Frank Lloyd Wright

Frank Lloyd Wright (June 8, 1867 – April 9, 1959) was an

American architect, designer, writer, and educator. He designed
Frank Lloyd Wright
more than 1,000 structures over a creative period of 70 years. Wright
believed in designing in harmony with humanity and the
environment, a philosophy he called organic architecture. This
philosophy was exemplified in Fallingwater (1935), which has been
called "the best all-time work of American architecture."[1] Wright
played a key role in the architectural movements of the twentieth
century, influencing generations of architects worldwide through his
works.[2]

Wright was the pioneer of what came to be called the Prairie School
movement of architecture and also developed the concept of the
Usonian home in Broadacre City, his vision for urban planning in
the United States. He also designed original and innovative offices,
churches, schools, skyscrapers, hotels, museums, and other
commercial projects. Wright-designed interior elements (including
leaded glass windows, floors, furniture and even tableware) were Wright in 1954
integrated into these structures. He wrote several books and Born Frank Lloyd Wright
numerous articles and was a popular lecturer in the United States June 8, 1867
and in Europe. Wright was recognized in 1991 by the American Richland Center,
Institute of Architects as "the greatest American architect of all Wisconsin, U.S.
time."[1] In 2019, a selection of his work became a listed World
Heritage Site as The 20th-Century Architecture of Frank Lloyd Died April 9, 1959 (aged 91)
Wright. Phoenix, Arizona, U.S.
Alma mater University of
Raised in rural Wisconsin, Wright studied civil engineering at the
Wisconsin–Madison
University of Wisconsin and then apprenticed in Chicago, first with
Joseph Lyman Silsbee (1887) and then with Louis Sullivan (1888). Occupation Architect
He opened his own successful Chicago practice in 1893, and Spouse(s) Catherine Tobin
established a studio in his Oak Park, Illinois home in 1898. His (m. 1889; div. 1922)
personal life made headlines: leaving his first wife, Catherine Tobin,
for Mamah Cheney in 1909; the murders at his Taliesin estate by a Miriam Noel
staff member in 1914; his tempestuous marriage with second wife (m. 1923; div. 1927)
Miriam Noel in 1923; and his relationship with Olgivanna Lazović, Olga Lazović (m. 1928)
whom he married in 1928.
Children 8, including Lloyd
Wright and John Lloyd
Wright
Contents Awards RIBA Gold Medal
Early years AIA Gold Medal
Ancestry Twenty-five Year
Childhood Award (4)
Education (1885–1887) Order of the Star of
Italian Solidarity
Early career
 Silsbee and other early work experience (1887–1888) Buildings Fallingwater
Adler & Sullivan (1888–1893) Kentuck Knob
Transition and experimentation (1893–1900) Solomon R.
Prairie Style houses (1900–1914) Guggenheim Museum
Notable public works (1900–1922) Johnson Wax
Textile concrete block system Headquarters
Midlife problems Taliesin
Family abandonment
Taliesin West
Tragedy at Taliesin studio
Robie House
Divorce and further troubles
Imperial Hotel, Tokyo
Later career
Darwin D. Martin
Taliesin Fellowship
House
Usonian Houses
Significant later works Unity Temple
Ennis House
Personal style and concepts
Design elements Larkin Administration
Influences and collaborations Building
Community planning Affleck House
Japanese art Dana-Thomas House
Legacy Coonley House
Death Marin County Civic
Archives Center
Destroyed Wright buildings First Unitarian Society
Unbuilt, or built after Wright's death of Madison
Recognition Price Tower
Family
Westcott House
Selected works Monona Terrace
See also Meyer May House
References Allen House
Further reading Annunciation Greek
Wright's philosophy Orthodox Church
Biographies Graycliff
Surveys of Wright's work
Westhope
Selected books about specific Wright projects
Projects Usonian Houses
External links
Broadacre City
Signature
Early years

Ancestry

Frank Lloyd Wright was born on June 8, 1867, in the town of Richland Center, Wisconsin. In 1987 a
biographer of Wright suggested that he may have been christened as "Frank Lincoln Wright" or "Franklin
Lincoln Wright".[3] No birth certificate or other record supporting either of these assertions is known to exist.
Wright's father, William Cary Wright (1825–1904), was a "... gifted musician, orator, and sometime preacher
who had been admitted to the bar in 1857."[4] He was also a published composer.[5] Originally from
Massachusetts, William Wright had been a Baptist minister, but he later joined his wife's family in the Unitarian
faith.

Wright's mother, Anna Lloyd Jones (1838/39–1923) was a member of the well-known Lloyd Jones clan who
had emigrated from Wales to the town of Wyoming, Wisconsin (south of the village of Spring Green).[6] One
of Anna's brothers was Jenkin Lloyd Jones, an important figure in the spread of the Unitarian faith in the
Midwest.

Childhood

According to Wright's autobiography, his mother declared when she was expecting that her first child would
grow up to build beautiful buildings. She decorated his nursery with engravings of English cathedrals torn
from a periodical to encourage the infant's ambition.[7] In 1870, the family moved to Weymouth,
Massachusetts, where William ministered to a small congregation.

In 1876, Anna saw an exhibit of educational blocks called the Froebel Gifts, the foundation of an innovative
kindergarten curriculum. Anna, a trained teacher, was excited by the program and bought a set with which
young Wright spent much time playing. The blocks in the set were geometrically shaped and could be
assembled in various combinations to form two and three-dimensional compositions. In his autobiography,
Wright described the influence of these exercises on his approach to design: "For several years, I sat at the little
kindergarten table-top… and played… with the cube, the sphere and the triangle—these smooth wooden
maple blocks… All are in my fingers to this day… "[8]

The Wright family struggled financially in Weymouth and returned to Spring Green, where the supportive
Lloyd Jones family could help William find employment. They settled in Madison, where William 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 with his children.

Soon after Wright turned 14, his parents separated. In 1884 William sued for a divorce from Anna on the
grounds of "… emotional cruelty and physical violence and spousal abandonment."[9] William left Wisconsin
after the divorce was granted in 1885. Wright said he never saw his father again.[10]

Education (1885–1887)

Wright attended Madison High School but there is no evidence he graduated.[11] In 1886 he was admitted to
the University of Wisconsin–Madison as a special student and worked under Allan D. Conover, a professor of
civil engineering, before leaving the school without taking a degree.[12] Wright was granted an honorary
doctorate of fine arts from the university in 1955.[13]

Early career

Silsbee and other early work experience (1887–1888)

In 1887, Wright arrived in Chicago in search of employment. As a result of the devastating Great Chicago Fire
of 1871 and a population boom, new development was plentiful. Wright later recalled that while his first
impressions of Chicago were that of grimy neighborhoods, crowded streets, and disappointing architecture, he
was determined to find work. Within days, and after interviews with several prominent firms, he was hired as a
draftsman with the architectural firm of Joseph Lyman Silsbee.[14] Wright previously collaborated with Silsbee
—accredited as the draftsman and the construction supervisor—on the 1886 Unity Chapel for Wright's family
in Spring Green.[15] 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 in Spring Green for two of his
aunts.[16] Other draftsmen who worked for Silsbee in 1887 included future architects Cecil Corwin, George
W. Maher, and George G. Elmslie. Wright soon befriended Corwin, with whom he lived until he found a
permanent home.

