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Frank Lloyd Wright

From Wikipedia, the free encyclopedia
Frank Lloyd Wright

Wright in 1954
Frank Lincoln Wright
Born June 8, 1867
Richland Center, Wisconsin, U.S.
April 9, 1959 (aged 91)
Died
Phoenix, Arizona, U.S.
Nationality American
Alma mater University of Wisconsin–Madison
Occupation Architect
William Russell Cary Wright
Parent(s)
Anna Lloyd Jones
 RIBA Gold Medal
AIA Gold Medal
Awards
Twenty-five Year Award (4)
Order of the Star of Italian Solidarity
 Fallingwater
 Solomon R. Guggenheim
Museum
 Johnson Wax Headquarters
 Taliesin
 Taliesin West
 Robie House
 Imperial Hotel, Tokyo
 Darwin D. Martin House
 Unity Temple
 Ennis House
 Larkin Administration Building
Buildings  Dana-Thomas House
 Coonley House
 Marin County Civic Center
 First Unitarian Society of
Madison
 Price Tower
 Westcott House
 Monona Terrace
 Meyer May House
 Allen House
 Annunciation Greek Orthodox
Church

Usonian Houses
Projects
Broadacre City
Signature

Frank Lloyd Wright (born Frank Lincoln Wright, June 8, 1867 – April 9, 1959) was an
American architect, interior designer, writer and educator, who designed more than 1,000
structures, 532 of which were completed. Wright believed in designing structures that were in
harmony with humanity and its environment, a philosophy he called organic architecture. This
philosophy was best exemplified by Fallingwater (1935), which has been called "the best all-
time work of American architecture".[1] His creative period spanned more than 70 years.

Wright was the pioneer of what came to be called the Prairie School movement of architecture
and he also developed the concept of the Usonian home in Broadacre City, his unique vision for
urban planning in the United States. In addition to his houses, Wright designed original and
innovative offices, churches, schools, skyscrapers, hotels, museums and other structures. He
often designed interior elements for these buildings as well, including furniture and stained glass.
Wright wrote 20 books and many articles and was a popular lecturer in the United States and in
Europe. Wright was recognized in 1991 by the American Institute of Architects as "the greatest
American architect of all time".[1]

His colorful personal life often made headlines, notably for leaving his first wife, Catherine Lee
"Kitty" Tobin for Mamah Borthwick Cheney, the murders at his Taliesin estate in 1914, his
tempestuous marriage and divorce with second wife Miriam Noel, and his relationship with Olga
(Olgivanna) Lazovich Hinzenburg, whom he would marry in 1928.

Contents
 1 Early years
o 1.1 Ancestry
o 1.2 Childhood
o 1.3 Education (1885–1887)
 2 Early career
o 2.1 Silsbee and other early work experience (1887–1888)
o 2.2 Adler & Sullivan (1888–1893)
o 2.3 Transition and experimentation (1893–1900)
o 2.4 Prairie houses (1900–1914)
 3 Midlife problems
o 3.1 Family abandonment
o 3.2 Catastrophe at Taliesin studio
o 3.3 Divorce and further troubles
 4 Later career and styles
o 4.1 California and the textile block houses
o 4.2 Taliesin Fellowship
o 4.3 Mature organic style
o 4.4 Usonian Houses
o 4.5 Significant later works
o 4.6 Personal style and concepts
o 4.7 Influences and collaborations
 5 Other interests
o 5.1 Community planning
o 5.2 Japanese art
 6 Legacy
o 6.1 Death
o 6.2 Archives
o 6.3 Destroyed Wright buildings
o 6.4 Recognition
o 6.5 Family
 7 Selected works
 8 See also
 9 References
 10 Further reading
 o 10.1 Wright's philosophy
o 10.2 Biographies
o 10.3 Surveys of Wright's work
o 10.4 Selected books about specific Wright projects
 11 External links

Early years
Ancestry

Frank Lloyd Wright was born Frank Lincoln Wright in the farming town of Richland Center,
Wisconsin, United States, in 1867. His father, William Cary Wright (1825–1904),[2] was an
orator, music teacher, occasional lawyer, and itinerant minister. Frank Lloyd Wright's Welsh
mother was Anna Lloyd Jones (1838/39 – 1923), who met William Cary Wright while working
as a county school teacher, when William worked as the superintendent of schools for Richland
County.

