frank lloyd wrightdocshare01.docshare.tips/files/22682/226829543.pdf · frank lloyd wright was born...

Frank Lloyd Wright

Born Frank Lincoln Wright

June 8, 1867

Richland Center, Wisconsin

Died April 9, 1959 (aged 91)

Phoenix, Arizona

Nationality American

Alma mater University of Wisconsin-

Madison

Buildings Fallingwater

Solomon R. Guggenheim

Museum

Johnson Wax Headquarters

Taliesin

Taliesin West

Robie House

Imperial Hotel, Tokyo

Darwin D. Martin House

Frank Lloyd WrightFrom Wikipedia, the free encyclopedia

Frank Lloyd Wright (born FrankLincoln Wright, June 8, 1867 – April 9,1959) was an American architect, interiordesigner, writer and educator, whodesigned more than 1000 structures andcompleted 532 works. Wright believed indesigning structures which were inharmony with humanity and itsenvironment, a philosophy he calledorganic architecture. This philosophy wasbest exemplified by his design forFallingwater (1935), which has beencalled "the best all-time work of American

architecture".[1] Wright was a leader ofthe Prairie School movement ofarchitecture and developed the concept ofthe Usonian home, his unique vision forurban planning in the United States.

His work includes original and innovativeexamples of many different building types,including offices, churches, schools,skyscrapers, hotels, and museums. Wrightalso designed many of the interiorelements of his buildings, such as thefurniture and stained glass. Wrightauthored 20 books and many articles andwas a popular lecturer in the UnitedStates and in Europe. His colorfulpersonal life often made headlines, mostnotably for the 1914 fire and murders athis Taliesin studio. Already well knownduring his lifetime, Wright was recognizedin 1991 by the American Institute ofArchitects as "the greatest American

architect of all time."[1]

Contents

Frank Lloyd Wright - Wikipedia, the free encyclopedia http://en.wikipedia.org/w/index.php?title=Frank_...

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Unity Temple

Ennis House

Larkin Administration

Building

Dana-Thomas House

Projects Usonian Houses

Broadacre City

1 Early years

2 Education and work for Silsbee

(1885–1888)

3 Adler & Sullivan (1888–1893)

4 Transition and experimentation

(1893–1900)

5 Prairie houses

6 Midlife controversy and

architecture

6.1 Family abandonment

6.2 Tragedy at Taliesin and

further troubles

7 California and the textile block

houses

8 Mature organic style

8.1 Usonian Houses

8.2 Personal style and

concepts

8.3 Significant later works

9 Other projects

9.1 Wright's last design and

first European project

9.2 Community planning

10 Japanese art

11 Death and legacy

11.1 Colleagues and influences

11.2 Recognition

12 Family

13 Archives

14 Selected works

15 See also

16 References

17 Further reading


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17.1 Wright's philosophy

17.2 Biographies

17.3 Surveys of Wright's work

17.4 Selected books about

specific Wright projects

18 External links

Early years

Frank Lloyd Wright was born Frank Lincoln Wright in the farming town ofRichland Center, Wisconsin, United States, in 1867. His father, William CareyWright (1825–1904), was a locally admired orator, music teacher, occasionallawyer, and itinerant minister. William Wright had met and married Anna LloydJones (1838/39 – 1923), a county school teacher, the previous year when he wasemployed as the superintendent of schools for Richland County. Originally fromMassachusetts, William Wright had been a Baptist minister, but he later joined hiswife's family in the Unitarian faith. Anna was a member of the large, prosperousand well-known Lloyd Jones family of Unitarians, who had emigrated from Walesto Spring Green, Wisconsin. One of Anna's brothers was Jenkin Lloyd Jones, whowould become an important figure in the spread of the Unitarian faith in theWestern United States. Both of Wright's parents were strong-willed individualswith idiosyncratic interests that they passed on to him. According to hisbiography his mother declared, when she was expecting her first child, that hewould grow up to build beautiful buildings. She decorated his nursery withengravings of English cathedrals torn from a periodical to encourage the infant's

ambition.[2] The family moved to Weymouth, Massachusetts in 1870 for William tominister a small congregation.

In 1876, Anna visited the Centennial Exhibition in Philadelphia and saw an exhibitof educational blocks created by Friedrich Wilhelm August Fröbel. The blocks,known as Froebel Gifts, were the foundation of his innovative kindergartencurriculum. A trained teacher, Anna was excited by the program and bought a setof blocks for her family. Young Wright spent much time playing with the blocks.These were geometrically shaped and could be assembled in various combinationsto form three-dimensional compositions. This is how Wright described, in hisautobiography, the influence of these exercises on his approach to design: "Forseveral years I sat at the little Kindergarten table-top ... and played ... with thecube, the sphere and the triangle—these smooth wooden maple blocks ... All are

in my fingers to this day ..."[3] Many of his buildings are notable for theirgeometrical clarity.


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The Wright family struggled financially in Weymouth and returned to SpringGreen, Wisconsin, where the supportive Lloyd Jones clan could help William findemployment. They settled in Madison, where William taught music lessons andserved as the secretary to the newly formed Unitarian society. Although Williamwas 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 forsome time with William's inability to provide for his family and asked him to leave.The divorce was finalized in 1885 after William sued Anna for lack of physicalaffection. William left Wisconsin after the divorce and Wright claimed he never

saw his father again.[4] At this time Wright changed his middle name from Lincolnto Lloyd in honor of his mother's family, the Lloyd Joneses. As the only male left inthe family, Wright assumed 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 to the University of Wisconsin–Madison as a

special student in 1886.There he joined Phi Delta Theta fraternity,[6] took classespart-time 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 granted an honorary Doctorate of Fine Arts from the Universityin 1955) and arrived in Chicago in search of employment. As a result of thedevastating Great Chicago Fire of 1871 and recent population boom, newdevelopment was plentiful in the city. He later recalled that his first impressionsof Chicago were that of grimy neighborhoods, crowded streets, and disappointingarchitecture, yet he was determined to find work. Within days, and afterinterviews with several prominent firms, he was hired as a draftsman with the

architectural firm of Joseph Lyman Silsbee.[8] Wright previously collaborated withSilsbee—accredited as the draftsman and the construction supervisor—on the

1886 Unity Chapel for Wright's family in Spring Green, Wisconsin.[9] While withthe firm, he also worked on two other family projects: All Souls Church in Chicagofor his uncle, Jenkin Lloyd Jones, and the Hillside Home School I in Spring Green

for two of his aunts.[10] Other draftsmen who worked for Silsbee in 1887 includedfuture architects Cecil Corwin, George W. Maher, and George G. Elmslie. Wrightsoon 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 anotherChicago architecture office. Feeling that he was underpaid for the quality of hiswork for Silsbee (at $8 a week), the young draftsman quit and found work as adesigner at the firm of Beers, Clay, and Dutton. However, Wright soon realizedthat he was not ready to handle building design by himself; he left his new job to


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Wright's home in Oak Park,Illinois

return to Joseph Silsbee—this time with a raise in salary.[11]

Although Silsbee adhered mainly to Victorian and revivalist architecture, Wrightfound his work to be more "gracefully picturesque" than the other "brutalities" of

the period.[12] Still, Wright aspired for more progressive work. After less than ayear had passed in Silsbee's office, Wright learned that the Chicago firm of Adler& Sullivan was "looking for someone to make the finish drawings for the interior

of the Auditorium [Building]".[13] Wright demonstrated that he was a competentimpressionist of Louis Sullivan's ornamental designs and two short interviews

later, was an official apprentice in the firm.[14]

Adler & Sullivan (1888–1893)

Wright did not get along well with Sullivan's other draftsmen; he wrote thatseveral violent altercations occurred between them during the first years of hisapprenticeship. For that matter, Sullivan showed very little respect for his

employees as well.[15] In spite of this, "Sullivan took [Wright] under his wing andgave him great design responsibility." As an act of respect, Wright would later

refer to Sullivan as Lieber Meister (German for "Dear Master").[16] Wright alsoformed a bond with office foreman Paul Mueller. Wright would later engageMueller to build several of his public and commercial buildings between 1903 and

1923.[17]

On June 1, 1889, Wright married his first wife,Catherine Lee "Kitty" Tobin (1871–1959). The twohad met around a year earlier during activities atAll Souls Church. Sullivan did his part to facilitatethe financial success of the young couple bygranting Wright a five-year employment contract.Wright made one more request: "Mr. Sullivan, ifyou want me to work for you as long as five years,couldn't you lend me enough money to build a little

house?"[18] With Sullivan's $5,000 loan, Wrightpurchased a lot at the corner of Chicago andForest Avenues in the suburb of Oak Park. Theexisting Gothic Revival house was given to hismother, while a compact Shingle style house was built alongside for Wright and

Catherine.[19]

According to an 1890 diagram of the firm's new, 17th floor space atop theAuditorium Building, Wright soon earned a private office next to Sullivan's

own.[17] However, that office was actually shared with friend and draftsman


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The Walter Gale House(1893) is Queen Anne in styleyet features window bandsand a cantilevered porch roofwhich hint at Wright'sdeveloping aesthetics

