View Full Version : Mike Wallace Interviews Frank Lloyd Wright

April 8th, 2008, 05:36 PM

April 8th, 2008, 08:06 PM
Yo ablarc.

April 8th, 2008, 08:07 PM
Hi ablarc, you've been missed.

April 8th, 2008, 08:51 PM

April 8th, 2008, 09:02 PM
I especially loved when Wright asked, "You spell God with a G don't you?" and went on to say that he spells it with an "N" for nature.
Great interview.
And welcome back ablarc, we kept your room the same way you left it;)

April 8th, 2008, 09:10 PM
I knew Mike Wallace would be puffing away. Common motif for TV interviews of the time - black backgrounds and wispy trails of smoke.

A Lucky Strike Paradise.

April 8th, 2008, 09:23 PM
What gets me is Wright's utter lucidity. At age 88 he'd had an opportunity to think about everything, and he knew exactly what he thought. Obviously the way to stave off stupidity is to just keep on thinking. (And don't bother to suffer fools gladly; the mob isn't worth bothering with.)

April 8th, 2008, 10:30 PM
I know it's a cliche to say that Wright was a genius, but it's worth saying anyway: Frank Lloyd Wright was a genius, almost otherworldly. To see one of his buildings, in person, is to be transported to another dimension. This guy was so far ahead of the pack, he is still light years ahead of architects since.

April 8th, 2008, 10:52 PM
^ The truth.

April 8th, 2008, 11:04 PM
Great to see you back, ablarc.

April 9th, 2008, 03:15 AM
Mr. Wright was certainly a product of his times, although I do most certainly believe if someone restated the majority of his positions today they would be roundly derided as delusional.

Extraordinary interview. Especially intriguing to myself was the simple fact that Mr. Wallace was interviewing a prominent individual born in 1869.

April 9th, 2008, 07:41 AM
So long, Frank Lloyd Wright.
I can't believe your song is gone so soon
I barely learned the tune
So soon
So soon...

Simon and Garfunkel

In many ways Frank Lloyd Wright was not a product of times. Those homes and buildings he created during his Prairie period looked (to use a marvelous expression) "out of place," in the best meaning of that description, both then and now.

One of my personal joys in living in the Chicago area is being able to see many of those early works in the suburb of Oak Park, sitting beside the Victorians and looking quite different. And since my job often entailed returning to New York, I always take my pilgrimage to Guggenheim Museum the moment I arrive - a building at the end of his life and illustrative of yet another departure in his long arc that set him apart.

These days I see similarities between Marin County Courthouse in California, which happens to be near my second home, and the S.C. Johnson Wax building up the road from where I mostly reside for the present in Illinois, just over the border in Racine, Wisconsin.

If you see Johnson Wax building, you eventually will schedule a visit to Wingspread mansion, nearby. Or you go over to Spring Green, Wisconsin, to the first Taliesin in which Wright's creations were in service of teaching both students and apprendices, and then ... his clients. (This place has a dark history however.)

And the Wright-touch always looks intriguing and modern, yet all his own in the details.

I am not a fan of his tendency to be ego-maniacal in interviews. But that comes with the territory.

April 9th, 2008, 07:56 AM
Wright was a classic example, I think, of a truly talented person who wrongly assumed his talent gave him a right to be unbearably arrogant and correct in all his opinions.

Many of his buildings, in addition to being extremely inventive (not a quality I value as much as most in architecture, as you guys know by now) were also very pleasing to the eye. Others, in my very humble opinion, have been praised well beyond their actual worth (Johnson Wax building anyone?? The bloody NY Guggenheim??)

He did 'start' (or at least greatly furthered) the tradition for the legend-in-his-own mind starchitect.

Oh, and welcome back Ablarc, welcome back. Are you, like, capable, of starting a boring post/thread? :D

April 9th, 2008, 10:54 AM
Who let the mob in?

April 10th, 2008, 06:52 AM
^ the mob ye have always with you...

April 10th, 2008, 09:17 AM
I remember a Ken Burns film on PBS in the late 90s that focused on Wright's personal life.

It's available on DVD.


April 11th, 2008, 09:50 AM
Wright was a classic example, I think, of a truly talented person who wrongly assumed his talent gave him a right to be unbearably arrogant and correct in all his opinions.