Feeling that he was underpaid for the quality of his work for Silsbee (at $8 a week), the young draftsman quit
and found work as a designer at the firm of Beers, Clay, and Dutton. However, Wright soon realized that he
was not ready to handle building design by himself; he left his new job to return to Joseph Silsbee—this time
with a raise in salary.[17] Although Silsbee adhered mainly to Victorian and Revivalist architecture, Wright
found his work to be more "gracefully picturesque" than the other "brutalities" of the period.[18] Wright
aspired for more progressive work.

Adler & Sullivan (1888–1893)

Wright learned that the Chicago firm of Adler & Sullivan was "looking for someone to make the finished
drawings for the interior of the Auditorium Building".[19] Wright demonstrated that he was a competent
impressionist of Louis Sullivan's ornamental designs and two short interviews later, was an official apprentice
in the firm.[20] Wright did not get along well with Sullivan's other draftsmen; he wrote that several violent
altercations occurred between them during the first years of his apprenticeship. For that matter, Sullivan
showed very little respect for his own employees, as well.[21] In spite of this, "Sullivan took [Wright] under his
wing and gave him great design responsibility." As an act of respect, Wright would later refer to Sullivan as
Lieber Meister (German for "Dear Master").[22] He also formed a bond with office foreman Paul Mueller.
Wright later engaged Mueller in the construction of several of his public and commercial buildings between
1903 and 1923.[23]

On June 1, 1889, Wright married his first wife, Catherine Lee "Kitty"
Tobin (1871–1959). The two had met around a year earlier during
activities at All Souls Church. Sullivan did his part to facilitate the
financial success of the young couple by granting Wright a five-year
employment contract. Wright made one more request: "Mr. Sullivan,
if you want me to work for you as long as five years, couldn't you
lend me enough money to build a little house?"[24] With Sullivan's
$5,000 loan, Wright purchased a lot at the corner of Chicago and
Forest Avenues in the suburb of Oak Park. The existing Gothic
Revival house was given to his mother, while a compact shingle style Wright's home in Oak Park, Illinois
house was built alongside for Wright and Catherine.[25] (1889)

By 1890, Wright had an office next to Sullivan's that he shared with

friend and draftsman George Elmslie, who had been hired by Sullivan at Wright's request.[23][26] Wright had
risen to head draftsman and handled all residential design work in the office. As a general rule, the firm of
Adler & Sullivan did not design or build houses, but would oblige when asked by the clients of their important
commercial projects. Wright was occupied by the firm's major commissions during office hours, so house
designs were relegated to evening and weekend overtime hours at his home studio. He later claimed total
responsibility for the design of these houses, but a careful inspection of their architectural style (and accounts
from historian Robert Twombly) suggests that Sullivan dictated the overall form and motifs of the residential
works; Wright's design duties were often reduced to detailing the projects from Sullivan's sketches.[26] During
this time, Wright worked on Sullivan's bungalow (1890) and the James A. Charnley bungalow (1890) in
Ocean Springs, Mississippi, the Berry-MacHarg House, James A. Charnley House (both 1891), and the Louis
Sullivan House (1892), all in Chicago.[27][28]

Despite Sullivan's loan and overtime salary, Wright was constantly

short on funds. Wright admitted that his poor finances were likely due
to his expensive tastes in wardrobe and vehicles, and the extra
luxuries he designed into his house. To supplement his income 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 the fashionable Queen Anne
and Colonial Revival styles. Nevertheless, unlike the prevailing
architecture of the period, each house emphasized simple geometric
massing and contained features such as bands of horizontal windows, The Walter Gale House, Oak Park,
occasional cantilevers, and open floor plans, which would become Illinois (1893). While a Queen Anne
hallmarks of his later work. Eight of these early houses remain today, in style, it features window bands
including the Thomas Gale, Robert Parker, George Blossom, and and a cantilevered porch roof which
Walter Gale houses.[29] hint at Wright's developing aesthetics

As with the residential projects for Adler & Sullivan, he designed his
bootleg houses on his own time. Sullivan knew nothing of the independent works until 1893, when he
recognized that one of the houses was unmistakably a Frank Lloyd Wright design. This particular house, built
for Allison Harlan, was only blocks away from Sullivan's townhouse in the Chicago community of Kenwood.
Aside from the location, the geometric purity of the composition and balcony tracery in the 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.[28] Several stories recount the break in the
relationship between Sullivan and Wright; even Wright later told two different versions of the occurrence. In
An Autobiography, Wright claimed that he was unaware that his side ventures were a breach of his contract.
When Sullivan learned of them, he was angered and offended; he prohibited any further outside commissions
and refused to issue Wright the deed to his Oak Park house until after he completed his five years. Wright
could not bear the new hostility from his master and thought the situation was unjust. He "threw down [his]
pencil and walked out of the Adler & Sullivan office never to return." Dankmar Adler, who was more
sympathetic to Wright's actions, later sent him the deed.[30] However, Wright told his Taliesin apprentices (as
recorded by Edgar Tafel) that Sullivan fired him on the spot upon learning of the Harlan House. Tafel also
recounted that Wright had Cecil Corwin sign several of the bootleg jobs, indicating that Wright was aware of
their forbidden nature.[28][31] Regardless of the correct series of events, Wright and Sullivan did not meet or
speak for 12 years.

Transition and experimentation (1893–1900)

After leaving Adler & Sullivan, Wright established his own practice on the top floor of the Sullivan-designed
Schiller Building on Randolph Street in Chicago. Wright chose to locate his office in the building because the
tower location reminded him of the office of Adler & Sullivan. Cecil Corwin followed Wright and set up his
architecture practice in the same office but the two worked independently and did not consider themselves
partners.[32]

In 1896, Wright moved out of the Schiller Building and into the nearby and newly completed Steinway Hall
building. The loft space was shared with Robert C. Spencer, Jr., Myron Hunt, and Dwight H. Perkins.[33]
These young architects, inspired by the Arts and Crafts Movement and the philosophies of Louis Sullivan,
formed what became known as the Prairie School.[34] They were joined by Perkins' apprentice, Marion
Mahony, who in 1895 transferred to Wright's team of drafters and took over production of his presentation
drawings and watercolor renderings. Mahony, the third woman to be licensed as an architect in Illinois and one
of the first licensed female architects in the U.S., also designed furniture, leaded glass windows, and light
fixtures, among other features, for Wright's houses. Between 1894 and the early 1910s, several other leading
Prairie School architects and many of Wright's future employees launched their careers in the offices of
Steinway Hall.[35][36]