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 ageneral rule, Adler & Sullivan did not design or build houses, but they obligedwhen asked by the clients of their important commercial projects. Wright wasoccupied by the firm's major commissions during office hours, so house designswere relegated to evening and weekend overtime hours at his home studio. Hewould later claim total responsibility for the design of these houses, but carefulinspection of their architectural style, and accounts from historian RobertTwombly suggest that it was Sullivan that dictated the overall form and motifs ofthe residential works; Wright's design duties were often reduced to detailing the

projects from Sullivan's sketches.[20] During this time, Wright worked onSullivan's bungalow (1890) and the James A. Charnley bungalow (1890) both inOcean Springs, Mississippi, the Berry-MacHarg House (1891) and Louis Sullivan'sHouse (1892) both in Chicago, and the most noted 1891 James A. Charnley Housealso in Chicago. Of the five collaborations, only the two commissions for the

Charnley family still stand.[21][22]

Despite Sullivan's loan and overtime salary, Wrightwas constantly short on funds. Wright admittedthat his poor finances were likely due to hisexpensive tastes in wardrobe and vehicles, and theextra luxuries he designed into his house. Tocompound 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 his income and repayhis debts, Wright accepted independentcommissions for at least nine houses. These"bootlegged" houses, as he later called them, wereconservatively designed in variations of thefashionable Queen Anne and Colonial Revivalstyles. Nevertheless, unlike the prevailingarchitecture of the period, each house emphasizedsimple geometric massing and contained featuressuch as bands of horizontal windows, occasional cantilevers, and open floor planswhich would become hallmarks of his later work. Eight of these early housesremain today including the Thomas Gale, Robert P. Parker House, George

Blossom, and Walter Gale houses.[24]

As with the residential projects for Adler & Sullivan, Wright designed his bootleghouses on his own time. Sullivan knew nothing of the independent works until1893, when he recognized that one of the houses was unmistakably a Frank LloydWright design. This particular house, built for Allison Harlan, was only blocksaway from Sullivan's townhouse in the Chicago community of Kenwood. Aside


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from the location, the geometric purity of the composition and balcony tracery inthe same style as the Charnley House likely gave away Wright's involvement.Since Wright's five-year contract forbade any outside work, the incident led to his

departure from Sullivan's firm.[22] A variety of stories recount the break in therelationship between Sullivan and Wright; even Wright later told two differentversions of the occurrence. In An Autobiography, Wright claimed that he wasunaware that his side ventures were a breach of his contract. When Sullivanlearned of them, he was angered and offended; he prohibited any further outsidecommissions and refused to issue Wright the deed to his Oak Park house untilafter he completed his five years. Wright could not bear the new hostility from hismaster and thought the situation was unjust. He "threw down [his] pencil andwalked out of the Adler and Sullivan office never to return." Dankmar Adler, who

was more sympathetic to Wright's actions, later sent him the deed.[25] On theother hand, Wright told his Taliesin apprentices (as recorded by Edgar Tafel) thatSullivan fired him on the spot upon learning of the Harlan House. Tafel alsoaccounted that Wright had Cecil Corwin sign several of the bootleg jobs,

indicating that Wright was aware of their illegal nature.[22][26] Regardless of thecorrect series of events, Wright and Sullivan did not meet or speak for twelveyears.

Transition and experimentation (1893–1900)

After leaving Louis Sullivan, Wright established his own practice on the top floorof the Sullivan designed Schiller Building (1892, demolished 1961) on RandolphStreet in Chicago. Wright chose to locate his office in the building because thetower location reminded him of the office of Adler & Sullivan. Although CecilCorwin 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, Corwin decided 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 nearbyand newly completed Steinway Hall Building. The loft space was shared with

Robert C. Spencer, Jr., Myron Hunt, and Dwight H. Perkins.[29] These youngarchitects, inspired by the Arts and Crafts Movement and the philosophies of

Louis Sullivan, formed what would become known as the Prairie School.[30] Theywere joined by Perkins apprentice, Marion Mahony, who in 1895 transferred toWright's team of drafters and took over production of his presentation drawingsand watercolor renderings. Mahony, the third woman to be licensed as anarchitect 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's houses.[31][32] Between 1894 and the early 1910s, severalother leading Prairie School architects and many of Wright's future employees


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William H. Winslow House(1893) in River Forest, Illinois

Wright's studio (1898) viewedfrom Chicago Avenue

launched their careers in the offices of Steinway Hall.

Wright's projects during this period followed twobasic models. On one hand, there was his firstindependent commission, the Winslow House,which combined Sullivanesque ornamentation withthe emphasis on simple geometry and horizontallines that is typical in Wright houses. The FrancisApartments (1895, demolished 1971), HellerHouse (1896), Rollin Furbeck House (1897), andHusser House (1899, demolished 1926) weredesigned in the same mode. For more conservativeclients, Wright conceded to design more traditionaldwellings. These included the Dutch ColonialRevival style Bagley House (1894), Tudor Revival style Moore House I (1895), and

Queen Anne style Charles E. Roberts House (1896).[33] As an emerging architect,Wright could not afford to turn down clients over disagreements in taste, but evenhis most conservative designs retained simplified massing and occasional Sullivan

inspired details.[34]

Soon after the completion of the Winslow House in 1894, Edward Waller, a friendand former client, invited Wright to meet Chicago architect and planner DanielBurnham. Burnham had been impressed by the Winslow House and otherexamples of Wright's work; he offered to finance a four-year education at theÉcole des Beaux-Arts and two years in Rome. To top it off, Wright would have aposition in Burnham's firm upon his return. In spite of guaranteed success andsupport of his family, Wright declined the offer. Burnham, who had directed theclassical design of the World's Columbian Exposition was a major proponent ofthe Beaux Arts movement, thought that Wright was making a foolish mistake. Yetfor Wright, the classical education of the École lacked creativity and was

altogether at odds with his vision of modern American architecture.[35][36]

Wright relocated his practice to his home in 1898in order to bring his work and family lives closer.This move made further sense as the majority ofthe architect's projects at that time were in OakPark or neighboring River Forest. The past fiveyears had seen the birth of three more children —Catherine in 1894, David in 1895, and Frances in1898 — prompting Wright to sacrifice his originalhome studio space for additional bedrooms. Thus,moving his workspace necessitated his design andconstruction of an expansive studio addition to thenorth of the main house. The space, whichincluded a hanging balcony within the two story


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Nathan G. Moore House(1895), Oak Park, IL

drafting room, was one of Wright's firstexperiments with innovative structure. The studiowas a poster for Wright's developing aestheticsand would become the laboratory from which thenext ten years of architectural creations would

emerge.[37]

Prairie houses

By 1901, Wright had completed about 50 projects,including many houses in Oak Park. As his sonJohn Lloyd Wright wrote:

"William Eugene Drummond, Francis Barry Byrne, Walter Burley Griffin,Albert Chase McArthur, Marion Mahony, Isabel Roberts and GeorgeWillis were the draftsmen. Five men, two women. They wore flowingties, and smocks suitable to the realm. The men wore their hair likePapa, all except Albert, he didn't have enough hair. They worshipedPapa! Papa liked them! I know that each one of them was then makingvaluable contributions to the pioneering of the modern Americanarchitecture for which my father gets the full glory, headaches and

recognition today!"[38]

Between 1900 and 1901, Frank Lloyd Wright completed four houses which havesince been considered the onset of the "Prairie style". Two, the Hickox andBradley Houses, were the last transitional step between Wright's early designs

and the Prairie creations.[39] Meanwhile, the Thomas House and Willits House

received recognition as the first mature examples of the new style.[40][41] At thesame time, Wright gave his new ideas for the American house widespreadawareness through two publications in the Ladies' Home Journal. The articleswere in response to an invitation from the president of Curtis PublishingCompany, Edward Bok, as part of a project to improve modern house design. Bokalso extended the offer to other architects, but Wright was the sole responder. "AHome in a Prairie Town" and "A Small House with Lots of Room in it" appearedrespectively in the February and July 1901 issues of the journal. Although neitherof the affordable house plans were ever constructed, Wright received increased

requests for similar designs in following years.[39]

Wright's residential designs were known as "prairie houses" because the designscomplemented the land around Chicago. These houses featured extended lowbuildings with shallow, sloping roofs, clean sky lines, suppressed chimneys,overhangs and terraces all using unfinished materials. The houses are creditedwith being the first examples of the "open plan". Windows whenever possible arelong, and low, allowing a connection between the interior and nature, outside,


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Arthur Heurtley House(1902), Oak Park, IL

Darwin D. Martin House,Buffalo, New York

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

that was new to western architecture and reflected the influence of Japanesearchitecture on Wright. The manipulation of interior space in residential andpublic buildings are hallmarks of his style.

Public buildings in the Prairie style include Unity Temple, the home of theUnitarian Universalist congregation in Oak Park. As a lifelong Unitarian andmember of Unity Temple, Wright offered his services to the congregation aftertheir church burned down in 1905. The community agreed to hire him and heworked on the building from 1905 to 1909. Wright later said that Unity Templewas the edifice in which he ceased to be an architect of structure, and became anarchitect of space. Many architects consider it the world's first modern building,because of its unique construction of only one material: reinforced concrete. Thiswould become a hallmark of the modernists who followed Wright, such as Miesvan der Rohe, and even some post-modernists, such as Frank Gehry.

Many examples ofthis work are inBuffalo, New Yorkas a result of afriendship betweenWright and DarwinD. Martin, anexecutive of theLarkin Soap

Company. In 1902, the Larkin Company decided tobuild a new administration building. Wright cameto Buffalo and designed not only the LarkinAdministration Building (completed in 1904,demolished in 1950), but also homes for three ofthe company's executives including the Darwin D.Martin House in 1904, and later, their summerresidence, the Graycliff Estate, also designed forDarwin D. Martin and his wife, Isabelle.

