Monday, July 23, 2018

II Timothy 3: 1-7 - And the II Timothy Church, the Counterculture, the Me Generation and the Broader American Culture


II Timothy 3: 1-7 - And the II Timothy Church, the Counterculture, the Me Generation and the Broader American Culture
Bernard Pyron

This was written on September 8, 2014, but is mostly based upon earlier posts of mine and on my book The Great Rebellion of 1985 .

I was excited in 1979 on finding the II Timothy 3: 1-7 text in Greek at a library of the University of Texas at
Austin, though I did not read Greek. Later I understood that Paul is writing about an apostasy among those professing to be Christians, and also about a shift in the fundamental thinking of the entire culture and society.

The text reads as follows:
"This know also, that in the last days perilous times shall come.
2 For men shall be lovers of their own selves, covetous, boasters,
proud, blasphemers, disobedient to parents, unthankful, unholy,
3 Without natural affection, trucebreakers, false accusers,
incontinent, fierce, despisers of those that are good,
4 Traitors, heady, highminded, lovers of pleasures more than lovers of God;
5 Having a form of godliness, but denying the power thereof: from
such turn away.
6 For of this sort are they which creep into houses, and lead captive
silly women laden with sins, led away with divers lusts,
7 Ever learning, and never able to come to the knowledge of the truth."
8 Now as Jannes and Jambres withstood Moses, so do these resist the truth:
men of corrupt minds, reprobate concerning the faith."
The beginning of Paul's prophecy on the traits of people in the last
days when perilous times shall come sounds like a description of a
culture led by
selfishness, pride and all things of the flesh, including an emphasis
upon mere appearances.
But then in verses 5-7 and 7-8 Paul writes about traits of people in
an apostate church system in the end times. He says these people love
pleasure more than God, have a form
of godliness, as pretense, or appearance, but they deny the power of
God. They are always learning but not able to come to the knowledge of
the truth - and they resist the truth.

Paul is describing those who claim to be Christians - in the last days
- who have left sound doctrine and gone into doctrines made by men
that are false. But he is also describing a worldly culture of
selfishness, and this selfish worldly culture is found also in those
claiming to be Christians, in the II Timothy 3 churches. The
implication is that the churches have incorporated into themselves
selfishness, materialism, reliance on appearance, the entire flesh of
man, which is the old man of Romans 6: 6 and Ephesians 4: 22, and
which is also the natural man of I Corinthians 2: 14. The natural man
does not discern the things of the Spirit.

Social scientists and others have tried to describe the selfishness
of the followers of the counterculture that emerged in the sixties. It is
interesting that the 17 personality traits listed in II Timothy 3: 1-7
line up fairly well with many of their descriptions. The 17 traits are
listed below:

l. "Lovers of their own selves." In Verse 2 the Greek word translated
as lovers of their own selves is philautoi.
Social scientists Hendin,
Lasch and Yankelovich said that people in the New Culture show a great
deal of self-peoccupation. They also place much importance on
attaining self-esteem.
Herbert Hendin. The Age of Sensation, 1975.
Christopher Lasch. The Culture of Narcissism: American Life In An Age
of Diminishing Expectations, 1978.
Daniel Yankelovich. New Rules: Searching for Self-Fulfillment In A
World Turned Upside Down, 1981.

2. "Covetous." The three social scientists did not list this trait
for those in the New Culture, but many in that culture are covetous
and money loving.

3. "boasters, proud." In verse 2 alazones, or boasters, and
huperephanoi, or proud, both appear. Then in verse 4 we find
tetuphomenoi appears, meaning puffed up. These words suggest an
emphasis on mere appearance, on appearing to be better than others and
the desire to win out over others. "Lasch, the historian, described
people in the New Culture as worshipping image, and of being obsessed
with "mere packaging of people. Lash also identified the second trait
of pride. This can be stated as the goal of wanting to win over others
in games of social power disguised as love, friendship or business."

4. "Blasphemers." This can mean speaking evil of others or of
God."None of the descriptions of people in the New Culture by the
three social scientists are explicit in noting this trait. But the
tendency to verbally abuse others is common in the New Culture." The
meaning of the Greek word "blaphemoi" which includes blasphemy against
God, is hidden by its translation as "reproachful" in the Moffatt
Translation.
5. "Disobedient To Parents." Being disobedient to parents was
certainly a trait of the rebellious young people of thje Me Generation
of the sixties.

6. "Unthankful." Or ungrateful. Again, although the three social
scientists seem to miss this trait in the Me Generation, it is
present. They were too obsessed with self to be thankful to parents
and others.

7. "Unholy." Being unholy toward the God of the Bible is an essential
trait in the counterculture people, though those who became caught up
in the New Age Occult Movement which more fully on the scene in he
early and mid seventies might be seen as having a "holy" attitude
toward their occult channeling or mystical experiencing or toward Far
Eastern religions.

8. "Without natural affection." Psychiatrist Herbert Hendin found hat
many of the college students he studied of the early seventies showed
a lack of affection to close relatives, lovers and friends.

9. "Trucebreakers." Perhaps "irreconcilable." This trait could
describe people who are not willing to forgive others and to put a
stop of interpersonal strife. A trait in the New Culture people
identified by Lasch and Hendin comes close to this trait - they found
that New Culture people have a war-like approach to life.
10. "False Accusers." "Slanderers." The Greek word here in verse 3 is
"diaboloi," or diabolos , from 1225, to traduce, accuse, Satan, false
accuser, devil, slanderer. The Moffatt translation "slanderers" misses
important strands of the meaning of the Greek "diaboloi." Webster's
New Collegiate Dictionary says "slander" means "a false report,
tending to injure the reputation of another." More generally, many New
Culture people are liars because they have lost Christian and common
morality. Many of these people may also make false accusations about
others.

11. "Incontinent." This characteristic, the lack of self-discipline,
corresponds exactly to a trait of New Culture followers found by
Lasch. The Me People lack the self-control of the many in the older
generations.

12. Fierce." Uncivilized, barbarian or beastly might be which is
being described here. This trait also describes many in the Me
Generation, and the
counterculture.

13. "Despisers of Those That Are Good." Lawlessness and rebellion
against people who follow an older decency might be what is involved
in "aphagathoi," not lovers of good." Many New Culture people despise
Christian morality and try to see how much lawlessness they can get by
with.

14. "Traitors." Or "those who betray others." Me People can become
nasty toward others when they don't get their way, their self-esteem,
they think is threatened, and others are not fulfilling their "needs."

