Thornlea, the home of Henry Scripps and Carolyn Farr Booth, sits this statue of a burro, Brighty, by Peter Jepsen. He was a gift from their son, Stephen, commemorating a movie project he spearheaded.

BrightyOfTheGrandCanyon

Dust jacket of Brighty of the Grand Canyon. 1953 (first edition). Courtesy of Michigan eLibrary (MelCat).

In 1953, Newbery Award winner Marguerite Henry (1902-1999) published the novel Brighty of the Grand Canyon. It tells the story of a real burro named Brighty who lived in the Grand Canyon from 1890-1922. Brighty spent summers carrying water up the canyon to the North Rim. He was rewarded for his work with pancakes. Brighty became popular with visitors, and is said to have accompanied Teddy Roosevelt on one of his three visits to the Grand Canyon.

In 1963, Betty Booth bought a copy of Brighty of the Grand Canyon for her three boys, Douglas, Charlie, and Woody, to read on vacation. Betty was the wife of Stephen Farr Booth, who was a television producer at the time. Stephen read the book and loved it so much he decided to make it into a movie of the same name. The movie premiered in Detroit in 1967.

Brighty-poster

Movie poster for Brighty of the Grand Canyon. 1967. Courtesy WikiCommons.

To promote the movie, Stephen had sculptor Peter Jepsen create a life-sized, 600-pound statue of Brighty to be placed in the Grand Canyon’s South Rim’s Visitor Center (it was later moved to the North Rim’s Grand Canyon Lodge, where it resides today and where visitors rub his nose for good luck). Stephen also had 100 small-scale versions of the sculpture made and distributed to various people who worked on the movie. Stephen also gave one to his parents, who placed Brighty right inside the door of their home Thornlea.

We don’t encourage visitors to rub Brighty’s nose for good luck, but he is a fun and memorable addition to welcome guests to Thornlea.

– Leslie S. Mio, Associate Registrar

Note: The book, movie, and statue have kept the legend of Brighty alive. Brighty even has his own Facebook page.

Cranbrook House Roof & Ludowici Tile

Cranbrook House was originally built by Albert Kahn in 1908, with additions in 1918 and 1920. Designed with an English Art and Crafts inspired motif, one of the most defining features of Cranbrook House is its clay tile roof and copper gutters, downspouts, and flashing. The color, texture, and decorative pieces all contribute to the beauty of a clay tile roofing system, but it’s also incredibly functional: the original roof lasted over 100 years.

Cranbrook House Construction James Scripps Booth c 1907

Cranbrook House under construction, c. 1907. James Scripps Booth, photographer. Copyright Cranbrook Archives.

Roofing is typically called the “first line of defense” for a building. The roof takes the brunt of weather exposure and any falling trees, branches, or debris. Even with all of these factors working against the roof, a clay tile roof is expected to last 100 years! Yet over the course of their lifespan and after many years of exposure, the tiles become brittle and eventually break. Broken tiles decrease protection against weather and are at risk of falling from the building. The original tiles on the Cranbrook House roof had become weak and broken tiles were increasingly becoming an issue.

Further, the original underlayment materials (layers of weather and water proofing on top of the wooden roof deck but below the clay tiles) were failing. Issues with original underlayments are common in older buildings as historically, underlayments were made of felt coated in asphalt. Since the materials used were organic, they breakdown overtime and eventually disintegrate. It’s important to note that 100% waterproofing of a roof is achieved by the underlayments, not the clay tiles. The clay tiles deflect and shed a large amount of water, but it is normal for some moisture to accumulate beneath them. The underlayments must create a fully waterproof barrier, or else water will get onto the roof deck and leaks will appear in the building.