Other Wright houses considered to bemasterpieces of the late Prairie Period(1907–2000) are the Frederick Robie House inChicago and the Avery and Queene Coonley Housein Riverside, Illinois. The Robie House, with itssoaring, cantilevered roof lines, supported by a110-foot-long (34 m) channel of steel, is the mostdramatic. Its living and dining areas form virtually one uninterrupted space. Thisbuilding had a profound influence on young European architects after World War Iand is sometimes called the "cornerstone of modernism". However, Wright's workwas not known to European architects until the publication of the WasmuthPortfolio.


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Aerial photo of Taliesin,Spring Green, Wisconsin

Midlife controversy and architecture

Family abandonment

Local gossips noticed Wright's flirtations, and hedeveloped a reputation in Oak Park as aman-about-town. His family had grown to sixchildren, but Wright was not paternal and thebrood required most of Catherine's attention. In1903, Wright designed a house for Edwin Cheney,a neighbor in Oak Park, and immediately took aliking to Cheney's wife, Mamah Borthwick Cheney.Mamah Cheney was a modern woman withinterests outside the home. She was an earlyfeminist and Wright viewed her as his intellectualequal. The two fell in love, and they became thetalk of the town, as they often could be seen takingrides in Wright's automobile through Oak Park. Wright's wife, Kitty, sure that thisattachment would fade as the others had, refused to grant him a divorce. Neitherwould Edwin Cheney grant one to Mamah.

In 1909, even before the Robie House was completed, Wright and Mamah Cheneywent together to Europe, leaving their own spouses and children behind. Scholarsargue that Wright felt by 1907 that he had done everything he could do with thePrairie Style, particularly from the standpoint of the single-family house. He wasnot 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 publisher Ernst Wasmuth.[42] The resulting two volumes, titledStudies and Executed Buildings of Frank Lloyd Wright, were published in 1911 intwo editions, creating the first major exposure of Wright's work in Europe. Thework contained more than 100 lithographs of Wright's designs and was commonlyknown as the Wasmuth Portfolio.

Wright remained in Europe for almost a year and set up home first in Florence,Italy — where he lived with his eldest son Lloyd — and later in Fiesole, Italywhere he lived with Mamah. During this time, Edwin Cheney granted Mamah adivorce, though Kitty still refused to grant one to her husband. After Wright'sreturn to the United States in October 1910, Wright persuaded his mother to buyland for him in Spring Green, Wisconsin. The land, bought on April 10, 1911, wasadjacent to land held by his mother's family, the Lloyd-Joneses. Wright began tobuild himself a new home, which he called Taliesin, by May 1911. The recurringtheme 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


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which means "The Truth Against the World"; it was created by Iolo Morgannwgwho also had a son called Taliesin, and the motto is still used today as the cry of

the druids and chief bard of the Eisteddfod in Wales.[43]

Tragedy at Taliesin and further troubles

On August 15, 1914, while Wright was working in Chicago, Julian Carlton, a maleservant from Barbados who had been hired several months earlier, set fire to theliving quarters of Taliesin and murdered seven people with an axe as the fire

burned.[44] The dead included Mamah; her two children, John and Martha; agardener; a draftsman named Emil Brodelle; a workman; and another workman'sson. Two people survived the mayhem, one of whom helped to put out the fire thatalmost completely consumed the residential wing of the house. Carlton swallowedhydrochloric acid immediately following the attack in an attempt to kill

himself.[44] He was nearly lynched on the spot, but was taken to the Dodgeville

jail.[44] Carlton died from starvation seven weeks after the attack, despite medical

attention.[44]

In 1922, Kitty Wright finally granted Wright a divorce. Under the terms of thedivorce, Wright was required to wait one year before he could marry histhen-partner, Maude "Miriam" Noel. In 1923, Wright's mother, Anna (Lloyd Jones)Wright, died. Wright wed Miriam Noel in November 1923, but her addiction tomorphine led to the failure of the marriage in less than one year. In 1924, afterthe separation but while still married, Wright met Olga (Olgivanna) LazovichHinzenburg at a Petrograd Ballet performance in Chicago. They moved intogether at Taliesin in 1925, and soon Olgivanna was pregnant with theirdaughter, Iovanna, born on December 2, 1925.

On April 20, 1925, another fire destroyed the bungalow at Taliesin. Crossed wiresfrom a newly installed telephone system were deemed to be responsible for theblaze, which destroyed a collection of Japanese prints that Wright estimated to be

worth $250,000 to $500,000.[45] Wright rebuilt the living quarters, naming thehome "Taliesin III".

In 1926, Olga's ex-husband, Vlademar Hinzenburg, sought custody of hisdaughter, Svetlana. In October 1926, Wright and Olgivanna were accused of

violating the Mann Act and arrested in Tonka Bay, Minnesota.[46] The chargeswere later dropped. During this period, Wright designed Graycliff (1926–1931),the summer estate of Isabelle and Darwin D. Martin.

Wright and Miriam Noel's divorce was finalized in 1927, and once again, Wrightwas required to wait for one year before remarrying. Wright and Olgivannamarried in 1928.


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California and the textile block houses

In the 1920s, Wright designed a number of houses in California using precast"textile" concrete blocks reinforced by an internal system of bars. Wright firstused his textile block system on the John Storer House in Hollywood, California,in 1923. The house is now used in films, television, and print media to represent

the future.[47] Typically Wrightian is the joining of the structure to its site by aseries of terraces that reach out into and reorder the landscape, making it an

integral part of the architect's vision.[47] According to Wright's organic theory, allcomponents of the building should appear unified, as though they belongtogether. 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 boundary between the indoors and outdoors.[48] This style, known as the"textile block system", is exhibited in the his textile block designs. The systemarose from Wright's desire to wed machine-age production techniques withorganic architecture-the principle that a structure should look as though itnaturally grew on a site-so as to make his designs affordable to people of modestmeans.

According to the original specifications, the blocks were to be made from one partPortland cement to four parts sand or decomposed granite. Consistency was to besuch that the mixture would hold its shape when squeezed by hand, and it was tobe used within a half hour. Blocks were to be formed on site by pressing the stiffmixture into machined metal molds. A freshly formed block was to be removedimmediately from the mold and kept moist for at least 10 days. The module for theStorer House was 16 in. and the actual block dimensions were exactly 16 x 16 in.with no tolerance. There was no mortar joint between the blocks-a formed revealwas used to give the appearance of a tooled joint-so precision-machined moldswere required. The wall system consisted of a double-wythe precast block wallwith an air gap between the outer and inner wythes. The blocks were stacked andreinforced horizontally and vertically with a "fabric" or mesh of groutedreinforcing bars.

The Samuel Freeman House was also built in 1923. Wright was commissioned todesign a home for Samuel and Harriet Freeman in the Hollywood Hillsneighborhood of Los Angeles, CA. This was to be a relatively small house for aclient of modest means. Because his new textile block system used inexpensivematerials and could (at least in theory) be assembled using unskilled labor, Wrightundoubtedly felt that the Freeman project would be a good test case.

Unfortunately, the cost of completion was almost two and a half times Wright'soriginal estimate. The cost overruns were probably due to several factors:excessive labor costs resulting from not having a concrete mixer on site, Wright'spenchant to embellish his designs and refuse compromise, and delayed


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communications with the contractor when Wright returned to Wisconsin. Wright'soriginal estimate stated that 9000 blocks would be required at a cost of 30 centseach, totaling $2700. The project actually required 11,000 blocks at 66 centseach, for a total cost of $7260.3 In spite of the cost overruns, the Freemans lovedtheir house and remained the only owners and occupants until it was bequeathedby Harriet Freeman to the University of Southern California School ofArchitecture, Los Angeles, California, in 1986.

The Ennis House after in 1923, Wright had the opportunity to further test thelimits of the textile block system when he received a commission from Charlesand Mabel Ennis to build a home on a hillside in the Los Feliz area of Los Angeles,California. Because the Ennises had the resources for a large house on a grandscale, Wright's budget would not be as constrained as it was with the FreemanHouse. Wright took the opportunity to further flesh out his mono-materialconcept.

He also designed a fifth textile block house for Aline Barnsdall, the CommunityPlayhouse ("Little Dipper"), which was never constructed. Wright's son, LloydWright, supervised construction for the Storer, Freeman and Ennis House. Mostof these houses are private residences closed to the public because of renovation,including the George Sturges House (Brentwood) and the Arch Oboler Gatehouse

& Studio (Malibu). [49]

Mature organic style

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

Graycliff, located just south of Buffalo, NY is an important mid-career (1926–1931)design by Wright; it is a summer estate designed for his long-time patrons,Isabelle and Darwin D. Martin. Created in Wright's high Organic style, Wrightwrote in a letter to the Martins that "Coming in the house would be something

like putting on your hat and going outdoors."[50] Graycliff consists of threebuildings set within 8.5 acres of landscape, also designed by Wright. Its site, highon a bluff overlooking Lake Erie, inspired Wright to create a home that wastransparent, with views through the building to the lake beyond. Terraces andcantilevered 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 from 1934 to1937—Fallingwater—for Mr. and Mrs. Edgar J. Kaufmann Sr., at Mill Run,Pennsylvania, near Pittsburgh. It was designed according to Wright's desire toplace the occupants close to the natural surroundings, with a stream andwaterfall running under part of the building. Wright wanted the new residents tolive with the waterfalls, to make them part of their everyday lives. He didn't want


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Fallingwater, Mill Run,Pennsylvania (1937)

them to just look at them every now and again.Constructed over a 30-foot waterfall, the housemay look very big on the outside but on the inside

it is quite small, which surprises some visitors.[51]

It was made with three bedrooms, a massive livingroom and a dining room. The house was more of adesign for a family getaway, not for a live-in

family.[52] The construction is a series ofcantilevered balconies and terraces, usinglimestone for all verticals and concrete for thehorizontals. The house cost $155,000, includingthe architect's fee of $8,000. It was one of Wright's

most expensive pieces.[52] Kaufmann's ownengineers argued that the design was not sound.They were overruled by Wright, but the contractorsecretly added extra steel to the horizontalconcrete elements. In 1994, Robert Silman andAssociates examined the building and developed aplan to restore the structure. In the late 1990s,steel supports were added under the lowestcantilever until a detailed structural analysis couldbe done. In March 2002, post-tensioning of the lowest terrace was completed.