Wright's projects during this period followed two basic models. His
first independent commission, the Winslow House, combined
Sullivanesque ornamentation with the emphasis on simple geometry
and horizontal lines. The Francis Apartments (1895, demolished
1971), Heller House (1896), Rollin Furbeck House (1897) and
Husser House (1899, demolished 1926) were designed in the same
mode. For his more conservative clients, Wright designed more
traditional dwellings. These included the Dutch Colonial Revival style
Bagley House (1894), Tudor Revival style Moore House I (1895), William H. Winslow House in River
and Queen Anne style Charles E. Roberts House (1896).[37] While Forest, Illinois (1893)
Wright could not afford to turn down clients over disagreements in
taste, even his most conservative designs retained simplified massing
and occasional Sullivan-inspired details.[38]

Soon after the completion of the Winslow House in 1894, Edward

Waller, a friend and former client, invited Wright to meet Chicago
architect and planner Daniel Burnham. Burnham had been impressed
by the Winslow House and other examples of Wright's work; he
offered to finance a four-year education at the École des Beaux-Arts
and two years in Rome. To top it off, Wright would have a position in
Burnham's firm upon his return. In spite of guaranteed success and
support of his family, Wright declined the offer. Burnham, who had
directed the classical design of the World's Columbian Exposition and
was a major proponent of the Beaux Arts movement, thought that
Nathan G. Moore House, Oak Park,
Wright was making a foolish mistake. Yet for Wright, the classical Illinois (1895)
education of the École lacked creativity and was altogether at odds
with his vision of modern American architecture.[39][40]

Wright relocated his practice to his home in 1898 to bring his work
and family lives closer. This move made further sense as the majority
of the architect's projects at that time were in Oak Park or neighboring
River Forest. The birth of three more children prompted Wright to
sacrifice his original home studio space for additional bedrooms and
necessitated his design and construction of an expansive studio
addition to the north of the main house. The space, which included a
hanging balcony within the two-story drafting room, was one of
Wright's first experiments with innovative structure. The studio
embodied Wright's developing aesthetics and would become the Wright's studio viewed from Chicago
laboratory from which his next 10 years of architectural creations Avenue (1898)
would emerge.[41]

Prairie Style houses (1900–1914)

By 1901, Wright had completed about 50 projects, including many 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 Willis were the draftsmen. Five men, two
women. They wore flowing ties, and smocks suitable to the realm. The men wore their hair like
Papa, all except Albert, he didn't have enough hair. They worshiped Papa! Papa liked them! I
know that each one of them was then making valuable contributions to the pioneering of the
modern American architecture for which my father gets the full glory, headaches, and recognition
today!"[42]

Between 1900 and 1901, Frank Lloyd Wright completed four houses
which have since been identified as the onset of the "Prairie Style".
Two, the Hickox and Bradley Houses, were the last transitional step
between Wright's early designs and the Prairie creations.[43]
Meanwhile, the Thomas House and Willits House received
recognition as the first mature examples of the new style.[44][45] At
the same time, Wright gave his new ideas for the American house
widespread awareness through two publications in the Ladies' Home
Journal. The articles were in response to an invitation from the
president of Curtis Publishing Company, Edward Bok, as part of a Arthur Heurtley House, Oak Park,
project to improve modern house design. "A Home in a Prairie Illinois (1902)
Town" and "A Small House with Lots of Room in it" appeared
respectively in the February and July 1901 issues of the journal.
Although neither of the affordable house plans was ever constructed,
Wright received increased requests for similar designs in following
years.[43] Wright came to Buffalo and designed homes for three of the
company's executives: the Darwin D. Martin House (1904), the
William R. Heath House 1905), and the Walter V. Davidson House
(1908). Other Wright houses considered to be masterpieces of the
Prairie Style are the Frederick Robie House in Chicago and the Avery
and Queene Coonley House in Riverside, Illinois. The Robie House,
with its extended cantilevered roof lines supported by a 110-foot-long Hillside Home School, Taliesin,
(34-m) channel of steel, is the most dramatic. Its living and dining Spring Green, Wisconsin (1902)
areas form virtually one uninterrupted space. With this and other
buildings, included in the publication of the Wasmuth Portfolio
(1910), Wright's work became known to European architects and had
a profound influence on them after World War I.

Wright's residential designs of this era were known as "prairie houses"

because the designs complemented the land around Chicago. Prairie
Style houses often have a combination of these features: One or two- Darwin D. Martin House, Buffalo,
stories with one-story projections, an open floor plan, low-pitched New York (1904)
roofs with broad, overhanging eaves, strong horizontal lines, ribbons
of windows (often casements), a prominent central chimney, built-in
stylized cabinetry, and a wide use of natural materials—especially stone and wood.[46]

By 1909, Wright had begun to reject the upper-middle-class Prairie Style single-family house model, shifting
his focus to a more democratic architecture.[47] Wright went to Europe in 1909 with a portfolio of his work
and presented it to Berlin publisher Ernst Wasmuth.[48] Studies and Executed Buildings of Frank Lloyd
Wright, published in 1911, was the first major exposure of Wright's work in Europe. The work contained more
than 100 lithographs of Wright's designs, and is commonly known as the Wasmuth Portfolio.

Notable public works (1900–1922)

 Wright designed the house of Cornell's chapter of Alpha Delta Phi literary
society (1900), the Hillside Home School II (built for his aunts) in Spring
Green, Wisconsin (1901) and the Unity Temple (1905) in Oak Park,
Illinois.[49][50] As a lifelong Unitarian and member of Unity Temple, Wright
offered his services to the congregation after their church burned down,
working on the building from 1905 to 1909. Wright later said that Unity
Temple was the edifice in which he ceased to be an architect of structure,
and became an architect of space.

Other early notable public buildings

Peacock chair designed for
the Imperial Hotel in Tokyo.
included the Larkin Administration
Building (1905) as well as the Geneva
Inn (Lake Geneva, Wisconsin, 1911),
the Midway Gardens (Chicago,
Illinois, 1913), and the Banff National
Park Pavilion (Alberta, Canada, 1914).
Wright spent almost three years (1920–
1922) living in Japan during the
construction of the Imperial Hotel.[51]

Textile concrete block system

In the early 1920s, Wright designed a "textile" concrete block system.

The system of precast blocks, reinforced by an internal system of bars,
enabled "fabrication as infinite in color, texture, and variety as in that
rug."[52] Wright first used his textile block system on the Millard House
in Pasadena, California, in 1923. Typically Wrightian is the joining of the Wright in 1926
structure to its site by a series of terraces that reach out into and reorder
the landscape, making it an integral part of the architect's vision.[53] With
the Ennis House and the Samuel Freeman House (both 1923), Wright had further opportunities to test the
limits of the textile block system, including limited use in the Arizona Biltmore Hotel in 1927.[54] The Ennis
house is often used in films, television, and print media to represent the future.[53] Wright's son, Lloyd Wright,
supervised construction for the Storer, Freeman, and Ennis Houses. Architectural historian Thomas Hines has
suggested that Lloyd's contribution to these projects is often overlooked.[55]

After World War II, Wright updated the concrete block system, calling it the "Usonian Automatic" system,
resulting in the construction of several notable homes. As he explained in The Natural House (1954), "The
original blocks are made on the site by ramming concrete into wood or metal wrap-around forms, with one
outside face (which may be pattered), and one rear or inside face, generally coffered, for lightness."[52]