At Cranbrook House, the sheer size of the roof made it necessary for us to divide the project into a multi-year series of phases. Cranbrook completed the first roof replacement phase over the Library Wing from 2003 to 2004. The second phase, above the Oak Room and east wing, was completed in 2015 and Phase 3, the northeast wing, was completed in 2016. Phase 2A covered the north half of main house last summer and the final phase, the south (front) half of the main house is currently in progress. It will be completed this fall.Cranbrook House Roof Schedule

Clay tile can come in an endless variety of colors, shapes and sizes, and our replacement tile had to be carefully vetted in order to maintain a historically correct appearance. Cranbrook worked with Ludowici of New Lexington, Ohio, the same manufacturer who provided the original roof tiles. The manufacturer’s proper name for the tiles are Interlocking Combination Shingle Tile.  In 1907, the Interlocking Combination Shingle Tile was a newer product for Ludowici (founded in 1888). With some help from Ludowici, we were able to find the first appearance of this specific tile in a catalog, the 1909 Sweet’s Indexed Catalogue of Building Construction:

While the Interlocking Combination Shingle Tile had long since been discontinued, Ludowici was able to recreate the same field tiles so that our restoration would be as accurate as possible. In addition, there were many specialty pieces that were made custom for the roof in 1908. These pieces had to be removed from Cranbrook House and sent to Ludowici so they could take molds and produce exact replicas. Ludowici produced all of our new tiles at the same time so that the color and finish would be consistent across the entire roof.

The Interlocking Combination Shingle system was designed to improve the way water is repelled, featuring a raised edge on the upper half of each tile.

Cranbrook House Roof Tile pictures

Cranbrook House roofing tiles. Courtesy Cranbrook Capital Projects.

Each row of tile is offset so that any water that falls through the void between the tiles would flow onto the tile below.  The raised edge funnels water downward so it doesn’t have a path to run onto the roof deck. Part of the project scope was to install two new synthetic underlayment products. The underlayment attached directly to the roof deck is the Grace Ice and Water Shield. Between the ice and water shield and the tile is a blue material called Deck Armor. This provides some weatherproofing but more importantly, it protects the ice and water shield from sharp edges on the clay tiles–if the ice and water shield gets punctured, the roof will leak.

Because of all the intricacies on a historic roof replacement project, it is very important to have an experienced team of architects, contractors, subcontractors, and suppliers working together for success. We have had a great team out here, so thank you to all who have been involved in the project over the years.

Ryan Pfeifer, Project Manager II, Cranbrook Capital Projects

Ralph Rapson: New Archival Collection

Cranbrook Archives is excited to announce the opening of the Ralph Rapson Collection (1935-1954) for research. The collection focuses on the early years of Rapson’s work, including his time as a student at Cranbrook Academy of Art. Rapson’s later work is retained at the Northwest Architectural Archives at the University of Minnesota, where he was the Dean of the School of Architecture from 1954-1984.

Rapson was born in Alma, Michigan in 1914. He earned Architecture degrees at the University of Michigan (1938) and at Cranbrook Academy of Art (1940). Upon completing his studies at CAA, Rapson set up his studio and was invited to help Eliel Saarinen with a planning project, which was to provide an analysis of the site for a new State Capitol complex in Lansing, Michigan. Following this experience, Rapson decided to focus more on architecture than planning. Between 1938 and 1942, Rapson contributed designs and drawings, and built models, for various projects and competitions for Eliel Saarinen and his associates.

While at Cranbrook, Rapson collaborated on several competition drawings with Eero Saarinen, Frederick James, David Runnells, Walter Hickey, Harry Weese and others. Rapson established an early reputation for his experimental concept houses like the 1939 “Cave House” and “Fabric House,” (both designed at CAA with fellow student David Runnells) and the 1945 “Greenbelt House” or Case Study House #4, one of the experiments in American residential architecture sponsored by Arts & Architecture magazine.

Case Study House #4 for Arts & Architecture magazine, Jun 1944.

In the early 1940s, Rapson moved to Chicago where he taught under the Hungarian Bauhaus artist, Laszlo Moholy-Nagy. Rapson served as Head of the Architectural Curriculum at the Institute of Design (New Bauhaus) from 1942-1946. He left this position late in 1946, when MIT Dean of Architecture, William Wurster, invited him to relocate to Massachusetts where he taught architecture alongside Finnish architect, Alvar Aaalto.