Originally from Massachusetts, William Wright had been a Baptist minister, but he later joined
his wife's family in the Unitarian faith. Anna was a member of the large, prosperous and well-
known Lloyd Jones family of Unitarians, who had emigrated from Wales as a small Welsh
speaking community to Spring Green, Wisconsin. One of Anna's brothers was Jenkin Lloyd
Jones, who would become an important figure in the spread of the Unitarian faith in the Western
United States. Both of Wright's parents were strong-willed individuals with idiosyncratic
interests that they passed on to him.

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.[3] In 1870 the family
moved to Weymouth, Massachusetts, where William ministered to a small congregation.

In 1876, Anna visited the Centennial Exhibition in Philadelphia where she saw an exhibit of
educational blocks created by Friedrich Wilhelm August Fröbel. The blocks, known as Froebel
Gifts, were the foundation of his 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 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… "[4] Many of Wright's buildings are notable for their
geometrical clarity.

The Wright family struggled financially in Weymouth and returned to Spring Green, Wisconsin,
where the supportive Lloyd Jones clan 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, especially
the works of Johann Sebastian Bach, with his children.

Soon after Wright turned 14, his parents separated. Anna had been unhappy for some 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 physical affection. William left Wisconsin after the
divorce and Wright claimed he never saw his father again.[5] At this time he changed his middle
name from Lincoln to Lloyd in honor of his mother's family, the Lloyd Joneses.

Education (1885–1887)

Wright attended Madison High School, but there is no evidence of his graduation.[6] He was
admitted to the University of Wisconsin–Madison as a special student in 1886. There he joined
Phi Delta Theta fraternity,[7] took classes part-time for two semesters, and worked with a
professor of civil engineering, Allan D. Conover.[8] Wright left the school without taking a
degree, although he was granted an honorary Doctorate of Fine Arts from the University in 1955.

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 in the city. 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.[9] 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, Wisconsin.[10] 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.[11] 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.[12] 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.[13] 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".[14] 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.[15] 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 employees as
well.[16] 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").[17] He also formed a bond with office foreman Paul Mueller.
Wright would later engage Mueller to build several of his public and commercial buildings
between 1903 and 1923.[18]

Wright's home in Oak Park, Illinois

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?"[19] 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 house was built alongside for Wright and Catherine.[20]

According to an 1890 diagram of the firm's new, 17th-floor space atop the Auditorium Building,
Wright soon earned a private office next to Sullivan's own.[18] However, that office was actually
shared with friend and draftsman George Elmslie, who was hired by Sullivan at Wright's
request.[21] Wright had risen to head draftsman and handled all residential design work in the
office. As a general rule, Adler & Sullivan did not design or build houses, but they obliged when
asked by the clients of their 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 would later claim total responsibility for the design of
these houses, but careful inspection of their architectural style and accounts from historian
Robert Twombly suggest that it was Sullivan who 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.[21] During this time, Wright worked on Sullivan's bungalow (1890) and the
James A. Charnley bungalow (1890) both in Ocean Springs, Mississippi; the Berry-MacHarg
House (1891) and Louis Sullivan's House (1892) both in Chicago; and the most noted 1891
James A. Charnley House also in Chicago. Of the five collaborations, only the two commissions
for the Charnley family still stand.[22][23]

The Walter Gale House (1893) is Queen Anne in style yet features window bands and a
cantilevered porch roof which hint at Wright's developing aesthetics

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, occasional cantilevers, and open floor plans which would become hallmarks
of his later work. Eight of these early houses remain today, including the Thomas Gale, Robert P.
Parker House, George Blossom, and Walter Gale houses.[24]

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.[23] A variety of 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 and Sullivan office never to
return." Dankmar Adler, who was more sympathetic to Wright's actions, later sent him the
deed.[25] On the other hand, 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 illegal nature.[23][26] Regardless of the correct series of events, Wright and Sullivan did not
meet or speak for twelve years.
Transition and experimentation (1893–1900)

After leaving Louis Sullivan's firm, 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.
Although Cecil Corwin followed Wright and set up his architecture practice in the same office,
the two worked independently and did not consider themselves partners.[27]

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.[28] These young architects, inspired by the Arts and Crafts Movement and the
philosophies of Louis Sullivan, formed what would become known as the Prairie School.[29]
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.[30][31] In 1897 Wright received a patent
(#27,977) for "Prism Glass Tiles" manufactured by the Luxfer Prism Company that were used in
storefronts to direct light toward the interior.[32][better source needed] 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.

