Dana–Thomas House

Transcription

THIS IDYLLIC SETTING WAS GROUND ZERO FOR THE CLASH OF SEVERAL WORLDS. HERE IN A MOST VISIBLY ZERO FOR THE CLASH OF SEVERAL WORLDS. HERE IN A MOST VISIBLY DRAMATIC FASHION, THE POST CIVIL WORLDS. HERE IN A MOST VISIBLY DRAMATIC FASHION, THE POST CIVIL WAR VICTORIAN ERA MET THE DRAMATIC FASHION, THE POST CIVIL WAR VICTORIAN ERA MET THE FUTURE. WAR VICTORIAN ERA MET THE FUTURE. IT ALL HAPPENED OVER THE FUTURE. IT ALL HAPPENED OVER THE REMODELING OF A HOME. HELLO. I AM JIM WILHELM. THIS AREA WAS ONCE THE I AM JIM WILHELM. THIS AREA WAS ONCE THE WEALTHIEST SECTION OF THIS AREA WAS ONCE THE WEALTHIEST SECTION OF SPRINGFIELD AND IT WAS NICK WEALTHIEST SECTION OF SPRINGFIELD AND IT WAS NICK NICKNAMED ARISTOCRACY HILL. SPRINGFIELD AND IT WAS NICK NICKNAMED ARISTOCRACY HILL. IT WAS HERE THAT A LADY SEEKING NICKNAMED ARISTOCRACY HILL. IT WAS HERE THAT A LADY SEEKING TO DEFINE HER ROLE IN UPPER IT WAS HERE THAT A LADY SEEKING TO DEFINE HER ROLE IN UPPER SOCIETY MADE A STARTLING VISUAL TO DEFINE HER ROLE IN UPPER SOCIETY MADE A STARTLING VISUAL STATEMENT. SOCIETY MADE A STARTLING VISUAL STATEMENT. HER NAME WAS SUSAN DANA AND SHE STATEMENT. HER NAME WAS SUSAN DANA AND SHE WAS SOMEWHAT SHUNNED FROM HIGH HER NAME WAS SUSAN DANA AND SHE WAS SOMEWHAT SHUNNED FROM HIGH SOCIETY BECAUSE HER FAMILY'S WAS SOMEWHAT SHUNNED FROM HIGH SOCIETY BECAUSE HER FAMILY'S HEALTH CAME FROM NEW MONEY. SOCIETY BECAUSE HER FAMILY'S HEALTH CAME FROM NEW MONEY. LATER AFTER THE DEATHS OF BOTH HEALTH CAME FROM NEW MONEY. LATER AFTER THE DEATHS OF BOTH HER HUSBAND AND FATHER, SHE CAME LATER AFTER THE DEATHS OF BOTH HER HUSBAND AND FATHER, SHE CAME INTO CONTROL OF THE ESTATE AND HER HUSBAND AND FATHER, SHE CAME INTO CONTROL OF THE ESTATE AND DECIDED TO REMODEL THE FAMILY INTO CONTROL OF THE ESTATE AND DECIDED TO REMODEL THE FAMILY HOME. DECIDED TO REMODEL THE FAMILY HOME. BUT SHE DIDN'T HIRE A PROMINENT HOME. BUT SHE DIDN'T HIRE A PROMINENT LOCAL ARCHITECT. BUT SHE DIDN'T HIRE A PROMINENT LOCAL ARCHITECT. SHE HIRED A MAN FROM CHICAGO. LOCAL ARCHITECT. SHE HIRED A MAN FROM CHICAGO. NOT A KNOWN NAME EITHER, BUT SHE HIRED A MAN FROM CHICAGO. NOT A KNOWN NAME EITHER, BUT RELATIVE NEWCOMER CONSIDERED BY NOT A KNOWN NAME EITHER, BUT RELATIVE NEWCOMER CONSIDERED BY MANY PEOPLE IN THE FIELD TO BE RELATIVE NEWCOMER CONSIDERED BY MANY PEOPLE IN THE FIELD TO BE KIND OF AN ODDITY. MANY PEOPLE IN THE FIELD TO BE KIND OF AN ODDITY. HIS NAME WAS FRANK LLOYD WRIGHT. AT THAT TIME, IN 1901, MR. WRIGHT WAS JUST STARTING HIS CAREER. MR. WRIGHT WAS JUST STARTING HIS CAREER. HE HAD DESIGNED SEVERAL HOMES, CAREER. HE HAD