Frank Lloyd Wright

Born Frank Lincoln WrightJune 8, 1867Richland Center, Wisconsin, U.S.

Died April 9, 1959 (aged 91)Phoenix, Arizona, U.S.

Nationality American

Alma mater University of Wisconsin­Madison

Occupation Architect

Buildings FallingwaterSolomon R. GuggenheimMuseumJohnson Wax HeadquartersTaliesinTaliesin WestRobie HouseImperial Hotel, TokyoDarwin D. Martin HouseUnity TempleEnnis HouseLarkin AdministrationBuildingDana­Thomas HouseCoonley HouseMarin County Civic Center

Projects Usonian Houses

Frank Lloyd WrightFrom Wikipedia, the free encyclopedia

Frank Lloyd Wright (born Frank Lincoln Wright,June 8, 1867 – April 9, 1959) was an Americanarchitect, interior designer, writer, and educator, whodesigned more than 1,000 structures, 532 of whichwere completed. Wright believed in designingstructures that were in harmony with humanity and itsenvironment, a philosophy he called organicarchitecture. This philosophy was best exemplified byFallingwater (1935), which has been called "the bestall­time work of American architecture".[1] Wrightwas a leader of the Prairie School movement ofarchitecture and developed the concept of the Usonianhome, his unique vision for urban planning in theUnited States. Franklin Lloyd Wright was an architectfor about 70 years.

His work includes original and innovative examplesof many building types, including offices, churches,schools, skyscrapers, hotels, and museums. Wrightalso designed many of the interior elements of hisbuildings, such as the furniture and stained glass.Wright wrote 20 books and many articles and was apopular lecturer in the United States and in Europe.His colorful personal life often made headlines, mostnotably for the 1914 fire and murders at his Taliesinstudio. Already well known during his lifetime,Wright was recognized in 1991 by the AmericanInstitute of Architects as "the greatest Americanarchitect of all time".[1]

Contents

1 Early years2 Education and work for Silsbee (1885–1888)3 Adler & Sullivan (1888–1893)4 Transition and experimentation (1893–1900)5 Prairie houses6 Midlife controversy and architecture

6.1 Family abandonment6.2 Catastrophe at Taliesin studio6.3 Divorce and further troubles

7 California and the textile block houses8 Mature organic style

8.1 Usonian Houses8.2 Personal style and concepts

Broadacre City8.2 Personal style and concepts8.3 Significant later works

9 Other projects9.1 Wright's last design and firstEuropean project9.2 Community planning

10 Japanese art11 Death and legacy

11.1 Colleagues and influences11.2 Recognition

12 Family13 Archives14 Selected works15 See also16 References17 Further reading

17.1 Wright's philosophy17.2 Biographies17.3 Surveys of Wright's work17.4 Selected books about specificWright projects

18 External links

Early years

Frank Lloyd Wright was born Frank Lincoln Wright in the farming town of Richland Center, Wisconsin,United States, in 1867. His father, William Carey Wright (1825–1904), was a locally admired orator,music teacher, occasional lawyer, and itinerant minister. William Wright had met and married AnnaLloyd Jones (1838/39 – 1923), a county school teacher, the previous year when he was employed as thesuperintendent of schools for Richland County. Originally from Massachusetts, William Wright hadbeen a Baptist minister, but he later joined his wife's family in the Unitarian faith. Anna was a memberof the large, prosperous and well­known Lloyd Jones family of Unitarians, who had emigrated fromWales to Spring Green, Wisconsin. One of Anna's brothers was Jenkin Lloyd Jones, who would becomean important figure in the spread of the Unitarian faith in the Western United States. Both of Wright'sparents were strong­willed individuals with idiosyncratic interests that they passed on to him. Accordingto his biography his mother declared, when she was expecting her first child, that he would grow up tobuild beautiful buildings. She decorated his nursery with engravings of English cathedrals torn from aperiodical to encourage the infant's ambition.[2] The family moved to Weymouth, Massachusetts in 1870for William to minister a small congregation.

In 1876, Anna visited the Centennial Exhibition in Philadelphia and saw an exhibit of educational blockscreated by Friedrich Wilhelm August Fröbel. The blocks, known as Froebel Gifts, were the foundationof his innovative kindergarten curriculum. A trained teacher, Anna was excited by the program andbought a set of blocks for her family. Young Wright spent much time playing with the blocks. Thesewere geometrically shaped and could be assembled in various combinations to form three­dimensionalcompositions. This is how Wright described, in his autobiography, the influence of these exercises on hisapproach to design: "For several years I sat at the little Kindergarten table­top ... and played ... with thecube, the sphere and the triangle—these smooth wooden maple blocks ... All are in my fingers to thisday ..."[3] Many of his buildings are notable for their geometrical clarity.

The Wright family struggled financially in Weymouth and returned to Spring Green, Wisconsin, wherethe supportive Lloyd Jones clan could help William find employment. They settled in Madison, whereWilliam taught music lessons and served as the secretary to the newly formed Unitarian society.Although William was a distant parent, he shared his love of music, especially the works of JohannSebastian Bach, with his children.

Soon after Wright turned 14, his parents separated. Anna had been unhappy for some time withWilliam's inability to provide for his family and asked him to leave. The divorce was finalized in 1885after William sued Anna for lack of physical affection. William left Wisconsin after the divorce andWright claimed he never saw his father again.[4] At this time he changed his middle name from Lincolnto Lloyd in honor of his mother's family, the Lloyd Joneses. As the only male left in the family, Wrightassumed financial responsibility for his mother and two sisters.

Education and work for Silsbee (1885–1888)

Wright attended Madison High School, but there is no evidence he ever graduated.[5] He was admitted tothe University of Wisconsin–Madison as a special student in 1886. There he joined Phi Delta Thetafraternity,[6] took classes part­time for two semesters, and worked with a professor of civil engineering,Allan D. Conover.[7] . In 1887, Wright left the school without taking a degree (although he was grantedan honorary Doctorate of Fine Arts from the University in 1955) and arrived in Chicago in search ofemployment. As a result of the devastating Great Chicago Fire of 1871 and recent population boom, newdevelopment was plentiful in the city. He later recalled that his first impressions of Chicago were that ofgrimy neighborhoods, crowded streets, and disappointing architecture, yet he was determined to findwork. Within days, and after interviews with several prominent firms, he was hired as a draftsman withthe architectural firm of Joseph Lyman Silsbee.[8] Wright previously collaborated with Silsbee—accredited as the draftsman and the construction supervisor—on the 1886 Unity Chapel for Wright'sfamily in Spring Green, Wisconsin.[9] While with the firm, he also worked on two other family projects:All Souls Church in Chicago for his uncle, Jenkin Lloyd Jones, and the Hillside Home School I inSpring Green for two of his aunts.[10] Other draftsmen who worked for Silsbee in 1887 included futurearchitects Cecil Corwin, George W. Maher, and George G. Elmslie. Wright soon befriended Corwin,with whom he lived until he found a permanent home.

In his autobiography, Wright recounts that he also had a short stint in another Chicago architectureoffice. Feeling that he was underpaid for the quality of his work for Silsbee (at $8 a week), the youngdraftsman quit and found work as a designer at the firm of Beers, Clay, and Dutton. However, Wrightsoon realized that he was not ready to handle building design by himself; he left his new job to return toJoseph Silsbee—this time with a raise in salary.[11]

Although Silsbee adhered mainly to Victorian and revivalist architecture, Wright found his work to bemore "gracefully picturesque" than the other "brutalities" of the period.[12] Still, Wright aspired for moreprogressive work. After less than a year had passed in Silsbee's office, Wright learned that the Chicagofirm of Adler & Sullivan was "looking for someone to make the finish drawings for the interior of theAuditorium [Building]".[13] Wright demonstrated that he was a competent impressionist of LouisSullivan's ornamental designs and two short interviews later, was an official apprentice in the firm.[14]

Adler & Sullivan (1888–1893)

Wright's home in Oak Park, Illinois

Wright did not get along well with Sullivan's other draftsmen; he wrote that several violent altercationsoccurred between them during the first years of his apprenticeship. For that matter, Sullivan showedvery little respect for his employees as well.[15] In spite of this, "Sullivan took [Wright] under his wingand gave him great design responsibility." As an act of respect, Wright would later refer to Sullivan asLieber Meister (German for "Dear Master").[16] He also formed a bond with office foreman PaulMueller. Wright would later engage Mueller to build several of his public and commercial buildingsbetween 1903 and 1923.[17]

On June 1, 1889, Wright married his first wife, Catherine Lee"Kitty" Tobin (1871–1959). The two had met around a yearearlier during activities at All Souls Church. Sullivan did his partto facilitate the financial success of the young couple by grantingWright a five­year employment contract. Wright made one morerequest: "Mr. Sullivan, if you want me to work for you as long asfive years, couldn't you lend me enough money to build a littlehouse?"[18] With Sullivan's $5,000 loan, Wright purchased a lotat the corner of Chicago and Forest Avenues in the suburb ofOak Park. The existing Gothic Revival house was given to hismother, while a compact Shingle style house was built alongsidefor Wright and Catherine.[19]

According to an 1890 diagram of the firm's new, 17th floor space atop the Auditorium Building, Wrightsoon earned a private office next to Sullivan's own.[17] However, that office was actually shared withfriend and draftsman George Elmslie, who was hired by Sullivan at Wright's request.[20] Wright hadrisen to head draftsman and handled all residential design work in the office. As a general rule, Adler &Sullivan did not design or build houses, but they obliged when asked by the clients of their importantcommercial projects. Wright was occupied by the firm's major commissions during office hours, sohouse designs were relegated to evening and weekend overtime hours at his home studio. He would laterclaim total responsibility for the design of these houses, but careful inspection of their architectural styleand accounts from historian Robert Twombly suggest that it was Sullivan who dictated the overall formand motifs of the residential works; Wright's design duties were often reduced to detailing the projectsfrom Sullivan's sketches.[20] During this time, Wright worked on Sullivan's bungalow (1890) and theJames A. Charnley bungalow (1890) both in Ocean Springs, Mississippi, the Berry­MacHarg House(1891) and Louis Sullivan's House (1892) both in Chicago, and the most noted 1891 James A. CharnleyHouse also in Chicago. Of the five collaborations, only the two commissions for the Charnley familystill stand.[21][22]