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

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), and Queen Anne style Charles E. Roberts House (1896).[33]While
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.[34]
Nathan G. Moore House (1895), Oak Park, Illinois

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, was a major proponent of the Beaux Arts movement,
thought that Wright was making a foolish mistake. Yet for Wright, the classical education of the
École lacked creativity and was altogether at odds with his vision of modern American
architecture.[35][36]

Wright's studio (1898) viewed from Chicago Avenue

Wright relocated his practice to his home in 1898 in order 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 — Catherine in 1894,
David in 1895, and Frances in 1898 — 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 was a poster for Wright's developing aesthetics and would become the
laboratory from which the next ten years of architectural creations would emerge.[37]

Prairie 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!"[38]

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.[39] Meanwhile, the
Thomas House and Willits House received recognition as the first mature examples of the new
style.[40][41] At the same time, Wright gave his new ideas for the American house widespread
awareness through two publications 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
project to improve modern house design. "A Home in a Prairie 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.[39]

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-stories with one-story projections, an open floor plan, low-pitched 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.[42]

Public buildings in the Prairie style include Unity Temple, the home of the Unitarian Universalist
congregation in Oak Park. As a lifelong Unitarian and member of Unity Temple, Wright offered
his services to the congregation after their church burned down in 1905. The community agreed
to hire him and he worked 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. Many architects consider it the world's first modern building, because of its
unique construction of only one material: reinforced concrete. This would become a hallmark of
the modernists who followed Wright, such as Mies van der Rohe, and even some post-
modernists, such as Frank Gehry.
Arthur Heurtley House (1902), Oak Park, IL

Darwin D. Martin House, Buffalo, New York

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

Many examples of this work are in Buffalo, New York as a result of a friendship between Wright
and Darwin D. Martin, an executive of the Larkin Soap Company. In 1902, the Larkin Company
decided to build a new administration building. Wright came to Buffalo and designed not only
the Larkin Administration Building (completed in 1904, demolished in 1950), but also homes for
three of the company's executives including the Darwin D. Martin House in 1904, and later, their
summer residence, the Graycliff Estate, also designed for Darwin D. Martin and his wife,
Isabelle. It was also in this style that the house of Cornell's chapter of Alpha Delta Phi literary
society was designed in the spring of 1900.[43]

Other Wright houses considered to be masterpieces of the late Prairie Period (1907–1910) are the
Frederick Robie House in Chicago and the Avery and Queene Coonley House in Riverside,
Illinois. The Robie House, with its soaring, cantilevered roof lines, supported by a 110-foot-long
(34 m) channel of steel, is the most dramatic. Its living and dining 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. It is sometimes called the "cornerstone of modernism".

Midlife problems
Family abandonment
Aerial photo of Taliesin, Spring Green, Wisconsin

Local gossips noticed Wright's flirtations, and he developed a reputation in Oak Park as a man-
about-town. His family had grown to six children, but Wright was not parental and he relied on
his wife Catherine to care for them. In 1903, Wright designed a house for Edwin Cheney, a
neighbor in Oak Park, and immediately took a liking to Cheney's wife, Mamah. Mamah Cheney
was a modern woman with interests outside the home. She was an early feminist and Wright
viewed her as his intellectual equal. The two fell in love, and they became the talk of the town, as
they often could be seen taking rides in Wright's automobile through Oak Park. Wright's wife,
Kitty, sure that this attachment would fade as the others had, refused to grant him a divorce.
Mamah had to live in Europe for two years in order to obtain a divorce from Edwin on the
grounds of desertion.[44]

In 1909, even before the Robie House was completed, Wright and Mamah Cheney met up in
Europe, leaving their spouses and children behind. By this point Wright "rejected" the Prairie
Style single-family house model of the upper-middle class, and hoped to work on more
democratic architecture.[45] He was not getting larger commissions for commercial or public
buildings, which frustrated him.