DESIGNED SEVERAL HOMES, BUT NO PUBLIC BUILDINGS AND HAD HE HAD DESIGNED SEVERAL HOMES, BUT NO PUBLIC BUILDINGS AND HAD YET TO EXPAND HIS CONCEPTS. BUT NO PUBLIC BUILDINGS AND HAD YET TO EXPAND HIS CONCEPTS. SUSAN DANA ESSENTIALLY HANDED YET TO EXPAND HIS CONCEPTS. SUSAN DANA ESSENTIALLY HANDED HIM A BLANK CHECK TO DO WHAT HE SUSAN DANA ESSENTIALLY HANDED HIM A BLANK CHECK TO DO WHAT HE PLEASED. HIM A BLANK CHECK TO DO WHAT HE PLEASED. IMAGINE THE STREET LINED WITH PLEASED. IMAGINE THE STREET LINED WITH THE FINEST VICTORIAN HOMES, IMAGINE THE STREET LINED WITH THE FINEST VICTORIAN HOMES, HOPES OF GEOMETRIC SYMMETRY WITH THE FINEST VICTORIAN HOMES, HOPES OF GEOMETRIC SYMMETRY WITH BOX LIKE ROOMS ALL BUT THEED HOPES OF GEOMETRIC SYMMETRY WITH BOX LIKE ROOMS ALL BUT THEED AGAINST ONE ANOTHER. BOX LIKE ROOMS ALL BUT THEED AGAINST ONE ANOTHER. IN THE MIDST OF THOSE MONEYED AGAINST ONE ANOTHER. IN THE MIDST OF THOSE MONEYED HOMES, HE BUILT THIS. THIS IS A STATEMENT. FOR DANA, IT IS A REDEFINITION OF A WOMAN'S ROLE IN SOCIETY FOR DANA, IT IS A REDEFINITION OF A WOMAN'S ROLE IN SOCIETY BECAUSE SHE NOT ONLY OF A WOMAN'S ROLE IN SOCIETY BECAUSE SHE NOT ONLY ENTERTAINED, BUT ALSO SUPPORTED BECAUSE SHE NOT ONLY ENTERTAINED, BUT ALSO SUPPORTED THE ARTS AND EDUCATION, ALONG ENTERTAINED, BUT ALSO SUPPORTED THE ARTS AND EDUCATION, ALONG WITH WORKING FOR POLITICAL AND THE ARTS AND EDUCATION, ALONG WITH WORKING FOR POLITICAL AND SOCIAL CHANGE. WITH WORKING FOR POLITICAL AND SOCIAL CHANGE. AND AS FOR FRANK LLOYD WRIGHT, SOCIAL CHANGE. AND AS FOR FRANK LLOYD WRIGHT, IT IS A REJECTION OF POPULAR AND AS FOR FRANK LLOYD WRIGHT, IT IS A REJECTION OF POPULAR DESIGN. INSTEAD OF THE VERTICAL, HIS BUILDINGS EMPHASIZED THE HORIZONTAL, EMULATING THE VAST BUILDINGS EMPHASIZED THE HORIZONTAL, EMULATING THE VAST PRAIRIE, AND TO CREATE THOSE HORIZONTAL, EMULATING THE VAST PRAIRIE, AND TO CREATE THOSE LINES, ABOVE AND BELOW THE PRAIRIE, AND TO CREATE THOSE LINES, ABOVE AND BELOW THE OUTSIDE BRICK, HE HAD THE MORTAR LINES, ABOVE AND BELOW THE OUTSIDE BRICK, HE HAD THE MORTAR RECESSED WHICH CREATED A SHADOW OUTSIDE BRICK, HE HAD THE MORTAR RECESSED WHICH CREATED A SHADOW LINE. RECESSED WHICH CREATED A SHADOW LINE. ABOVE THE ROOF SEEMS TO BE LINE. ABOVE THE ROOF SEEMS TO BE RAISED FROM THE BRICK WALL BY ABOVE THE ROOF SEEMS TO BE RAISED FROM THE BRICK WALL BY ROWS OF RIBBON WINDOWS AND THE RAISED FROM THE BRICK WALL BY ROWS OF RIBBON WINDOWS AND THE DECORATIVE PLASTER FREEZE. ROWS OF RIBBON WINDOWS AND THE DECORATIVE PLASTER FREEZE. THE FREEZE IS DONE IN AN ART DECORATIVE PLASTER FREEZE. THE FREEZE IS DONE IN AN ART DECO