OMG yes. I wanted to say something along those lines myself, but was afraid of the Archetectural Lynch Mob (complete with burning t-squares). ;)

Many of his buildings, in addition to being extremely inventive (not a quality I value as much as most in architecture, as you guys know by now) were also very pleasing to the eye. Others, in my very humble opinion, have been praised well beyond their actual worth (Johnson Wax building anyone?? The bloody NY Guggenheim??)

Fallingwater? Looks great, but he ignored things that would make it physically possible to construct (such as routing cantelever CONCRETE beams around natural rock formations that absolutely ruined their strength and stiffness. When you are trying to vault out over open space, you do not take your support beams and put a U-Bend in the middle of them!).

If it wasn't for the engineers putting extra steel in these suckers FW would have, well, FALLEN long ago. I respect his designs in the way they are composed, but have little respect for the way he did buisness.

He did 'start' (or at least greatly furthered) the tradition fo the 'asshole' legend-in-his-own mind starchitect.

Agreed. One sure sign of a mans ego is when he designs his buildings with doorways that are only tall enough to accomodate his own short stature, whether being designed for him or not.

Who the heck did he think he was designing for? Hobbits? ;)

Oh, and welcome back Ablarc, welcome back. Are you, like, capable, of starting a boring post/thread? :D

Ditto. And the question would be more whether he was Ready and Willing ratherthan Able.

I think the latter is what we ALL are capable of! ;)

April 11th, 2008, 11:28 AM
Are the originators of Ideas only as good as their initial execution?

Leonardo's Last Supper from tempera and oil on two layers of chalk gesso began peeling a mere 60 years after completion. Though every learned painter in the western world has been influenced by this 'painting', it's flaky execution brings into question every aspect of the work. Clearly overrated. Ever hear of 'fresco'?! What a hack.

Leonardo was so egotistical (or left handed) he wrote in a mirrored hand so others would have difficulty reading his notes. That alone disqualifies his thinking about comparative anatomy, and should cause deep suspicion of all his life's work.

That François I is reported by Cellini to have said twenty years after Leonard's death:
"There had never been another man born in the world who knew as much as Leonardo, not so much about painting, sculpture and architecture, as that he was a very great philosopher." is no different from the AIA in 1991 declaring Wright:
"The greatest American architect of all time."
Just blowhards in powerful positions making pronouncements to feel important.

Wright's obvious egomaniacal tendencies are evident in his appraisal of his own work written in 1953:
“I know well that my buildings see clearly not only the color, drift and inclination of my own day but feed its spirit. All of them seek to provide forms adequate to integrate and harmonize our new materials, tools and shapes with the democratic life-ideal of my own day and time. Thus do I know work that is for all time.” The gall!

We need to embrace and release the undue respect that is paid to FLW.

A mile high skyscraper? Get real! That's as likely as a flying machine.

May 9th, 2008, 10:59 PM
Rainy night, flipping through TV channels.

Stumbled on an old movie, nothing much. More a talk-fest, given the director's radio work.

Five (1951). Written, produced, and directed by Arch Oboler (http://en.wikipedia.org/wiki/Arch_Oboler). The entire cast was four men and a woman, and was shot for something like $75,000. It's notable as the first post-nuclear-apocalypse film, and the use of Oboler's own Gatehouse (http://www.waymarking.com/waymarks/WM1234) as the main set.

The gatehouse was the only completed structure of several for which Obelor commissioned Frank Lloyd Wright.

I couldn't find any good photos of the gatehouse, but I happened across a site with some of Wright's work.


May 10th, 2008, 11:26 AM
The entire cast was four men and a woman,
there was also a baby.