What drew Wright to Europe was the chance to publish a portfolio of his work with Berlin
publisher Ernst Wasmuth.[46] The resulting two volumes, titled Studies and Executed Buildings of
Frank Lloyd Wright, were published in 1911 in two editions, creating the first major exposure of
Wright's work in Europe. The work contained more than 100 lithographs of Wright's designs and
was commonly known 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, 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 Against the World"), was taken from the Welsh
poet Iolo Morganwg, 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.[47]

Catastrophe at Taliesin studio

On August 15, 1914, while Wright was working in Chicago, Julian Carlton, a male servant from
Barbados who had been hired several months earlier, set fire to the living quarters of Taliesin
and murdered seven people with an axe as the fire burned.[48] 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.[48] He was nearly lynched on the spot, but was
taken to the Dodgeville jail.[48] Carlton died from starvation seven weeks after the attack, despite
medical attention.[48]

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. In
1924, after the separation but while still married, Wright met Olga (Olgivanna) Lazovich
Hinzenburg at a Petrograd Ballet performance in Chicago. They moved in together at Taliesin in
1925, and soon Olgivanna was pregnant with their daughter, Iovanna, 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.[49] 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.[50] The charges were later dropped. During this period, Wright designed
Graycliff (1926–31), the summer estate of Isabelle and Darwin D. Martin.

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

Later career and styles

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 first used 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.[51] Typically Wrightian is the joining of the 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.[51] 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.[52]

Wright in 1926

With the Ennis House and the Samuel Freeman House (both 1923), Wright had further
opportunities to test the limits of the textile block system. He also designed a textile block house
for Aline Barnsdall, the Community Playhouse ("Little Dipper"), which was never constructed.
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.[53]

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). Twenty-three came to live and work that year, as
did many more in the years that followed. There has been considerable controversy over the
living conditions and education of the Fellows; recent books have given conflicting and often
unflattering pictures of their treatment.[54][55] The Fellowship has evolved into what is now the
Frank Lloyd Wright School of Architecture, an accredited school.[56]

Mature organic style

By the 1930s Wright's Organic style, as exemplified by the designs of Graycliff, Fallingwater
and Taliesin West, had fully matured.
Graycliff was a summer estate designed for his long-time patrons, Isabelle and Darwin D.
Martin. Created in Wright's high Organic style, Graycliff consists of three buildings set within
8.5 acres of landscape, also designed by Wright. Its site, high on a bluff overlooking Lake Erie,
inspired Wright to create a home that was transparent, with views through the building to the
lake beyond. Terraces and cantilevered balconies also encourage lake views, and water features
throughout the landscape were designed by Wright to echo the lake as well.

Fallingwater, Mill Run, Pennsylvania (1937)

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.[57] 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.[57] Kaufmann's own engineers
argued that the design was not sound. They were overruled by 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 and archives, it continues today as the site of the Frank Lloyd Wright School of
Architecture.
Wright is responsible for a series of concepts of suburban development united under the term
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. He continued developing the idea until his death.

Usonian Houses

Charles Weltzheimer Residence (1948) in Oberlin, Ohio

Main article: Usonia
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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 Usonian House. Although an
early version of the form can be seen in 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 sandwich walls
that consisted of layers of wood siding, plywood cores and building paper, a significant change
from typically framed walls. 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.

Intended to be highly practical houses for middle-class clients and designed to be run without
servants, A Usonian house often featured a small kitchen—a "workspace." This adjoined a
dining area and the main living area, which was outfitted with built-in seating and tables. 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. The diversity of the Usonian ideal can be seen in houses such as the Gregor
S. and Elizabeth B. Affleck House (1941) in Bloomfield Hills, Michigan, which projects over a
ravine; and the Hanna-Honeycomb House (1937) in Palo Alto, California, which features a
honeycomb planning grid. Gordon House, completed in 1963, was Wright's last Usonian design.

His Usonian homes set a new style for suburban design that influenced countless developers.
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

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

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)[58] 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 light fixtures to complement the geometric nature of the structure. 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.

Wright's Price Tower in Bartlesville, Oklahoma

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. It opened to the public in February 1956. 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 the state of Oklahoma.[59]

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.[60]

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.[61]

In 2007 a house design that Wright completed shortly before his death in 1959 was realized in an
energy-efficient form in the Republic of Ireland.[62]

Personal style and concepts

An open office area in Wright's Johnson Wax headquarters complex

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 very 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).

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 his philosophy of organic
architecture. 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.[63] 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
walls. By utilizing this large amount of glass, Wright sought to achieve a 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.[64] Wright
responded to the transformation of domestic life that occurred at the turn of the 20th century,
when servants became less prominent or completely absent from most American households, by
developing homes with progressively more open plans. This allowed the woman of the house to
work in her 'workspace', as he often called the kitchen, yet keep track of and be available for the
children and/or guests in the dining room. Much of modern architecture, including the early work
of Mies van der Rohe, can be traced back to Wright's innovative work.