LIKE MOTIF, BUT THE FREEZE IS DONE IN AN ART DECO LIKE MOTIF, BUT INTERESTINGLY, IT WAS DESIGNED DECO LIKE MOTIF, BUT INTERESTINGLY, IT WAS DESIGNED SOME 20 YEARS BEFORE THAT INTERESTINGLY, IT WAS DESIGNED SOME 20 YEARS BEFORE THAT MOVEMENT. AND ALL ALONG THE EXTERIOR ARE SEVERAL BUILT-IN PLANTERS CREATING A GREEN WATERFALL OF SEVERAL BUILT-IN PLANTERS CREATING A GREEN WATERFALL OF VINES, ALMOST AS IF THE CREATING A GREEN WATERFALL OF VINES, ALMOST AS IF THE ORGANICNESS OF THE HOME IS VINES, ALMOST AS IF THE ORGANICNESS OF THE HOME IS SPILLING OUT INTO THE STREETS. ORGANICNESS OF THE HOME IS SPILLING OUT INTO THE STREETS. ORGANIC IS A GOOD WORD SINCE SPILLING OUT INTO THE STREETS. ORGANIC IS A GOOD WORD SINCE WRIGHT TOOK MANY OF HIS DESIGN ORGANIC IS A GOOD WORD SINCE WRIGHT TOOK MANY OF HIS DESIGN CUES FROM NATURE ALTHOUGH FRANK LLOYD ARE WRIGHT WAS GIVEN CARTE BLANCHE, SUSAN DANA DID HAVE HER SAY. WAS GIVEN CARTE BLANCHE, SUSAN DANA DID HAVE HER SAY. IN FACT, SHE GOT THINGS DESIGNED DANA DID HAVE HER SAY. IN FACT, SHE GOT THINGS DESIGNED INTO THE HOUSE THAT NO OTHER IN FACT, SHE GOT THINGS DESIGNED INTO THE HOUSE THAT NO OTHER CLIENT OF WRIGHT EVER DID. INTO THE HOUSE THAT NO OTHER CLIENT OF WRIGHT EVER DID. FOR EXAMPLE, WRIGHT DIDN'T CARE CLIENT OF WRIGHT EVER DID. FOR EXAMPLE, WRIGHT DIDN'T CARE FOR FRONT DOORS. FOR EXAMPLE, WRIGHT DIDN'T CARE FOR FRONT DOORS. IN MOST OF HIS DESIGNS, HE WOULD FOR FRONT DOORS. IN MOST OF HIS DESIGNS, HE WOULD HIDE THEM BEHIND WALLS. IN MOST OF HIS DESIGNS, HE WOULD HIDE THEM BEHIND WALLS. BUT THIS HOUSE WAS DIFFERENT. HIDE THEM BEHIND WALLS. BUT THIS HOUSE WAS DIFFERENT. THIS HOUSE WAS DESIGNED TO BUT THIS HOUSE WAS DIFFERENT. THIS HOUSE WAS DESIGNED TO ENTERTAIN. THIS HOUSE WAS DESIGNED TO ENTERTAIN. IT WAS DESIGNED TO BE THE FOCAL ENTERTAIN. IT WAS DESIGNED TO BE THE FOCAL POINT OF SPRINGFIELD'S SOCIETY. AS SUCH, IT HAS PROBABLY THE MOST PROMINENT FRONT DOOR WRIGHT EVER DESIGNED. MOST PROMINENT FRONT DOOR WRIGHT EVER DESIGNED. HERE TWO HALF PILLARS SEEM TO EVER DESIGNED. HERE TWO HALF PILLARS SEEM TO SUPPORT A SUNBURST PATTERN OF HERE TWO HALF PILLARS SEEM TO SUPPORT A SUNBURST PATTERN OF BRICKS EMPHASIZING THE ARCHWAY. SUPPORT A SUNBURST PATTERN OF BRICKS EMPHASIZING THE ARCHWAY. BELOW THE DOOR IS TRIMMED WITH BRICKS EMPHASIZING THE ARCHWAY. BELOW THE DOOR IS TRIMMED WITH STYLIZED ART GLASS RENDITION OF BELOW THE DOOR IS TRIMMED WITH STYLIZED ART GLASS RENDITION OF BUTTERFLIES. STYLIZED ART GLASS RENDITION OF BUTTERFLIES. ARRIVING GUESTS WOULD EXPERIENCE BUTTERFLIES. ARRIVING GUESTS WOULD EXPERIENCE A TUNNEL LIKE EFFECT LOOKING ARRIVING GUESTS WOULD