Despite Sullivan's loan and overtime salary, Wright was constantly short on funds. Wright admitted thathis poor finances were likely due to his expensive tastes in wardrobe and vehicles, and the extra luxurieshe designed into his house. To compound the problem, Wright's children — including first born Lloyd(born 1890) and John (born 1892) — would share similar tastes for fine goods.[18][23] To supplement hisincome and repay his debts, Wright accepted independent commissions for at least nine houses. These"bootlegged" houses, as he later called them, were conservatively designed in variations of thefashionable Queen Anne and Colonial Revival styles. Nevertheless, unlike the prevailing architecture ofthe period, each house emphasized simple geometric massing and contained features such as bands ofhorizontal windows, occasional cantilevers, and open floor plans which would become hallmarks of hislater work. Eight of these early houses remain today including the Thomas Gale, Robert P. ParkerHouse, George Blossom, and Walter Gale houses.[24]

The Walter Gale House (1893) isQueen Anne in style yet featureswindow bands and a cantileveredporch roof which hint at Wright'sdeveloping aesthetics

As with the residential projects for Adler & Sullivan, he designedhis bootleg houses on his own time. Sullivan knew nothing of theindependent works until 1893, when he recognized that one ofthe houses was unmistakably a Frank Lloyd Wright design. Thisparticular house, built for Allison Harlan, was only blocks awayfrom Sullivan's townhouse in the Chicago community ofKenwood. Aside from the location, the geometric purity of thecomposition and balcony tracery in the same style as theCharnley House likely gave away Wright's involvement. SinceWright's five­year contract forbade any outside work, theincident led to his departure from Sullivan's firm.[22] A variety ofstories recount the break in the relationship between Sullivan andWright; even Wright later told two different versions of theoccurrence. In An Autobiography, Wright claimed that he wasunaware that his side ventures were a breach of his contract.When Sullivan learned of them, he was angered and offended; heprohibited any further outside commissions and refused to issue Wright the deed to his Oak Park houseuntil after he completed his five years. Wright could not bear the new hostility from his master andthought the situation was unjust. He "threw down [his] pencil and walked out of the Adler and Sullivanoffice never to return." Dankmar Adler, who was more sympathetic to Wright's actions, later sent himthe deed.[25] On the other hand, Wright told his Taliesin apprentices (as recorded by Edgar Tafel) thatSullivan fired him on the spot upon learning of the Harlan House. Tafel also accounted that Wright hadCecil Corwin sign several of the bootleg jobs, indicating that Wright was aware of their illegalnature.[22][26] Regardless of the correct series of events, Wright and Sullivan did not meet or speak fortwelve years.

Transition and experimentation (1893–1900)

After leaving Louis Sullivan, Wright established his own practice on the top floor of the Sullivandesigned Schiller Building (1892, demolished 1961) on Randolph Street in Chicago. Wright chose tolocate his office in the building because the tower location reminded him of the office of Adler &Sullivan. Although Cecil Corwin followed Wright and set up his architecture practice in the same office,the two worked independently and did not consider themselves partners.[27] Within a year, Corwindecided that he did not enjoy architecture and journeyed east to find a new profession.[28]

With Corwin gone, Wright moved out of the Schiller Building and into the nearby and newly completedSteinway Hall Building. The loft space was shared with Robert C. Spencer, Jr., Myron Hunt, and DwightH. Perkins.[29] These young architects, inspired by the Arts and Crafts Movement and the philosophiesof Louis Sullivan, formed what would become known as the Prairie School.[30] They were joined byPerkins apprentice, Marion Mahony, who in 1895 transferred to Wright's team of drafters and took overproduction of his presentation drawings and watercolor renderings. Mahony, the third woman to belicensed as an architect in Illinois and one of the first licensed female architects in the U.S., alsodesigned furniture, leaded glass windows, and light fixtures, among other features, for Wright'shouses.[31][32] Between 1894 and the early 1910s, several other leading Prairie School architects andmany of Wright's future employees launched their careers in the offices of Steinway Hall.

Wright's projects during this period followed two basic models. On one hand, there was his firstindependent commission, the Winslow House, which combined Sullivanesque ornamentation with theemphasis on simple geometry and horizontal lines that is typical in Wright houses. The Francis

William H. Winslow House (1893) inRiver Forest, Illinois

Wright's studio (1898) viewed fromChicago Avenue

Nathan G. Moore House (1895), OakPark, IL

Apartments (1895, demolished 1971), Heller House (1896), Rollin Furbeck House (1897), and HusserHouse (1899, demolished 1926) were designed in the same mode. For more conservative clients, Wrightconceded to design more traditional dwellings. These included the Dutch Colonial Revival style BagleyHouse (1894), Tudor Revival style Moore House I (1895), andQueen Anne style Charles E. Roberts House (1896).[33] As anemerging architect, Wright could not afford to turn down clientsover disagreements in taste, but even his most conservativedesigns retained simplified massing and occasional Sullivaninspired details.[34]

Soon after the completion of the Winslow House in 1894,Edward Waller, a friend and former client, invited Wright tomeet Chicago architect and planner Daniel Burnham. Burnhamhad been impressed by the Winslow House and other examplesof Wright's work; he offered to finance a four­year education atthe École des Beaux­Arts and two years in Rome. To top it off, Wright would have a position inBurnham's firm upon his return. In spite of guaranteed success and support of his family, Wrightdeclined the offer. Burnham, who had directed the classical design of the World's Columbian Expositionwas a major proponent of the Beaux Arts movement, thought that Wright was making a foolish mistake.Yet for Wright, the classical education of the École lacked creativity and was altogether at odds with hisvision of modern American architecture.[35][36]

Wright relocated his practice to his home in 1898 in order tobring his work and family lives closer. This move made furthersense as the majority of the architect's projects at that time werein Oak Park or neighboring River Forest. The past five years hadseen the birth of three more children — Catherine in 1894, Davidin 1895, and Frances in 1898 — prompting Wright to sacrificehis original home studio space for additional bedrooms. Thus,moving his workspace necessitated his design and constructionof an expansive studio addition to the north of the main house.The space, which included a hanging balcony within the twostory drafting room, was one of Wright's first experiments withinnovative structure. The studio was a poster for Wright'sdeveloping aesthetics and would become the laboratory fromwhich the next ten years of architectural creations wouldemerge.[37]

Prairie houses

By 1901, Wright had completed about 50 projects, includingmany houses in Oak Park. As his son John Lloyd Wright wrote:

"William Eugene Drummond, Francis Barry Byrne,Walter Burley Griffin, Albert Chase McArthur,Marion Mahony, Isabel Roberts and George Williswere the draftsmen. Five men, two women. Theywore flowing ties, and smocks suitable to the realm.The men wore their hair like Papa, all except Albert,

Arthur Heurtley House (1902), OakPark, IL

Darwin D. Martin House, Buffalo,New York

he didn't have enough hair. They worshiped Papa!Papa liked them! I know that each one of them wasthen making valuable contributions to the pioneeringof the modern American architecture for which myfather gets the full glory, headaches and recognitiontoday!"[38]

Between 1900 and 1901, Frank Lloyd Wright completed four houses which have since been consideredthe onset of the "Prairie style". Two, the Hickox and Bradley Houses, were the last transitional stepbetween Wright's early designs and the Prairie creations.[39] Meanwhile, the Thomas House and WillitsHouse received recognition as the first mature examples of the new style.[40][41] At the same time,Wright gave his new ideas for the American house widespread awareness through two publications inthe Ladies' Home Journal. The articles were in response to an invitation from the president of CurtisPublishing Company, Edward Bok, as part of a project to improve modern house design. Bok alsoextended the offer to other architects, but Wright was the sole responder. "A Home in a Prairie Town"and "A Small House with Lots of Room in it" appeared respectively in the February and July 1901issues of the journal. Although neither of the affordable house plans were ever constructed, Wrightreceived increased requests for similar designs in following years.[39]

Wright's residential designs were known as "prairie houses" because the designs complemented the landaround Chicago. These houses featured extended low buildings with shallow, sloping roofs, clean skylines, suppressed chimneys, overhangs and terraces all using unfinished materials. The houses arecredited with being the first examples of the "open plan". Windows whenever possible are long, and low,allowing a connection between the interior and nature, outside, that was new to western architecture andreflected the influence of Japanese architecture on Wright. The manipulation of interior space inresidential and public buildings are hallmarks of his style.

Public buildings in the Prairie style include Unity Temple, the home of the Unitarian Universalistcongregation in Oak Park. As a lifelong Unitarian and member of Unity Temple, Wright offered hisservices to the congregation after their church burned down in 1905. The community agreed to hire himand he worked on the building from 1905 to 1909. Wright later said that Unity Temple was the edifice inwhich he ceased to be an architect of structure, and became an architect of space. Many architectsconsider it the world's first modern building, because of its unique construction of only one material:reinforced concrete. This would become a hallmark of the modernists who followed Wright, such asMies van der Rohe, and even some post­modernists, such as Frank Gehry.

Many examples of thiswork are in Buffalo, NewYork as a result of afriendship betweenWright and Darwin D.Martin, an executive ofthe Larkin SoapCompany. In 1902, theLarkin Company decided

to build a new administration building. Wright came to Buffaloand designed not only the Larkin Administration Building(completed in 1904, demolished in 1950), but also homes for

Hillside Home School, 1902,Taliesin, Spring Green, Wisconsin

Aerial photo of Taliesin, SpringGreen, Wisconsin

three of the company's executives including the Darwin D. Martin House in 1904, and later, theirsummer residence, the Graycliff Estate, also designed for DarwinD. Martin and his wife, Isabelle.