May 10th, 2008, 02:15 PM
Speaking of film, but in a different vein, King Vidor's The Fountainhead has a lead character, Howard Roarke (Gary Cooper), who resembles in many respects Frank Lloyd Wright. The book upon which this film is based, was written by Ayn Rand.

http://www.artsjournal.com/artopia/images/143784~The-Fountainhead-Posters.jpg http://www.fantasticfiction.co.uk/images/n6/n33891.jpg
left - Courtesy of Artropia; right - Courtesy Fantastic Fiction

Rand and Wright, and her book, did occupy the same space in time. The particulars, however, were somewhat complicated. Few could tell this story accurately, due to unavailable sources. Enter The Atlas Society, a preserver of extant materials from Ayn Rand. In a famously drafted piece, they overview Wright and Rand, as it relates to The Fountainhead. Ahead is an extended excerpt from the work of that group (I've taken the liberty of using photos from other sources):

Wright and Rand

by Peter Reidy

Never religious, Ayn Rand was as potently spiritual as any writer; she knew how to speak in a thoroughly earthly way to those aspirations that have traditionally been religion's business. And she herself found these aspirations realized in, among other sources, the buildings and writings of the American architect Frank Lloyd Wright (1867-1959).

Wright and Rand

That Wright stands somewhere in the background of The Fountainhead has been a common impression for as long as the novel has been in print, and the publication of the author's letters and journals in the past few years has confirmed this. One reason the book is not a roman à clef, however, is that the borrowings from Wright are so small next to Rand's fictional inventions; another is that she already knew what she was looking for before she discovered Wright. In a 1932 letter to actor Colin Clive, she wrote:

You see, I am an atheist and I have only one religion: the sublime in human nature. There is nothing to approach the sanctity of the highest type of man possible and there is nothing that gives me the same reverent feeling, the feeling when one's spirit wants to kneel, bareheaded. Do not call it hero-worship, because it is more than that. It is a kind of strange and improbable white heat where admiration becomes religion, and religion becomes philosophy, and philosophy — the whole of one's life. (Letters of Ayn Rand [henceforth LAR], ed. Michael S. Berliner, New York: Dutton, 1995, p. 16.)

Courtesy John Petrie

When she made her first approach to Wright, Rand clearly believed that she had found that ideal made real.

[The story of human integrity] is what you have lived. And to my knowledge, you are the only one among the men of this century who has lived it. I am writing about a thing impossible these days. You are the only man in whom it is possible and real. It is not anything definite or tangible that I want from an interview with you. It is only the inspiration of seeing before me a living miracle — because the man I am writing about is a miracle whom I want to make alive. (LAR, p. 109.)

The outlines of the Rand-Wright story are familiar from the former's Journals and Letters and from Barbara Branden's biography (The Passion of Ayn Rand, Garden City, N.Y.: Doubleday, 1986). Novelist approached architect repeatedly for an interview, and each time she got what must have been a hurtful and frustrating brush-off from her hero. In the end, she finished The Fountainhead without his help and, so far as any biographical data establish, without having seen one of his buildings in person. She did, however, make extensive notes on his published writings, especially his Autobiography and his 1930-31 Kahn lectures at Princeton.

The two finally met at length after The Fountainhead was published (though before Wright had read it), and in time they became friends: Rand and her husband visited Wright at his home, Taliesin, in 1945. Among the probable souvenirs of that trip is one of her rare appreciations of natural beauty, Atlas Shrugged's description of the southern Wisconsin autumn. Still, for various reasons, none of the proposed Rand-Wright ventures ever came off — not the purchase of the 1924 Storer house in Los Angeles, nor the building of a new house in Connecticut, nor the designs for the screen version of the novel.

Courtesy Chabot College

Wright seems to have been interested in the movie commission. Years later, Mildred Rosenbaum, an Alabama client of Wright's, told this author that during a 1947 visit to Taliesin, Wright asked her husband Stanley (owner-manager of a chain of movie theaters) what the charge for such a job should be. Rosenbaum declined to give advice, saying he knew only the exhibiting and not the producing end of the business. Their son Alvin writes in Usonia: Frank Lloyd Wright's Design for America (Washington, Preservation Press, 1993, p. 166) that Rand herself was due at Taliesin that weekend to make her final plea to Wright, but for one reason or another she did not show up. In the event, Wright did not take the job, and the mostly insipid, sometimes ludicrous, modernism that got to the screen is among the movie's disappointments. In a 1949 article for the design magazine Interiors, architectural critic George Nelson gleefully but astutely trashed the designs, prompting Wright to telegram the magazine:


However, Nelson based his derision on drawings; mercifully, the designs go by too quickly on the screen for most of his points to be apparent — and this was Rand's own directorial suggestion, according to Michael Paxton's documentary Ayn Rand: A Sense of Life.