EXPERIENCE A TUNNEL LIKE EFFECT LOOKING THROUGH THE FRONT DOOR WHICH A TUNNEL LIKE EFFECT LOOKING THROUGH THE FRONT DOOR WHICH NICELY FRAMES THE TALL, SLENDER THROUGH THE FRONT DOOR WHICH NICELY FRAMES THE TALL, SLENDER STATUE BY RICHARD BOCK. NICELY FRAMES THE TALL, SLENDER STATUE BY RICHARD BOCK. IN TURN, THE ARCH OF THE MAIN STATUE BY RICHARD BOCK. IN TURN, THE ARCH OF THE MAIN FIREPLACE FURTHER BACK IN THE IN TURN, THE ARCH OF THE MAIN FIREPLACE FURTHER BACK IN THE HOUSE FRAMES THE STATUE. INSIDE GUESTS ARE CONFRONTED WITH SEVERAL FLOOR LEVELS WHICH SEEM DISCONNECTED BECAUSE THERE WITH SEVERAL FLOOR LEVELS WHICH SEEM DISCONNECTED BECAUSE THERE IS NO GRAND STAIRCASE. SEEM DISCONNECTED BECAUSE THERE IS NO GRAND STAIRCASE. THE STAIRS ARE ON EITHER SIDE IN IS NO GRAND STAIRCASE. THE STAIRS ARE ON EITHER SIDE IN CAVE LIKE ALCOVES. THE STAIRS ARE ON EITHER SIDE IN CAVE LIKE ALCOVES. AND THE WALL TREATMENT IS VERY CAVE LIKE ALCOVES. AND THE WALL TREATMENT IS VERY DIFFERENT FROM THE TYPICAL AND THE WALL TREATMENT IS VERY DIFFERENT FROM THE TYPICAL HEAVILY PAPERED VICTORIAN WORLD. THE ROUGH TEXTURED PLASTER WAS FIRST PAINTED IN A LIGHT PASTEL COLOR THEN COVERED WITH A FIRST PAINTED IN A LIGHT PASTEL COLOR THEN COVERED WITH A PIGMENTED GLAZE THAT WAS WIPED COLOR THEN COVERED WITH A PIGMENTED GLAZE THAT WAS WIPED OFF BEFORE COMPLETELY DRYING. PIGMENTED GLAZE THAT WAS WIPED OFF BEFORE COMPLETELY DRYING. THE RESULT IS A TWO TONED WALL OFF BEFORE COMPLETELY DRYING. THE RESULT IS A TWO TONED WALL WITH VARIOUS IMPERFECTIONS AGAIN THE RESULT IS A TWO TONED WALL WITH VARIOUS IMPERFECTIONS AGAIN CREATING AN ORGANIC FEELING. WITH VARIOUS IMPERFECTIONS AGAIN CREATING AN ORGANIC FEELING. SUSAN'S BEDROOM WAS OVER THERE. CREATING AN ORGANIC FEELING. SUSAN'S BEDROOM WAS OVER THERE. FROM THERE, SHE COULD COME OUT SUSAN'S BEDROOM WAS OVER THERE. FROM THERE, SHE COULD COME OUT ON THIS WALKWAY TO GREET HER FROM THERE, SHE COULD COME OUT ON THIS WALKWAY TO GREET HER GUESTS. ON THIS WALKWAY TO GREET HER GUESTS. AND SINCE THE STAIRS WERE ON THE GUESTS. AND SINCE THE STAIRS WERE ON THE OTHER SIDE, IT ALLOWED HER AND SINCE THE STAIRS WERE ON THE OTHER SIDE, IT ALLOWED HER GUESTS AS SHE STROLLED AROUND TO OTHER SIDE, IT ALLOWED HER GUESTS AS SHE STROLLED AROUND TO ADMIRE HER EVENING GOWN. WALLS WERE ELIMINATED TO CREATE SPACE. IN WRIGHT'S DESIGN, ROOMS FLOW SPACE. IN WRIGHT'S DESIGN, ROOMS FLOW FROM ONE TO THE OTHER SEPARATED IN WRIGHT'S DESIGN, ROOMS FLOW FROM ONE TO THE OTHER SEPARATED BY ELEVATION CHANGES THIS IS A GOOD EXAMPLE OF WRIGHT'S USE OF SPACE. AS I LEAVE THE MAIN FOYER, THE WRIGHT'S USE OF SPACE. AS I