15. "Headlong." Rash behavior can be acting in a too-hasty, reckless
way toward others without consideration of how that action will affect
others. Lack of self control, found by Lasch in the counterculture people
hits this general trait. In addition, the emphasis on
self-assertiveness in the self psychology and women's liberation
movements contributed to rash behavior.

16. "Lovers of Pleasure Rather Than Lovers of God." Hendin found that
his college student subjects of th early seventies sought after
momentary physical sensations of pleasure in sex, touch, taste, taking
drugs, more than in long term fulfillments.

17. "Having A Form of Godliness, But Denying the Power Thereof." This
trait describes many Christians under the spell of a new culture that began to
rise after the early fifties in America.

The Personality Traits, Attitudes and Goals of the new culture
Most of those involved involved in any of the core movements of the counterculture -
the drug and hippie movements - or of its allied movements like the
New Left, feminism, the New Age Occult movement, self psychology, the
sex lib movement, soon followed by the homosexual and lesbian movements did not then that all this was not an accident of history.

It was part of what Antonio Gramsci, the "non-violent" Marxist from Italy
called "the long march through the institutions. " The Long March
sought to diminish and eventually destroy the influence of Biblical
Christianity and the Father-Led Family on American and Western
society. The March of Transformational Marxism also invaded the
Christian seminaries and the denomination hierarchical structures of
the churches. In his 1950 book, The Authoritarian Personality,
Theodore W. Adorno said that Christianity and the strong family cause
the authoritarian personality and fascism, and therefore must be
destroyed.

In the U.S., the Frankfurt School Transformational Marxists had found their mass of followers and supporters in the Counterculture of the sixties. The followers and supporters of Transformational Marxism turned out to be - in the sixties Counterculture - the University students and professors, and not the much larger working class.

A revolutionary movement which wants to diminish and eventually
destroy the Western
culture based upon Christianity and the strong family tries first to
tear down that older culture. After the old Christian and family based
culture is gone, it can then rebuild society along the lines of a
collectivist society dominated by a small ruling class and a much
smaller ruling elite on top. The those on top are psychopaths, or
worse.

There were academic intellectual movements outside of the
counterculture which helped prepare educated people for the change,
the shift in mental paradigms - which had its largest impact on the
Baby Boomer generation, though there were a few people born in the
thirties in the counterculture. The Baby Boomers and their children
became feminized.

And the Hegelian-Marxist dialectic of attitude and belief change,
first developed in small face to face groups by the shrinks,
especially in California, by the facilitators of the Encounter Group Movement, changed the mental paradigm of an entire
generation - from the men being position oriented to being more like
women, who tend to be relationship oriented. If a facilitator in a
small group session can get the majority of the people in a small
group to dialog about their opinions and feelings (which Carl Rogers
taught were more important that knowing), then especially for young
people influenced a little by the counterculture, the facilitator can
move the group away from belief in absolute truths and absolute
morality, which are positions, to a relationship centered mentality in
which positions are sacrificed to maintain relationships (a feminine
thing).

That change in paradigm thinking happened rapidly in the sixties,
leading up to the 1973 Supreme Court decision making abortion legal.
What could be more evil than a doctor deliberately killing an innocent
unborn baby. The loss of absolute morality came very quickly. The old
men of the Supreme Court were not Baby Boomers in 1973, but they had
no absolute morals - however, they could not have gotten by with such
a decision on abortion ten years earlier.

In Transformational Marxism and the counterculture there are at least
four major strands of rebellion against the older culture of absolute
truth and morality, based on the patriarchal authority of God. These
are:

l. An Increase in Selfishness and Self-Preoccupation.

2. The Revolt Against Christianity, Especially Opposing Christian Morality

3. The Reduction of the Human To Desire, Feeling and Conditioning,
that is the "killing" of any development of man's third part, which is
his spirit, developed in him by the Holy Spirit..

4. The Denial of what George Orwell Called Objective Reality. The New
Culture of Transformational Marxism not only allows
for the telling of lies in certain circumstances. As a culture, it
also teaches that there may be no agreed upon reality outside your
individual mind against which your statements can be checked to see if
you are telling lies or not. In the drug movement the idea that one
creates his own reality was taught by Tim Leary, Ken Kesey, Richard
Alpert and other leaders.

So, as Benjamin Bloom, who wrote the two volume book on the Taxonomy
of Educational Goal Objectives, by which all teachers must be
certified, said "“We recognize the point of view that
truth and knowledge are only relative and that there are no hard and
fast truths which exist for all time and places.” (Benjamin Bloom, et
al., Taxonomy of Educational Objectives, Book 1, Cognitive Domain)
Dean Gotcher found a footnote in Bloom's Taxonomy of Educational
Objectives Book 2, Affective Domain, on the "Weltanschaaung" or world
view Bloom was following. On
page 166 of this volume Bloom acknowledges the influence of Theodore W. Adorno
and Eric Fromm on the psychological theory, philosophy or ideology
contained in his two volumes, Educational Goal taxonomies. Book II
Affective Domain p. 166.
“1. Cf. Erich Fromm, 1941; T. W. Adorno et al., 1950” Benjamin Bloom,
Book II Affective Domain p. 166. This is Bloom's footnote
acknowledging the influence on his thinking from Erich Fromm and
Theodore W. Adorno. Adorno was an original Frankfurter Marxist who
posed as a personality and social psychologist in writing his 1950
book, The Authoritarian Personality, in which he claimed that the
authoritarian personality and fascism are caused by the family and
Christianity. Erich Fromm was a Transformational Marxist psychologist
and close associate of the Frankfurters.

"In the eyes of the dialectical philosophy, nothing is established for
all time, nothing is absolute or sacred." (Karl Marx)
Starting in about 1962 with the drug movement and going on through
the sixties and the arrival of the New Age Occult movement in the
early seventies, this New Culture taught many people to focus upon dreams,
fantasy, the occult and
especially on experiencing during LSD trips. All this emphasis moved
reality toward the subjective.

The drug movement taught a few thousand and later millions that you
can create your own reality in your mind. Truth is found in subjective
mystical experience, not in interpreting Scripture.
The create your own subjective reality idea was also taught in
psychology. Psychologist Randie L. Timpe says "Our constructions of
human nature and God are based on a philosophy of constructive
alternativism (Kelly, 1955) where the individual is free to formulate
new and alternative explanations."

Self psychologists Carl Rogers and A.H. Maslow said that the
expression of feelings and fulfillment of desires and "needs" come
first. They ignored intelligence and cognitive abilities, contributing
to the bent in the counterculture to reduce the person to his or her
feelings, desires and conditioning. Emphasis upon feelings rather than
cognitive clarity also made it much easier to see the idea that we
create our own reality, that we are free to construct our own
subjective view of external reality.