Midlife problems

Family abandonment

In 1903, while Wright was designing a house for Edwin Cheney (a neighbor in Oak Park), he became
enamored with Cheney's wife, Mamah. Mamah Borthwick Cheney was a modern woman with interests
outside the home. She was an early feminist, and Wright viewed her as his intellectual equal. Their relationship
became the talk of the town; they often could be seen taking rides in Wright's automobile through Oak Park. In
1909, Wright and Mamah Cheney met up in Europe, leaving their spouses and children behind. Wright
remained in Europe for almost a year, first in Florence, Italy (where he lived with 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. After Wright returned to the United States
in October 1910, he persuaded his mother to buy land for him in
Spring Green, Wisconsin. The land, bought on April 10, 1911, was
adjacent to land held by his mother's family, the Lloyd-Joneses.
Wright began to build himself a new home, which he called Taliesin,
by May 1911. The recurring theme of Taliesin also came from his
mother's side: Taliesin in Welsh mythology was a poet, magician, and
priest. The family motto, "Y Gwir yn Erbyn y Byd" ("The Truth Aerial photo of Taliesin, Spring
Against the World"), was taken from the Welsh poet Iolo Morganwg, Green, Wisconsin
who also had a son named Taliesin. The motto is still used today as
the cry of the druids and chief bard of the Eisteddfod in Wales.[56]

Tragedy at Taliesin studio

On August 15, 1914, while Wright was working in Chicago, a servant (Julian Carlton) set fire to the living
quarters of Taliesin and then murdered seven people with an axe as the fire burned.[57][58][59] The dead
included Mamah; her two children, John and Martha Cheney; a gardener (David Lindblom); a draftsman (Emil
Brodelle); a workman (Thomas Brunker); and another workman's son (Ernest Weston). Two people survived
the mayhem, one of whom, William Weston, helped to put out the fire that almost completely consumed the
residential wing of the house. Carlton swallowed hydrochloric acid immediately following the attack in an
attempt to kill himself.[58] He was nearly lynched on the spot, but was taken to the Dodgeville jail.[58] Carlton
died from starvation seven weeks after the attack, despite medical attention.[58]

Divorce and further troubles

In 1922, Kitty Wright finally granted Wright a divorce. Under the terms of the divorce, Wright was required to
wait one year before he could marry his then-mistress, Maude "Miriam" Noel. In 1923, Wright's mother, Anna
(Lloyd Jones) Wright, died. Wright wed Miriam Noel in November 1923, but her addiction to morphine led to
the failure of the marriage in less than one year.[60] In 1924, after the separation, but while still married, Wright
met Olga (Olgivanna) Lazovich Hinzenburg. They moved in together at Taliesin in 1925, and soon after
Olgivanna became pregnant. Their daughter, Iovanna, was born on December 2, 1925.

On April 20, 1925, another fire destroyed the bungalow at Taliesin. Crossed wires from a newly installed
telephone system were deemed to be responsible for the blaze, which destroyed a collection of Japanese prints
that Wright estimated to be worth $250,000 to $500,000 ($3,645,000 to $7,289,000 in 2019).[61] Wright
rebuilt the living quarters, naming the home "Taliesin III".

In 1926, Olga's ex-husband, Vlademar Hinzenburg, sought custody of his daughter, Svetlana. In October
1926, Wright and Olgivanna were accused of violating the Mann Act and arrested in Tonka Bay,
Minnesota.[62] The charges were later dropped.

Wright and Miriam Noel's divorce was finalized in 1927. Wright was again required to wait for one year
before remarrying. Wright and Olgivanna married in 1928.[63][64]

Later career

Taliesin Fellowship
In 1932, Wright and his wife Olgivanna put out a call for students to come to Taliesin to study and work under
Wright while they learned architecture and spiritual development. Olgivanna Wright had been a student of G.
I. Gurdjieff who had previously established a similar school. Twenty-three came to live and work that year,
including John Henry "Jack" Howe, who would become Wright's chief draftsman.[65] A total of 625 people
joined The Fellowship in Wright's lifetime.[66] The Fellowship was a source of workers for Wright’s later
projects, including: Fallingwater; The Johnson Wax Headquarters; and The Guggenheim Museum in New
York City.[67]

Considerable controversy exists over the living conditions and education of the fellows.[68][69] Wright was
reputedly a difficult person to work with. One apprentice wrote: "He is devoid of consideration and has a blind
spot regarding others' qualities. Yet I believe, that a year in his studio would be worth any sacrifice."[70] The
Fellowship evolved into The School of Architecture at Taliesin which was an accredited school until it closed
under acrimonious circumstances in 2020.[71][72] In June 2020 the school moved to the Cosanti Foundation,
which it had worked with in the past.[73]

Usonian Houses

Wright is responsible for a series of concepts of suburban

development united under 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 this community of the future, showing
it in several venues in the following years. 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 Charles Weltzheimer Residence,
Usonian House. Although an early version of the form can be seen in Oberlin, Ohio (1948)
the Malcolm Willey House (1934) in Minneapolis, the Usonian ideal
emerged most completely in the Herbert and Katherine Jacobs First
House (1937) in Madison, Wisconsin. Designed on a gridded concrete slab that integrated the house's radiant
heating system, the house featured new approaches to construction, including walls composed of a "sandwich"
of wood siding, plywood cores and building paper—a significant change from typically framed walls.[74]
Usonian houses commonly featured flat roofs and were usually constructed without basements or attics, all
features that Wright had been promoting since the early 20th century.

Usonian houses were Wright's response to the transformation of domestic life that occurred in the early 20th
century when servants had become less prominent or completely absent from most American households. By
developing homes with progressively more open plans, Wright allotted the woman of the house a 'workspace',
as he often called the kitchen, where she could keep track of and be available for the children and/or guests in
the dining room.[75] As in the Prairie Houses, Usonian living areas had a fireplace as a point of focus.
Bedrooms, typically isolated and relatively small, encouraged the family to gather in the main living areas. The
conception of spaces instead of rooms was a development of the Prairie ideal. The built-in furnishings related
to the Arts and Crafts movement's principles which influenced Wright's early work. Spatially and in terms of
their construction, the Usonian houses represented a new model for independent living, and allowed dozens of
clients to live in a Wright-designed house at relatively low cost. His Usonian homes set a new style for
suburban design that influenced countless postwar developers.[76] Many features of modern American homes
date back to Wright: open plans, slab-on-grade foundations, and simplified construction techniques that
allowed more mechanization and efficiency in building.

Significant later works

Fallingwater, one of Wright's most famous private residences
(completed 1937), was built for Mr. and Mrs. Edgar J. Kaufmann, Sr.,
at Mill Run, Pennsylvania. Constructed over a 30-foot waterfall, it
was designed according to Wright's desire to place the occupants
close to the natural surroundings. The house was intended to be more
of a family getaway, rather than a live-in home.[77] The construction
is a series of cantilevered balconies and terraces, using limestone for
all verticals and concrete for the horizontals. The house cost
$155,000, including the architect's fee of $8,000. It was one of
Wright's most expensive pieces.[77] Kaufmann's own engineers Solomon R. Guggenheim Museum,
argued that the design was not sound. They were overruled by New York City (1959)
Wright, but the contractor secretly added extra steel to the horizontal
concrete elements. In 1994, Robert Silman and Associates examined
the building and developed a plan to restore the structure. In the late
1990s, steel supports were added under the lowest cantilever until a
detailed structural analysis could be done. In March 2002, post-
tensioning of the lowest terrace was completed.