LEAVE THE MAIN FOYER, THE CEILING HAS DROPPED DOWN SO LOW AS I LEAVE THE MAIN FOYER, THE CEILING HAS DROPPED DOWN SO LOW IT MAKES A PERSON ALMOST WANT TO CEILING HAS DROPPED DOWN SO LOW IT MAKES A PERSON ALMOST WANT TO STOOP AS HE WALKS THROUGH. IT MAKES A PERSON ALMOST WANT TO STOOP AS HE WALKS THROUGH. THAT TIGHT AREA SUDDENLY GIVES STOOP AS HE WALKS THROUGH. THAT TIGHT AREA SUDDENLY GIVES WAY TO THIS CAVERNOUS SPACE THAT TIGHT AREA SUDDENLY GIVES WAY TO THIS CAVERNOUS SPACE WHICH IS THE DINING ROOM. WAY TO THIS CAVERNOUS SPACE WHICH IS THE DINING ROOM. HERE THE BARREL VAULTED CEILING WHICH IS THE DINING ROOM. HERE THE BARREL VAULTED CEILING SOARS 26 FEET ABOVE THE DINER'S HERE THE BARREL VAULTED CEILING SOARS 26 FEET ABOVE THE DINER'S HEADS, PLUS THERE IS A BALCONY SOARS 26 FEET ABOVE THE DINER'S HEADS, PLUS THERE IS A BALCONY WHERE MUSICIANS COULD PLAY AS HEADS, PLUS THERE IS A BALCONY WHERE MUSICIANS COULD PLAY AS PEOPLE FILTERED IN FOR THE MEAL. WHERE MUSICIANS COULD PLAY AS PEOPLE FILTERED IN FOR THE MEAL. THIS WAS WRIGHT'S FIRST PROJECT PEOPLE FILTERED IN FOR THE MEAL. THIS WAS WRIGHT'S FIRST PROJECT IN WHICH HE USED GREAT CEILING THIS WAS WRIGHT'S FIRST PROJECT IN WHICH HE USED GREAT CEILING HEIGHTS. IN WHICH HE USED GREAT CEILING HEIGHTS. UP TO THAT TIME, HE HAD NEVER HEIGHTS. UP TO THAT TIME, HE HAD NEVER WORKED WITH ANYTHING SO BOLD OR UP TO THAT TIME, HE HAD NEVER WORKED WITH ANYTHING SO BOLD OR WILD. WORKED WITH ANYTHING SO BOLD OR WILD. THE CEILING SEEMS TO GROW OUT WILD. THE CEILING SEEMS TO GROW OUT FROM BEHIND A MUR RAL WHICH THE CEILING SEEMS TO GROW OUT FROM BEHIND A MUR RAL WHICH SURROUNDS THE DINING AREA. FROM BEHIND A MUR RAL WHICH SURROUNDS THE DINING AREA. IT WAS PAINTED BY GEORGE SURROUNDS THE DINING AREA. IT WAS PAINTED BY GEORGE NIEDECKEN WHO CREATED MURALS IN IT WAS PAINTED BY GEORGE NIEDECKEN WHO CREATED MURALS IN SEVERAL OF WRIGHT'S OTHER HOMES. NIEDECKEN WHO CREATED MURALS IN SEVERAL OF WRIGHT'S OTHER HOMES. THIS ONE WHICH DEPICTS PLANTS OF SEVERAL OF WRIGHT'S OTHER HOMES. THIS ONE WHICH DEPICTS PLANTS OF THE PRAIRIE IS THE ONLY ONE OF THIS ONE WHICH DEPICTS PLANTS OF THE PRAIRIE IS THE ONLY ONE OF HIS WORKS IN A WRIGHT HOME THAT THE PRAIRIE IS THE ONLY ONE OF HIS WORKS IN A WRIGHT HOME THAT REMAINS UNTOUCHED. HIS WORKS IN A WRIGHT HOME THAT REMAINS UNTOUCHED. >> THIS IS THE FIRST HOUSE IN SPRINGFIELD DESIGNED FOR ELECTRICITY. SPRINGFIELD DESIGNED FOR ELECTRICITY. UNLIKE OTHER HOUSES OF THE DAY ELECTRICITY. UNLIKE OTHER HOUSES OF THE DAY WHICH USED A CENTRAL FIXTURE TO UNLIKE OTHER HOUSES OF THE DAY WHICH USED A CENTRAL FIXTURE TO PROVIDE ILLUMINATION, WRIGHT