Other Wright houses considered to be masterpieces of the latePrairie Period (1907–2000) are the Frederick Robie House inChicago and the Avery and Queene Coonley House in Riverside,Illinois. The Robie House, with its soaring, cantilevered rooflines, supported by a 110­foot­long (34 m) channel of steel, is themost dramatic. Its living and dining areas form virtually oneuninterrupted space. This building had a profound influence onyoung European architects after World War I and is sometimescalled the "cornerstone of modernism". However, Wright's workwas not known to European architects until the publication of the Wasmuth Portfolio.

Midlife controversy and architecture

Family abandonment

Local gossips noticed Wright's flirtations, and he developed areputation in Oak Park as a man­about­town. His family hadgrown to six children, but Wright was not paternal and the broodrequired most of Catherine's attention. In 1903, Wright designeda house for Edwin Cheney, a neighbor in Oak Park, andimmediately took a liking to Cheney's wife, Mamah BorthwickCheney. Mamah Cheney was a modern woman with interestsoutside the home. She was an early feminist and Wright viewedher as his intellectual equal. The two fell in love, and theybecame the talk of the town, as they often could be seen takingrides in Wright's automobile through Oak Park. Wright's wife,Kitty, sure that this attachment would fade as the others had,refused to grant him a divorce. Neither would Edwin Cheneygrant one to Mamah.

In 1909, even before the Robie House was completed, Wright and Mamah Cheney went together toEurope, leaving their own spouses and children behind. By this point Wright "rejected" the Prairie Stylesingle­family house model of the upper­middle class, and hoped to work on more democraticarchitecture.[42] He was not getting larger commissions for commercial or public buildings, whichfrustrated him.

What drew Wright to Europe was the chance to publish a portfolio of his work with Berlin publisherErnst Wasmuth.[43] The resulting two volumes, titled Studies and Executed Buildings of Frank LloydWright, were published in 1911 in two editions, creating the first major exposure of Wright's work inEurope. The work contained more than 100 lithographs of Wright's designs and was commonly knownas the Wasmuth Portfolio.

Wright remained in Europe for almost a year and set up home first in Florence, Italy — where he livedwith his eldest son Lloyd — and later in Fiesole, Italy where he lived with Mamah. During this time,Edwin Cheney granted Mamah a divorce, though Kitty still refused to grant one to her husband. AfterWright's return to the United States in October 1910, Wright persuaded his mother to buy land for him inSpring Green, Wisconsin. The land, bought on April 10, 1911, was adjacent to land held by his mother's

family, the Lloyd­Joneses. Wright began to build himself a new home, which he called Taliesin, by May1911. The recurring theme of Taliesin also came from his mother's side: Taliesin in Welsh mythologywas a poet, magician, and priest. The family motto was Y Gwir yn Erbyn y Byd which means "The TruthAgainst the World"; it was created by Iolo Morgannwg who also had a son called Taliesin, and the mottois still used today as the cry of the druids and chief bard of the Eisteddfod in Wales.[44]

Catastrophe at Taliesin studio

On August 15, 1914, while Wright was working in Chicago, Julian Carlton, a male servant fromBarbados who had been hired several months earlier, set fire to the living quarters of Taliesin andmurdered seven people with an axe as the fire burned.[45] The dead included Mamah; her two children,John and Martha; a gardener; a draftsman named Emil Brodelle; a workman; and another workman'sson. Two people survived the mayhem, one of whom, William Weston, helped to put out the fire thatalmost completely consumed the residential wing of the house. Carlton swallowed hydrochloric acidimmediately following the attack in an attempt to kill himself.[45] He was nearly lynched on the spot, butwas taken to the Dodgeville jail.[45] Carlton died from starvation seven weeks after the attack, despitemedical attention.[45]

Divorce and further troubles

In 1922, Kitty Wright finally granted Wright a divorce. Under the terms of the divorce, Wright wasrequired to wait one year before he could marry his then­partner, Maude "Miriam" Noel. In 1923,Wright's mother, Anna (Lloyd Jones) Wright, died. Wright wed Miriam Noel in November 1923, but heraddiction to morphine led to the failure of the marriage in less than one year. In 1924, after theseparation but while still married, Wright met Olga (Olgivanna) Lazovich Hinzenburg at a PetrogradBallet performance in Chicago. They moved in together at Taliesin in 1925, and soon Olgivanna waspregnant with their daughter, Iovanna, born on December 2, 1925.

On April 20, 1925, another fire destroyed the bungalow at Taliesin. Crossed wires from a newlyinstalled telephone system were deemed to be responsible for the blaze, which destroyed a collection ofJapanese prints that Wright estimated to be worth $250,000 to $500,000.[46] Wright rebuilt the livingquarters, naming the home "Taliesin III".

In 1926, Olga's ex­husband, Vlademar Hinzenburg, sought custody of his daughter, Svetlana. In October1926, Wright and Olgivanna were accused of violating the Mann Act and arrested in Tonka Bay,Minnesota.[47] The charges were later dropped. During this period, Wright designed Graycliff (1926–31), the summer estate of Isabelle and Darwin D. Martin.

Wright and Miriam Noel's divorce was finalized in 1927, and once again, Wright was required to waitfor one year before remarrying. Wright and Olgivanna married in 1928.

California and the textile block houses

In the 1920s, Wright designed a number of houses in California using precast "textile" concrete blocksreinforced by an internal system of bars. Wright first used his textile block system on the John StorerHouse in Hollywood, California, in 1923. The house is now used in films, television, and print media torepresent the future.[48] Typically Wrightian is the joining of the structure to its site by a series ofterraces that reach out into and reorder the landscape, making it an integral part of the architect'svision.[48] According to Wright's organic theory, all components of the building should appear unified,

Wright in 1926

as though they belong together. Nothing should be attached to it without considering the effect on thewhole. To unify the house to its site, Wright often used large expanses of glass to blur the boundarybetween the indoors and outdoors.[49] The textile block system arose from Wright's desire to wedmachine­age production techniques with organic architecture – the principle that a structure should lookas though it naturally grew on a site – so as to make his designs affordable to people of modest means.

According to the original specifications, the blocks were to be madefrom one part Portland cement to four parts sand or decomposedgranite. Consistency was to be such that the mixture would hold itsshape when squeezed by hand, and it was to be used within a halfhour. Blocks were to be formed on site by pressing the stiff mixtureinto machined metal molds. A freshly formed block was to beremoved immediately from the mold and kept moist for at least 10days. The module for the Storer House was 16 in. and the actualblock dimensions were exactly 16 × 16 in. with no tolerance. Therewas no mortar joint between the blocks­a formed reveal was used togive the appearance of a tooled joint­so precision­machined moldswere required. The wall system consisted of a double­wythe precastblock wall with an air gap between the outer and inner wythes. Theblocks were stacked and reinforced horizontally and vertically witha "fabric" or mesh of grouted reinforcing bars.

The Samuel Freeman House was also built in 1923. Wright wascommissioned to design a home for Samuel and Harriet Freeman inthe Hollywood Hills neighborhood of Los Angeles, CA. This was tobe a relatively small house for a client of modest means. Because hisnew textile block system used inexpensive materials and could (atleast in theory) be assembled using unskilled labor, Wright undoubtedly felt that the Freeman projectwould be a good test case.

Unfortunately, the cost of completion was almost two and a half times Wright's original estimate. Thecost overruns were probably due to several factors: excessive labor costs resulting from not having aconcrete mixer on site, Wright's penchant to embellish his designs and refuse compromise, and delayedcommunications with the contractor when Wright returned to Wisconsin. Wright's original estimatestated that 9000 blocks would be required at a cost of 30 cents each, totaling $2700. The project actuallyrequired 11,000 blocks at 66 cents each, for a total cost of $7260. In spite of the cost overruns, theFreemans loved their house and remained the only owners and occupants until it was bequeathed byHarriet Freeman to the University of Southern California School of Architecture, Los Angeles,California, in 1986.

The Ennis House after in 1923, Wright had the opportunity to further test the limits of the textile blocksystem when he received a commission from Charles and Mabel Ennis to build a home on a hillside inthe Los Feliz area of Los Angeles, California. Because the Ennises had the resources for a large houseon a grand scale, Wright's budget would not be as constrained as it was with the Freeman House. Wrighttook the opportunity to further flesh out his concept.

He also designed a fifth textile block house for Aline Barnsdall, the Community Playhouse ("LittleDipper"), which was never constructed. Wright's son, Lloyd Wright, supervised construction for theStorer, Freeman and Ennis House. Architectural historian Thomas Hines has suggested that Lloyd's

Fallingwater, Mill Run, Pennsylvania(1937)

contribution to these projects is often overlooked.[50] Most of these houses are private residences closedto the public because of renovation, including the George Sturges House (Brentwood) and the ArchOboler Gatehouse & Studio (Malibu).[49]

Mature organic style

During the later 1920s and 1930s Wright's Organic style had fully matured with the design of Graycliff,Fallingwater and Taliesin West.

Graycliff, located just south of Buffalo, NY is an important mid­career (1926–1931) design by Wright; itis a summer estate designed for his long­time patrons, Isabelle and Darwin D. Martin. Created inWright's high Organic style, Wright wrote in a letter to the Martins that "Coming in the house would besomething like putting on your hat and going outdoors."[51] Graycliff consists of three buildings setwithin 8.5 acres of landscape, also designed by Wright. Its site, high on a bluff overlooking Lake Erie,inspired Wright to create a home that was transparent, with views through the building to the lakebeyond. Terraces and cantilevered balconies also encourage lake views, and water features throughoutthe landscape were designed by Wright to echo the lake as well.