Taliesin West, Wright's winter home and studio complex in Scottsdale, AZ, was alaboratory for Wright from 1937 to his death in 1959. Now the home of the FrankLloyd Wright Foundation and archives, it continues today as the site of the FrankLloyd Wright School of Architecture.

Wright is responsible for a series of concepts of suburban development unitedunder the term Broadacre City. He proposed the idea in his book The

Disappearing City in 1932, and unveiled a 12-square-foot (1.1 m2) model of thiscommunity of the future, showing it in several venues in the following years. Hecontinued developing the idea until his death.

Usonian Houses

Concurrent with the development of Broadacre City, also referred to as Usonia,Wright conceived a new type of dwelling that came to be known as the UsonianHouse. An early version of the form can be seen in the Malcolm Willey House(1934) in Minneapolis; but the Usonian ideal emerged most completely in theHerbert and Katherine Jacobs First House (1937) in Madison, Wisconsin.Designed on a gridded concrete slab that integrated the house's radiant heatingsystem, the house featured new approaches to construction, including sandwichwalls that consisted of layers of wood siding, plywood cores and building paper, a


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Charles WeltzheimerResidence (1948) in Oberlin,Ohio

significant change from typically framed walls.Usonian houses most commonly featured flat roofsand were mostly constructed without basements,completing the excision of attics and basementsfrom houses, a feat Wright had been attemptingsince the early 20th century. The Jacobses alsocommissioned the "Solar Hemicycle" by Wright in1944, a seminal project in the solar house

movement.[53]

Intended to be highly practical houses formiddle-class clients, and designed to be runwithout servants, Usonian houses often featured small kitchens — called"workspaces" by Wright — that adjoined the dining spaces. These spaces in turnflowed into the main living areas, which also were characteristically outfitted withbuilt-in seating and tables. As in the Prairie Houses, Usonian living areas focusedon the fireplace. Bedrooms were typically isolated and relatively small,encouraging the family to gather in the main living areas. The conception ofspaces instead of rooms was a development of the Prairie ideal; as the built-infurnishings related to the Arts and Crafts principles from which Wright's earlyworks grew. Spatially and in terms of their construction, the Usonian housesrepresented a new model for independent living, and allowed dozens of clients tolive in a Wright-designed house at relatively low cost. The diversity of the Usonianideal 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 Hanna-Honeycomb House (1937) in Palo Alto, California, which features a honeycombplanning grid. Gordon House, completed in 1963, was Wright's last Usoniandesign. Fewer than 60 of Wright's Usonian houses were built.

His Usonian homes set a new style for suburban design that was a feature ofcountless developers. Many features of modern American homes date back toWright, including open plans, slab-on-grade foundations, and simplifiedconstruction techniques that allowed more mechanization and efficiency inbuilding.

Personal style and concepts

Some of the built-in furniture remains, while other restorations have includedreplacement pieces created using his plans. His Prairie houses use themed,coordinated design elements (often based on plant forms) that are repeated inwindows, carpets and other fittings. He made innovative use of new buildingmaterials such as precast concrete blocks, glass bricks and zinc cames (instead ofthe traditional lead) for his leadlight windows, and he famously used Pyrex glasstubing as a major element in the Johnson Wax Headquarters. Wright was also oneof the first architects to design and install custom-made electric light fittings,


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including some of the very first electric floor lamps, and his very early use of thethen-novel spherical glass lampshade (a design previously not possible due to thephysical restrictions of gas lighting).

As Wright's career progressed, so did the mechanization of the glass industry.Wright fully embraced glass in his designs and found that it fit well into hisphilosophy of organic architecture. Glass allowed for interaction and viewing ofthe outdoors while still protecting from the elements. In 1928, Wright wrote anessay on glass in which he compared it to the mirrors of nature: lakes, rivers andponds. One of Wright's earliest uses of glass in his works was to string panes ofglass along whole walls in an attempt to create light screens to join together solidwalls. By utilizing this large amount of glass, Wright sought to achieve a balancebetween the lightness and airiness of the glass and the solid, hard walls.Arguably, Wright's best-known art glass is that of the Prairie style. The simplegeometric shapes that yield to very ornate and intricate windows represent some

of the most integral ornamentation of his career. [54] Wright responded to thetransformation of domestic life that occurred at the turn of the 20th century,when servants became less prominent or completely absent from most Americanhouseholds, by developing homes with progressively more open plans. Thisallowed the woman of the house to work in her 'workspace', as he often called thekitchen, yet keep track of and be available for the children and/or guests in thedining room. Much of modern architecture, including the early work of Mies vander Rohe, can be traced back to Wright's innovative work.

Wright also designed some of his own clothing. His fashion sense was unique, andhe usually wore expensive suits, flowing neckties, and capes. Wright drove acustom yellow 'raceabout' in the Prairie years, a red Cord convertible in the1930s, and a famously customized 1940 Lincoln for many years. He earned manyspeeding tickets in each of his vehicles.

Wright strongly believed in individualism and did not affiliate with the AmericanInstitute of Architects during his career, going so far as to call the organization "aharbor of refuge for the incompetent," and "a form of refined gangsterism." Whenan associate referred to him as "an old amateur" Wright confirmed, "I am the

oldest."[55]

Significant later works

The Solomon R. Guggenheim Museum in New York City occupied Wright for

16 years (1943–1959)[56] and is probably his most recognized masterpiece. Thebuilding rises as a warm beige spiral from its site on Fifth Avenue; its interior issimilar to the inside of a seashell. Its unique central geometry was meant to allowvisitors to easily experience Guggenheim's collection of nonobjective geometricpaintings by taking an elevator to the top level and then viewing artworks bywalking down the slowly descending, central spiral ramp, the floor of which is


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Solomon R. GuggenheimMuseum, New York City(1959)

Wright's Price Towerin Bartlesville,Oklahoma

embedded with circular shapes and triangularlight fixtures to complement the geometric natureof the structure. However, when the museum wascompleted, a number of details of Wright's designwere ignored, such as his desire for the interior tobe painted off-white. Further, the Museumcurrently designs exhibits to be viewed by walkingup the curved walkway rather than walking downfrom the top level.

The only realized skyscraper designed by Wright isthe Price Tower, a 19-story tower in Bartlesville,Oklahoma. It is also one of the two existingvertically oriented Wright structures (the other isthe S.C. Johnson Wax Research Tower in Racine,Wisconsin). The Price Tower was commissioned byHarold C. Price of the H. C. Price Company, a local oilpipeline and chemical firm. It opened to the public inFebruary 1956. On March 29, 2007, Price Tower wasdesignated a National Historic Landmark by the UnitedStates Department of the Interior, one of only 20 such

properties in the state of Oklahoma.[57]

Other projects

Wright designed over 400 built structures[58] of whichabout 300 survive as of 2005. Four have been lost toforces of nature: the waterfront house for W. L. Fuller inPass Christian, Mississippi, destroyed by HurricaneCamille in August 1969; the Louis Sullivan Bungalow ofOcean Springs, Mississippi, destroyed by HurricaneKatrina in 2005; and the Arinobu Fukuhara House (1918) in Hakone, Japan,destroyed in the Great Kantō Earthquake of 1923. The Ennis House in Californiahas also been damaged by earthquake and rain-induced ground movement. InJanuary, 2006, the Wilbur Wynant House in Gary, Indiana was destroyed by

fire.[59]

In addition, other buildings were intentionally demolished during and afterWright's lifetime, such as: Midway Gardens (1913, Chicago, Illinois) and theLarkin Administration Building (1903, Buffalo, New York) were destroyed in 1929and 1950 respectively; the Francis Apartments and Francisco Terrace Apartments(both located in Chicago and designed in 1895) were destroyed in 1971 and 1974,respectively; the Geneva Inn (1911) in Lake Geneva, Wisconsin was destroyed in1970; and the Banff National Park Pavilion (1911) in Alberta, Canada was


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Imperial Hotel, Tokyo (1923)

destroyed in 1939. The Imperial Hotel, in Tokyo(1913) survived the Great Kantō earthquake butwas demolished in 1968 due to urban

developmental pressures.[60]

One of his projects, Monona Terrace, originallydesigned in 1937 as municipal offices for Madison,Wisconsin, was completed in 1997 on the originalsite, using a variation of Wright's final design forthe exterior with the interior design altered by itsnew purpose as a convention center. The "as-built"

design was carried out by Wright's apprentice Tony Puttnam. Monona Terracewas accompanied by controversy throughout the 60 years between the original

design and the completion of the structure.[61]

Florida Southern College, located in Lakeland, Florida, constructed 12 (out of 18planned) Frank Lloyd Wright buildings between 1941 and 1958 as part of theChild of the Sun project. It is the world's largest single-site collection of FrankLloyd Wright architecture.