In the dialectic process, used to change beliefs and attitudes in
small groups, the thesis is often that which is fixed, or absolute
truth or absolute morality. The anti-thesis is the feelings of
people for their relationships - especially their relationship with
the present group. In the dialectic process moving to consensus and
synthesis, the outcome is a compromise of the absolute truth or
absolute moral. This process is helped along by making feelings,
desires and needs the most important thing for the person, as Rogers
and Maslow did for this new culture from Transformational Marxism.
The II Timothy Church - Having Only the Form of Godliness, and Ever
Learning But Never Arriving At the Truth
Paul in II Timothy 3: 1,5, 7 says "This know also, that in the last
days perilous times shall come.........Having a form of godliness, but
denying the power thereof: from such turn away.........Ever learning,
and never able to come to the knowledge of the truth."

Friday, July 13, 2018

Legends of the Ballard: Hound Voices and Camp Fires of the Thirties Bernard Pyron


Legends of the Ballard: Hound Voices and Camp Fires of the Thirties Bernard Pyron



​Old Box School House (Benton City, Northern Atascosa county, Texas).  The one lane dirt road - in the forties - turned off to head south toward Atascosa Creek beside the School just to the east.  Down in a live oak mott John McCain often set up his camp and turned his hounds loose.
The last hunt I was on was at Christmas time in 1961 with Warren Healer, who had a few hounds, Uncle Casey Pyron, and George Pyron.  Healer's dogs didn't jump a coyote and all we heard was an occasional bark by his trail dogs. I have not heard a large pack of hounds barking on a hot trail many times. In 1946-47 when I went with Daddy to sit at the camp fires of John McCain, he  had only five or six hounds and they were not as impressive as 40 or more hounds all barking at once, as George describes for some hunts in the thirties..  And when that many were sounding on a hot trail, hound dog men like Luther James, John McCain, the Preacher, Daddy and George could still hear individual dogs and their voices.
My older brother George kept a journal of their running hounds after coyotes when he was a teenager in 1934-35. His widow Nell Kurz Pyron sent the journal to me a couple of years ago. Here is his entry concerning the hunt of November 30, 1934 in which he says they caught two coyotes in McDonald's pasture, which I think was on Senior Road.
"November 30, 1934 - Caught one wolf in south-east part of Ballard
pasture. Ran one hour and fifteen minutes. Caught two more in McDonald's pasture, first one in two hours, second one two and a half hours.About 45 dogs. S. Guynes, Ed Pakowitz, Woods, Jasper Newman, McKon brothers. Pep and three others caught in traps. Left Jack and he came home."

They caught a coyote in the south-east part of the Ballard, and that same
night they caught two more in McDonald's pasture. McDonald's pasture may
have been on Senior Road or in that area, east of Somerset. This suggests
the Ballard might not have been too far from McDonald's place, perhaps on
Senior Road.
On another hunt he mentions a Ballard place and also an upper Ballard tract of land. I have never been able to find where the Ballard place was.
Tommy McDonald worked at the old Pioneer Gas Station in Somerset and may have been the owner of the McDonald place in 1934, or a son of the owners.
Also the Ballard land could have been in northern Atascosa county, not more than a few miles from Somerset.

​The Blake Pyron Home was in the northwest corner of tract number 273 above.  Tract number 55 above it was a Republic of Texas grant to John Christopher who was at San Jacinto.  The largest tract  was originally part of a huge amount of land south of the Medina that was given to Ygnasis Perez by the Spanish authorities.  But Perez was on the side of the Spanish loyalists in the  GutiĆ©rrez-Magee expedition of 1812–13, and was on the side of the Mexican government of Santa Anna in the successful Texas Revolution of 1835-36. This is why he .lost his Spanish land grant south of the Medina but was allowed by the Republic of Texas government to keep one league of land north of the Medina which became the Walsh Ranch. My first cousin Billy Kenney ran hounds after coyotes with Cecil Walsh on the ranch.

The GutiĆ©rrez-Magee expedition of 1812–13 was an early attempt to overthrow Spanish rule in Texas.


Faith Ballard, wife of John D. Ballard was a teacher at Southwest and a sponsor for Oak Isaland 4H. Her children's names were John, Doug David , and Faith. Their place was right off of Highway 1604



​1879 Bexar County Landowner Map
Over at the top left is the Geo Mudd tract No 273 which was my grandfather's northern tract where his homestead tract was in the northwest corner. Tract 274 was his southern tract.
. At about the middle of the map are two A. McSnyder tracts, and above them, to the north, is the A.S. Cunningham tract. Senior road runs at the east edge of the A. McSnyder tract 272 and the C.B. Snow tract below it. But - because John D. Ballard and Faith Ballard bought their tract out of the McSnyder and Cunningham tracts and he did not inherit the land, its possible that he is not a descendant of the Ballards who owned the land that George Pyron and others ran their hounds on. The Texas General Land Office says the original land of A. McSnyder was 1067 acres. The Ballard land in George's Wolf Races 1934-35 must have been a large tract, because a coyote running before a pack of barking dogs could run through 50 acres in maybe two or three minutes. That Ballard land was likely at least 500 to 600 acres and possibly more.
But still its interesting that the John D. Ballards in the late fifties bought a tract of land within the area where the legendary Ballard was probably located. "November 30, 1934 - Caught one wolf in south-east part of Ballard pasture. Ran one hour and fifteen minutes. Caught two more in McDonald's pasture, first one in two hours, second one two and a half hours.About 45 dogs. S. Guynes, Ed Pakowitz, Woods, Jasper Newman, McKon brothers."

And George mentions Wilson's Goat-Proof fence on another hunt. "February 2, 1935 - Went to Ballard and Jack, Beulah, Queen, Pep and Smut jumped and ran for three hours and out of hearing. Finally located them in lower Ballard and turned young dogs loose. Ran back toward Wilson's goat proof fence. Left Cricket, Speck, Arp and Red in McDonald's still running. John McCain, Woods and us." Look on the 1879 Landowners Map. John Wilson owned a large tract just east of the A. McSynyder tract. And they started this hunt on the Ballard. He mentions a lower Ballard, and also McDonalds place. There was a McDonald tract of land I believe on Senior road in the thirties. This hunt took place east of Somerset, and probably also east of Senior Road.