One of Wright's most famous private residences was built from1934 to 1937—Fallingwater—for Mr. and Mrs. Edgar J.Kaufmann Sr., at Mill Run, Pennsylvania, near Pittsburgh. It wasdesigned according to Wright's desire to place the occupantsclose to the natural surroundings, with a stream and waterfallrunning under part of the building. Wright wanted the newresidents to live with the waterfalls, to make them part of theireveryday lives. He didn't want them to just look at them everynow and again. Constructed over a 30­foot waterfall, the housemay look very big on the outside but on the inside it is quitesmall, which surprises some visitors.[52] It was made with threebedrooms, a massive living room and a dining room. The housewas more of a design for a family getaway, not for a live­infamily.[53] The construction is a series of cantilevered balconiesand terraces, using limestone for all verticals and concrete for thehorizontals. The house cost $155,000, including the architect'sfee of $8,000. It was one of Wright's most expensive pieces.[53]Kaufmann's own engineers argued that the design was not sound.They were overruled by Wright, but the contractor secretly addedextra steel to the horizontal concrete elements. In 1994, RobertSilman and Associates examined the building and developed aplan to restore the structure. In the late 1990s, steel supports were added under the lowest cantilever untila detailed structural analysis could be done. In March 2002, post­tensioning of the lowest terrace wascompleted.

Taliesin West, Wright's winter home and studio complex in Scottsdale, Arizona, was a laboratory forWright from 1937 to his death in 1959. Now the home of the Frank Lloyd Wright Foundation andarchives, it continues today as the site of the Frank Lloyd Wright School of Architecture.

Wright is responsible for a series of concepts of suburban development united under the term BroadacreCity. He proposed the idea in his book The Disappearing City in 1932, and unveiled a 12­square­foot(1.1 m2) model of this community of the future, showing it in several venues in the following years. He

Charles Weltzheimer Residence(1948) in Oberlin, Ohio

continued developing the idea until his death.

Usonian Houses

Main article: Usonia

Concurrent with the development of Broadacre City, alsoreferred to as Usonia, Wright conceived a new type of dwellingthat came to be known as the Usonian House. An early version ofthe form can be seen in the Malcolm Willey House (1934) inMinneapolis; but the Usonian ideal emerged most completely inthe Herbert and Katherine Jacobs First House (1937) in Madison,Wisconsin. Designed on a gridded concrete slab that integratedthe house's radiant heating system, the house featured newapproaches to construction, including sandwich walls thatconsisted of layers of wood siding, plywood cores and building paper, a significant change fromtypically framed walls. Usonian houses most commonly featured flat roofs and were mostly constructedwithout basements, completing the excision of attics and basements from houses, a feat Wright had beenattempting since the early 20th century. The Jacobses also commissioned the "Solar Hemicycle" byWright in 1944, a seminal project in the solar house movement.[54]

Intended to be highly practical houses for middle­class clients, and designed to be run without servants,Usonian houses often featured small kitchens — called "workspaces" by Wright — that adjoined thedining spaces. These spaces in turn flowed into the main living areas, which also were characteristicallyoutfitted with built­in seating and tables. As in the Prairie Houses, Usonian living areas focused on thefireplace. Bedrooms were typically isolated and relatively small, encouraging the family to gather in themain living areas. The conception of spaces instead of rooms was a development of the Prairie ideal; asthe built­in furnishings related to the Arts and Crafts principles from which Wright's early works grew.Spatially and in terms of their construction, the Usonian houses represented a new model forindependent living, and allowed dozens of clients to live in a Wright­designed house at relatively lowcost. The diversity of the Usonian ideal can be seen in houses such as the Gregor S. and Elizabeth B.Affleck House (1941) in Bloomfield Hills, Michigan, which projects over a ravine; and the Hanna­Honeycomb House (1937) in Palo Alto, California, which features a honeycomb planning grid. GordonHouse, completed in 1963, was Wright's last Usonian design. Fewer than 60 of Wright's Usonian houseswere built.

His Usonian homes set a new style for suburban design that was a feature of countless developers. Manyfeatures of modern American homes date back to Wright, including open plans, slab­on­gradefoundations, and simplified construction techniques that allowed more mechanization and efficiency inbuilding.

Personal style and concepts

Some of the built­in furniture remains, while other restorations have included replacement pieces createdusing his plans. His Prairie houses use themed, coordinated design elements (often based on plant forms)that are repeated in windows, carpets and other fittings. He made innovative use of new buildingmaterials such as precast concrete blocks, glass bricks and zinc cames (instead of the traditional lead) forhis leadlight windows, and he famously used Pyrex glass tubing as a major element in the Johnson WaxHeadquarters. Wright was also one of the first architects to design and install custom­made electric light

Solomon R. Guggenheim Museum,New York City (1959)

fittings, including some of the very first electric floor lamps, and his very early use of the then­novelspherical glass lampshade (a design previously not possible due to the physical restrictions of gaslighting).

As Wright's career progressed, so did the mechanization of the glass industry. Wright fully embracedglass in his designs and found that it fit well into his philosophy of organic architecture. Glass allowedfor interaction and viewing of the outdoors while still protecting from the elements. In 1928, Wrightwrote an essay on glass in which he compared it to the mirrors of nature: lakes, rivers and ponds. One ofWright's earliest uses of glass in his works was to string panes of glass along whole walls in an attemptto create light screens to join together solid walls. By utilizing this large amount of glass, Wright soughtto achieve a balance between the lightness and airiness of the glass and the solid, hard walls. Arguably,Wright's best­known art glass is that of the Prairie style. The simple geometric shapes that yield to veryornate and intricate windows represent some of the most integral ornamentation of his career.[55] Wrightresponded to the transformation of domestic life that occurred at the turn of the 20th century, whenservants became less prominent or completely absent from most American households, by developinghomes with progressively more open plans. This allowed the woman of the house to work in her'workspace', as he often called the kitchen, yet keep track of and be available for the children and/orguests in the dining room. Much of modern architecture, including the early work of Mies van der Rohe,can be traced back to Wright's innovative work.

Wright also designed some of his own clothing. His fashion sense was unique, and he usually woreexpensive suits, flowing neckties, and capes. Wright drove a custom yellow 'raceabout' in the Prairieyears, a red Cord convertible in the 1930s, and a famously customized 1940 Lincoln for many years. Heearned many speeding tickets in each of his vehicles.

Wright strongly believed in individualism and did not affiliate with the American Institute of Architectsduring his career, going so far as to call the organization "a harbor of refuge for the incompetent," and "aform of refined gangsterism." When an associate referred to him as "an old amateur" Wright confirmed,"I am the oldest."[56]

Significant later works

The Solomon R. Guggenheim Museum in New York Cityoccupied Wright for 16 years (1943–1959)[57] and is probably hismost recognized masterpiece. The building rises as a warm beigespiral from its site on Fifth Avenue; its interior is similar to theinside of a seashell. Its unique central geometry was meant toallow visitors to easily experience Guggenheim's collection ofnonobjective geometric paintings by taking an elevator to the toplevel and then viewing artworks by walking down the slowlydescending, central spiral ramp, the floor of which is embeddedwith circular shapes and triangular light fixtures to complementthe geometric nature of the structure. However, when themuseum was completed, a number of details of Wright's designwere ignored, such as his desire for the interior to be painted off­white. Further, the Museum currently designs exhibits to be viewed by walking up the curved walkwayrather than walking down from the top level.

The only realized skyscraper designed by Wright is the Price Tower, a 19­story tower in Bartlesville,Oklahoma. It is also one of the two existing vertically oriented Wright structures (the other is the S.C.Johnson Wax Research Tower in Racine, Wisconsin). The Price Tower was commissioned by Harold C.

Wright's Price Tower inBartlesville, Oklahoma

Imperial Hotel, Tokyo (1923)

Price of the H. C. Price Company, a local oil pipeline and chemical firm. It opened to the public inFebruary 1956. On March 29, 2007, Price Tower was designated a National Historic Landmark by theUnited States Department of the Interior, one of only 20 such properties in the state of Oklahoma.[58]

Other projects

Wright designed over 400 built structures[59] of which about 300 surviveas of 2005. Four have been lost to forces of nature: the waterfront housefor W. L. Fuller in Pass Christian, Mississippi, destroyed by HurricaneCamille in August 1969; the Louis Sullivan Bungalow of Ocean Springs,Mississippi, destroyed by Hurricane Katrina in 2005; and the ArinobuFukuhara House (1918) in Hakone, Japan, destroyed in the Great KantōEarthquake of 1923. The Ennis House in California has also beendamaged by earthquake and rain­induced ground movement. In January2006, the Wilbur Wynant House in Gary, Indiana was destroyed byfire.[60]

In addition, other buildings wereintentionally demolished duringand after Wright's lifetime, suchas: Midway Gardens (1913, Chicago, Illinois) and the LarkinAdministration Building (1903, Buffalo, New York) weredestroyed in 1929 and 1950 respectively; the Francis Apartmentsand Francisco Terrace Apartments (both located in Chicago anddesigned in 1895) were destroyed in 1971 and 1974,respectively; the Geneva Inn (1911) in Lake Geneva, Wisconsinwas destroyed in 1970; and the Banff National Park Pavilion(1911) in Alberta, Canada was destroyed in 1939. The Imperial

Hotel, in Tokyo (1913) survived the Great Kantō earthquake but was demolished in 1968 due to urbandevelopmental pressures.[61]

One of his projects, Monona Terrace, originally designed in 1937 as municipal offices for Madison,Wisconsin, was completed in 1997 on the original site, using a variation of Wright's final design for theexterior with the interior design altered by its new purpose as a convention center. The "as­built" designwas carried out by Wright's apprentice Tony Puttnam. Monona Terrace was accompanied by controversythroughout the 60 years between the original design and the completion of the structure.[62]

Florida Southern College, located in Lakeland, Florida, constructed 12 (out of 18 planned) Frank LloydWright buildings between 1941 and 1958 as part of the Child of the Sun project. It is the world's largestsingle­site collection of Frank Lloyd Wright architecture.[63]

A lesser known project that never came to fruition was Wright's plan for Emerald Bay, Lake Tahoe.[64]Few Tahoe locals know of the iconic American architect's plan for their natural treasure.

The Kalita Humphreys Theater in Dallas, Texas was Wright's last project before his death.