Taliesin West, Wright's winter home and studio complex in Scottsdale,

Arizona, was a laboratory for Wright from 1937 to his death in 1959.
Now the home of the Frank Lloyd Wright Foundation, it continues
today as the site of the Frank Lloyd Wright School of Architecture.
Wright turned 80 shortly after World War II ended, yet remained busy.
The Solomon R. Guggenheim Museum in New York City occupied
Wright for 16 years (1943–1959)[78] and is probably his most
recognized masterpiece. The building rises as a warm beige spiral
from its site on Fifth Avenue; its interior is similar to the inside of a
seashell. Its unique central geometry was meant to allow visitors to
easily experience Guggenheim's collection of nonobjective geometric
paintings by taking an elevator to the top level and then viewing
artworks by walking down the slowly descending, central spiral ramp,
the floor of which is embedded with circular shapes and triangular Fallingwater, Mill Run, Pennsylvania
light fixtures to complement the geometric nature of the structure. (1937)
However, when the museum was completed, a number of details of
Wright's design were ignored, such as his desire for the interior to be
painted off-white.

The only realized skyscraper designed by Wright is the Price Tower, a 19-story 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. Price of the
H. C. Price Company, a local oil pipeline and chemical firm. On March 29, 2007, Price Tower was designated
a National Historic Landmark by the United States Department of the Interior, one of only 20 such properties
in Oklahoma.[79]

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 the exterior, with the interior design
altered by its new purpose as a convention center. The "as-built" design was carried out by Wright's apprentice
Tony Puttnam. Monona Terrace was accompanied by controversy throughout the 60 years between the
original design and the completion of the structure.[80]

Florida Southern College, located in Lakeland, Florida, constructed 12 (out of 18 planned) Frank Lloyd
Wright buildings between 1941 and 1958 as part of the Child of the Sun project. It is the world's largest single-
site collection of Frank Lloyd Wright architecture.[81]
Personal style and concepts

Design elements

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 building materials such as precast concrete blocks,
glass bricks, and zinc cames (instead of the traditional lead) for his leadlight
windows, and he famously used Pyrex glass tubing as a major element in the
Johnson Wax Headquarters. Wright was also one of the first architects to
design and install custom-made electric light fittings, including some of the
first electric floor lamps, and his very early use of the then-novel spherical
glass lampshade (a design previously not possible due to the physical
restrictions of gas lighting). In 1897, Wright received a patent for "Prism Price Tower in Bartlesville,
Oklahoma (1956)
Glass Tiles" that were used in storefronts to direct light toward the interior.[82]
Wright fully embraced glass in his designs and found that it fit well into his
philosophy of organic architecture. According to Wright's organic
theory, all components of the building should appear unified, as
though they belong together. Nothing should be attached to it without
considering the effect on the whole. To unify the house to its site,
Wright often used large expanses of glass to blur the boundary
between the indoors and outdoors.[83] Glass allowed for interaction
and viewing of the outdoors while still protecting from the elements.
In 1928, Wright wrote an essay on glass in which he compared it to
the mirrors of nature: lakes, rivers and ponds.[84] One of Wright's
earliest uses of glass in his works was to string panes of glass along
whole walls in an attempt to create light screens to join together solid An open office area in Wright's
Johnson Wax headquarters complex,
walls. By using this large amount of glass, Wright sought to achieve a
Racine, Wisconsin (1939)
balance between 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 simple geometric shapes that yield to very ornate
and intricate windows represent some of the most integral ornamentation of his career.[85]

Wright also designed some of his own clothing. His fashion sense was unique and he usually wore expensive
suits, flowing neckties, and capes. He had a fascination with automobiles, purchasing his first car in 1909, a
Stoddard-Dayton roadster, and owned many exotic vehicles over the years. During the cash-strapped
Depression, Wright drove cheaper vehicles. Some of his last cars in the 1950s included four Volkswagens and
a Chevrolet Nomad wagon along with flashier articles such as a Jaguar Mark VII. He owned some 50 cars
between 1909 and his death, of which 10 are known to survive.[86]

Influences and collaborations

Wright strongly believed in individualism and did not affiliate with the American Institute of Architects during
his career, going so far as to call the organization "a harbor of refuge for the incompetent," and "a form of
refined gangsterism." When an associate referred to him as "an old amateur" Wright confirmed, "I am the
oldest."[87] Wright rarely credited any influences on his designs, but most architects, historians and scholars
agree he had five major influences:

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

2. Nature, particularly shapes/forms and colors/patterns of plant life
 3. Music (his favorite composer was Ludwig van Beethoven)
4. Japanese art, prints and buildings
5. Froebel Gifts[88]

He also routinely claimed the work of architects and architectural

designers who were his employees as his own designs, and also
claimed that the rest of the Prairie School architects were merely his
followers, imitators, and subordinates.[89] As with any architect,
though, Wright worked in a collaborative process and drew his ideas
from the work of others. In his earlier days, Wright worked with some Wright-designed window in Robie
of the top architects of the Chicago School, including Sullivan. In his House, Chicago (1906)
Prairie School days, Wright's office was populated by many talented
architects, including William Eugene Drummond, John Van Bergen,
Isabel Roberts, Francis Barry Byrne, Albert McArthur, Marion Mahony Griffin, and Walter Burley Griffin.

The Czech-born 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 subsequently stayed in Japan
and opened his own practice. Rudolf Schindler also worked for Wright on the Imperial Hotel. His own work is
often credited as influencing Wright's Usonian houses. Schindler's friend Richard Neutra 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, such as
Aaron Green, John Lautner, E. Fay Jones, Henry Klumb, William Bernoudy, and Paolo Soleri.