WRIGHT'S SMALL DIAMOND MODULE DESIGNS: THE PATRICK KINNEY HOUSE Bernard Pyron

WRIGHT'S SMALL DIAMOND MODULE DESIGNS: THE PATRICK KINNEY HOUSE
Bernard Pyron

The photos on this article which I posted on this site in the past disappeared, so I am posting it again.
William Storrer says that the "... Prairie School had died out by the early 1920s. In the Prairie era, Wright had created an American - some would say only a Midwestern - architecture. He had not, however, created a Democratic architecture (1)." Wright's democratic, more affordable and compact houses from 1936 to 1959 were called "Usonians." The Prairie homes of about 1901 to 1913 are larger than the Usonians, since they were designed for the Upper Middle Class. And because there was a lingering caste system at that time in America, in part because these mansions contained quarters for live-in servants they were larger than they might have been. In addition, many of the prairie homes had an extra entry for servants and delivery men, while the family and guests entered at another door.

(l) http://www.franklloydwrightinfo.com/wasfllwbio.html

Wright broke out of the box in steps. Over a period of a few years he developed ways of making interior space in his big Prairie houses flow in and around jogs in walls, into other spaces,and he varied the ceiling heights to structure space vertically. With its horizontal lines and hip roof, the Malcolm Wiley house (1934) of Minneapolis reminds us of the horizontal look of the Prairie houses. But the Wiley house can be considered as a direct forerunner of the First Jacobs house, known as the first of Wright's Usonians. Like the Jacobs house, the Wiley residence is compact and simplified to cut costs and to make it more functional.

WRIGHT'S WISCONSIN POPULISM

In his fall 1952 talk at the University of Wisconsin Student Union auditorium Wright said "A Democrat is born hating the government." By Democrat he did not mean the Democratic Party. He defined Democratic as the freedom and dignity of the individual, an ideology that came out his Wisconsin Populism and Progressivism. Progressivism, and Populism before it, had upheld the common people and were both critical of the rich - and what we would now call the ruling elite. The more agrarian populism of the Midwest, Texas and the South, as well as Wisconsin Progressivism were also critical of government. Wright's Usonian architecture for the common man was inspired by his Progressivism, which was influenced by the earlier agrarian populism. Progressivism taught that the common man is capable of improving himself and the whole society might be improved. To Wright, the Middle and Lower Class people might be raised up to appreciate great art and to develop as individuals in a free, democratic culture. His organic architecture, he thought, was a major way common people could be elevated. Wright thought his architecture would edify the Middle and Lower Middle Classes. He suggested to me in the fall of 1957 that I was studying his houses of the fifties for "my own edification." Progressivism rejected Social Darwinism, the position taken by many of the rich and powerful figures of the day. Social Darwinism was the philosophy which said that the rich deserve to rule over the common people because they have proven themselves fit to do so. Populism and Progressivism also opposed corruption in the financial and business worlds and in government.

THE SPIRITUAL SIDE OF WRIGHT

On religion, Wright said: " I prefer to say that nature is the only body of God that we shall ever see. If we wish to know the truth concerning anything, we'll find it in the nature of that thing.(2) Romans 1: 25 points out that many people, like Wright, prefer to worship creation rather than the creator. Wright was clearly not a Christian. He was not a driver of an avant-garde art wrecking machine like most other Masters of Modern art, especially the surrealists, who attacked Christianity.. Wright drew inspiration from Taoism, and especially from Lao Tse. In his Autobiography, he claimed to have been into Celtic Druidism. His last wife,Olgivanna Hinzenberg, was into mysticism, a follower of the mystic Gurdjieff, who visited her and Wright at Taliesin. In addition, Wright's beloved mistress, Mamah Cheney, wife of Edwin H. Cheney, was as independent as Wright. She translated feminist books on free love, from German and Swedish, and promoted the early feminist agenda (3)

http://www.oprf.com/flw/bio/cheney.html

In his review of the book, The Fellowship, by Roger Friedland and Harold Zellman, Storrer says "Mamah was a translator of the work of Swedenborg, and it is that influence that fed Wright's spiritual world." Swedenborg was a mystic, and even a gnostic. So two of the four women in Wright's life were into mysticism.(4)

(http://www.franklloydwrightinfo.com/

BY 1915 WRIGHT TURNED TO DESIGNING FOR THE COMMON PEOPLE

It is easier to see how Wright's Wisconsin Populism and Progressivism led him to finally turn from his Prairie houses for the Upper Middle Class to finding ways to create affordable houses for the Middle and Lower Middle Classes which also reached the level of art. Unitarianism, Taoism,. Druidism and mysticism are not populist, and neither is gnosticism. In fact, to a great extent mysticism comes out of gnosticism in which a small elite claimed to have the secret knowledge that can enlighten a few of the unenlightened. After he stopped designing Prairie houses, and got back from Europe, Wright turned his attention to designing homes for the lower middle class. His first designs were for Arthur l. Richards, using the American System Built home process. Four duplex apartment units and two bungalows were built in Milwaukee in 1915-1916. Lumber was cut at a factory and shipped to the sites to be assembled, which reduced the cost of the dwellings. Later, during the fifties, Madison builder Marshall Erdman constructed two versions of Wright's Pre-Fab Plan Number One in Madison. The first built was the Eugene Van Tamelen house (1956) on the south edge of Madison's Crestwood, which was largely surrounded by woods in 1956. This is the only Wright house I was in during its construction. Five houses were built using the Pre-Fab Design Number one. A second pre-fab in Madison, on the South Belt Line, the Arnold Jackson house, is based on the Number One pre-Fab Plan but uses stone rather than the masonite of the Van Tamelen house(1956). Wright's goal was to create houses that the common people could afford, and yet would also rise to the level of art. He did not fail in this goal, either in his pre-fabs of the middle fifties, nor in his Usonian square and diamond module houses of the thirties, forties and fifties, which did not use the pre-fab method of construction to any great extent.

WRIGHTS CONCRETE BLOCK CALIFORNIA HOUSES OF THE TWENTIES

In the twenties, a few years after the American System Built homes, Wright did his textured concrete block houses in California. These are the Millard, Storer, Freedman and Ennis houses. In these houses textured concrete blocks, many of which have designs on their surface, were laid on top of one another rather than staggered as in the conventional way of laying blocks. Wright wanted to use this concrete block system in his San Marcos In the Desert project which was not built due to the Stock Market crash of 1929. However, he did make use of a simplified version of his concrete block system - without the designs on the face of the blocks - in some of his Usonians of the forties and fifties. For Example, the Ward McCartney (1949) house of Parkwyn Village, Michigan, based upon the diamond module, is built of concrete blocks laid one on top of another.