Wright's last design and first European project

A design that Wright signed off on shortly before his death in 1959 — possibly his last completed design— was realized in late 2007 in the Republic of Ireland.[65] Wright scholar and devotee Marc Colemanworked closely with the Frank Lloyd Wright Foundation, dealing with E. Thomas Casey, the lastsurviving Foundation architect who trained under Wright. Working with the Foundation, Colemanselected an unbuilt design that was originally commissioned for Mr. and Mrs. Gilbert Wieland and dueto be built in Maryland, USA. However, the Wielands subsequently had financial problems and thedesign was shelved. The Foundation looked through its archive of 380 unbuilt designs and selected 4 forColeman that were the closest fit for his site. In the end, he chose the Wieland house, largely because thetopography of his site is virtually identical to that for which the building was originally designed. Thecompleted house,[66] in only the fourth country in which a Wright design has been realized, is attractingbroad interest from the international architectural community. Casey visited the site in County Wicklow,but died before construction began.

Community planning

Frank Lloyd Wright was interested in site and community planning throughout his career. Hiscommissions and theories on urban design began as early as 1900 and continued until his death. He had41 commissions on the scale of community planning or urban design.[67]

His thoughts on suburban design started in 1900 with a proposed subdivision layout for Charles E.Roberts entitled the "Quadruple Block Plan." This design strayed from traditional suburban lot layoutsand set houses on small square blocks of four equal­sized lots surrounded on all sides by roads instead ofstraight rows of houses on parallel streets. The houses, which used the same design as published in "AHome in a Prairie Town" from the Ladies' Home Journal, were set toward the center of the block tomaximize the yard space and included private space in the center. This also allowed for far moreinteresting views from each house. Although this plan was never realized, Wright published the designin the Wasmuth Portfolio in 1910.[68]

The more ambitious designs of entire communities were exemplified by his entry into the City Club ofChicago Land Development Competition in 1913. The contest was for the development of a suburbanquarter section. This design expanded on the Quadruple Block Plan and included several social levels.The design shows the placement of the upscale homes in the most desirable areas and the blue collarhomes and apartments separated by parks and common spaces. The design also included all theamenities of a small city: schools, museums, markets, etc.[69] This view of decentralization was laterreinforced by theoretical Broadacre City design. The philosophy behind his community planning wasdecentralization. The new development must be away from the cities. In this decentralized America, allservices and facilities could coexist "factories side by side with farm and home."[70]

Notable community planning designs

1900–03 – Quadruple Block Plan, 24 homes in Oak Park, Illinois (unbuilt)1909 – Como Orchard Summer Colony, town site development for new town in the BitterrootValley, Montana1913 – Chicago Land Development competition, suburban Chicago quarter section1934–59 – Broadacre City, theoretical decentralized city plan, exhibits of large­scale model1938 – Suntop Homes, also known as Cloverleaf Quadruple Housing Project – commission fromFederal Works Agency, Division of Defense Housing, a low­cost multifamily housing alternativeto suburban development1942 – Cooperative Homesteads, commissioned by a group of auto workers, teachers and otherprofessionals, 160­acre farm co­op was to be the pioneer of rammed earth and earth bermconstruction[71] (unbuilt)

1945 – Usonia Homes, A47 homes (three designed by Wright) in Pleasantville, New York1949 – The Acres, also known as Galesburg Country Homes, five homes (four designed byWright) in Charleston Township, Michigan1949 – Parkwyn neighborhood, a plat in Kalamazoo, Michigan developed by Wright containingmostly Usonian homes on circular lots with common spaces in between (since replatted)

Japanese art

Though most famous as an architect, Wright was an active dealer in Japanese art, primarily ukiyo­ewoodblock prints. He frequently served as both architect and art dealer to the same clients; he designed ahome, then provided the art to fill it.[72] For a time, Wright made more from selling art than from hiswork as an architect. Wright was also an avid collector of Japanese prints and used them as teaching aidswith his apprentices in what were called "print parties".[73]

Wright first traveled to Japan in 1905, where he bought hundreds of prints. The following year, hehelped organize the world's first retrospective exhibition of works by Hiroshige, held at the Art Instituteof Chicago.[72] For many years, he was a major presence in the Japanese art world, selling a greatnumber of works to prominent collectors such as John Spaulding of Boston,[72] and to prominentmuseums such as the Metropolitan Museum of Art in New York.[74] He penned a book on Japanese artin 1912.[74]

In 1920, however, rival art dealers began to spread rumors that Wright was selling retouched prints; thiscombined with Wright's tendency to live beyond his means, and other factors, led to great financialtroubles for the architect. Though he provided his clients with genuine prints as replacements for thosehe was accused of retouching, this marked the end of the high point of his career as an art dealer.[74] Hewas forced to sell off much of his art collection in 1927 to pay off outstanding debts; the Bank ofWisconsin claimed his Taliesin home the following year, and sold thousands of his prints, for only onedollar a piece, to collector Edward Burr Van Vleck.[72]

Wright continued to collect and deal in prints until his death in 1959, using prints as collateral for loans,often relying upon his art business to remain financially solvent.[74]

The extent of his dealings in Japanese art went largely unknown, or underestimated, among art historiansfor decades until, in 1980, Julia Meech, then associate curator of Japanese art at the MetropolitanMuseum, began researching the history of the museum's collection of Japanese prints. She discovered "athree­inch­deep 'clump of 400 cards' from 1918, each listing a print bought from the same seller—'F. L.Wright'" and a number of letters exchanged between Wright and the museum's first curator of FarEastern Art, Sigisbert C. Bosch Reitz, in 1918 to 1922.[74] These discoveries, and subsequent research,led to a renewed understanding of Wright's career as an art dealer.

Death and legacy

Turmoil followed Wright even many years after his death on April 9, 1959, shortly after undergoingsurgery in Phoenix, Arizona, to remove an intestinal obstruction.[75] After the death of his third wife,Olgivanna in 1985, it was learned that her dying wish had been that Wright, she, and her daughter by herfirst marriage all be cremated and interred together in a memorial garden being built at Taliesin West.By then, and according to his own wishes, Wright's body had lain for over 25 years in the Lloyd­Jonescemetery, next to the Unity Chapel, near Taliesin, Wright's beloved home in Spring Green,

Wright­designed window in RobieHouse, Chicago (1906)

Wisconsin.[76] Although Olgivanna had taken no legal steps to move Wright's remains and against thewishes of other family members as well as the Wisconsin legislature, Wright's remains were removedfrom his grave by members of the Taliesin Fellowship, cremated and sent to Scottsdale where they werelater interred in the memorial garden. Today, the original gravesite in Wisconsin, while empty, is stillmarked with Wright's name.[77]

Colleagues and influences

Wright rarely credited any influences on his designs, but mostarchitects, historians and scholars agree he had five majorinfluences:

1. Louis Sullivan, whom he considered to be his LieberMeister (dear master),

2. Nature, particularly shapes/forms and colors/patterns ofplant life,

3. Music (his favorite composer was Ludwig van Beethoven),4. Japanese art, prints and buildings,5. Froebel Gifts

He also routinely claimed the architects and architecturaldesigners who were his employees' work as his own design andclaimed that the rest of the Prairie School architects were merely his followers, imitators andsubordinates.[78] But, as with any architect, Wright worked in a collaborative process and drew his ideasfrom the work of others. In his earlier days, Wright worked with some of the top architects of theChicago School, including Sullivan. In his Prairie School days, Wright's office was populated by manytalented architects including William Eugene Drummond, John Van Bergen, Isabel Roberts, FrancisBarry Byrne, Albert McArthur, Marion Mahony Griffin and Walter Burley Griffin.

The Czech­born architect Antonin Raymond, recognized as the father of modern architecture in Japan,worked for Wright at Taliesin and led the construction of the Imperial Hotel in Tokyo. He subsequentlystayed in Japan and opened his own practice. Rudolf Schindler also worked for Wright on the Imperialhotel. His own work is often credited as influencing Wright's Usonian houses. Schindler's friend RichardNeutra also worked briefly for Wright and became an internationally successful architect.

Later in the Taliesin days, Wright employed many architects and artists who later become notable, suchas Aaron Green, John Lautner, E. Fay Jones, Henry Klumb and Paolo Soleri in architecture and SantiagoMartinez Delgado in the arts. As a young man, actor Anthony Quinn applied to study with Wright atTaliesin. However, Wright suggested that he first take voice lessons to help overcome a speechimpediment.

Bruce Goff never worked for Wright but maintained correspondence with him. Their works can be seento parallel each other.

Simon & Garfunkel recorded So Long, Frank Lloyd Wright as a tribute to Wright.

Recognition

Later in his life and well after his death in 1959, Wright received much honorary recognition for hislifetime achievements. He received Gold Medal awards from The Royal Institute of British Architects(RIBA) in 1941 and the American Institute of Architects (AIA Gold Medal) in 1949. The medal was asymbolic "burying the hatchet" between Wright and the AIA. In a radio interview he commented, "Well,

1966 U.S. postagestamp honoring FrankLloyd Wright

the AIA I never joined, and they know why. When they gave me the gold medal in Houston, I told themfrankly why. Feeling that the architecture profession is all that's the matter with architecture, why shouldI join them?"[56] He was awarded the Franklin Institute's Frank P. Brown Medal in 1953. He received

honorary degrees from several universities (including his "alma mater", theUniversity of Wisconsin) and several nations named him as an honoraryboard member to their national academies of art and/or architecture. In 2000,Fallingwater was named "The Building of the 20th century" in an unscientific"Top­Ten" poll taken by members attending the AIA annual convention inPhiladelphia. On that list, Wright was listed along with many of the USA'sother greatest architects including Eero Saarinen, I.M. Pei, Louis Kahn, PhilipJohnson and Ludwig Mies van der Rohe, and he was the only architect whohad more than one building on the list. The other three buildings were theGuggenheim Museum, the Frederick C. Robie House and the Johnson WaxBuilding.