Community planning

Frank Lloyd Wright was interested in site and community planning throughout his career. His commissions
and theories on urban design began as early as 1900 and continued until his death. He had 41 commissions on
the scale of community planning or urban design.[90]

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 layouts and set houses
on small square blocks of four equal-sized lots surrounded on all sides by roads instead of straight rows of
houses on parallel streets. The houses, which used the same design as published in "A Home in a Prairie
Town" from the Ladies' Home Journal, were set toward the center of the block to maximize the yard space
and included private space in the center. This also allowed for far more interesting views from each house.
Although this plan was never realized, Wright published the design in the Wasmuth Portfolio in 1910.[91]

The more ambitious designs of entire communities were exemplified by his entry into the City Club of
Chicago Land Development Competition in 1913. The contest was for the development of a suburban quarter
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 collar homes and
apartments separated by parks and common spaces. The design also included all the amenities of a small city:
schools, museums, markets, etc.[92] This view of decentralization was later reinforced by theoretical Broadacre
City design. The philosophy behind his community planning was decentralization. The new development must
be away from the cities. In this decentralized America, all services and facilities could coexist "factories side
by side with farm and home."[93]

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 Bitterroot
Valley, Montana
1913 – Chicago Land Development competition, suburban Chicago quarter section
1934–59 – 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, a low-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[94] (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.[95] 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".[96]

Wright first traveled to Japan in 1905, where he bought hundreds of prints. The following year, he helped
organize the world's first retrospective exhibition of works by Hiroshige, held at the Art Institute of
Chicago.[95] For many years, he was a major presence in the Japanese art world, selling a great number of
works to prominent collectors such as John Spaulding of Boston,[95] and to prominent museums such as the
Metropolitan Museum of Art in New York.[97] He penned a book on Japanese art in 1912.[97]

In 1920, however, rival art dealers began to spread rumors that Wright was selling retouched prints. This
circumstance, combined with Wright's tendency to live beyond his means (and other factors), led to great
financial troubles for the architect. Though he provided his clients with genuine prints as replacements for
those he was accused of retouching, it marked the end of the high point of his career as an art dealer.[97] He
was forced to sell off much of his art collection in 1927 to pay off outstanding debts. The Bank of Wisconsin
claimed his Taliesin home the following year and sold thousands of his prints for only one dollar a piece to
collector Edward Burr Van Vleck.[95]

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.[97]

The extent of his dealings in Japanese art went largely unknown, or underestimated, among art historians for
decades. In 1980 Julia Meech, then associate curator of Japanese art at the Metropolitan Museum, began
researching the history of the museum's collection of Japanese prints. She discovered "a three-inch-deep
'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 Far Eastern Art, Sigisbert C. Bosch
Reitz.[97] These discoveries and subsequent research led to a renewed understanding of Wright's career as an
art dealer.
Legacy

Death

On April 4, 1959, Wright was hospitalized for abdominal pains and was operated on April 6. He seemed to be
recovering, but he died quietly on April 9.[98] After his death, Wright's legacy was plagued with turmoil for
years.[99] His third wife Olgivanna's dying wish had been that Wright, she, and her daughter by her first
marriage all be cremated and interred together in a memorial garden being built at Taliesin West. According to
his own wishes, Wright's body had lain in the Lloyd-Jones cemetery, next to the Unity Chapel, near Taliesin in
Wisconsin. Although Olgivanna had taken no legal steps to move Wright's remains and against the wishes of
other family members, as well as the Wisconsin legislature, in 1985, Wright's remains were removed from his
grave by members of the Taliesin Fellowship, cremated, and sent to Scottsdale, where they were later interred
in the memorial garden. The original grave site in Wisconsin, now empty, is still marked with Wright's
name.[100]

Archives

After Wright's death, most of his archives were stored at the Frank Lloyd Wright Foundation in Taliesin (in
Wisconsin), and Taliesin West (in Arizona). These collections included more than 23,000 architectural
drawings, some 44,000 photographs, 600 manuscripts, and more than 300,000 pieces of office and personal
correspondence. It also contained about 40 large-scale architectural models, most of which were constructed
for MoMA's retrospective of Wright in 1940.[101] In 2012, to guarantee a high level of conservation and
access, as well as to transfer the considerable financial burden of maintaining the archive,[102] the Frank Lloyd
Wright Foundation partnered with the Museum of Modern Art and the Avery Architectural and Fine Arts
Library to move the archive's content to New York. Wright's furniture and art collection remains with the
foundation, which will also have a role in monitoring the archive. These three parties established an advisory
group to oversee exhibitions, symposiums, events, and publications.[101]

Photographs and other archival materials are held by the Ryerson and Burnham Libraries at the Art Institute of
Chicago. The architect's personal archives 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's life, and other ephemera. The Getty Research Center, Los Angeles, also has
copies of Wright's correspondence and photographs of his drawings in their Frank Lloyd Wright Special
Collection. Wright's correspondence is indexed in An Index to the Taliesin Correspondence, ed. by Professor
Anthony Alofsin, which is available at larger libraries.

Destroyed Wright buildings

Wright designed over 400 built structures[103] of which about 300

survive as of 2005. At least five have been lost to forces of nature: the
waterfront house for W. L. Fuller in Pass Christian, Mississippi,
destroyed by Hurricane Camille in August 1969; the Louis Sullivan
Bungalow of Ocean Springs, Mississippi, destroyed by Hurricane
Katrina in 2005; and the Arinobu Fukuhara House (1918) in Hakone,
Japan, destroyed in the 1923 Great Kantō earthquake. In January
2006, the Wilbur Wynant House in Gary, Indiana was destroyed by
fire.[104] In 2018 the Arch Oboler complex in Malibu, California was Imperial Hotel, Tokyo (1923)
gutted in the Woolsey Fire.[105]
Notable Wright buildings intentionally demolished: Midway Gardens (built 1913, demolished 1929), the
Larkin Administration Building (built 1903, demolished 1950), the Francis Apartments and Francisco Terrace
Apartments (Chicago, built 1895, demolished 1971 and 1974, respectively), the Geneva Inn (Lake Geneva,
Wisconsin, built 1911, demolished 1970), and the Banff National Park Pavilion (built 1914, demolished 1934).
The Imperial Hotel (built 1923) survived the 1923 Great Kantō earthquake, but was demolished in 1968 due
to urban developmental pressures.[106] The Hoffman Auto Showroom in New York City (built 1954) was
demolished in 2013.[107]

Unbuilt, or built after Wright's death

Crystal Heights, a large mixed-use development in
Washington, D.C., 1940 (unbuilt)
The Illinois, mile-high tower in Chicago, 1956 (unbuilt)
Monona Terrace, convention center in Madison, Wisconsin,
designed 1938–1959, built in 1997
Clubhouse at the Nakoma Golf Resort, Plumas County,
California, designed in 1923; opened in 2000
Passive Solar Hemi-Cycle Home in Hawaii, designed in The unbuilt Crystal Heights project in
1954, built in 1995; only Wright home in Hawaii Washington, D.C.

Recognition

Later in his life (and after his death in 1959), Wright was accorded much honorary
recognition for his lifetime achievements. He received a Gold Medal award from
The Royal Institute of British Architects in 1941. The American Institute of
Architects awarded him the AIA Gold Medal in 1949. That medal was a symbolic
"burying the hatchet" between Wright and the AIA. In a radio interview, he
commented, "Well, the AIA I never joined, and they know why. When they gave
me the gold medal in Houston, I told them frankly why. Feeling that the
architecture profession is all that's the matter with architecture, why should I join
1966 U.S. postage
them?"[87] He was awarded the Franklin Institute's Frank P. Brown Medal in
stamp honoring Frank 1953. He received honorary degrees from several universities (including his alma
Lloyd Wright mater, the University of Wisconsin), and several nations named him as an
honorary board member to their national academies of art and/or architecture. In
2000, Fallingwater was named "The Building of the 20th century" in an
unscientific "Top-Ten" poll taken by members attending the AIA annual convention in Philadelphia. On that
list, Wright was listed along with many of the USA's other greatest architects including Eero Saarinen, I.M.
Pei, Louis Kahn, Philip Johnson, and Ludwig Mies van der Rohe; he was the only architect who had more
than one building on the list. The other three buildings were the Guggenheim Museum, the Frederick C. Robie
House, and the Johnson Wax Building.