A lesser known project that never came to fruition was Wright's plan for Emerald

Bay, Lake Tahoe.[62] Few Tahoe locals know of the iconic American architect'splan for their natural treasure.

The Kalita Humphreys Theater in Dallas, Texas was Wright's last project beforehis 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.[63]

Wright scholar and devotee Marc Coleman worked closely with the Frank LloydWright Foundation, dealing with E. Thomas Casey, the last surviving Foundationarchitect who trained under Wright. Working with the Foundation, Colemanselected an unbuilt design that was originally commissioned for Mr. and Mrs.Gilbert Wieland and due to be built in Maryland, USA. However, the Wielandssubsequently had financial problems and the design was shelved. The Foundationlooked through its archive of 380 unbuilt designs and selected 4 for Coleman thatwere the closest fit for his site. In the end, he chose the Wieland house, largelybecause the topography of his site is virtually identical to that for which the

building was originally designed. The completed house,[64] in only the fourthcountry in which a Wright design has been realized, is attracting broad interestfrom the international architectural community. Casey visited the site in CountyWicklow, but died before construction began.


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Community planning

Frank Lloyd Wright was interested in site and community planning throughout hiscareer. His commissions and theories on urban design began as early as 1900 andcontinued until his death. He had 41 commissions on the scale of community

planning or urban design.[65]

His thoughts on suburban design started in 1900 with a proposed subdivisionlayout for Charles E. Roberts entitled the "Quadruple Block Plan." This designstrayed from traditional suburban lot layouts and set houses on small squareblocks of four equal-sized lots surrounded on all sides by roads instead of straightrows of houses on parallel streets. The houses, which used the same design aspublished in "A Home in a Prairie Town" from the Ladies' Home Journal, were settoward the center of the block to maximize the yard space and included privatespace in the center. This also allowed for far more interesting views from eachhouse. Although this plan was never realized, Wright published the design in the

Wasmuth Portfolio in 1910.[66]

The more ambitious designs of entire communities were exemplified by his entryinto the City Club of Chicago Land Development Competition in 1913. The contestwas for the development of a suburban quarter section. This design expanded onthe Quadruple Block Plan and included several social levels. The design shows theplacement 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 the amenities of a small city: schools, museums, markets, etc.[67] Thisview of decentralization was later reinforced by theoretical Broadacre Citydesign. The philosophy behind his community planning was decentralization. Thenew development must be away from the cities. In this decentralized America, allservices and facilities could coexist "factories side by side with farm and

home."[68]

Notable Community Planning Designs:

1900–1903 — Quadruple Block Plan. 24 homes in Oak Park, Illinois (unbuilt)

1909 — Como Orchard Summer Colony. Town site development for new town

in the Bitterroot Valley, Montana

1913 — Chicago Land Development competition. Suburban Chicago quarter

section

1934–1959 — Broadacre City. Theoretical decentralized city plan – exhibits of

large-scale model

1938 — Suntop Homes also known as Cloverleaf Quadruple Housing Project

– commission from Federal Works Agency, Division of Defense Housing — low


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cost multifamily housing alternative to suburban development

1942 – Cooperative Homesteads, commissioned by a group of auto workers,

teachers and other professionals, 160-acre farm co-op was to be the pioneer

of rammed earth and earth berm construction.[69] (unbuilt)

1945 – Usonia Homes – 47 homes (three designed by Wright) in Pleasantville,

New York

1949 – The Acres, also known as Galesburg Country Homes, five homes (four

designed by Wright) in Charleston Township, Michigan

1949 – Parkwyn neighborhood – A plat in Kalamazoo, Michigan developed by

Wright containing mostly 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 ukiyo-e woodblock prints. He frequently served as both architect and art

dealer to the same clients; he designed a home, then provided the art to fill it.[70]

For a time, Wright made more from selling art than from his work as an architect.Wright was also an avid collector of Japanese prints and used them as teaching

aids with his apprentices in what were called "print parties".[71]

Wright first traveled to Japan in 1905, where he bought hundreds of prints. Thefollowing year, he helped organize the world's first retrospective exhibition of

works by Hiroshige, held at the Art Institute of Chicago.[70] For many years, hewas a major presence in the Japanese art world, selling a great number of works

to prominent collectors such as John Spaulding of Boston,[70] and to prominent

museums such as the Metropolitan Museum of Art in New York.[72] He penned a

book on Japanese art in 1912.[72]

In 1920, however, rival art dealers began to spread rumors that Wright wasselling retouched prints; this combined with Wright's tendency to live beyond hismeans, and other factors, led to great financial troubles for the architect. Thoughhe provided his clients with genuine prints as replacements for those he wasaccused of retouching, this marked the end of the high point of his career as an

art dealer.[72] He was forced to sell off much of his art collection in 1927 to pay offoutstanding debts; the Bank of Wisconsin claimed his Taliesin home the followingyear, and sold thousands of his prints, for only one dollar a piece, to collector

Edward Burr Van Vleck.[70]


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1954 portrait by Al Ravenna,New York World-Telegramand the Sun staffphotographer

Wright continued to collect and deal in prints until his death in 1959, using printsas collateral for loans, often relying upon his art business to remain financially

solvent[72]

The extent of his dealings in Japanese art went largely unknown, orunderestimated, among art historians for decades until, in 1980, Julia Meech,then associate curator of Japanese art at the Metropolitan Museum, beganresearching the history of the museum's collection of Japanese prints. Shediscovered "a three-inch-deep 'clump of 400 cards' from 1918, each listing a printbought from the same seller—'F. L. Wright'" and a number of letters exchangedbetween Wright and the museum's first curator of Far Eastern Art, Sigisbert C.

Bosch Reitz, in 1918 to 1922.[72] These discoveries, and subsequent research, ledto a renewed understanding of Wright's career as an art dealer.

Death and legacy

Turmoil followed Wright even many years after hisdeath on April 9, 1959, shortly after undergoingsurgery in Phoenix, Arizona, to remove an

intestinal obstruction.[73] After the death of histhird wife, Olgivanna in 1985, it was learned thather dying wish had been that Wright, she, and herdaughter by her first marriage all be cremated andinterred together in a memorial garden being builtat Taliesin West. By then, and according to his ownwishes, Wright's body had lain for over 25 years inthe Lloyd-Jones cemetery, next to the Unity Chapel,near Taliesin, Wright's beloved home in Spring

Green, Wisconsin.[74] Although Olgivanna hadtaken no legal steps to move Wright's remains andagainst the wishes of other family members as wellas the Wisconsin legislature, Wright's remainswere removed from his grave by members of theTaliesin Fellowship, cremated and sent toScottsdale where they were later interred in thememorial garden. Today, the original gravesite inWisconsin, while empty, is still marked with

Wright's name.[75]

Colleagues and influences

Wright rarely credited any influences on his designs, but most architects,historians and scholars agree he had five major influences:


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Wright-designed window inRobie House, Chicago (1906)

Louis Sullivan, whom he considered to be his

'Lieber Meister' (dear master),

1.

Nature, particularly shapes/forms and

colors/patterns of plant life,

2.

Music (his favorite composer was Ludwig van

Beethoven),

3.

Japanese art, prints and buildings,4.

Froebel Gifts5.

He also routinely claimed the architects andarchitectural designers who were his employees'work as his own design and claimed that the rest of the Prairie School architects

were merely his followers, imitators and subordinates.[76] But, as with anyarchitect, Wright worked in a collaborative process and drew his ideas from thework of others. In his earlier days, Wright worked with some of the top architectsof the Chicago School, including Sullivan. In his Prairie School days, Wright'soffice was populated by many talented architects including William EugeneDrummond, John Van Bergen, Isabel Roberts, Francis Barry Byrne, AlbertMcArthur, Marion Mahony Griffin and Walter Burley Griffin.

The Czech-born architect Antonin Raymond, recognized as the father of modernarchitecture in Japan, worked for Wright at Taliesin and led the construction ofthe Imperial Hotel in Tokyo. He subsequently stayed in Japan and opened his ownpractice. Rudolf Schindler also worked for Wright on the Imperial hotel. His ownwork is often credited as influencing Wright's Usonian houses. Schindler's friendRichard Neutra also worked briefly for Wright and became an internationallysuccessful architect.

Later in the Taliesin days, Wright employed many architects and artists who laterbecome notable, such as Aaron Green, John Lautner, E. Fay Jones, Henry Klumband Paolo Soleri in architecture and Santiago Martinez Delgado in the arts. As ayoung man, actor Anthony Quinn applied to study with Wright at Taliesin.However, Wright suggested that he first take voice lessons to help overcome aspeech impediment.

Bruce Goff never worked for Wright but maintained correspondence with him.Their works can be seen to 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


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1966 U.S. postagestamp honoringFrank LloydWright

recognition for his lifetime achievements. He received GoldMedal awards from The Royal Institute of British Architects(RIBA) in 1941 and the American Institute of Architects (AIAGold Medal) in 1949. The medal was a symbolic "burying thehatchet" between Wright and the AIA. In a radio interviewhe commented, "Well, the AIA I never joined, and they knowwhy. When they gave me the gold medal in Houston, I toldthem frankly why. Feeling that the architecture profession isall that's the matter with architecture, why should I join

them?"[55] He was awarded the Franklin Institute's Frank P.Brown Medal in 1953. He received honorary degrees fromseveral universities (including his "alma mater", theUniversity of Wisconsin) and several nations named him asan honorary board member to their national academies ofart and/or architecture. In 2000, Fallingwater was named

"The Building of the 20th century" in an unscientific "Top-Ten" poll taken bymembers attending the AIA annual convention in Philadelphia. On that list,Wright was listed along with many of the USA's other greatest architectsincluding Eero Saarinen, I.M. Pei, Louis Kahn, Philip Johnson and Ludwig Miesvan der Rohe, and he was the only architect who had more than one building onthe list. The other three buildings were the Guggenheim Museum, the FrederickC. Robie House and the Johnson Wax Building.