In 1992, the Madison Opera in Madison, Wisconsin commissioned andpremiered the opera Shining Brow, by composer Daron Hagen and librettist

Paul Muldoon based on events early in Wright's life. The work has since received numerous revivals,including a June 2013 revival at Fallingwater, in Bull Run, Pennsylvania, by Opera Theater ofPittsburgh. In 2000, Work Song: Three Views of Frank Lloyd Wright, a play based on the relationshipbetween the personal and working aspects of Wright's life, debuted at the Milwaukee Repertory Theater.

In 1966, the United States Postal Service honored Wright with a Prominent Americans series 2¢ postagestamp. Several of Wright's buildings have been proposed by the United States to be UNESCO WorldHeritage sites.

In 1957 Arizona made plans to construct a new Capitol building. Believing that the submitted plans forthe new Capitol were tombs to the past, Frank Lloyd Wright offered an alternative to the people ofArizona. Wright felt that Arizona's Capitol should inspire the citizens to loftier heights. Wright'sarchitectural dream of the Oasis captures the spirit of his vision ­ an oasis from the heat of the desert, anoasis from the mediocrity of our past decisions, an oasis for open government and unconstrained ideas.

This collection also includes an early version of the Oasis with three spires, a typewritten transcriptwhere Wright expresses his opinions regarding the various plans for Arizona's Capitol Building, andimages of the restoration work completed by Kenneth C. Truong.[79] In 2004, one of the spires includedin his design was erected in his memory. Consisting of roughly 1,700 individual pieces of steel, theFrank Lloyd Wright Spire is visible from nearly everywhere in residential Scottsdale and illuminates thenight sky with a stunning, futuristic architectural ambiance of teal and blue.

Family

Frank Lloyd Wright was married three times and fathered seven children, four sons and three daughters.He also adopted Svetlana Milanoff, the daughter of his third wife, Olgivanna Lloyd Wright.[80]

His wives were:

Catherine "Kitty" (Tobin) Wright (1871–1959); social worker, socialite (married in June 1889;divorced November 1922)Maude "Miriam" (Noel) Wright (1869–1930), artist (married in November 1923; divorced August1927)Olga Ivanovna "Olgivanna" (Lazovich Milanoff) Lloyd Wright (1897–1985), dancer and writer

(married in August 1928)

One of Wright's sons, Frank Lloyd Wright, Jr., known as Lloyd Wright, was also a notable architect inLos Angeles. Lloyd Wright's son (and Wright's grandson), Eric Lloyd Wright, is currently an architect inMalibu, California where he has a practice of mostly residences, but also civic and commercialbuildings.

Another son and architect, John Lloyd Wright, invented Lincoln Logs in 1918, and practiced extensivelyin the San Diego area. John's daughter, Elizabeth Wright Ingraham, was an architect in ColoradoSprings, Colorado and died September 15, 2013 of congestive heart failure. She is the mother ofChristine, an interior designer in Connecticut, and Catherine, an architecture professor at the PrattInstitute.[81]

Wright designed a house for David Samuel Wright, his son by his first marriage to Catherine, andDavid's wife, Gladys.[82][83]

The Oscar­winning actress Anne Baxter was Wright's granddaughter. Baxter was the daughter ofCatherine Baxter, a child born of Wright's first marriage. Baxter's daughter, Melissa Galt, currently livesand works in Atlanta as an interior designer.[81]

His step­daughter Svetlana (daughter of Olgivanna) and her son Daniel died in an automobile accident in1946. Her widower, William Wesley Peters, was later briefly married to Svetlana Alliluyeva, theyoungest child and only daughter of Joseph Stalin. They divorced after she could not adjust to thecommunal lifestyle of the Wright communities, which she compared to life in the Soviet Union underher father, and because of the constant interference of Wright's widow. Peters served as Chairman of theFrank Lloyd Wright Foundation from 1985 to 1991.

A great­grandson of Wright, S. Lloyd Natof, currently lives and works in Chicago as a masterwoodworker who specializes in the design and creation of custom wood furniture.[84]

Archives

From Wright’s death in 1959 most of his collections were stored at the headquarters of the Frank LloydWright Foundation — Taliesin, in Spring Green, Wisconsin, and Taliesin West. The collection includesmore than 23,000 architectural drawings, about 40 large­scale, architectural models, some 44,000photographs, 600 manuscripts and more than 300,000 pieces of office and personal correspondence. Thearchive’s architectural models include notable Wright projects like the unrealized St. Mark’s Tower anda version of the Guggenheim. Most of these models were not made for clients; they were constructed forMoMA’s retrospective of Wright in 1940.[85]

In order to guarantee a high level of conservation and access as well as to transfer the considerablefinancial burden of maintaining the archive,[86] the Frank Lloyd Wright Foundation in 2012 partneredwith the Museum of Modern Art and the Avery Architectural and Fine Arts Library to move the archiveto New York. Wright’s furniture and art collection remain with the foundation, which will also have arole in monitoring the archive. Together the three parties established an advisory group to overseeexhibitions, symposiums, events and publications.[85]

Photographs and other archival materials are held by the Ryerson & Burnham Libraries at the ArtInstitute of Chicago. The Herbert and Katherine Jacobs Residence and Frank Lloyd Wright Records,1924–1974, Collection includes drawings, correspondence, and other materials documenting the

construction of two homes for the Jacobs as well as research files on Wright's life. The Frank LloydWright in Michigan Collection, 1945–1988, consists of research documents, including photocopiedcorrespondence between Wright and his clients, used for the book "Frank Lloyd Wright in Michigan."The Wrightiana Collection, c. 1897–1997 (bulk 1949–1969), includes a variety of printed materials andphotographs about Wright and his projects. The Joseph J. Bagley Cottage Collection, c. 1916–1925,contains photographs and drawings documenting the Bagley cottage which was completed in 1916.

The architect's personal archives (http://www.franklloydwright.org/fllwf_web_091104/Archives.html)are located at Taliesin West in Scottsdale, Arizona. The Frank Lloyd Wright archives includephotographs of his drawings, indexed correspondence beginning in the 1880s and continuing throughWright's life, and other ephemera. The Getty Research Center in Los Angeles, also has copies ofWright's correspondence and photographs of his drawings in their "Frank Lloyd Wright SpecialCollection (http://www.getty.edu/research/conducting_research/special_collections/wright.html)".Wright's correspondence is indexed in An Index to the Taliesin Correspondence, ed. by ProfessorAnthony Alofsin, which is available at larger libraries.

Selected works

Main article: List of Frank Lloyd Wright works

Annunciation Greek Orthodox Church, Wauwatosa, Wisconsin, 1956–1961Beth Sholom Synagogue, Elkins Park, Pennsylvania, 1954Child of the Sun, Florida Southern College, Lakeland, Florida, 1941–1958, site of the largestcollection of the architect's workDana­Thomas House, Springfield, Illinois, 1902Darwin D. Martin House, Buffalo, New York, 1903–1905Dr. G.C. Stockman House, Mason City, Iowa, 1908Edward E. Boynton House, Rochester, New York, 1908Ennis House, Los Angeles, 1923Fallingwater (Edgar J. Kaufmann Sr. Residence), Bear Run, Pennsylvania, 1935–1937First Unitarian Society of Madison, Shorewood Hills, Wisconsin, 1947Frank Lloyd Wright Home and Studio, Oak Park, Illinois, 1889–1909Frank Thomas House, Oak Park, Illinois, 1901Gammage Auditorium, Tempe, Arizona, 1959–1964Graycliff. Derby, New York, 1926First Jacobs House, 1936–1937Herbert F. Johnson Residence ("Wingspread"), Wind Point, Wisconsin, 1937Hollyhock House (Aline Barnsdall Residence), Los Angeles, 1919–1921Imperial Hotel, Tokyo, Japan, 1923 (demolished, 1968; entrance hall reconstructed at Meiji Muranear Nagoya, Japan, 1976)Johnson Wax Headquarters, Racine, Wisconsin, 1936Kenneth Laurent House, the only home Wright designed to be handicapped accessibleKentuck Knob, Ohiopyle, Pennsylvania, 1956Larkin Administration Building, Buffalo, New York, 1903 (demolished, 1950)Marin County Civic Center, San Rafael, California, 1957–1966Marshall Erdman Prefab Houses, various locations, 1956–1960Midway Gardens, Chicago, Illinois, 1913 (demolished, 1929)Clubhouse at the Nakoma Golf Resort, Plumas County, California, designed in 1923; opened in2000Park Inn Hotel, the last standing Wright designed hotel, Mason City, Iowa, 1910Price Tower, Bartlesville, Oklahoma, 1952–1956Frederick C. Robie Residence, Chicago, Illinois, 1909Solomon R. Guggenheim Museum, New York City, 1956–1959

Nathan G. Moore House, OakPark, Illinois

The Robie House on theUniversity of Chicago campus

Frank W. Thomas House (1901),210 Forest Avenue, Oak Park, IL

Taliesin West Panorama from the"prow" looking at the "ship"

Gammage Auditorium viewedfrom one of the pedestrian ramps

Taliesin, Spring Green, Wisconsin, 1911 & 1925Taliesin West, Scottsdale, Arizona, 1937The Illinois, mile­high tower in Chicago, 1956 (unbuilt)Unity Temple, Oak Park, Illinois, 1904Usonian homes, various locations, 1930s–1950sV. C. Morris Gift Shop, San Francisco, 1948Westhope (Richard Lloyd Jones Residence, Tulsa, Oklahoma,1929William H. Winslow House, River Forest, Illinois, 1894Ward Winfield Willits Residence, and Gardener's Cottage andStables, Highland Park, Illinois, 1901

See also

Frank Lloyd Wright buildingsWasmuth PortfolioRichard BockRoman brickJaroslav Joseph PolivkaFrank Lloyd Wright Home and StudioFrank Lloyd Wright Building ConservancyFrank Lloyd Wright­Prairie School of Architecture HistoricDistrictList of Frank Lloyd Wright worksList of Frank Lloyd Wright works by location

References

Beth Sholom Synagogue, the onlysynagogue Wright ever designed

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of Chicago Press. p. 359. ISBN 0­226­01366­9; Hersey, George (2000). Architecture and Geometry in theAge of the Baroque. University of Chicago Press. p. 205. ISBN 0­226­32783­3.