FIRST HERBERT JACOBS HOUSE OF 1936

About a quarter mile northwest of the Duck Pond parking lot at the edge of the Arboretum on Madison's west side sits the First Herbert Jacobs house. I was in it in 1956 and drove by it numerous times. In this house Wright laid down a large part of his domestic architectural grammar for the Usonians to come. The First Jacobs house is based upon a unit system, in this case, a two by four foot module. Most of Wright's walls follow the unit lines, though a few walls fall between the lines of the grid system. The house has 1,500 square feet and the reported cost was $5,500 in 1936, including Wright's fee of $450. In the First Jacobs design the kitchen is small in size but it is at the center of the junction of the two wings of the "L" shape. A gap in the wall separating the kitchen from the living area allows easy access from one room to another, while another gap allows access to the hall of the bedroom wing. There are two larger bedrooms in the bedroom wing of the "L" and one smaller one at the end. The "L" shape of the house partially encloses a garden rather than the courtyard that a Prairie house might open to. Rows of tall French-window doors are found all along the side of the living room facing the garden, and there are some on the garden side of the bedrooms. The house tends to be closed to the street.

Part of the vocabulary Wright established for his Usonians in this house include the poured concrete floor with heating pipes embedded in it, and wood sandwich walls which make conventional 2 x 4 studs unnecessary, and the cantilevered carport, replacing the garage. He did not always use his system of wood sandwich walls, but sometimes substituted concrete block or stone. First of all, the 1936 Herbert Jacobs house is relatively small and compact, which is true of many of his Usonians though some are larger in size. Second, he put the bedrooms on the ground floor rather than in a second floor. And the entire house is made up of only one floor. A short bedroom wing runs off the central kitchen area with a hall along one side. The kitchen is decreased in size and Wright got rid of the Victorian dining room. The kitchen which Wright called the workspace adjoins the living space. The First Jacobs house has a flat roof, unlike many later Usonians with hip roofs.

THE UNIT SYSTEM HELPS CREATE COHERENCE

The box room is created by four 90 degree angles. So, to began breaking out of the box, Wright might have gotten rid of all or many corners that are 90 degrees, and replaced them with 120 angle corners. The hexagon is a six sided geometrical form with each side having 120 degree internal angles. And a octagon is an eight sided form with 135 degree internal angles. To find the internal angle of any polygon, multiply the number of sides by 180, subtract 360 and divide by the number of sides. To find the internal angles of a regular square polygon, that is, a box form, 180 times 4 equals 360. Divided by 4, we get four angles each of 90 degrees. The same formula worked out for a hexagon gives us 120 degree angles and for an octagon it yields 135 degree internal angles. Use of 135 or 120 degree internal angles breaks away from the strict box form to some extent. The octagon is close to being a circle and Wright eventually went to the circle or semicircle as his unit of design.

NONRECTILINEAR AREAS IN THE NAKOMA AND SAN MARCOS IN THE DESERT PROJECTS

Wright experimented with 135 degree angles in his Lake Tahoe Summer Colony of Emerald Bay in California in 1923. And in his Nakoma Country Club Project for Madison, Wisconsin of 1923 he used some nonrectilinear angles, as well as his "Wigwam" steeply pitched hip roofs. A central area of the Nakoma Country Club Project is an octagon form, with eight sides and internal angles of 135 degrees. The Lake Tahoe and Nakoma Country Club designs were never built (5) .

http://www.loc.gov/exhibits/flw/images/flw0062.jpg

Then in 1928 Wright created an interesting dining room for the hotel that was to be part of San Marcos In the Desert. Designed for Alexander Chandler, this complex was to be built at the base of the Salt River Mountains south of Phoenix. Wright designed the concrete blocks to be used in the hotel and in the individual homes. Fig One would show the 90 and 120 degree angles of the main part of the hotel dining room. He drew lines for the plan which form the double equilateral triangles,or diamond shapes, that we find in the smaller Robert Berger and Patrick Kinney homes of the early fifties. The upper level of the hotel also shows his use of the triangle(6)

http://www.loc.gov/exhibits/flw/flw06.html

See this web site for the floor plan of the hotel of the San Marcos In the Desert Project. Individual homes were to be included in the San Marcos In the Desert complex, and Wright designed two of these homes. The Wellington and Ralph Cudney project floor plan of 1928 that would be shown in Fig Two was also created using the diamond module grid system, yielding 120 and 60 degree angles. The Cudney project of 1928 anticipates the 120 degree internal angles of the Paul R. Hanna house (1936) of Palo Alto, California, based on the hexagon, and the diamond module homes of the fifties. See http://www.loc.gov/exhibits/flw/flw06.html for the floor plan of the Cudney Project.

THE PAUL R. HANNA HOUSE OF 1936

Fig Three would show the Hanna house floor plan with the interlocking hexagons drawn on the walkways around the house (7).

Stanford Historical Society Newsletter, Vol 2, No 2/autumn, 1977.

The floor plan of the Hanna house is within a pdf file and several pages into the file. In the Hanna house, Wright laid out his floor plan based upon the 120 degree angles of the interlocking hexagons. When a wall turned, it turned at a 120 degree angle and after the turn it was parallel to the opposite side of the hexagons. But by about 1950 and the Robert Berger house, Wright was using his diamond module floor plan. He started the plan of this house by drawing lines on paper, such that the intersecting lines create many diamond shapes. The diamond shapes are two equilateral triangles joined together. The angles within each diamond shape - double equilateral triangles - are 120 and 60 degrees. Unlike the Hanna house floor plan in which Wright used all 120 degree angles, in the Robert Berger house of 1950 he used some 60 degree angles, creating the sharp points of his plan. For example, the "fins" coming out of the Berger plan end in a 60 degree angle. The Stuart Richardson house of Glen Ridge, New Jersey, designed in 1941 but built in 1951, is another example of Wright's rare use of the interlocking hexagon unit system. This plan makes use of 120 and 60 degree angles.(8)

(8) http://www.savewright.org/house_information/RichardsonHouse.htm

By the time Wright got his first fully nonrectilinear house built in
1936, the Hanna house, he had developed a new grammar for American domestic architecture. Even in his Prairie homes and later 90 degree angle houses, he had broken out of the box interior space.

Wright is said to call the architecture of the International Style
"Flat chested architecture." The buildings of the International Style
by architects like Mies Van Der Rohe, Walter Gropius and Le Corbusier had flat surfaces, and box interior space, even though they sometimes
put a lot of windows in the flat surface walls.