In 1992, The Madison Opera in Madison, Wisconsin commissioned and premieredthe opera Shining Brow, by composer Daron Hagen and librettist Paul Muldoonbased on events early in Wright's life. The work has since received numerousrevivals, including a June 2013 revival at Fallingwater, in Bull Run, Pennsylvania,by Opera Theater of Pittsburgh. In 2000, Work Song: Three Views of Frank LloydWright, a play based on the relationship between the personal and workingaspects of Wright's life, debuted at the Milwaukee Repertory Theater.

In 1966, the United States Postal Service honored Wright with a ProminentAmericans series 2¢ postage stamp. Several of Wright's buildings have beenproposed by the United States to be UNESCO World Heritage sites.

Family

Frank Lloyd Wright was married three times and fathered seven children, foursons and three daughters. He also adopted Svetlana Milanoff, the daughter of his

third wife, Olgivanna Lloyd Wright.[77]

His wives were:

Catherine "Kitty" (Tobin) Wright (1871–1959); social worker, socialite


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(married in June 1889; divorced November 1922)

Maude "Miriam" (Noel) Wright (1869–1930), artist (married in November

1923; divorced August 1927)

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 anotable architect in Los Angeles. Lloyd Wright's son (and Wright's grandson), EricLloyd Wright, is currently an architect in Malibu, California where he has apractice of mostly residences, but also civic and commercial buildings.

Another son and architect, John Lloyd Wright, invented Lincoln Logs in 1918, andpracticed extensively in the San Diego area. John's daughter, Elizabeth WrightIngraham, was an architect in Colorado Springs, Colorado and died September15, 2013 of congestive heart failure. She is the mother of Christine, an interiordesigner in Connecticut, and Catherine, an architecture professor at the Pratt

Institute.[78]

Wright designed a house for David Samuel Wright, his son by his first marriage to

Catherine, and David's wife, Gladys.[79][80]

The Oscar-winning actress Anne Baxter was Wright's granddaughter. Baxter wasthe daughter of Catherine Baxter, a child born of Wright's first marriage. Baxter'sdaughter, Melissa Galt, currently lives and works in Atlanta as an interior

designer.[78]

His step-daughter Svetlana (daughter of Olgivanna) and her son Daniel died in anautomobile accident in 1946. Her widower, William Wesley Peters, was laterbriefly married to Svetlana Alliluyeva, the youngest child and only daughter ofJoseph Stalin. They divorced after she could not adjust to the communal lifestyleof the Wright communities, which she compared to life in the Soviet Union underher father, and because of the constant interference of Wright's widow. Petersserved as Chairman of the Frank Lloyd Wright Foundation from 1985 to 1991.

A great-grandson of Wright, S. Lloyd Natof, currently lives and works in Chicagoas a master woodworker who specializes in the design and creation of custom

wood furniture.[81]

Archives

From Wright’s death in 1959 most of his collections were stored at theheadquarters of the Frank Lloyd Wright Foundation — Taliesin, in Spring Green,Wisconsin, and Taliesin West. The collection includes more than 23,000


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architectural drawings, about 40 large-scale, architectural models, some 44,000photographs, 600 manuscripts and more than 300,000 pieces of office andpersonal correspondence. The archive’s architectural models include notableWright projects like the unrealized St. Mark’s Tower and a version of theGuggenheim. Most of these models were not made for clients; they were

constructed for MoMA’s retrospective of Wright in 1940.[82]

In order to guarantee a high level of conservation and access as well as to

transfer the considerable financial burden of maintaining the archive,[83] theFrank Lloyd Wright Foundation in 2012 partnered with the Museum of ModernArt and the Avery Architectural and Fine Arts Library to move the archive to NewYork. Wright’s furniture and art collection remain with the foundation, which willalso have a role in monitoring the archive. Together the three parties establishedan advisory group to oversee exhibitions, symposiums, events and

publications.[84]

Photographs and other archival materials are held by the Ryerson & BurnhamLibraries at the Art Institute of Chicago. The Herbert and Katherine JacobsResidence and Frank Lloyd Wright Records, 1924–1974, Collection includesdrawings, correspondence, and other materials documenting the construction oftwo homes for the Jacobs as well as research files on Wright's life. The FrankLloyd Wright in Michigan Collection, 1945–1988, consists of research documents,including photocopied correspondence between Wright and his clients, used forthe 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 CottageCollection, c. 1916–1925, contains photographs and drawings documenting theBagley 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 include photographs of his drawings,indexed correspondence beginning in the 1880s and continuing through Wright'slife, and other ephemera. The Getty Research Center in Los Angeles, California,also has copies of Wright's correspondence and photographs of his drawings intheir "Frank Lloyd Wright Special Collection (http://www.getty.edu/research/conducting_research/special_collections/wright.html)". Wright's correspondenceis indexed in An Index to the Taliesin Correspondence, ed. by Professor AnthonyAlofsin, which is available at larger libraries.

Selected works

Annunciation Greek Orthodox Church, Wauwatosa, Wisconsin, 1956–1961

Beth Sholom Synagogue, Elkins Park, Pennsylvania, 1954


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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 fromthe "prow" looking at the"ship"

Child of the Sun, Florida Southern College,

Lakeland, Florida, 1941–1958

Dana-Thomas House, Springfield, Illinois,

1902

Darwin D. Martin House, Buffalo, New York,

1903–1905

Dr. G.C. Stockman House, Mason City, Iowa,

1908

Edward E. Boynton House, Rochester, New

York, 1908

Ennis House, Los Angeles, 1923

Fallingwater (Edgar J. Kaufmann Sr.

Residence), Bear Run, Pennsylvania,

1935–1937

First Unitarian Society of Madison,

Shorewood Hills, Wisconsin, 1947

Frank Lloyd Wright Home and Studio, Oak

Park, Illinois, 1889–1909

Frank Thomas House, Oak Park, Illinois, 1901

Gammage Auditorium, Tempe, Arizona,

1959–1964

Graycliff. Buffalo, New York, 1926

First Jacobs House, 1936–1937

Herbert F. Johnson Residence ("Wingspread"),

Wind Point, Wisconsin, 1937

Hollyhock House (Aline Barnsdall Residence),

Los Angeles, 1919–1921

Imperial Hotel, Tokyo, Japan, 1923

(demolished, 1968; entrance hall

reconstructed at Meiji Mura near Nagoya,

Japan, 1976)

Johnson Wax Headquarters, Racine,

Wisconsin, 1936

Kenneth Laurent House It is the only home


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Gammage Auditorium viewedfrom one of the pedestrianramps

Beth Sholom Synagogue, theonly synagogue Wright everdesigned

Wright designed to be handicapped

accessible. Built in 1949 in Rockford, Illinois.

Kentuck Knob, Ohiopyle, Pennsylvania, 1956

Larkin Administration Building, Buffalo, New

York, 1903 (demolished, 1950)

Marin County Civic Center, San Rafael,

California, 1957–1966

Marshall Erdman Prefab Houses, various

locations, 1956–1960

Midway Gardens, Chicago, Illinois, 1913

(demolished, 1929)

Clubhouse at the Nakoma Golf Resort, Plumas

County, California, Designed in 1923. Opened

in 2000.

Park Inn Hotel is the last standing Wright

designed hotel, Mason City, Iowa, 1910

Price Tower, Bartlesville, Oklahoma,

1952–1956

Frederick C. Robie Residence, Chicago,

Illinois, 1909

Solomon R. Guggenheim Museum, New York City, 1956–1959

Taliesin I, Spring Green, Wisconsin, 1911

Taliesin III, Spring Green, Wisconsin, 1925

Taliesin West, Scottsdale, Arizona, 1937

The Illinois, mile-high tower in Chicago, 1956 (unbuilt)

Unity Temple, Oak Park, Illinois, 1904

Usonian homes, various locations, 1930s–1950s

V. C. Morris Gift Shop, San Francisco, 1948

Westhope (Richard Lloyd Jones Residence, Tulsa, Oklahoma, 1929

William H. Winslow House, River Forest, Illinois, 1894

Ward Winfield Willits Residence, and Gardener's Cottage and Stables,

Highland Park, Illinois, 1901

See also


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Frank Lloyd Wright buildings

Wasmuth Portfolio

Richard Bock

Roman brick

Jaroslav Joseph Polivka

Frank Lloyd Wright Home and

Studio

Frank Lloyd Wright Building

Conservancy

Frank Lloyd Wright-Prairie School

of Architecture Historic District

List of Frank Lloyd Wright works

List of Frank Lloyd Wright works

by location

References

^ a b Brewster, Mike (July 28, 2004). "Frank Lloyd Wright: America's Architect"

(http://www.businessweek.com/bwdaily/dnflash/jul2004

/nf20040728_3153_db078.htm). Business Week (The McGraw-Hill Companies).

Retrieved January 22, 2008.

1.

^ Secrest, Meryle (1998). Frank Lloyd Wright: A Biography. University of Chicago

Press. p. 58.

2.

^ Alofsin, Anthony (1993). Frank Lloyd Wright--the Lost Years, 1910–1922: A Study of

Influence. University of Chicago Press. p. 359. ISBN 0-226-01366-9; Hersey, George

(2000). Architecture and Geometry in the Age of the Baroque. University of Chicago

Press. p. 205. ISBN 0-226-32783-3.