WHICH USED A CENTRAL FIXTURE TO PROVIDE ILLUMINATION, WRIGHT DESIGNED A LOT OF INDIRECT PROVIDE ILLUMINATION, WRIGHT DESIGNED A LOT OF INDIRECT LIGHTING. DESIGNED A LOT OF INDIRECT LIGHTING. PLUS THE FIXTURES THEMSELVES LIGHTING. PLUS THE FIXTURES THEMSELVES BECAME A PART OF THE ART OF THE PLUS THE FIXTURES THEMSELVES BECAME A PART OF THE ART OF THE BUILDING. IN THIS ROOM, THERE ARE FOUR FREE HANGING CHANDELIERS WITH BUTTERFLY PATTERNS LIKE THOSE FREE HANGING CHANDELIERS WITH BUTTERFLY PATTERNS LIKE THOSE OVER THE DOORWAY. BUTTERFLY PATTERNS LIKE THOSE OVER THE DOORWAY. THESE PATTERNS ARE REFLECT ON OVER THE DOORWAY. THESE PATTERNS ARE REFLECT ON THE MURAL. THESE PATTERNS ARE REFLECT ON THE MURAL. VISITORS SOMETIMES COMMENT ABOUT THE MURAL. VISITORS SOMETIMES COMMENT ABOUT HOW DIM THE LIGHTING IS IN THE VISITORS SOMETIMES COMMENT ABOUT HOW DIM THE LIGHTING IS IN THE HOUSE, AND IT IS BY TODAY'S HOW DIM THE LIGHTING IS IN THE HOUSE, AND IT IS BY TODAY'S STANDARDS. HOUSE, AND IT IS BY TODAY'S STANDARDS. BUT IN A WORLD LIT BY CANDLES STANDARDS. BUT IN A WORLD LIT BY CANDLES AND KEROSENE, IT WAS CONSIDERED BUT IN A WORLD LIT BY CANDLES AND KEROSENE, IT WAS CONSIDERED AND WRITTEN ABOUT AS ONE OF THE AND KEROSENE, IT WAS CONSIDERED AND WRITTEN ABOUT AS ONE OF THE LIGHTEST AND BRIGHTEST HOUSE INS AND WRITTEN ABOUT AS ONE OF THE LIGHTEST AND BRIGHTEST HOUSE INS SPRINGFIELD. LIGHTEST AND BRIGHTEST HOUSE INS SPRINGFIELD. THE DANA THOMAS HOUSE IS THE SPRINGFIELD. THE DANA THOMAS HOUSE IS THE BEST PRESERVED AND MOST COMPLETE THE DANA THOMAS HOUSE IS THE BEST PRESERVED AND MOST COMPLETE OF ANY OF WRIGHT'S EARLY PRAIRIE BEST PRESERVED AND MOST COMPLETE OF ANY OF WRIGHT'S EARLY PRAIRIE HOMES. OF ANY OF WRIGHT'S EARLY PRAIRIE HOMES. MORE THAN ONE HUNDRED PIECES OF HOMES. MORE THAN ONE HUNDRED PIECES OF HIS ORIGINAL WHITE OAK FURNITURE MORE THAN ONE HUNDRED PIECES OF HIS ORIGINAL WHITE OAK FURNITURE ARE STILL IN PLACE ALONG WITH HIS ORIGINAL WHITE OAK FURNITURE ARE STILL IN PLACE ALONG WITH 250 ART GLASS WINDOWS, DOORS, ARE STILL IN PLACE ALONG WITH 250 ART GLASS WINDOWS, DOORS, AND PANELS, AND 200 LIGHT 250 ART GLASS WINDOWS, DOORS, AND PANELS, AND 200 LIGHT FIXTURES. AND PANELS, AND 200 LIGHT FIXTURES. THAT'S DUE IN LARGE PART TO THE FIXTURES. THAT'S DUE IN LARGE PART TO THE FACT THE HOME ONLY HAS HAD THREE THAT'S DUE IN LARGE PART TO THE FACT THE HOME ONLY HAS HAD THREE OWNERS. AFTER SUSAN DANA, THE FACT THE HOME ONLY HAS HAD THREE OWNERS. AFTER SUSAN DANA, THE HOME WAS PURCHASED BY THE THOMAS OWNERS. AFTER SUSAN DANA, THE HOME WAS PURCHASED BY THE THOMAS PUBLISHING COMPANY FOR OFFICES, HOME WAS