In his rectilinear 90 degree angle designs, Wright broke up the monotony of the four walls and ceiling which create the space of a room as a box. He jogged walls to avoid the monotony of long straight lines, created partial partitions within spaces, and created partial ceilings so that he broke out of box space in the vertical dimension. His lighting decks, many times decorated with greenery and Sung dynasty vases or contemporary pottery, broke space in the vertical and allowed it to flow above the deck. A whole wall was sometimes replaced by tall french-window doors. He put rows of windows up under the ceilings and eaves to replace the single windows that broke the continuity of a wall.. "Rooms" were opened to the next "room" by elimination of doors. Wright made space flow in and out and up and down. He created interior space that was ever changing as one moved through it. The sculptured external form of his buildings are expressions of his interior space. In many designs he carried an element of design used to structure interior space to the exterior to add to the complexity of the exterior. But he nearly always created a basic structure first of all, a theme, and/or a geometric modular system. His complexity did not become chaos because it was complexity within a system which structured complexity.

He used the hexagon and later the diamond module system to go farther than before in "breaking out of the box." He said something in one of his talks about his waging war on the box and having a delightful time of doing it. Her added that he had become a curiosity in dong so.

Nonrectilinear Modular Systems

For Wright the 120 degree hexagon, the 120 and 60 degree diamond module and the circular module - became means for creating more interesting interior spaces than is possible with the 90 degree angle structure. Adding the 120 degree and 60 degree angles to Wright's older vocabulary of interior space gave the viewer the possibility of even more unexpected unfolding of space before him as he walks in such a house.

The first secret of the unity of Wright's diamond module houses is their unit system. Parallel lines are first drawn on the paper and the floor plans are laid down on these lines which at their intersections form double equilateral triangles, or a diamond shape. Each area of the house is composed of a given number of units. The unit system makes it easier to work out proportions, and the consistent 60 and 120 degree angles add to the unity of the house. On top of this unit system, Wright added his genius in integrating the dimensions of architecture, the floor plan with three dimensional space, and interior space with exterior form.

The Hanna house, called a Usonian, is larger and more complex than the compact and smaller Robert Berger house of San Anselmo, California, designed in 1950. The Berger house is not based upon the interlocking hexagon system, but on the less complex diamond module. See Fig 4, the Robert Berger house floor plan I photographed at Hillside Drafting Room in 1958.







Fig Four Robert Berger House Floor Plan, 1951


​Above Robert Berger House, From a Slide Bruce Radde Sent Me in 1958

Fig Five Robert Berger House, 1958,
Bruce Radde, Photographer
The Berger house was almost finished in 1958.

The wall angles of the Berger house are mostly 120 degree angles, except for the fins, the lower right hand corner of the shop (above) and the point of the terrace walls on the left. Look near the base of the terrace wall above. There is a second fin ending in that sharp 60 degree angle. Notice, though, that Wright did not use 60 degree angles as corners in the living, kitchen or bedroom area, but only for the shop. There is a fin with a 60 degree point extending out of the shop area. I believe these fins are open to the interior and are used for storage.

THE PATRICK KINNEY HOUSE OF 1951-1953

Fig 6 shows the floor plan of the Patrick Kinney house (1951) in Lancaster, Wisconsin. The Kinney house can be called a Usonian, and is a descendant of the rectilinear module First Jacobs house.


​Floor Plan of Patrick Kinney House


Fig Six Patrick Kinney House Floor Plan

The First Herbert Jacobs house of 1936 was an L shape, with the living area in one wing of the L and the bedroom wing in the other wing. The kitchen was located centrally at the junction of the living and bedroom wings. But in the Robert Berger and Patrick Kinney diamond module houses the kitchen, living room and a small bath were in the main hexagonal shaped area, while a bedroom wing ran off of this central hexagon, not as an L shape, but in line with the living-kitchen area. Designed in 1951 and completed by 1953, the Patrick Kinney house was on the north edge of Lancaster, Wisconsin when I visited it in October of 1958. Margaret and Patrick Kinney had covered their outdoor plants to protect them from the Wisconsin October chill so they would show up better in my photos. The main part of the Kinney house is the central hexagonal area. Within this hexagon, an almost solid hexagonal rock stack rises above the shingled roof line providing a vertical element to the more horizontal hip roof lines. This stack has within it the kitchen, small bath and laundry. Following the modular lines, the living space flows on three sides of the central stack. And at the northeast corner of the hexagon, Wright placed the master bedroom, which connects to the hall that flows around the central stack A triangular 'fin' with its 60 degree angle point, extends out from the master bedroom. See Fig 6. Again, following the modular lines, a triangular carport is developed out of the east side of the central hexagon. In Fig 7 the Kinney house is viewed from the south with the bedroom at the end of the bedroom wing coming to a sharp 60 degree point. The wider hexagonal main area is shown beyond the point of the bedroom wing. Look to the left of the cars of the fifties under the carport. Patrick Kinney stands there in the shadows.


​Photo I Took of Patrick Kinney House From the South in 1958

Fig Seven Patrick Kinney House From the South

​Black and White Photo of Patrick Kinney House from the  Northwest

Fig. 8 Patrick Kinney House Black and White View From the Northwest

​View of Patrick Kinney House From Northwest.
  This photro shows the central hexagonal stack that is open by French Window Doors to the countryside on the west. The bedroom wing can be seen to the right.



Fig. 9 Color Photo of the View of the Kinney House From the Northwest

​Above Is a Photo of the Kiney House Seen from the Northeast
Then Fig. 10 looks directly at the northwest part of the living area and to the left at the master bedroom part of the hexagon. Note that the stack that rises above the shingle roof is open in part by glass to the north. There is something 'Indianesque' to me about this view of the house, something that reminds me of Wright's 'Wigwam' projects of the twenties.


​Above: . The 1949 Ward McCartney house in Parkwyn Village, Michigan belongs to this family of small diamond module houses. Wright used his Usonian concrete block system in the McCartney house, which also has a central hexagon-like central area with a bedroom off of it. I photographed the McCartney house when I was in Parkwyn Village in the summer of 1958 while seeing the Brown and other Wright houses there, but I do not have a photo of its floor plan.
Fig. 10 View of the Patrick Kinney House From the North

Finally, Fig 11 shows a little of the interior of the Kinney house, especially the interior rock work. The Kinney house has very good Wrightian rock work and I wonder if stone masons can now be easily found who can do Wright's type of stone laying? Patrick Kinney was the contractor for his own house. In an April 2007 phone conversation Margaret Kinney told me that during the construction of their house Patrick got up early and hauled rock to the house site from west of Lancaster before going to his office for the day.