3.

^ An Autobiography, by Frank Lloyd Wright, Duell, Sloan and Pearce, New York City,

1943, p. 51

4.

^ Frank Lloyd Wright: A Biography, by Meryle Secrest, University of Chicago Press,

1992, p.72

5.

^ Phi Delta Theta list of Famous Phis, accessed on May 26. 2008

(http://www.phideltatheta.org/index.php?option=com_content&task=view&id=16&

Itemid=161)

6.

^ Frank Lloyd Wright: A Biography, by Meryle Secrest, p. 827.

^ Wright, Frank Lloyd (2005). Frank Lloyd Wright: An Autobiography. Petaluma, CA:

Pomegranate Communications. pp. 60–63. ISBN 0-7649-3243-8.

8.

^ "A brief Biography" (http://www.franklloydwright.org/fllwf_web_091104

/Biography.html). Wright's Life + Work. Frank Lloyd Wright Foundation. 2010.

Retrieved May 16, 2010.

9.

^ O'Gorman, Thomas J. (2004). Frank Lloyd Wright's Chicago. San Diego: Thunder

Bay Press. pp. 31–33. ISBN 1-59223-127-6.

10.

^ Wright 2005, p. 69.11.


29 of 38 2014-05-28 21:48

^ Wright 2005, p. 66.12.

^ Wright 2005, p. 83.13.

^ Wright 2005, p. 86.14.

^ Wright 2005, pp. 89–94.15.

^ Tafel, Edgar (1985). Years With Frank lloyd Wright: Apprentice to Genius. Mineola,

N.Y.: Dover Publications. p. 31. ISBN 0-486-24801-1.

16.

^ a b Saint, Andrew (May 2004). "Frank Lloyd Wright and Paul Mueller: the architect

and his builder of choice" (http://www.bolender.com/Frank%20Lloyd%20Wright/Files

/Frank%20Lloyd%20Wright%20and%20Paul%20Mueller%20June%202003.pdf).

Architectural Research Quarterly (Cambridge: Cambridge University Press) 7 (2):

157–167. doi:10.1017/S1359135503002112 (http://dx.doi.org

/10.1017%2FS1359135503002112). Retrieved March 16, 2010.

17.

^ a b Wright 2005, p. 97.18.

^ Frank Lloyd Wright Preservation Trust (2001). Zarine Weil, ed. Building A Legacy:

The Restoration of Frank Lloyd Wright's Oak Park Home and Studio. San Francisco:

Pomegranite. p. 4. ISBN 0-7649-1461-8.

19.

^ a b Gebhard, David; Patricia Gebhard (2006). Purcell & Elmslie: Prairie Progressive

Architects. Salt Lake City: Gibbs Smith. p. 32. ISBN 1-4236-0005-3.

20.

^ Wright 2005, p. 100.21.

^ a b c Lind, Carla (1996). Lost Wright: Frank Lloyd Wright's Vanished Masterpieces.

New York: Simon & Schuster, Inc. pp. 40–43. ISBN 0-684-81306-8.

22.

^ Frank Lloyd Wright Preservation Trust 2001, p. 7.23.

^ O'Gorman 2004, pp. 38–54.24.

^ Wright 2005, p. 10125.

^ Tafel 1985, p. 4126.

^ Wright 2005, p. 112.27.

^ Wright 2005, pp. 118–119.28.

^ Wright 2005, p. 119.29.

^ Brooks, H. Allen (2005). "Architecture: The Prairie School"

(http://www.encyclopedia.chicagohistory.org/pages/63.html). Encyclopedia of

Chicago. Chicago Historical Society. Retrieved May 25, 2010.

30.

^ Cassidy, Victor M. (October 21, 2005). "Lost Woman" (http://www.artnet.com

/magazineus/features/cassidy/cassidy10-21-05.asp). Artnet Magazine. Retrieved May

24, 2010.

31.

^ "Marion Mahony Griffin (1871–1962)" (http://web.mit.edu/museum/chicago

/griffin.html). From Louis Sullivan to SOM: Boston Grads Go to Chicago.

Massachusetts Institute of Technology. 1996. Retrieved May 24, 2010.

32.


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^ O'Gorman 2004, pp. 56–109.33.

^ Wright 2005, p. 11634.

^ Wright 2005, pp. 114–116.35.

^ 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 New Yorker. Retrieved March 26, 2009.

36.

^ Frank Lloyd Wright Preservation Trust 2001, pp. 6–9.37.

^ My Father: Frank Lloyd Wright, by John Lloyd Wright; 1992; page 3538.

^ a b Clayton, Marie (2002). Frank Lloyd Wright Field Guide. Running Press.

pp. 97–102. ISBN 0-7624-1324-7.

39.

^ Sommer, Robin Langley (1997). "Frank W. Thomas House". Frank Lloyd Wright: A

Gatefold Portfolio. Honk Kong: Barnes & Noble Books. ISBN 0-7607-0463-5.

40.

^ O'Gorman 2004, p. 134.41.

^ Frank Lloyd Wright: A Biography, by Meryle Secrest, Alfred A. Knopf, 1993, p. 20242.

^ "Home Country" (http://www.unitychapel.org/home_country.htm). Unitychapel.org.

July 1, 2005. Retrieved October 16, 2009.

43.

^ a b c d BBC News article: "Mystery of the murders at Taliesin (http://news.bbc.co.uk

/2/hi/uk_news/wales/1110359.stm)".

44.

^ Frank Lloyd Wright: A Biography, by Meryle Secrest, p. 315–317. "$500,000 Fire in

Bungalow,"The New York Times, April 22, 1925

45.

^ Minnesota Historical Society, Collections Up Close, "Frank Lloyd Wright Arrested

in Minnesota (http://discussions.mnhs.org/collections/2011/01/frank-lloyd-wright-

arrested-in-minnesota/)"

46.

^ a b "The Genius of Frank Lloyd Wright" (http://www.loc.gov/exhibits/treasures

/tri004.html). Library of Congress. Retrieved 28 February 2014.

47.

^ "The Textile Block System [Concrete International]" (http://www.lyncvoiceuc.com

/news/2012/04/14/6258593.htm). TMCnet. Retrieved 28 February 2014.

48.

^ "The Textile Block System [Concrete International]" (http://www.lyncvoiceuc.com

/news/2012/04/14/6258593.htm). TMCnet. Retrieved 28 February 2014.

49.

^ State University of New York at Buffalo Archives http://ubdigit.buffalo.edu

/collections/lib/lib-ua/lib-ua001_DDMartin.php

50.

^ "What is Fallingwater" (http://wwww.fallingwater.org/37/what-is-fallingwater).

Western Pennsylvania Conservancy. Retrieved 9 October 2012.

51.

^ a b Twombly, Robert (1979). Frank Lloyd Wright His Life and Architecture. Canada:

A Wiley-Interscience. pp. 276–278.

52.

^ Denzer, Anthony (2013). The Solar House: Pioneering Sustainable Design

(http://solarhousehistory.com/book/). Rizzoli. ISBN 978-0-8478-4005-2.

53.


31 of 38 2014-05-28 21:48

^ Lind, Carla (1995). Frank Lloyd Wright's glass designs. San Francisco:

Pomegranate Artbooks. p. 57. ISBN 9780876544686.

54.

^ a b "Biography in Sound: Frank Lloyd Wright" (http://archive.org/details

/Biography_in_Sound). Old Time Radio. Retrieved 2012-09-09.

55.

^ Guggenheim Museum — History (http://www.guggenheim.org/history.html)56.

^ National Park Service (http://www.nps.gov/history/nr/listings/20070413.HTM) —

National Historic Landmarks Designated, April 13, 2007

57.

^ The Architecture of Frank Lloyd Wright: A Complete Catalog, by William Allin

Storrer, University of Chicago Press, 1992 (third edition)

58.

^ "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. Retrieved October 16, 2009.

59.

^ 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 York Times. April 2, 2006.

60.

^ Monona Terrace Convention Center, history web page

(http://www.mononaterrace.com/educatorspage/images/brief-history.pdf)

61.

^ "Frank Lloyd Wright Emerald Bay, Lake Tahoe" (http://tahoelocals.com/articles

/franklloydwright.php). Tahoelocals.com. January 8, 2007. Retrieved October 16,

2009.

62.

^ "Wright On" (http://constructireland.ie/Vol-3-Issue-11/Articles/Case-Studies/Late-

1950s-Frank-Lloyd-Wright-design-realised-in-Wicklow.html). constructireland.ie.

Retrieved October 16, 2009.

63.

^ Wright On (http://constructireland.ie/Articles/Case-Studies/Late-1950s-Frank-Lloyd-

Wright-design-realised-in-Wicklow.html) – Late 1950s Frank Lloyd Wright design

realized in Wicklow (Retrieved November 18, 2009)

64.

^ Wrightscapes: Frank Lloyd Wright's Landscape Designs, Charles E. and Berdeana

Aguar, McGraw-Hill, 2002, p.344

65.

^ Wrightscapes:Frank Lloyd Wright's Landscape Designs, Charles E. and Berdeana

Aguar, McGraw-Hill, 2002, pp. 51–56

66.

^ "Undoing the City: Frank Lloyd Wright's Planned Communities," American

Quarterly, Vol. 24, No. 4 (Oct., 1972), p. 544

67.

^ "Undoing the City: Frank Lloyd Wright's Planned Communities," American

Quarterly, Vol. 24, No. 4 (Oct., 1972), p. 542

68.