In 1992, the Madison Opera in Madison, Wisconsin, commissioned and premiered 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 of Pittsburgh. In 2000, Work Song: Three Views of Frank Lloyd Wright, a play based on the
relationship between 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¢ postage
stamp.
"So Long, Frank Lloyd Wright" is a song written by Paul Simon. Art Garfunkel has stated that the origin of
the song came from his request that Simon write a song about the famous architect Frank Lloyd Wright. Simon
himself stated that he knew nothing about Wright, but proceeded to write the song anyway.[108]

In 1957, Arizona made plans to construct a new capitol building. Believing that the submitted plans for the
new capitol were tombs to the past, Frank Lloyd Wright offered Oasis as an alternative to the people of
Arizona.[109] In 2004, one of the spires included in his design was erected in Scottsdale.

The city of Scottsdale, Arizona renamed a portion of Bell Road, a major east–west thoroughfare in the
Phoenix metropolitan area, in honor of Frank Lloyd Wright.

Eight of Wright's buildings – Fallingwater, the Guggenheim Museum, the Hollyhock House, the Jacobs
House, the Robie House, Taliesin, Taliesin West, and the Unity Temple – were inscribed on the list of
UNESCO World Heritage Sites under the title The 20th-century Architecture of Frank Lloyd Wright in July
2019. UNESCO stated that these buildings were "innovative solutions to the needs for housing, worship,
work or leisure" and "had a strong impact on the development of modern architecture in Europe".[110][111]

Family

Frank Lloyd Wright was married three times, fathering four sons and three daughters. He also adopted
Svetlana Milanoff, the daughter of his third wife, Olgivanna Lloyd Wright.[112]

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 August
1927)
Olga Ivanovna "Olgivanna" (Lazovich Milanoff) Lloyd Wright (1897–1985), dancer and writer
(married in August 1928)

His children with Catherine were:

Frank Lloyd Wright Jr., known as Lloyd Wright (1890–1978), became a notable architect in Los
Angeles. Lloyd's son, Eric Lloyd Wright, is currently an architect in Malibu, California,
specializing in residences, but has also designed civic and commercial buildings.
John Lloyd Wright (1892–1972), invented Lincoln Logs in 1918, and practiced architecture
extensively in the San Diego area. John's daughter, Elizabeth Wright Ingraham (1922–2013),
was an architect in Colorado Springs, Colorado. She was the mother of Christine, an interior
designer in Connecticut, and Catherine, an architecture professor at the Pratt Institute.[113]
Catherine Wright Baxter (1894–1979) was a homemaker and the mother of Oscar-winning
actress Anne Baxter.
David Samuel Wright (1895–1997) was a building-products representative for whom Wright
designed the David & Gladys Wright House, which was rescued from demolition and given to
the Frank Lloyd Wright School of Architecture.[114][115][116]
Frances Wright Caroe (1898–1959) was an arts administrator.
Robert Llwellyn Wright (1903–1986) was an attorney for whom Wright designed a house in
Bethesda, Maryland.

His children with Olgivanna were:

 Svetlana Peters (1917–1946, adopted daughter of Olgivanna) was a musician who died in an
automobile accident with her son Daniel. After Svetlana's death her other son, Brandoch Peters
(1942– ), was raised by Frank and Olgivanna. Svetlana's widower, William Wesley Peters, was
later briefly married to Svetlana Alliluyeva, the youngest child and only daughter of Joseph
Stalin. Peters served as chairman of the Frank Lloyd Wright Foundation from 1985 to 1991.
Iovanna Lloyd Wright (1925–2015) was an artist and musician.

Selected works
Frank Lloyd Wright Home and Studio, Oak Park, Illinois, 1889–1909
William H. Winslow House, River Forest, Illinois, 1894
Frank Thomas House, Oak Park, Illinois, 1901
Ward Winfield Willits Residence, and Gardener's Cottage and Stables, Highland Park, Illinois,
1901
Dana-Thomas House, Springfield, Illinois, 1902
Larkin Administration Building, Buffalo, New York, 1903 (demolished, 1950)
Darwin D. Martin House, Buffalo, New York, 1903–1905
Unity Temple, Oak Park, Illinois, 1904
Dr. G.C. Stockman House, Mason City, Iowa, 1908
Edward E. Boynton House, Rochester, New York, 1908
Frederick C. Robie Residence, Chicago, Illinois, 1909
Park Inn Hotel, the last standing Wright designed hotel, Mason City, Iowa, 1910
Taliesin, Spring Green, Wisconsin, 1911 & 1925
Midway Gardens, Chicago, Illinois, 1913 (demolished, 1929)
Hollyhock House (Aline Barnsdall Residence), Los Angeles, 1919–1921
Ennis House, Los Angeles, 1923
Imperial Hotel, Tokyo, Japan, 1923 (demolished, 1968; entrance hall reconstructed at Meiji
Mura near Nagoya, Japan, 1976)
Graycliff, Derby, New York, 1926
Westhope (Richard Lloyd Jones Residence, Tulsa, Oklahoma, 1929
Malcolm Willey House 1934, Minneapolis, Minnesota
Fallingwater (Edgar J. Kaufmann Sr. Residence), Mill Run, Pennsylvania, 1935–1937
Johnson Wax Headquarters, Racine, Wisconsin, 1936
First Jacobs House, Madison, Wisconsin, 1936–1937
Usonian homes, various locations, 1930s–1950s
Taliesin West, Scottsdale, Arizona, 1937
Herbert F. Johnson Residence ("Wingspread"), Wind Point, Wisconsin, 1937
Ben Rebhuhn House, Great Neck Estates, New York, 1938
Child of the Sun, Florida Southern College, Lakeland, Florida, 1941–1958, site of the largest
collection of the architect's work
First Unitarian Society of Madison, Shorewood Hills, Wisconsin, 1947
V. C. Morris Gift Shop, San Francisco, 1948
Kenneth Laurent House, Rockford, Illinois, only home Wright designed to be handicapped
accessible, 1951
Patrick and Margaret Kinney House, Lancaster, Wisconsin, 1951–1953
Price Tower, Bartlesville, Oklahoma, 1952–1956
Beth Sholom Synagogue, Elkins Park, Pennsylvania, 1954
 Annunciation Greek Orthodox Church, Wauwatosa,
Wisconsin, 1956–1961
Kentuck Knob, Ohiopyle, Pennsylvania, 1956
Marshall Erdman Prefab Houses, various locations, 1956–
1960
Marin County Civic Center, San Rafael, California, 1957–
1966
R.W. Lindholm Service Station, Cloquet, Minnesota, 1958 The Robie House on the
Solomon R. Guggenheim Museum, New York City, 1956– University of Chicago campus
1959 (1909)
Gammage Auditorium, Tempe, Arizona, 1959–1964