Fig Eleven, Kinney House Interior

THE 1949 WARD MCCARTNEY HOUSE

The 1949 Ward McCartney house in Parkwyn Village, Michigan belongs to this family of small diamond module houses. Wright used his Usonian concrete block system in the McCartney house, which also has a central hexagon-like central area with a bedroom off of it. I photographed the McCartney house when I was in Parkwyn Village in the summer of 1958 while seeing the Brown and other Wright houses there, but I do not have a photo of its floor plan. See Fig.12 for a photo of the McCartney exterior.




Fig Twelve Ward McCartney House



​Above, Flooir Plan For Ralph Moreland Project
1949 RALPH MORELAND PROJECT FOR AUSTIN, TEXAS

In 1956 Wright drew up plans for a relatively small diamond module house for Ralph Moreland to be built in the hills west of Austin, Texas, across the Colorado River to the west. Unfortunately, the bids of the contracters were about twice the $40,000 estimate that Wright gave to Moreland and it was not built. Fig 13 shows the Ralph Moreland floor plan. Then Fig 14 has Wright's perspective drawing for Ralph Moreland. The Moreland project has in common with the Robert Berger, Patrick Kinney and Ward McCartney houses a main hexagonal living-kitchen area, with the kitchen stack rising above theroof line. In all four diamond module designs - of the period of 1949 to 1956 - Wright ran a bedroom wing off of that main hexagonal area open to the interior living area by tall french-window doors. That dark structure to the left is the fireplace. On the floor plan and perspective drawing there is the kitchen structure that rises above roof line, like those of the Berger and Kinney houses. There is entry through a narrow way between the fireplace stack and the kitchen stack that allows space to flow on the other side of the living area. Behind the fireplace is a room, probably a bedroom. to the left of that room there is marked, the master bedroom,with a bath in between it and the bedroom to its left. There is also a fourth room that might be a guest bedroom, which points out from the main wall to the left. In Fig 13, notice the 'prow' of the house which is the terrace wall, that looks like a ship sailing on this Texas hill.


​Above Ralph Moreland Project Perspective Drawing

Fig. 13. Ralph Moreland Project Floor Plan, 1956




Fig 14. Ralph Moreland Perspective Drawing - for this house designed to sit on a hill west of Austin, Texas




REFERENCES

(1)William Storrer on the Prairie Houses. (l)
> http://www.franklloydwrightinfo.com/wasfllwbio.html

(2) Wright's Religion. http://www.ronaldbrucemeyer.com/rants/0608almanac.htm

(3) Mysticism of Two of Wright's Women: Mamah and Olgivanna.

(4) Storrer On Mamah's Mysticism. http://www.franklloydwrightinfo.com/

(5) Nakoma Country Club Project, 1923.
http://www.loc.gov/exhibits/flw/images/flw0062.jpg

(6) San Marcos In the Desert Project, 1928.
http://www.loc.gov/exhibits/flw/flw06.html

(7) Paul Hanna House, 1936. Stanford Historical Society Newsletter,
Vol 2, No 2/autumn, 1977.

(8) Stuart Richardson House, 1941.
http://www.savewright.org/house_information/RichardsonHouse.htm

Report on April 11, 2007:

"I just talked on the phone a long time with Margaret Kinney, widow
of Patrick Kinney, of the house in Lancaster, Wisconsin. She is now
in Florida, but plans to return to Wisconsin this month, I assume to live
in her Wright house. Original Wright owners who are still alive and still
living in their houses are rare.

I asked her to confirm some information I had heard. She said Patrick
did act as his own contractor and himself mined the Wisconsin
limestone for the house from a site nearby to the west of the house.
She said every morning he brought in a load of stone before going to
his attorney's office.

As I had heard, Patrick Kinney and Mr. Arnold who owned another Wright house
NE of Madison both took courses in Art History under Professor John F.
Kienitz who turned them on to Wright. Patrick is dead now and so are
both Mr and Mrs Arnold. I also studied under John Kienitz at
Wisconsin.

Margaret Kinney had worked for one of Wright's sisters, which I had heard before.

The Kinney house had another bedroom wing added to the northeast she said.

She agreed that their house is a gem of a small diamond module design
and the rock work is excellent. She said that many trees have grown up
around the house since I was there in 1958. I saw a photo taken from
the south in recent years by Peter Beers with a large tree obscuring
the view I took in 1958. The Peter Beers photo is at:

http://www.peterbeers.net/interests/flw_rt/Wisconsin/Kinney/Kinney.htm

Thursday, July 12, 2018

Broadacre City, Form and Space Diversity and Small Locally Owned Businesses

Broadacre City, Form and Space Diversity and Small Locally Owned Businesses

Kinney Houise From the North
​Bernard Pyron

Broadacre City, Form and Space Diversity and Small Locally Owned Businesses
Bernard Pyron
One harmful effect of the takeover of American commerce by the huge corporations and the driving of most small locally owned stores out of business is the reduction of public life in the United States. Now, if you drive through miles and miles of city and suburban environments there are no places where you can stop and interact with other people. In the cities, towns and suburban areas of the country you don't even see many people walking around outside their homes. They are either inside their homes or out in cars driving around.
American life is to a great extent confined to being inside homes or offices and inside cars driving around.
By the fifties the major institutions of American society, especially government, corporations, education, the medical profession and institutional Christianity had developed into more of a top-down order of control.
Because tremendous control over society could be exerted from the top of large corporations and from the top of the government, this hierarchy made it possible for a very small group of the ruling elite to have the power they now have. The ruling elite is not totally secret or behind the scenes; we know who some of them are. Now state, county and city governments follow the federal government. But this conformity was not the intent of the Founding Fathers. The corporate hierarchy has also driven a great many local small businesses out of business. For example, thirty, forty or fifty years ago, small grocery stores were scattered all over , but now we have to drive miles to Krogers, or Wal-Mart (Red China Central). There was more public social life in the small grocery stores of a bygone era than now in big chain stores like Wal-Mart.
Now, add to this diminishing of opportunities and places to interact with other people, the lookalike nature of our architectural forms and our spaces in the man built landscape - which is a low order of form and space diversity to live in. And in addition put all this together with the fact that most of us live in urban environments with a lot of pavement and not too much nature.
Frank Lloyd Wright made war upon the box as architecture, and on the simplicity of space structuring of the International Style for sixty years or more. Wright broke out of the box in steps. Over a period of years he developed ways of making interior space in his big Prairie houses flow in and around jogs in walls, into other spaces,and he varied the ceiling heights to structure space vertically. With its horizontal lines and hip roof, the Malcolm Wiley house (1934) of Minneapolis reminds us of the horizontal look of the Prairie houses.
In his rectilinear 90 degree angle designs, Wright broke up the monotony of the four walls and ceiling which create the space of a room as a box. He jogged walls to avoid the monotony of long straight lines, created partial partitions within spaces, and created partial ceilings so that he broke out of box space in the vertical dimension. His lighting decks, many times decorated with greenery and Sung dynasty vases or contemporary pottery, broke space in the vertical and allowed it to flow above the deck. A whole wall was sometimes replaced by tall french-window doors. He put rows of windows up under the ceilings and eaves to replace the single windows that broke the continuity of a wall. "Rooms" were opened to the next "room" by elimination of doors. Wright made space flow in and out and up and down. He created interior space that was ever changing as one moved through it. The sculptured external form of his buildings are expressions of his interior space.
The box room is created by four 90 degree angles. So, to brake out of the box even more, Wright developed his diamond module system of design so that the 90 degree angle corners become 120 angle corners. The hexagon is a six sided geometrical form with each side having 120 degree internal angles. And a octagon is an eight sided form with 135 degree internal angles. Wright experimented with the hexagon system of design and briefly with something like the octagon, before finally developing his diamond module floor plan, where all angles are 120 and 60 degrees. This diamond module floor plan system was used by Wright to create more complex space structuring inside the houses, and more varied and diverse house exterior forms.
Wright did one project for a small suburban "town," for which he designed the streets, homes and some larger buildings. He first presented this plan in his book The Disappearing City in 1932 and by 1935 he and his apprentices built a very detailed twelve by twelve foot scale model of Broadacre City. But this project was never built.
See: https://www.tumblr.com/tagged/broadacre-city
See: http://gothamist.com/2014/01/27/photos_frank_lloyd_wright_at_moma.php#photo-1
Also: http://www.mediaarchitecture.at/architekturtheorie/broadacre_city/2011_broadacre_city_en.shtml
Also: http://paleofuture.gizmodo.com/broadacre-city-frank-lloyd-wrights-unbuilt-suburban-ut-1509433082
In the study I did with three research assistants in the spring and summer of 1970 I focused on the city block level of design.
See: Form and Space Diversity in Human Habitats: Perceptual Responses, Pyron, Bernard, Environment and Behavior, 3, 4, 382-411, Dec 71
And:
http://news.google.com/newspapers?nid=1368&dat=19701017&id=ZahRAAAAIBAJ&sjid=VREEAAAAIBAJ&pg=5128%2C3708299
The Milwaukee Sentinel - Oct 17, 1970
All the city blocks we created as scale models were rectangles with eight houses on each block. The Control Condition was a design in which all eight houses were simple box shapes and spaced equally apart on the block. Half of the designs featured these simple box houses, and another half of the designs had more complex floor plans and exterior house forms, like "L," "T," "cross," etc plans. One space condition was the Non-Grouping plan, but with houses spaced apart at different distances. There was a Grouping Non-Court condition, and Simple Court and Complex Court conditions. Four houses were grouped together with an interior space to form two courts for the Simple Court Condition and for the Complex Court condition all eight houses were grouped together to form larger and more complex outdoor spaces inside the court designs.
And independent of the Grouping, Non-Grouping, Simple Court and Complex Court conditions, there were the complex house floor plans for half the conditions and the simple box plans for the other half. This experimental design formed a 3 x 4 matrix. A repeated measures analysis of variance statistical test was done using this 3 x 4 experimental design. All participants saw the control condition and one of the experimental conditions of the form and space designs.
The hypothesis was that the participants would look around more at the more complex environments than at the more simple ones was confirmed by the data. And form and space information, or amount of complexity were additive as expected, for determining how much the participants looked around at the environments shown them by the 16mm black and white films.
The more the amount of information in the environment looked at, the more the people looked around to see the environment.
We found that the people in our study looked around more at the movies of more diverse forms and spaces and looked around less at less diverse spaces and forms. Amount of coverage of the visual field by the eye is a measure of the orienting response, and the orienting response is often a part of having an interest in what is seen. On questionnaires the people also said they liked the more diverse form and space environments more than the less diverse - though the preference was greater for form than for space diversity. They liked diverse house forms more than simple forms.
I got some of the ideas for this study of the urban environment at the city block scale from the old man who had lived forty miles to the west of Madison, Wisconsin on the Wisconsin River, Frank Lloyd Wright. Wright did one suburban "town" design he called Broadacre City of 1935, which was a suburban landscape with trees and a few buildings larger than homes, with fantastic looking cars on the streets. But instead of the small city lot of 60 by 120 feet in Wright's design every family would have an acre of land.
In the Arboretum of Madison, Wisconsin there is a small unusual subdivision embedded in the thick forest, with some architect designed houses, sometimes called the "Lost City." It is not laid out in a rectilinear street pattern and is unusual because very little of the forest was cut down. The real Lost City is south of this subdivision, where only streets and utility structures were abandoned years ago and the forest grew over them. In the other "Lost City," which actually exists, only very small areas of the forest were cut down to put the houses on. The result is that the area looks much like a thick forest and the scattered houses are hard to photograph for that reason.
To a small extent, this "Lost City" fulfills Frank Lloyd Wright's vision of a suburban "town" in which individual homes are well designed, and interesting, and not set in a monotonous grid system with all streets at right angles to one another. There is a Herb Fritz house in there and maybe another by him. Fritz was a Madison architect who was a Frank Lloyd Wright apprentice. The Herb Fritz house is on Marshall Parkway, one of the main streets of the small subdivision embedded in the forest of the Arboretum.
Balden Street, east of Marshall Parkway, is the other main street of the small subdivision embedded in the forest, and Covall is a short street running roughly east and west between them. But there is no hint of a street grid design and the streets meander around.
In the early seventies I got into the "Lost City" area from Fish
Hatchery Road. There is a long rectangular conventional subdivision
that is cut out of the Arboretum off Fish Hatchery Road.
What is really lost is the beginnings of an infrastructure of parts of
streets and utilities that has been overgrown by the forest. This is southwest off the end of that conventional subdivision. The real Lost City is off the end of Martin Street,which is the south border of the conventional subdivision, to the southwest. The unconventional small suburb embedded in the forest sometimes also called the "Lost City" is northwest off Carver Street which is the north border of the conventional long rectilinear subdivision off Fish Hatchery Road.
Although the Madison "Lost City" is integrated with the natural forest, it is small and there are no stores or other places there where people can get together to interact. There are only single family houses built into the thick forest.
Why not design a much larger area like the "Lost City" and encourage small locally owned businesses to locate there? Do not allow large corporations to move in.

Bernard Pyron Stoneware Potter