In 1951, Rapson was hired by the U.S. State Department to design a series of American embassies in Western Europe with architect John Van der Meulen. Rapson worked on several embassy projects, as well as residential projects, in the mid-1950s. In the spring of 1954, Rapson and his family moved to Minnesota where Rapson served as the Dean of the School of Architecture at the University of Minnesota from 1954-1984. He continued to work in private practice in Minneapolis until his death in 2008 at the age of 93.

The Ralph Rapson Collection includes project files, research, correspondence, architectural drawings, and photographic material from many of Rapson’s embassy projects, as well as design competition materials and residential projects. In addition to the physical collection, a digital site (including drawings, photographs, and ephemera) is now accessible from our web site. The Archives staff will continue to add to this site, as more material is digitized.

Gina Tecos, Archivist

Sources:
Hession, Jane King, Rapson, Rip, and Wright, Bruce. Ralph Rapson Sixty Years of Modern Design. Afton, MN: Afton Historical Society Press, 1999.

Heyer, Paul, ed. Architects on Architecture. New York: Walker and Co. 1965.

Garden Plans: A Tea House and Jacuzzi Gazebo

As we continue to research Cranbrook’s recently acquired Frank Lloyd Wright Smith House, new treasures keep popping up. When California landscape architect Thomas Church visited the Smiths in 1957 and sketched out changes to the grounds, he included a small Japanese garden due west of the house. From that point on, Melvyn Smith always pictured adding a small tea house or garden gazebo to the landscape.

Frank Lloyd Wright’s architecture (including the Smith House) was deeply influenced and indebted to Japanese design: the country’s architecture, landscape, gardens, and art–Wright was one of the foremost collectors and dealers of Japanese prints in America. The Smiths too had a deep interest in Japan (perhaps inspired by Wright’s own interest) and hosted many Japanese visitors to their home over the years. Their photo albums are full of images of Japanese guests and holiday cards from Japanese friends, while in the house sit many items from Japan: sake sets, nabemono pots, and multiple cast iron Japanese teakettles.

Melvyn and Sara Smith in Kimono at Smith House 1968.jpg

Melyvn (Smithy) and Sara Smith in Kimono outside of their Frank Lloyd Wright home, March 1968. Courtesy of Cranbrook Archives.

Nothing, however, shows their interest as fully as plans drawn up in July 1965 for a Japanese Tea House to be built across their backyard pond. The design was by Taliesin Associated Architects’ William Wesley Peters, Frank Lloyd Wright’s protégé who managed Wright’s office following his death in 1959.

The small tea house, designed on a diagrid, centered on a hexagonal room with six triangular tables (forming a hexagon) surrounded by benches on two sides and tall french doors looking back to the Smith House. Immediately outside was an ample patio and trellis above. Across the rear of the tea house ran vertical louvered panels, pieced by Wright’s earlier design from the clerestory windows of the house. (This system of cut-out folding panels was incorporated in Peters’ 1968 sunroom addition to the main Smith House).

Whether the sunroom addition took funds away from the tea house, or the fact the Smith’s never owned this side of the pond, the 1965 tea house would remain unbuilt. After Melvyn Smith retired from teaching English at Detroit’s Cody High School in 1977 or 1978, he again took up the idea of building a tea house on the property. This time, it would be situated due west of the house where Thomas Church had suggested a Japanese garden and on land the Smith’s already owned.

Around 1980 Wesley Peters was again called in to do a design for the tea house. This version of the tea house was taller, featuring french doors flanked by brick walls set with glass openings. Behind the pavilion was a plunge pool for swimming. Peters was assisted in this design by Jon deKoven Hill, who joined the Taliesin Fellowship in 1938 and worked there off and on until 1996.

Smith fell ill in the Summer of 1984, at the same time revisions to his little tea house were being completed by a local architect or builder Ron Kelly. Perhaps in retirement the purpose of a tea house had changed from purely a place of beauty and repose: the latest versions, reviewed by Smith in the hospital, featured a Jacuzzi sunk within the center of the tea house.