Wright also designed some of his own clothing. His fashion sense was unique and he usually
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 ten are known to be extant.

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."[65]

Influences and collaborations

Wright-designed window in Robie House, Chicago (1906)

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[citation needed]
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.[66] But, as with any architect, Wright worked in
a collaborative process and drew his ideas from the work of others. In his earlier days, Wright
worked with some of the top architects of the Chicago School, including Sullivan. In his 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 and Paolo Soleri.

Other interests
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.[67]

His thoughts on suburban design started in 1900 with a proposed subdivision layout for Charles
E. Roberts entitled the "Quadruple Block Plan." This design strayed from traditional suburban lot
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.[68]

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.[69] 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."[70]
Notable community planning designs:

 1900–03 – Quadruple Block Plan, 24 homes in Oak Park, Illinois (unbuilt)

 1909 – Como Orchard Summer Colony, town site development for new town in the
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[71] (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.[72] 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".[73]

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.[72] 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,[72]
and to prominent museums such as the Metropolitan Museum of Art in New York.[74] He penned
a book on Japanese art in 1912.[74]

In 1920, however, rival art dealers began to spread rumors that Wright was selling retouched
prints; this 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, this marked the end of the high point of his
career as an art dealer.[74] 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.[72]

Wright continued to collect and deal in prints until his death in 1959, using prints as collateral for
loans, often relying upon his art business to remain financially solvent.[74]
The extent of his dealings in Japanese art went largely unknown, or underestimated, among art
historians for decades until, 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, in 1918-22.[74] These
discoveries, and subsequent research, led to a renewed understanding of Wright's career as an art
dealer.

Legacy
Death

On April 4th, 1959, Wright was hospitalized for abdominal pains and was operated on April 6th.
He seemed to be recovering but he died quietly on April 9th.[75]After his death Wright's legacy
was plagued with turmoil for years.[76] 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.[77]

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, about 40 large-scale architectural models, some 44,000
photographs, 600 manuscripts and more than 300,000 pieces of office and personal
correspondence. Most of these models were constructed for MoMA's retrospective of Wright in
1940.[78] In 2012, in order to guarantee a high level of conservation and access as well as to
transfer the considerable financial burden of maintaining the archive,[79] 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.[78]

Photographs and other archival materials are held by the Ryerson & 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[80] of which about 300 survive as of 2005. Four 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. The Ennis House in California
has also been damaged by earthquake and rain-induced ground movement. In January 2006, the
Wilbur Wynant House in Gary, Indiana was destroyed by fire.[81]

Imperial Hotel, Tokyo (1923)

In addition, other buildings were intentionally demolished during and after Wright's lifetime,
such as: Midway Gardens (1913, Chicago, Illinois) and the Larkin Administration Building
(1903, Buffalo, New York) were destroyed in 1929 and 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 in 1970; and the Banff National Park Pavilion (1914) in Alberta was
destroyed in 1938. The Imperial Hotel, in Tokyo (1922) survived the Great Kantō earthquake but
was demolished in 1968 due to urban developmental pressures.[82]

Recognition

1966 U.S. postage stamp honoring Frank Lloyd Wright

Later in his life and well after his death in 1959, Wright received much honorary recognition for
his lifetime achievements. He received a Gold Medal award from The Royal Institute of British
Architects (RIBA) 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 them?"[65] He was awarded
the Franklin Institute's Frank P. Brown Medal in 1953. He received honorary degrees from
several universities (including his "alma 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. Several of Wright's buildings have been proposed by the United States to be
UNESCO World Heritage sites.

'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 Paul 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.[citation needed]

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.[83] In 2004, one of the spires included in his design was
erected in Scottsdale.

Family

Frank Lloyd Wright was married three times and fathered seven children, four sons and three
daughters. He also adopted Svetlana Milanoff, the daughter of his third wife, Olgivanna Lloyd
Wright.[84]

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)

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

Another son and architect, John Lloyd Wright, invented Lincoln Logs in 1918, and practiced
extensively in the San Diego area. John's daughter, Elizabeth Wright Ingraham (d. 2013), an
architect in Colorado Springs, Colorado, was the mother of Christine, an interior designer in
Connecticut, and Catherine, an architecture professor at the Pratt Institute.[85]

Wright designed a house for David Samuel Wright, his son by his first marriage to Catherine,
and David's wife, Gladys.[86][87]

The Oscar-winning actress Anne Baxter was Wright's granddaughter. Baxter was the daughter of
Catherine Baxter, a child born of Wright's first marriage. Baxter's daughter, Melissa Galt,
currently lives and works in Atlanta as an interior designer.[85]

His step-daughter Svetlana (daughter of Olgivanna) and her son Daniel died in an automobile
accident in 1946. Her 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.

