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My sense of "wall" was no longer the side of a box. It was enclosure of space affording protection against storm or heat only when needed. But it was also to bring the outside world into the house and let the inside of the house go outside. In this sense I was working away at the wall as a wall and bringing it towards the function of a screen, a means of opening up space which, as control of building-materials improved, would finally permit the free use of the whole space without affecting the soundness of the structure. The climate being what it was, violent in extremes of heat and cold, damp and dry, dark and bright, I gave broad protecting roof-shelter to the whole, getting back to the purpose for which the cornice was originally designed. The underside of roof-projections was flat and usually light in color to create a glow of reflected light that softly brightened the upper rooms. Overhangs had double value: shelter and preservation for the walls of the house, as well as this diffusion of reflected light for the upper story through the "light screens" that took the place of the walls and were now often the windows in long series. AND at this time I saw a house, primarily, as livable interior space under ample shelter. I like the [i]sense of shelter[/i] in the look of a building. I still like it The house began to associate with the ground and become natural to its prairie site. AND would the young man in Architecture believe that this was all "new" then? Yes -- not only new, but destructive heresy -- ridiculous eccentricity. All somewhat so today. Stranger still, but then it was [i]all so new[/i] that what prospect I had of ever earning a livelihood by making houses was nearly wrecked. At flrst, "they" called the houses "dress reform" houses because Society was just then excited about that particular reform. This simplification looked like some kind of reform to the provincials.
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