See also
Richard Bock
Frank Lloyd Wright Building Conservancy
Frank Lloyd Wright-Prairie School of Architecture Historic
District
Frank W. Thomas House, Oak
List of Frank Lloyd Wright works Park, Illinois (1901)
List of Frank Lloyd Wright works by location
Jaroslav Joseph Polivka
Roman brick
The 20th-century Architecture of Frank Lloyd Wright Taliesin West panorama,
(UNESCO World Heritage site) Scottsdale, Arizona (1937)
Category:Frank Lloyd Wright buildings

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Further reading

Wright's philosophy
 Hoffmann, Donald. Understanding Frank Lloyd Wright's Architecture. New York: Dover
Publications, 1995. ISBN 0-486-28364-X
Kienitz, John Fabian. "Fifty-two years of Frank Lloyd Wright's progressivism, 1893–1945 (http://
content.wisconsinhistory.org/cdm/ref/collection/wmh/id/16652)". Wisconsin Magazine of
History, vol. 29, no. 1 (September 1945):61–71.
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
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
Wright, Frank Lloyd (1947). Heywood, Robert B. (ed.). The Works of the Mind: The Architect.
Chicago: University of Chicago Press. OCLC 752682744 (https://www.worldcat.org/oclc/75268
2744).
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 0-8478-1546-3
Wright, Frank Lloyd. The Natural House. New York: Horizon Press, 1954.

Biographies
Alofsin, Anthony. Frank Lloyd Wright: the Lost Years, 1910–1922: A Study of Influence.
Chicago: University of Chicago Press, 1993.
Alofsin, Anthony. Wright and New York: The Making of America’s Architect. Yale University
Press, 2019. (https://yalebooks.yale.edu/book/9780300238853/wright-and-new-york)
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
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
Russell, Virginia L. "You Dear Old Prima Donna: The Letters of Frank Lloyd Wright and Jens
Jensen", Landscape Journal, 20.2 (2001): 141–155.
Seckel, Harry. "Frank Lloyd Wright (https://www.jstor.org/stable/25115006?read-now=1&seq=1
#page_scan_tab_contents)". The North American Review, vol. 246, no. 1 (1938): 48–64.
Secrest, Meryle. Frank Lloyd Wright: A Biography. New York: Knopf, 1992. ISBN 0-394-56436-
7
Treiber, Daniel. Frank Lloyd Wright. 2nd ed. Basel: Birkhäuser, 2008. ISBN 978-3-7643-8697-9
Twombly, Robert C. Frank Lloyd Wright: His Life and Architecture. New York: Wiley, 1979.
ISBN 0-471-03400-2
Wright, Frank Lloyd. Frank Lloyd Wright: An Autobiography. New York: Duell, Sloan and
Pearce, 1943.
Wright, Iovanna Lloyd. Architecture: Man in Possession of His Earth. Garden City, NY:
Doubleday, 1962.
 Wright, John Lloyd. My Father Who Is On Earth. New York: G.P. Putnam's sons, 1946. ISBN 0-
8093-1749-4
Frank Lloyd Wright (https://www.britannica.com/biography/Frank-Lloyd-Wright#ref248765) –
American Architect

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 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

Lind, Carla. Frank Lloyd Wright's Usonian Houses. San Francisco: Promegranate Artbooks,
1994. ISBN 1-56640-998-5
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 (https://www.archinform.net/arch/11.htm) at archINFORM
Frank Lloyd Wright Foundation official website (https://web.archive.org/web/20140604215218/
http://www.franklloydwright.org/)
Guide to the Photographs of Frank Lloyd Wright 1950 May 16 (https://www.lib.ncsu.edu/finding
aids/mss00031)
Taliesin Preservation (http://www.taliesinpreservation.org/), stewards of Wright's home Taliesin
The Frank Lloyd Wright Foundation Archives (http://library.columbia.edu/locations/avery/da/Fra
nkLloydWrightCollection.html) at Columbia University
Frank Lloyd Wright documents (https://www.wisconsinhistory.org/Records?terms=frank+lloyd+
wright) at the Wisconsin Historical Society
Frank Lloyd Wright Building Conservancy (http://www.savewright.org/)
Works by or about Frank Lloyd Wright (https://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 (https://web.archive.org/web/20190403124954/http
s://taliesin.edu/)
Frank Lloyd Wright Wisconsin Heritage Tourism Program (http://www.WrightInWisconsin.org/)
Frank Lloyd Wright (https://www.pbs.org/flw/) – PBS documentary by Ken Burns and resources
Frank Lloyd Wright. Designs for an American Landscape 1922–1932 (https://www.loc.gov/exhi
bits/flw/flw.html)
Frank Lloyd Wright Buildings Recorded by the Historic American Buildings Survey (https://ww
w.loc.gov/rr/print/list/103_flw.html)
Frank Lloyd Wright – Famous Interior Designers (https://www.stackedstonetile.com/interior-desi
gn-famous-designers/)
Complete list of Wright buildings by location (http://architecture.about.com/library/bl-wright-list.h
tm)
Sullivan, Wright, Prairie School, & Organic Architecture (http://www.artic.edu/research/archival-
collections/finding-aids-subject/sullivan-wright-prairie-school-organic)
Audio interview with Martin Filler on Frank Lloyd Wright (http://media.nybooks.com/111008-fille
r.mp3) from The New York Review of Books
Frank Lloyd Wright and Quebec (https://web.archive.org/web/20091003231419/http://cca.qc.ca/
en/collection/5-frank-lloyd-wright-and-quebec)
Frank Lloyd Wright (http://www.hrc.utexas.edu/multimedia/video/2008/wallace/wright_frank_llo
yd.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 (htt
p://worldmap.harvard.edu/maps/franklloydwright)
Map of the Frank Lloyd Wright works – Wikiartmap, the art map of the public space (http://en.wi
kiartmap.com/view/32052/-/-/frank_lloyd_wright.html)
Fay Jones and Frank Lloyd Wright: Organic Architecture Comes to Arkansas digital exhibit,
University of Arkansas Libraries (http://digitalcollections.uark.edu/cdm/landingpage/collection/j
oneswright)
Frank Lloyd Wright's Personal Manuscripts and Letters (http://www.shapell.org/Collection/Histo
rical-Figures/Wright-Frank-Lloyd)
Passive Solar Hemi-Cycle Home in Hawaii (https://panaviz.com/customers/SKM/FLW/?startsce
ne=0&startactions=lookat(0,0,120,0,0);), designed in 1954, built in 1995; only Wright home in
Hawaii. Interactive Tour.
Taylor A. Woolley Papers (https://collections.lib.utah.edu/search?q=uum_tawp/) at University of
Utah Digital Library (https://collections.lib.utah.edu/), Marriott Library Special Collections (http
s://lib.utah.edu/collections/special-collections/)
 Wright's Tokaido (https://www.youtube.com/watch?v=slaLKpqLruQ/)—FLLW's annotated
Hiroshige album—documentary at hiroshige.org.uk (https://www.hiroshige.org.uk/)

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This page was last edited on 10 May 2021, at 13:54 (UTC).

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