Selected works
Main article: List of Frank Lloyd Wright works

The Robie House on the University of Chicago campus

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

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

Gammage Auditorium viewed from one of the pedestrian ramps

Beth Sholom Synagogue, the only synagogue Wright ever designed

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

 Beth Sholom Synagogue, Elkins Park, Pennsylvania, 1954
 Child of the Sun, Florida Southern College, Lakeland, Florida, 1941–1958, site of the
largest collection of the architect's work
 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. Derby, New York, 1926
 First Jacobs House, Madison, Wisconsin, 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, Rockford, Illinois, only home Wright designed to be
handicapped accessible, 1951
 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, the last standing Wright designed hotel, Mason City, Iowa, 1910
 Price Tower, Bartlesville, Oklahoma, 1952–1956
 Frederick C. Robie Residence, Chicago, Illinois, 1909
 R.W. Lindholm Service Station, Cloquet, Minnesota, 1958
 Solomon R. Guggenheim Museum, New York City, 1956–1959
 Taliesin, Spring Green, Wisconsin, 1911 & 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

 Design portal

 Biography portal

 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
1.

 Brewster, Mike (July 28, 2004). "Frank Lloyd Wright: America's Architect". Business Week.
The McGraw-Hill Companies. Archived from the original on March 2, 2008. Retrieved January
22, 2008.
  Huxtable, Ada Louise, Frank Lloyd Wright: A Life, London: Penguin, 2004.
  Secrest, Meryle (1998). Frank Lloyd Wright: A Biography. University of Chicago Press.
p. 58.
  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.
  An Autobiography, by Frank Lloyd Wright, Duell, Sloan and Pearce, New York City, 1943,
p. 51
  Secrest, p.72
  "Phi Delta Theta Fraternity – Become the Greatest Version of Yourself". Phideltatheta.org.
Retrieved May 31, 2017.
  Secrest, p. 82
  Wright, Frank Lloyd (2005). Frank Lloyd Wright: An Autobiography. Petaluma, CA:
Pomegranate Communications. pp. 60–63. ISBN 0-7649-3243-8.
  "A brief Biography". Wright's Life + Work. Frank Lloyd Wright Foundation. 2010.
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  O'Gorman, Thomas J. (2004). Frank Lloyd Wright's Chicago. San Diego: Thunder Bay
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  Wright 2005, p. 69
  Wright 2005, p. 66
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  Wright 2005, p. 86
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  Tafel, Edgar (1985). Years With Frank lloyd Wright: Apprentice to Genius. Mineola, N.Y.:
Dover Publications. p. 31. ISBN 0-486-24801-1.
  Saint, Andrew (May 2004). "Frank Lloyd Wright and Paul Mueller: the architect and his
builder of choice" (PDF). Architectural Research Quarterly. Cambridge: Cambridge University
Press. 7 (2): 157–167. doi:10.1017/S1359135503002112. Retrieved March 16, 2010.
  Wright 2005, p. 97
  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: Pomegranate.
p. 4. ISBN 0-7649-1461-8.
  Gebhard, David; Patricia Gebhard (2006). Purcell & Elmslie: Prairie Progressive
Architects. Salt Lake City: Gibbs Smith. p. 32. ISBN 1-4236-0005-3.
  Wright 2005, p. 100
  Lind, Carla (1996). Lost Wright: Frank Lloyd Wright's Vanished Masterpieces. New York:
Simon & Schuster, Inc. pp. 40–43. ISBN 0-684-81306-8.
  O'Gorman 2004, pp. 38–54
  Wright 2005, p. 101
  Tafel 1985, p. 41
  Wright 2005, p. 112
  Wright 2005, p. 119
  Brooks, H. Allen (2005). "Architecture: The Prairie School". Encyclopedia of Chicago.
Chicago Historical Society. Retrieved May 25, 2010.
  Cassidy, Victor M. (October 21, 2005). "Lost Woman". Artnet Magazine. Retrieved May 24,
2010.
  "Marion Mahony Griffin (1871–1962)". From Louis Sullivan to SOM: Boston Grads Go to
Chicago. Massachusetts Institute of Technology. 1996. Retrieved May 24, 2010.
  The Steiner Agency Inc. Luxfer Prism Glass Tiles.
  O'Gorman 2004, pp. 56–109
  Wright 2005, p. 116
  Wright 2005, pp. 114–116
  Goldberger, Paul (March 9, 2009). "Toddlin' Town: Daniel Burnham's great Chicago Plan
turns one hundred". The New Yorker. Retrieved March 26, 2009.
  Frank Lloyd Wright Preservation Trust 2001, pp. 6–9.
  My Father: Frank Lloyd Wright, by John Lloyd Wright; 1992; page 35
  Clayton, Marie (2002). Frank Lloyd Wright Field Guide. Running Press. pp. 97–102.
ISBN 0-7624-1324-7.
  Sommer, Robin Langley (1997). "Frank W. Thomas House". Frank Lloyd Wright: A
Gatefold Portfolio. Honk Kong: Barnes & Noble Books. ISBN 0-7607-0463-5.