PURCHASED BY THE THOMAS PUBLISHING COMPANY FOR OFFICES, BUT THEY ARE ALSO FANS, AND THEY PUBLISHING COMPANY FOR OFFICES, BUT THEY ARE ALSO FANS, AND THEY KEPT THE WORK IN INTACT. BUT THEY ARE ALSO FANS, AND THEY KEPT THE WORK IN INTACT. LATER THE STATE BOUGHT THE KEPT THE WORK IN INTACT. LATER THE STATE BOUGHT THE PROPERTY, AND IN AN EFFORT LATER THE STATE BOUGHT THE PROPERTY, AND IN AN EFFORT SPEAR PROPERTY, AND IN AN EFFORT SPEAR LEADED BY THEN GOVERNOR JIM SPEAR LEADED BY THEN GOVERNOR JIM THOMPSON, A MULTI MILLION LEADED BY THEN GOVERNOR JIM THOMPSON, A MULTI MILLION DOLLARS RESTORATION PROJECT. THOMPSON, A MULTI MILLION DOLLARS RESTORATION PROJECT. DURING THAT TIME, GREAT PAINS DOLLARS RESTORATION PROJECT. DURING THAT TIME, GREAT PAINS WERE TAKEN TO REDISCOVER DURING THAT TIME, GREAT PAINS WERE TAKEN TO REDISCOVER BRIGHT'S ORIGINAL COLOR SCHEMES WERE TAKEN TO REDISCOVER BRIGHT'S ORIGINAL COLOR SCHEMES AND BRING HOME BACK TO WHEN SUES BRIGHT'S ORIGINAL COLOR SCHEMES AND BRING HOME BACK TO WHEN SUES A DANA FIRST WALKED. AND BRING HOME BACK TO WHEN SUES A DANA FIRST WALKED. INSIDE. THIS HOME HAS 35 ROOMS ON THREE MAIN LEVELS, BUT IT HAS 16 VARYING LEVELS. THE MOST DRAMATIC SPACE IS REACHED AT THE END OF A LONG CORRIDOR WITH BUILT-IN PLANTERS. REACHED AT THE END OF A LONG CORRIDOR WITH BUILT-IN PLANTERS. AT THE END, GUESTS TAKE A FEW CORRIDOR WITH BUILT-IN PLANTERS. AT THE END, GUESTS TAKE A FEW STEPS UP TO A LANDING BEING MAKE AT THE END, GUESTS TAKE A FEW STEPS UP TO A LANDING BEING MAKE A U-TURN AND THEN PASS THROUGH A STEPS UP TO A LANDING BEING MAKE A U-TURN AND THEN PASS THROUGH A LOW CEILING. THEY ENTERED THIS BRIGHT AND LARGE ENTERTAINMENT AREA CALLED THE GALLERY, AND IT HAS ONE OF LARGE ENTERTAINMENT AREA CALLED THE GALLERY, AND IT HAS ONE OF ONLY THREE BARREL VAULTED THE GALLERY, AND IT HAS ONE OF ONLY THREE BARREL VAULTED CEILINGS THAT WRIGHT EVER ONLY THREE BARREL VAULTED CEILINGS THAT WRIGHT EVER DESIGNED. TWO ARE IN THIS CEILINGS THAT WRIGHT EVER DESIGNED. TWO ARE IN THIS BUILDING, ONE IS IN HIS OWN HOME DESIGNED. TWO ARE IN THIS BUILDING, ONE IS IN HIS OWN HOME IN OAK PARK. BUILDING, ONE IS IN HIS OWN HOME IN OAK PARK. THE WALLS IN THIS ROOM ARE IN OAK PARK. THE WALLS IN THIS ROOM ARE RIBBON WINDOWS LETTING IN BOTH THE WALLS IN THIS ROOM ARE RIBBON WINDOWS LETTING IN BOTH THE OUTSIDE AND LOTS OF NATURAL RIBBON WINDOWS LETTING IN BOTH THE OUTSIDE AND LOTS OF NATURAL LIGHT. THE OUTSIDE AND LOTS OF NATURAL LIGHT. AT THE FRONT END, BELOW A LIGHT. AT THE FRONT END, BELOW A MUSICIAN'S BALCONY IS THIS STAGE AT THE FRONT END, BELOW A MUSICIAN'S BALCONY IS THIS STAGE AREA. MUSICIAN'S