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option=com_content&task=view&id=16&Itemid=161)7. Frank Lloyd Wright: A Biography, by Meryle Secrest, p. 828. Wright, Frank Lloyd (2005). Frank Lloyd Wright: An Autobiography. Petaluma, CA: Pomegranate

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Schuster, Inc. pp. 40–43. ISBN 0­684­81306­8.23. Frank Lloyd Wright Preservation Trust 2001, p. 7.24. O'Gorman 2004, pp. 38–5425. Wright 2005, p. 10126. Tafel 1985, p. 4127. Wright 2005, p. 11228. Wright 2005, pp. 118–11929. Wright 2005, p. 11930. Brooks, H. Allen (2005). "Architecture: The Prairie School"

(http://www.encyclopedia.chicagohistory.org/pages/63.html). Encyclopedia of Chicago. Chicago HistoricalSociety. Retrieved May 25, 2010.

31. Cassidy, Victor M. (October 21, 2005). "Lost Woman"(http://www.artnet.com/magazineus/features/cassidy/cassidy10­21­05.asp). Artnet Magazine. RetrievedMay 24, 2010.

32. "Marion Mahony Griffin (1871–1962)" (http://web.mit.edu/museum/chicago/griffin.html). From LouisSullivan to SOM: Boston Grads Go to Chicago. Massachusetts Institute of Technology. 1996. RetrievedMay 24, 2010.

33. O'Gorman 2004, pp. 56–109

34. Wright 2005, p. 11635. Wright 2005, pp. 114–11636. Goldberger, Paul (March 9, 2009). "Toddlin' Town: Daniel Burnham's great Chicago Plan turns one hundred"

(http://www.newyorker.com/arts/critics/skyline/2009/03/09/090309crsk_skyline_goldberger). The NewYorker. Retrieved March 26, 2009.

37. Frank Lloyd Wright Preservation Trust 2001, pp. 6–9.38. My Father: Frank Lloyd Wright, by John Lloyd Wright; 1992; page 3539. Clayton, Marie (2002). Frank Lloyd Wright Field Guide. Running Press. pp. 97–102. ISBN 0­7624­1324­7.40. Sommer, Robin Langley (1997). "Frank W. Thomas House". Frank Lloyd Wright: A Gatefold Portfolio.

Honk Kong: Barnes & Noble Books. ISBN 0­7607­0463­5.41. O'Gorman 2004, p. 13442. Storrer, William Allin (2007). The architecture of Frank Lloyd Wright : a complete catalog (Updated 3rd

ed.). Chicago: University of Chicago Press. p. xvii. ISBN 0226776204.43. Frank Lloyd Wright: A Biography, by Meryle Secrest, Alfred A. Knopf, 1993, p. 20244. "Home Country" (http://www.unitychapel.org/home_country.htm). Unitychapel.org. July 1, 2005. Retrieved

October 16, 2009.45. "Mystery of the murders at Taliesin" (http://news.bbc.co.uk/2/hi/uk_news/wales/1110359.stm). BBC News.46. Frank Lloyd Wright: A Biography, by Meryle Secrest, p. 315–317. "$500,000 Fire in Bungalow,"The New

York Times, April 22, 192547. Minnesota Historical Society, Collections Up Close, "Frank Lloyd Wright Arrested in Minnesota

(http://discussions.mnhs.org/collections/2011/01/frank­lloyd­wright­arrested­in­minnesota/)"48. American Treasures of the Library of Congress. "The Genius of Frank Lloyd Wright"

(http://www.loc.gov/exhibits/treasures/tri004.html). Library of Congress. Retrieved February 28, 2014.49. Lync Voice UC Industry News. "The Textile Block System [Concrete International]"

(http://www.lyncvoiceuc.com/news/2012/04/14/6258593.htm). TMCnet. Retrieved February 28, 2014.50. Hines, Thomas S. (2010). Architecture of the sun : Los Angeles modernism, 1900­1970. New York: Rizzoli.

ISBN 9780847833207.51. State University of New York at Buffalo Archives http://ubdigit.buffalo.edu/collections/lib/lib­ua/lib­

ua001_DDMartin.php52. "What is Fallingwater" (http://wwww.fallingwater.org/37/what­is­fallingwater). Western Pennsylvania

Conservancy. Retrieved October 9, 2012.53. Twombly, Robert (1979). Frank Lloyd Wright His Life and Architecture. Canada: A Wiley­Interscience.

pp. 276–278.54. Denzer, Anthony (2013). The Solar House: Pioneering Sustainable Design

(http://solarhousehistory.com/book/). Rizzoli. ISBN 978­0­8478­4005­2.55. Lind, Carla (1995). Frank Lloyd Wright's glass designs. San Francisco: Pomegranate Artbooks. p. 57.

ISBN 9780876544686.56. "Biography in Sound: Frank Lloyd Wright" (http://archive.org/details/Biography_in_Sound). Old Time Radio.

Retrieved September 9, 2012.57. Guggenheim Museum — History (http://www.guggenheim.org/new­york/about/frank­lloyd­wright­building)58. National Park Service (http://www.nps.gov/history/nr/listings/20070413.HTM) — National Historic

Landmarks Designated, April 13, 200759. The Architecture of Frank Lloyd Wright: A Complete Catalog, by William Allin Storrer, University of

Chicago Press, 1992 (third edition)60. "Preservation Online: Today's News Archives: Fire Guts Rare FLW House in Indiana"

(http://web.archive.org/web/20080612122021/http%3A//www.nationaltrust.org/magazine/archives/arc_news_2006/011706.htm). Nationaltrust.org. Archived from the original(http://www.nationaltrust.org/magazine/archives/arc_news_2006/011706.htm) on June 12, 2008. RetrievedOctober 16, 2009.

61. Berstein, Fred A. "Near Nagoya, Architecture From When the East Looked West,"(http://travel.nytimes.com/2006/04/02/travel/02journeys.html?scp=4&sq=wright+1923&st=nyt) New YorkTimes. April 2, 2006.

62. Monona Terrace Convention Center, history web page(http://www.mononaterrace.com/educatorspage/images/brief­history.pdf)

63. "74 years later, Frank Lloyd Wright structure built at Florida Southern College"(http://www.bdcnetwork.com/74­years­later­frank­lloyd­wright­structure­built­florida­southern­college).Building Design & Construction Magazine. October 31, 2013. Retrieved July 16, 2015.

64. "Frank Lloyd Wright Emerald Bay, Lake Tahoe" (http://tahoelocals.com/articles/franklloydwright.php).Tahoelocals.com. January 8, 2007. Retrieved October 16, 2009.

65. "Wright On" (http://constructireland.ie/Vol­3­Issue­11/Articles/Case­Studies/Late­1950s­Frank­Lloyd­Wright­design­realised­in­Wicklow.html). constructireland.ie. Retrieved October 16, 2009.

66. Wright On (http://constructireland.ie/Articles/Case­Studies/Late­1950s­Frank­Lloyd­Wright­design­realised­in­Wicklow.html) – Late 1950s Frank Lloyd Wright design realized in Wicklow (Retrieved November 18,2009)

67. Wrightscapes: Frank Lloyd Wright's Landscape Designs, Charles E. and Berdeana Aguar, McGraw­Hill,2002, p.344

68. Aguar, Charles E.; Aguar, Berdeana (2002). Wrightscapes: Frank Lloyd Wright's Landscape Designs.McGraw­Hill. pp. 51–56.

69. "Undoing the City: Frank Lloyd Wright's Planned Communities". American Quarterly 24 (4): 544. October1972.

70. "Undoing the City: Frank Lloyd Wright's Planned Communities". American Quarterly 24 (4): 542. October1972.

71. Treasures of Taliesin: Seventy Seven Unbuilt Designs, Bruce Brooks Pfeiffer, Director of the Frank LloydWright Archive

72. Cotter, Holland (April 6, 2001). "Seeking Japan's Prints, Out of Love and Need"(http://www.nytimes.com/2001/04/06/arts/art­review­seeking­japan­s­prints­out­of­love­and­need.html). NewYork Times.

73. Julia Meech. Frank Lloyd Wright and the Art of Japan: The Architect's Other Passion. New York: Abrams,2000.

74. Reif, Rita (March 18, 2001). "Frank Lloyd Wright's Love of Japanese Prints Helped Pay the Bills"(http://www.nytimes.com/2001/03/18/arts/art­architecture­the­master­builder­whose­other­love­helped­pay­the­bills.html). New York Times.

75. "Frank Lloyd Wright Dies; Famed Architect Was 89"(http://www.nytimes.com/learning/general/onthisday/bday/0608.html). nytimes.com<!. April 10, 1959.Retrieved May 12, 2010.

76. The Unity Chapel, designed by Joseph Silsbee, should not be confused with the much larger and vastly morefamous Unity Temple, designed by Wright and located in Oak Park, Illinois. Wright was the draftsman forthe design of the Unity Chapel.

77. Frank Lloyd Wright: A Biography, Meryle Secrest, University of Chicago Press, 1992.78. "The Magic of America", Marion Mahony Griffin79. "Oasis ­ Frank Lloyd Wright's Design for the Capitol"

(http://azmemory.azlibrary.gov/cdm/landingpage/collection/oasis). Arizona Library. Arizona Capitol Museum.Retrieved November 27, 2014.

80. ascedia.com. "Taliesin Preservation, Inc. – Frank Lloyd Wright – FAQs"(http://web.archive.org/web/20080610011735/http%3A//www.taliesinpreservation.org/frank/faq.htm#Wives_children). Taliesinpreservation.org. Archived from the original(http://www.taliesinpreservation.org/frank/faq.htm#Wives_children) on June 10, 2008. Retrieved October 16,2009.

81. Mann, Leslie (February 1, 2008). "Reflecting pools: Descendants follow in Frank Lloyd Wright's footsteps"(http://articles.chicagotribune.com/2008­02­03/business/0801310434_1_frank­lloyd­wright­designs­mies­van­der­rohe). Chicago Tribune. Retrieved March 28, 2008.