Smith House Tea House c 1984 with changes by Ron Kelly and possibly Melvyn Smith

Plan of the Garden Gazebo with Jacuzzi at center, plunge pool at top right, and mechanical space top left. Adapted from plans by Taliesin Associated Architects, 1984. Courtesy of Cranbrook Archives.

Melvyn Smith died that summer. At his memorial service, William Wesley Peters spoke about the philosophy of architecture; how much Wright had enjoyed Smithy as a client; and paced out the spot for the newly redesigned Japanese tea house. “What else would your dad want me to be doing right now?” Peters asked Robert, the Smith’s only son, who had admired his father’s endless determination to beautify and ornament his dream house.

Although there was never any tea house or gazebo built on the property, fast forward to earlier this summer. As we were changing out light bulbs in the high soffits of a bedroom at Smith House, we found two Ziploc bags holding quite the surprise: An unfinished model of the tea house.

Kevin Adkisson, 2016-2019 Cranbrook Center Collections Fellow

To learn more about Frank Lloyd Wright and his lifelong relationship with Japan, the Smith’s tea house, and the traditional Japanese Chanoyu tea ceremony, join us next Saturday, August 25, 2018 for presentations and demonstrations at Cranbrook Institute of Science and the Frank Lloyd Wright Smith House. I’ll be delivering a free lecture on Wright at 10:00am, followed by a presentation and Karesansui demonstration by Japanese Horticulturalist Chisato Takeuchi. In the afternoon, there are a few spots left for the 1:30 and 2:30 Chanoyu Tea Ceremony in Smith House presented by the Japan Society of Detroit Women’s Club. More information and registration is on our website.

 

 

Weeping Zeus

A folly, in landscaping terms, is a ornamental building or tower with no practical purpose built in a large garden or park. Around 1961, Mr. and Mrs. Henry S. Booth placed a small folly on the grounds of Cranbrook. However, for anyone wanting to play a joke on a friend, this folly has a very practical purpose.

IMG_2531.JPGWeeping Zeus (or more formally Zeus of Otricoli [Roman copy of Greek original]) is a marble bust comprised of the shoulders, chest, and head of the Greek god, Zeus. The chest is carved to resemble draped cloth. The curly hair has a wreath in it, and the beard is curly with a full mustache. The bust is set on top of a concrete block column.

This sculpture has an interesting and complex history. It was carved of Carrara marble in Italy in the early 19th Century and soon afterward became a decorative feature of the manor house of Abercairny, Crieff, Perthshire, Scottland. It remained there for well over 100 years until it sold at auction. Henry Scripps Booth purchased the bust in 1961 from Michael Brett of Broadway, England. Brett had purchased it from the Abercairny the year before. The manor house, once visited by Queen Victoria, was demolished in 1960, hence the sale of sculptures from the estate.

IMG_2535.JPGHere at Cranbrook, it would seem the father of the Greek gods finds the peace of this Michigan mountain dull in comparison with the revelries of either Mt. Olympus or his later home in the Scottish Highlands. It is reported tears well up in his eyes and sometimes gush forth. The sculpture became a folly (and why we call him Weeping Zeus) after Henry had holes drilled through the eyes to allow water to flow (squirt, really) out.

In reality, he’s not crying on his own. Have your guest stand in front of Zeus while you, as their friend, stand on the special stone that activates water to splash the guest from Zeus’s eyes.

As Summer comes to a close, invite that one friend who always pulls tricks on you for a beautiful walk through Cranbrook House Gardens and introduce them to Zeus.

Leslie S. Mio, Associate Registrar

Note: Weeping Zeus is located on the Mountain in the Cranbrook House Gardens, up the stairs directly opposite the House’s front door. Cranbrook Gardens is open daily from 9:00 am to 5:00 pm, May 1 through October 31. Admission to Cranbrook Gardens is FREE for the 2018 tour season, courtesy of presenting sponsor, PNC Bank, and sponsors, All Seasons Independent Livingfleurdetroit, and Roberts Restaurant Group

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