  O'Gorman 2004, p. 134
  "Prairie School Architecture". www.antiquehome.org. Retrieved May 31, 2017.
  Lui, Ann. "Cornell Architecture Myths: Busted". The Cornell Daily Sun. Retrieved May 31,
2017.
  Secrest, p. 207
  Storrer, William Allin (2007). The architecture of Frank Lloyd Wright : a complete catalog
(Updated 3rd ed.). Chicago: University of Chicago Press. p. xvii. ISBN 0226776204.
  Secrest, p. 202
  "Home Country". Unitychapel.org. July 1, 2005. Retrieved October 16, 2009.[dead link]
  "Mystery of the murders at Taliesin". BBC News.
  Secrest, p. 315–317.
  Minnesota Historical Society, Collections Up Close, "Frank Lloyd Wright Arrested in
Minnesota"
  American Treasures of the Library of Congress. "The Genius of Frank Lloyd Wright".
Library of Congress. Retrieved February 28, 2014.
  Lync Voice UC Industry News. "The Textile Block System [Concrete International]".
TMCnet. Retrieved February 28, 2014.
  Hines, Thomas S. (2010). Architecture of the sun : Los Angeles modernism, 1900-1970. New
York: Rizzoli. ISBN 9780847833207.
  The Fellowship: The Untold Story of Frank Lloyd Wright and the Taliesin Fellowship,
Harper perennial, 2007
  Frank Lloyd Wright's Taliesin Fellowship, Truman State University Press, 1999
  "Taliesin – Frank Lloyd Wright School of Architecture". taliesin.edu. Retrieved May 31,
2017.
  Twombly, Robert (1979). Frank Lloyd Wright His Life and Architecture. Canada: A Wiley-
Interscience. pp. 276–278.
  "The Frank Lloyd Wright Building". November 10, 2015. Retrieved May 31, 2017.
  National Park Service — National Historic Landmarks Designated, April 13, 2007
  "Monona Terrace Convention Center, history web page" (PDF). Retrieved May 31, 2017.
  "74 years later, Frank Lloyd Wright structure built at Florida Southern College". Building
Design & Construction Magazine. October 31, 2013. Retrieved July 16, 2015.
  Walsh, Jason. "Wright On - passivehouseplus.ie". Retrieved May 31, 2017.
  Frank Lloyd Wright. "In the Cause of Architecture, VI: The Meaning of Materials—Glass".
The Architectural Record, 64(July 1928), 10-16.
  Lind, Carla (1995). Frank Lloyd Wright's glass designs. San Francisco: Pomegranate
Artbooks. p. 57. ISBN 9780876544686.
  "Biography in Sound: Frank Lloyd Wright". Old Time Radio. Retrieved September 9, 2012.
  "The Magic of America", Marion Mahony Griffin
  Wrightscapes: Frank Lloyd Wright's Landscape Designs, Charles E. and Berdeana Aguar,
McGraw-Hill, 2002, p.344
  Aguar, Charles E.; Aguar, Berdeana (2002). Wrightscapes: Frank Lloyd Wright's
Landscape Designs. McGraw-Hill. pp. 51–56.
  "Undoing the City: Frank Lloyd Wright's Planned Communities". American Quarterly. 24
(4): 544. October 1972.
  "Undoing the City: Frank Lloyd Wright's Planned Communities". American Quarterly. 24
(4): 542. October 1972.
  Treasures of Taliesin: Seventy Seven Unbuilt Designs, Bruce Brooks Pfeiffer, Director of
the Frank Lloyd Wright Archive
  Cotter, Holland (April 6, 2001). "Seeking Japan's Prints, Out of Love and Need". New York
Times.
  Julia Meech. Frank Lloyd Wright and the Art of Japan: The Architect's Other Passion. New
York: Abrams, 2000.
  Reif, Rita (March 18, 2001). "Frank Lloyd Wright's Love of Japanese Prints Helped Pay the
Bills". New York Times.
  Huxtable, p.245
  "Frank Lloyd Wright Dies; Famed Architect Was 89". nytimes.com<!. April 10, 1959.
Retrieved May 12, 2010.
  Secrest, p. 213
  Robin Pogrebin (September 3, 2012), A Vast Frank Lloyd Wright Archive Is Moving to
New York New York Times.
  Robin Pogrebin (March 9, 2014), Models Preserve Wright's Dreams New York Times.
  The Architecture of Frank Lloyd Wright: A Complete Catalog, by William Allin Storrer,
University of Chicago Press, 1992 (third edition)
  "Preservation Online: Today's News Archives: Fire Guts Rare FLW House in Indiana".
Nationaltrust.org. Archived from the original on February 20, 2008. Retrieved October 16,
2009.
  Berstein, Fred A. "Near Nagoya, Architecture From When the East Looked West," New
York Times. April 2, 2006.
  "Oasis - Frank Lloyd Wright's Design for the Capitol". Arizona Library. Arizona Capitol
Museum. Retrieved November 27, 2014.[dead link]
  ascedia.com. "Taliesin Preservation, Inc. – Frank Lloyd Wright – FAQs".
Taliesinpreservation.org. Archived from the original on June 10, 2008. Retrieved October 16,
2009.
  Mann, Leslie (February 1, 2008). "Reflecting pools: Descendants follow in Frank Lloyd
Wright's footsteps". Chicago Tribune. Retrieved March 28, 2008.
  Kimmelman, Michael (October 2, 2012). "Wright Masterwork Is Seen in a New Light: A
Fight for Its Life". New York Times.