^ Treasures of Taliesin: Seventy Seven Unbuilt Designs, Bruce Brooks Pfeiffer,

Director of the Frank Lloyd Wright Archive

69.


32 of 38 2014-05-28 21:48

^ a b c d Cotter, Holland (April 6, 2001). "Seeking Japan's Prints, Out of Love and

Need" (http://www.nytimes.com/2001/04/06/arts/art-review-seeking-japan-s-prints-

out-of-love-and-need.html). New York Times.

70.

^ Julia Meech. Frank Lloyd Wright and the Art of Japan: The Architect's Other

Passion. New York: Abrams, 2000.

71.

^ a b c d e 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/art-architecture-

the-master-builder-whose-other-love-helped-pay-the-bills.html). New York Times.

72.

^ "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.

73.

^ The Unity Chapel, designed by Joseph Silsbee, should not be confused with the

much larger and vastly more famous Unity Temple, designed by Wright and located in

Oak Park, Illinois. Wright was the draftsman for the design of the Unity Chapel.

74.

^ Frank Lloyd Wright: A Biography, Meryle Secrest, University of Chicago Press,

1992.

75.

^ "The Magic of America", Marion Mahony Griffin76.

^ 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.

77.

^ a b Mann, Leslie (February 1, 2008). "Reflecting pools: Descendants follow in Frank

Lloyd Wright's footsteps" (http://articles.chicagotribune.com/2008-02-03/business

/0801310434_1_frank-lloyd-wright-designs-mies-van-der-rohe). Chicago Tribune.

Retrieved March 28, 2008.

78.

^ 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/frank-

lloyd-wright-house-in-phoenix-faces-bulldozers.html?emc=eta1&_r=0). New York

Times.

79.

^ Rose, Jaimee (Mar 14, 2009). "Growing up Wright" (http://www.azcentral.com

/arizonarepublic/arizonaliving/articles/2009/03

/14/20090314frankfamily0314.html?nclick_check=1). The Arizona Republic.

80.

^ "The Short List" (http://www.chicagomag.com/Chicago-Magazine/November-

2006/Short-List-November-2006/). Chicago Magazine. November 2006. Retrieved

March 10, 2008.

81.


33 of 38 2014-05-28 21:48

^ 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/frank-lloyd-wright-

collection-moves-to-moma-and-columbia.html) New York Times.

82.

^ Robin Pogrebin (March 9, 2014), Models Preserve Wright’s Dreams

(http://www.nytimes.com/2014/03/10/arts/design/models-preserve-wrights-

dreams.html) New York Times.

83.

^ 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/frank-lloyd-wright-

collection-moves-to-moma-and-columbia.html) New York Times.

84.

Further reading

Wright's philosophy

Hoffmann, Donald. Understanding Frank Lloyd Wright's Architecture. New

York: Dover Publications, 1995. ISBN 0-486-28364-X

Lind, Carla. Frank Lloyd Wright's Usonian Houses. San Francisco:

Promegranate Artbooks, 1994. ISBN 1-56640-998-5

McCarter, Robert (ed.). Frank Lloyd Wright: A Primer on Architectural

Principles. New York: Princeton Architectural Press, 1991. ISBN

1-878271-26-1

Meehan, Patrick, ed. Truth Against the World: Frank Lloyd Wright Speaks for

an Organic Architecture. New York: Wiley, 1987. ISBN 0-471-84509-4

Nisbet, Earl. Taliesin Reflections: My Years Before, During, and After Living

with Frank Lloyd Wright. Petaluma, Calif.: Meridian Press, 2006. ISBN

0-9778951-0-6

Rosenbaum, Alvin. Usonia : Frank Lloyd Wright's Design for America.

Washington, DC: Preservation Press, 1993. ISBN 0-89133-201-4

Sergeant, John. Frank Lloyd Wright's Usonian Houses: The Case for Organic

Architecture. New York: Watson-Guptill, 1984. ISBN 0-8230-7178-2

Treiber, Daniel. Frank Lloyd Wright. 2nd ed. Basel: Birkhäuser, 2008. ISBN

978-3-7643-8697-9

Wright, Frank Lloyd. Frank Lloyd Wright: An Autobiography. New York:

Duell, Sloan and Pearce, 1943.

Wright, Frank Lloyd. "In the Cause of Architecture", Architectural Record,


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March, 1908. Reprinted in Frank Lloyd Wright: Collected Writings, vol. 1:

1894–1930. New York: Rizzoli, 1992. ISBN 0-8478-1546-3

Wright, 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 Wright and the Taliesin Fellowship. New York: Regan Books,

2006. ISBN 0-06-039388-2

Gill, Brendan. Many Masks: A Life of Frank Lloyd Wright. New York: Putnam,

1987. ISBN 0-399-13232-5

Huxtable, Ada Louise. Frank Lloyd Wright. New York: Lipper/Viking, 2004.

ISBN 0-670-03342-1

Secrest, Meryle. Frank Lloyd Wright: a Biography. New York: Knopf, 1992.

ISBN 0-394-56436-7

Twombly, Robert C. Frank Lloyd Wright: His Life and Architecture. New

York: Wiley, 1979. ISBN 0-471-03400-2

Wright, 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: McGraw-Hill, 2002. ISBN 0-07-140953-X

Blake, 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 978-0-7112-2967-9

Heinz, Thomas A. Frank Lloyd Wright Field Guide. Chichester, West Sussex:

Academy Editions, 1999. ISBN 0-8101-2244-8

Hildebrand, Grant. The Wright Space: Pattern and Meaning in Frank Lloyd

Wright's Houses. Seattle: University of Washington Press, 1991. ISBN

0-295-97005-7

Larkin, David and Bruce Brooks Pfeiffer. Frank Lloyd Wright: The


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Masterworks. New York: Rizzoli, 1993. ISBN 0-8478-1715-6

Levine, Neil. The Architecture of Frank Lloyd Wright. Princeton, NJ:

Princeton University Press, 1996. ISBN 0-691-03371-4

Lind, Carla. Frank Lloyd Wright's Glass Designs. San Francisco:

Pomegranate Artbooks, 1995. ISBN 0-87654-468-5

McCarter, Robert. Frank Lloyd Wright. London: Phaidon Press, 1997. ISBN

0-7148-3148-4

Pfeiffer, Bruce Brooks. Frank Lloyd Wright, 1867–1959: Building for

Democracy. Los Angeles: Taschen, 2004. ISBN 3-8228-2757-6

Pfeiffer, Bruce Brooks and Peter Gössel (eds.). Frank Lloyd Wright: The

Complete Works. Los Angeles: Taschen, 2009. ISBN 978-3-8228-5770-0

Riley, Terence and Peter Reed (eds.). Frank Lloyd Wright: Architect. New

York: Museum of Modern Art, 1994. ISBN 0-87070-642-X

Smith, Kathryn. Frank Lloyd Wright: America's Master Architect. New York:

Abbeville Press, 1998. ISBN 0-7892-0287-5

Storrer, William Allin. The Architecture of Frank Lloyd Wright: A Complete

Catalog. 3rd ed. Chicago: University of Chicago Press, 2007. ISBN

0-226-77620-4

Storrer, William Allin. The Frank Lloyd Wright Companion. Chicago:

University of Chicago Press, 1993. ISBN 0-226-77621-2

Selected books about specific Wright projects

Toker, Franklin. Fallingwater Rising: Frank Lloyd Wright, E. J. Kaufmann, and

America's Most Extraordinary House. New York: Alford A. Knopf, 2003. ISBN

1-4000-4026-4

Whiting, Henry, II. At Nature's Edge: Frank Lloyd Wright's Artist Studio. Salt

Lake City: University of Utah Press, 2007. ISBN 978-0-87480-877-3

External links

Frank Lloyd Wright Foundation (http://www.franklloydwright.org/) Official

Website

Frank Lloyd Wright, Wisconsin Historical Society

(http://www.wisconsinhistory.org/topics/flw)


36 of 38 2014-05-28 21:48

Frank Lloyd Wright Building Conservancy (http://www.savewright.org/)

Works by or about Frank Lloyd Wright (http://worldcat.org/identities/lccn-

n79-32932) in libraries (WorldCat catalog)

Frank Lloyd Wright Preservation Trust (http://www.gowright.org/) – FLW

Home and Studio, Robie House

Frank 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?frank-lloyd-wright-architecture) Shapell Manuscript

Foundation

Frank Lloyd Wright (http://www.pbs.org/flw/) – PBS documentary by Ken

Burns and resources

American System-Built Houses by Frank Lloyd Wright

(http://www.housing.com/categories/homes/history-prefabricated-

home/american-system-built-houses-frank-lloyd-wright.html) – an overview

with slideshow.

Frank 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/bl-wright-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/111008-filler.mp3) from The New York Review of

Books

Article on the 50th anniversary of Wright's only gas station.

(http://www.metropolismag.com/story/20081015/higher-station)

Frank Lloyd Wright and Quebec (http://cca.qc.ca/en/collection/5-frank-lloyd-

wright-and-quebec)

Frank Lloyd Wright (http://www.hrc.utexas.edu/multimedia/video


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/2008/wallace/wright_frank_lloyd.html) interviewed by Mike Wallace on The

Mike Wallace Interview recorded September 1 & 28, 1957

Interactive 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)

Retrieved from "http://en.wikipedia.org/w/index.php?title=Frank_Lloyd_Wright&oldid=609105243"Categories: Frank Lloyd Wright buildings 1867 births 1959 deaths

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