82. Kimmelman, Michael (October 2, 2012). "Wright Masterwork Is Seen in a New Light: A Fight for Its Life"(http://www.nytimes.com/2012/10/03/arts/design/frank­lloyd­wright­house­in­phoenix­faces­bulldozers.html?emc=eta1&_r=0). New York Times.

83. Rose, Jaimee (March 14, 2009). "Growing up Wright"(http://www.azcentral.com/arizonarepublic/arizonaliving/articles/2009/03/14/20090314frankfamily0314.html?nclick_check=1). The Arizona Republic.

84. "The Short List" (http://www.chicagomag.com/Chicago­Magazine/November­2006/Short­List­November­2006/). Chicago Magazine. November 2006. Retrieved March 10, 2008.

85. Robin Pogrebin (September 3, 2012), A Vast Frank Lloyd Wright Archive Is Moving to New York(http://www.nytimes.com/2012/09/04/arts/design/frank­lloyd­wright­collection­moves­to­moma­and­columbia.html) New York Times.

86. Robin Pogrebin (March 9, 2014), Models Preserve Wright’s Dreams(http://www.nytimes.com/2014/03/10/arts/design/models­preserve­wrights­dreams.html) New York Times.

Further reading

Wright's philosophy

Hoffmann, Donald. Understanding Frank Lloyd Wright's Architecture. New York: DoverPublications, 1995. ISBN 0­486­28364­XLind, Carla. Frank Lloyd Wright's Usonian Houses. San Francisco: Promegranate Artbooks, 1994.ISBN 1­56640­998­5McCarter, Robert (ed.). Frank Lloyd Wright: A Primer on Architectural Principles. New York:Princeton Architectural Press, 1991. ISBN 1­878271­26­1Meehan, Patrick, ed. Truth Against the World: Frank Lloyd Wright Speaks for an OrganicArchitecture. New York: Wiley, 1987. ISBN 0­471­84509­4Nisbet, Earl. Taliesin Reflections: My Years Before, During, and After Living with Frank LloydWright. Petaluma, Calif.: Meridian Press, 2006. ISBN 0­9778951­0­6Rosenbaum, Alvin. Usonia : Frank Lloyd Wright's Design for America. Washington, DC:Preservation Press, 1993. ISBN 0­89133­201­4Russell, Virginia L. "You Dear Old Prima Donna: The Letters of Frank Lloyd Wright and JensJensen", Landscape Journal, 20.2 (2001): 141­155.Sergeant, John. Frank Lloyd Wright's Usonian Houses: The Case for Organic Architecture. NewYork: Watson­Guptill, 1984. ISBN 0­8230­7178­2Treiber, Daniel. Frank Lloyd Wright. 2nd ed. Basel: Birkhäuser, 2008. ISBN 978­3­7643­8697­9Wright, Frank Lloyd. Frank Lloyd Wright: An Autobiography. New York: Duell, Sloan andPearce, 1943.Wright, Frank Lloyd. "In the Cause of Architecture", Architectural Record, March 1908.Reprinted in Frank Lloyd Wright: Collected Writings, vol. 1: 1894–1930. New York: Rizzoli,1992. ISBN 0­8478­1546­3Wright, Frank Lloyd. The Natural House. New York: Horizon Press, 1954.

Biographies

Farr, Finis. Frank Lloyd Wright: A Biography. New York: Scribner, 1961.Friedland, Roger and Harold Zellman. The Fellowship: The Untold Story of Frank Lloyd Wrightand the Taliesin Fellowship. New York: Regan Books, 2006. ISBN 0­06­039388­2Gill, Brendan. Many Masks: A Life of Frank Lloyd Wright. New York: Putnam, 1987. ISBN 0­399­13232­5Huxtable, Ada Louise. Frank Lloyd Wright. New York: Lipper/Viking, 2004. ISBN 0­670­03342­1Secrest, Meryle. Frank Lloyd Wright: a Biography. New York: Knopf, 1992. ISBN 0­394­56436­7Twombly, Robert C. Frank Lloyd Wright: His Life and Architecture. New York: Wiley, 1979.ISBN 0­471­03400­2Wright, Iovanna Lloyd. Architecture: Man in Possession of His Earth. Garden City, NY:Doubleday, 1962.

Surveys of Wright's work

Aguar, Charles and Berdeana Aguar. Wrightscapes: Frank Lloyd Wright's Landscape Designs.New York: McGraw­Hill, 2002. ISBN 0­07­140953­XBlake, Peter. Frank Lloyd Wright: Architecture and Space. Baltimore, MD: Penguin Books, 1964.Fell, Derek. The Gardens of Frank Lloyd Wright. London: Frances Lincoln, 2009. ISBN 978­0­7112­2967­9Heinz, Thomas A. Frank Lloyd Wright Field Guide. Chichester, West Sussex: Academy Editions,

Wikimedia Commons hasmedia related to FrankLloyd Wright.

Wikiquote has quotationsrelated to: Frank LloydWright

1999. ISBN 0­8101­2244­8Hildebrand, Grant. The Wright Space: Pattern and Meaning in Frank Lloyd Wright's Houses.Seattle: University of Washington Press, 1991. ISBN 0­295­97005­7Larkin, David and Bruce Brooks Pfeiffer. Frank Lloyd Wright: The Masterworks. New York:Rizzoli, 1993. ISBN 0­8478­1715­6Levine, Neil. The Architecture of Frank Lloyd Wright. Princeton, NJ: Princeton University Press,1996. ISBN 0­691­03371­4Lind, Carla. Frank Lloyd Wright's Glass Designs. San Francisco: Pomegranate Artbooks, 1995.ISBN 0­87654­468­5McCarter, Robert. Frank Lloyd Wright. London: Phaidon Press, 1997. ISBN 0­7148­3148­4Pfeiffer, Bruce Brooks. Frank Lloyd Wright, 1867–1959: Building for Democracy. Los Angeles:Taschen, 2004. ISBN 3­8228­2757­6Pfeiffer, Bruce Brooks and Peter Gössel (eds.). Frank Lloyd Wright: The Complete Works. LosAngeles: Taschen, 2009. ISBN 978­3­8228­5770­0Riley, Terence and Peter Reed (eds.). Frank Lloyd Wright: Architect. New York: Museum ofModern Art, 1994. ISBN 0­87070­642­XSmith, Kathryn. Frank Lloyd Wright: America's Master Architect. New York: Abbeville Press,1998. ISBN 0­7892­0287­5Storrer, William Allin. The Architecture of Frank Lloyd Wright: A Complete Catalog. 3rd ed.Chicago: University of Chicago Press, 2007. ISBN 0­226­77620­4Storrer, William Allin. The Frank Lloyd Wright Companion. Chicago: University of ChicagoPress, 1993. ISBN 0­226­77621­2

Selected books about specific Wright projects

Toker, Franklin. Fallingwater Rising: Frank Lloyd Wright, E. J. Kaufmann, and America's MostExtraordinary House. New York: Alford A. Knopf, 2003. ISBN 1­4000­4026­4Whiting, Henry, II. At Nature's Edge: Frank Lloyd Wright's Artist Studio. Salt Lake City:University of Utah Press, 2007. ISBN 978­0­87480­877­3

External links

Frank Lloyd Wright Foundation(http://www.franklloydwright.org/) Official WebsiteFrank Lloyd Wright, Wisconsin Historical Society(http://www.wisconsinhistory.org/topics/flw)Frank Lloyd Wright Building Conservancy(http://www.savewright.org/)Works by or about Frank Lloyd Wright(http://worldcat.org/identities/lccn­n79­32932) in libraries(WorldCat catalog)Frank Lloyd Wright Preservation Trust (http://www.gowright.org/) – FLW Home and Studio,Robie HouseFrank Lloyd Wright School of Architecture (http://www.taliesin.edu/)Frank Lloyd Wright Wisconsin Heritage Tourism Program (http://www.WrightInWisconsin.org/)Frank Lloyd Wright Original Letters (http://www.shapell.org/manuscript.aspx?frank­lloyd­wright­architecture) Shapell Manuscript FoundationFrank Lloyd Wright (http://www.pbs.org/flw/) – PBS documentary by Ken Burns and resourcesFrank Lloyd Wright. Designs for an American Landscape 1922–1932(http://www.loc.gov/exhibits/flw/flw.html)Frank Lloyd Wright Buildings Recorded by the Historic American Buildings Survey(http://www.loc.gov/rr/print/list/103_flw.html)Complete list of Wright buildings by location (http://architecture.about.com/library/bl­wright­

list.htm)Sullivan, Wright, Prairie School, & Organic Architecture(http://www.artic.edu/aic/libraries/research/specialcollections/subject/sullivanwright.html)Audio interview with Martin Filler on Frank Lloyd Wright (http://media.nybooks.com/111008­filler.mp3) from The New York Review of BooksArticle on the 50th anniversary of Wright's only automobile service station(http://www.metropolismag.com/October­2008/Higher­Station)Frank Lloyd Wright and Quebec (http://cca.qc.ca/en/collection/5­frank­lloyd­wright­and­quebec)Frank Lloyd Wright(http://www.hrc.utexas.edu/multimedia/video/2008/wallace/wright_frank_lloyd.html) interviewedby Mike Wallace on The Mike Wallace Interview recorded September 1 & 28, 1957Interactive Map of Frank Lloyd Wright Buildings, created in the Harvard WorldMap Platform(http://worldmap.harvard.edu/maps/franklloydwright)Map of the Frank Lloyd Wright works ­ Wikiartmap, the art map of the public space(http://en.wikiartmap.com/view/32052/­/­/frank_lloyd_wright.html)Appearance on What's My Line?, June 3, 1956 (https://www.youtube.com/watch?v=cMXK_KtUVm4)Fay Jones and Frank Lloyd Wright: Organic Architecture Comes to Arkansas digital exhibit,University of Arkansas Libraries(http://digitalcollections.uark.edu/cdm/landingpage/collection/joneswright)

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