87.  Rose, Jaimee (March 14, 2009). "Growing up Wright". The Arizona Republic.

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". 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.
 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

 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.
 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.

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

Library resources about

Frank Lloyd Wright

 Resources in your library

 Resources in other libraries

By Frank Lloyd Wright

 Resources in your library
 Resources in other libraries

Wikimedia Commons has media related to Frank Lloyd Wright.

Wikiquote has quotations related to: Frank Lloyd Wright

 Frank Lloyd Wright Foundation Official Website

 Frank Lloyd Wright at Encyclopædia Britannica
 Taliesin Preservation, stewards of Wright's home Taliesin
 The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery
Architectural & Fine Arts Library, Columbia University, New York)
 Frank Lloyd Wright, Wisconsin Historical Society
 Frank Lloyd Wright Building Conservancy
 Works by or about Frank Lloyd Wright in libraries (WorldCat catalog)
 Frank Lloyd Wright Preservation Trust – FLW Home and Studio, Robie House
 Frank Lloyd Wright School of Architecture
 Frank Lloyd Wright Wisconsin Heritage Tourism Program
 Frank Lloyd Wright – PBS documentary by Ken Burns and resources
 Frank Lloyd Wright. Designs for an American Landscape 1922–1932
 Frank Lloyd Wright Buildings Recorded by the Historic American Buildings Survey
 Complete list of Wright buildings by location
 Sullivan, Wright, Prairie School, & Organic Architecture
 Audio interview with Martin Filler on Frank Lloyd Wright from The New York Review of
Books
 Article on the 50th anniversary of Wright's only automobile service station
 Frank Lloyd Wright and Quebec
 Frank Lloyd Wright 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
 Map of the Frank Lloyd Wright works - Wikiartmap, the art map of the public space
 Appearance on What's My Line?, June 3, 1956
 Fay Jones and Frank Lloyd Wright: Organic Architecture Comes to Arkansas digital
exhibit, University of Arkansas Libraries
 Chauncey L. and Johanna Griggs Residence, Tacoma Lakewood Washington 1945
 Frank Lloyd Wright's Personal Manuscripts and Letters

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 WorldCat Identities
 VIAF: 27148716
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 ISNI: 0000 0001 2100 0710
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