Compelled by nature and its environs, legendary architect Frank Lloyd Wright strove to create structures that grew out of the chosen surroundings, incorporating the naturally occurring such as trees and running brooks, native wood and stone. He revealed inimitable works as a archaeologist reveals an ancient treasure.

Found in 36 states and three countries yet today, Wright’s designs run a continuum from the pristine to, well, gone.One can find examples restored to their original splendor, maintained with dignity by loving homeowners or fighting to survive in a fast-paced society, unappreciative or unaware of their significance.  And some sit quietly among the masses. A cluster of cottages on White Lake near the eastern shore of Lake Michigan has done just that for over a century.

Following the great fire of 1871, the rebuilding of their city brought prosperity to many Chicagoans, some of whom would board Great Lakes steamships and summer in lakeside towns.  Eventually, communities of summer cottages were established along the shores of Lake Michigan and smaller inland lakes.  Built between 1897 and 1905 in Whitehall, Michigan, Wright designed six cottages for the extended families of attorney Thomas H. Gale, a prominent real estate broker and his childhood friend and brother-in-law, Walter Gerts. Gale and Gerts were previous clients and neighbors to his own home and studio in the Chicago suburb of Oak Park. The stepping off point of a burgeoning career, many models of Wright’s innovative “prairie style” homes remain in this bedroom community today.

The eastern-most cottage of the compound was commissioned by Walter’s parents, George and Mary. Frequently called the “Bridge House,” this 1902 home exemplifies the Wright tenet of man accommodating nature as opposed to nature accommodating man. Extending toward the shore off the two story board and batten house, a porch creates an arched bridge over winding Birch Brook which traverses the property, emptying into picturesque White Lake. Albeit on a much smaller scale, some see the cottage as a precursor to Wright’s Pennsylvania landmark home, Fallingwater. Although additions and improvements were made through the years, this distinctive home slowly fell victim to time and neglect, going the way of many Frank Lloyd Wright structures.

Enter Laurel and Clive Cooper

The Coopers are the sort worthy of homage from cottage lovers everywhere.  Like many of us that have nurtured once dilapidated or ignored spaces back to their intended glory, these good people had a vision.  Not that it was unconditional love at first sight.

Hearing the house was on the market, the Coopers were intrigued. With experience in the construction field, Clive must have sensed the degree of sweat equity the place would exact. “I drove down the drive, took one look and drove out.”  Laurel, on the other hand, was smitten despite a disconcerting  conversation with her daughter.  “Oh, that’s the haunted house!” she informed her parents.  Apparently the kids in the community, aware of its rundown condition and vacant status, would sneak into the house to do what teens do. Not exactly a ringing endorsement.  Eventually, they set foot into the cottage and the rest is history.  Clive’s instincts were pretty good, though, and Laurel’s estimate for the renovation process was about five years.

“We were both still working at the time and would work on the house in the evenings.”  And there was plenty to do. Only half the house was winterized with the large living space needing wall board as well as flooring.  To restore authenticity, white painted fireplaces were sandblasted.  The house was rewired and three pane windows installed to ward off the cold Michigan winters. A wise investment considering  three of four walls hold 24 windows total.  Much of the original siding needed replacement. In construction, Wright had held to his custom of using native materials, drawing from Michigan‘s then great pine forests. Laurel remembers this as a pleasant surprise, a rare event in any renovation process.  “I was afraid it would be an expensive wood and was relieved it was white pine. It was a nice surprise.”  A “double house” built to accommodate the family on one side and visitors equally on the other, the original design consisted of two “L” shaped plans placed back to back. An adjoining lakeside porch was created to span the creek, hence the unique bridge feature.

Anchoring the open yet cozy living space is a large hearth original to Wright’s design. The point of the triangular hearth bisects the far end of the living area. In keeping with the home’s symmetry, there is a separate fireplace on each side with a single chimney.  The beautiful plank ceiling soars through beams to a pinnacle at the room’s center. The Cooper’s elimination of a wall between the living area and the kitchen provides inspiring water views.  Past double doors, what was once an open air porch is now a one of a kind three seasons room. Visitors are met by cool lake breezes through multiple screened windows. The chant of the brook delights as it tumbles its way to the lake. Suspended from the ceiling are two beautiful canoes handcrafted by Clive in his garage woodshop, an addendum by the Coopers. Sitting just east of the cottage and sporting the same deep green hue, the garage would have one believing that it, too, was of Wright’s hand. Its attention to detail links the home’s present day caretakers to its icon designer.

Nestled beneath the watercraft, large soft cushions are supported by vintage wooden bases that lift to double as storage. Although the innovative use of space for storage lends to a Wright design, it is not known if it is original. According to Laurel, there is much wrangling among visitors over who gets to sleep here and its not hard to imagine why. One can immediately envisage retiring there on a summer’s evening while the breeze, the brook and the lapping waves bid sleep. Beyond comfortable seating, sailboats carved on a wooden screen door lead way to the lake. The porch steps terminate with large pedestal planters, a Frank Lloyd Wright staple.  “We just live out here in the summer. Everyone does,” shares Laurel.  The porch also holds other Wrightian treasures and allusions to its designer. Clive points out sloping fascia running along both sides of the porch extension, hinting a pagoda influence.  “I’m not sure if that was intentional or just the result of time,” notes Clive. This wouldn’t be a stretch for Wright. As the architect of the Imperial Palace in Japan, he demonstrated a penchant for oriental design. Not knowing if the designer or Mother Nature fashioned those eaves doesn’t diminish the appeal of this little quirk.  Frank Lloyd Wright came from a time when accomplishment was honored, revered. In his era, great works were not associated as much with style or category as they were with their creator. A Frank Lloyd Wright home stands apart and despite condition, they seem to call out for human contact. Not unlike a wounded or neglected animal, they will give their all to the people willing to take them in and rehabilitate them.  The Coopers are a testament to this. They are quick to share their many memories of living in and with this cottage. As they speak of moments with grandchildren and friends spent at this lake house, or even their adventures in renovation, the awe and wonderment are still apparent. It is as if the time, sweat and tears put forth have been a privilege not a burden. The Coopers have stayed the course in their quest to make the cottage their home while respecting its history.

By Patrice Frantz