BALCONY IS THIS STAGE AREA. HERE SUSAN WOULD HOST LECTURES, AREA. HERE SUSAN WOULD HOST LECTURES, RECITALS, POETRY READINGS, AND HERE SUSAN WOULD HOST LECTURES, RECITALS, POETRY READINGS, AND CHURCH SERVICES. RECITALS, POETRY READINGS, AND CHURCH SERVICES. BEHIND THE FIREPLACE IS A SMALL CHURCH SERVICES. BEHIND THE FIREPLACE IS A SMALL PREP KITCHEN WHERE THE DESERTS BEHIND THE FIREPLACE IS A SMALL PREP KITCHEN WHERE THE DESERTS AND COFFEE ARE PREPARED. PREP KITCHEN WHERE THE DESERTS AND COFFEE ARE PREPARED. AND THESE TABLES HAVE A DUAL AND COFFEE ARE PREPARED. AND THESE TABLES HAVE A DUAL PURPOSE. THEY CAN BE FOLDED UP AND THESE TABLES HAVE A DUAL PURPOSE. THEY CAN BE FOLDED UP IN THE MIDDLE TO CREATE A PURPOSE. THEY CAN BE FOLDED UP IN THE MIDDLE TO CREATE A DISPLAY EASEL FOR PAINTINGS OR IN THE MIDDLE TO CREATE A DISPLAY EASEL FOR PAINTINGS OR PRINTS OR THEY CAN BE FOLDED UP DISPLAY EASEL FOR PAINTINGS OR PRINTS OR THEY CAN BE FOLDED UP COMPLETELY IN ORDER TO BE MOVED. TODAY THE BUILDING IS OPEN FOR PUBLIC GUIDED TOURS. AND FOR SPECIAL OCCASIONS, THE PUBLIC GUIDED TOURS. AND FOR SPECIAL OCCASIONS, THE YARD AND GALLERY CAN BE RENTED AND FOR SPECIAL OCCASIONS, THE YARD AND GALLERY CAN BE RENTED IN THE EVENING. YARD AND GALLERY CAN BE RENTED IN THE EVENING. SO ONCE AGAIN THIS HOME HAS IN THE EVENING. SO ONCE AGAIN THIS HOME HAS BECOME WHAT SUSAN DANA INTENDED SO ONCE AGAIN THIS HOME HAS BECOME WHAT SUSAN DANA INTENDED IT TO BE, A PLACE TO ENTERTAIN BECOME WHAT SUSAN DANA INTENDED IT TO BE, A PLACE TO ENTERTAIN AND ENLIGHTEN. IT TO BE, A PLACE TO ENTERTAIN AND ENLIGHTEN. THIS BUILDING WAS WRIGHT'S FIRST AND ENLIGHTEN. THIS BUILDING WAS WRIGHT'S FIRST OPPORTUNITY TO BRING TOGETHER THIS BUILDING WAS WRIGHT'S FIRST OPPORTUNITY TO BRING TOGETHER ALL OF HIS CONCEPTS AND IT OPPORTUNITY TO BRING TOGETHER ALL OF HIS CONCEPTS AND IT HELPED HIM SECURE OTHER ALL OF HIS CONCEPTS AND IT HELPED HIM SECURE OTHER COMMISSIONS. HELPED HIM SECURE OTHER COMMISSIONS. THE BEST DESCRIPTION WE HAVE COMMISSIONS. THE BEST DESCRIPTION WE HAVE HEARD OF THIS BUILDING IS TO SAY THE BEST DESCRIPTION WE HAVE HEARD OF THIS BUILDING IS TO SAY THAT LIVING HERE WOULD BE LIKE HEARD OF THIS BUILDING IS TO SAY THAT LIVING HERE WOULD BE LIKE LIVING INSIDE A WORK OF ART. THAT LIVING HERE WOULD BE LIKE LIVING INSIDE A WORK OF ART. FOR INFORMATION ABOUT WHEN THE LIVING INSIDE A WORK OF ART. FOR INFORMATION ABOUT WHEN THE HOME IS OPEN CALL (217)782-6776 FOR INFORMATION ABOUT WHEN THE HOME IS OPEN CALL (217)782-6776 OR LOG ON TO THEIR WEB SITE AT HOME IS OPEN CALL (217)782-6776 OR LOG ON TO THEIR WEB SITE AT WWW.DANA-THOMAS.ORG.