Pointing out similarities between fiction and fact was not, as readers of the Letters know, the way to Ayn Rand's heart. She insisted that looking for such contingencies, apart from the significance she gave them as an artist, was the wrong way to understand a story (LAR, p. 492), and as literary consumers we have every reason to take her advice. Still, such particulars make an interesting footnote to our record of two of the most interesting personalities and several of the greatest works of art we could hope to find.

Buildings and their sites. A foremost principle of Wright's aesthetic is fittedness to the site: a building ought to follow the shape of the earth and convince the viewer that neither this building nor this piece of ground could have come about without the other. We read of Taliesin:

I knew well by now that no house should ever be on any hill or on anything. It should be of the hill, belonging to it, so hill and house could live together each the happier for the other... . The lines of the hills were the lines of the roofs. The slopes of the hills their slopes, the plastered surfaces of the light wood-walls, set back into shade beneath broad eaves, were like the flat stretches of sand in the river below and the same in color, for that is where the material that covered them came from. (An Autobiography [henceforth A], in vol. 2, Collected Writings, New York: Rizzoli, 1992, pp. 224-27.)

Our first sight of Howard Roark's architecture is a drawing Wright would have approved:

It was as if the buildings had sprung from the earth and from some living force, complete, unalterably right... . Not a line seemed superfluous, not a needed plane was missing... . He had designed [them] as an exercise he had given himself, apart from his schoolwork; he did that often when he found some particular site and stopped before it to think of what building it should bear. (Ayn Rand, The Fountainhead [henceforth F], New York: Scribner, 1986, p. 7.)

Years later, at Monadnock Valley, he has not forgotten this principle:

[N]o artifice had altered the unplanned beauty of the graded steps. Yet some power had known how to build on these ledges in such a way that the houses became inevitable, and one could no longer imagine the hills as beautiful without them. (F, pp. 528-29.)

Neoclassicism. Another parallel: Roark explains to the Dean what is wrong with doing classical styles in the twentieth century: the outcome is a concrete-and-steel imitation of a marble imitation of a wooden original, a point Wright had made in both his Princeton lectures and his Autobiography, characteristically taking paragraphs to say what Roark says in a few sentences. (Modern Architecture, Being the Kahn Lectures at Princeton University [henceforth KL], in vol. 2 of Collected Writings, p. 48; also, A, p. 373.)

Mentors. On leaving school, Roark goes to work in New York. His first employer, Henry Cameron, had once been the preeminent American architect, but alcohol and changing fashions (a result of the 1893 Columbian Exposition) have virtually ended his career. This is just the story of Wright's "Lieber Meister," Henry Louis Sullivan, except that Wright was at Sullivan's office during the glory days, around 1890, rather than during his mentor's long decline.

Integrity. A scene readers of The Fountainhead do not forget is the one in which Roark, with his practice at stake, turns down a lucrative bank commission rather than change the design he has offered. For most of the scene's length it closely parallels one in Sullivan's life when he was in similar straits: The directors of a Midwestern bank asked him to change his proposal in ways he could not condone and, like Roark, he refused, but the outcome was happier. Seeing his determination, the board relented. (See the reference to Hugh Morrison's Louis Sullivan, in "Flourishing Egoism," a paper by Lester Hunt.)

Structures. Three of Wright's buildings found their way with fair exactness into The Fountainhead. The earliest was Unity Temple, a 1906 Unitarian church and "temple to man" (A, p. 212) in Oak Park, Illinois. Like Roark at the Stoddard Temple (F, 343), Wright fit the building to human scale and to the lines of the earth, and used no traditional religious imagery anywhere. Steven Mallory's statue is an invention, but Wright collaborated with the sculptor Richard Bock on several buildings, most notably the Dana house in Springfield, Illinois. (Nowadays, the building is called "Dana-Thomas," after a subsequent owner.)

In 1929 came the St. Mark's Tower, an apartment-hotel for New York. Rand's description of the Enright House (F, 237-38), an aggregation of distinct forms growing like a crystal, would have suited this building well. Although the project fell victim to the Depression and was never built, Rand would have seen a drawing of it in Wright's autobiography, and the reader first comes across Roark's building as a drawing in a newspaper. In 1953, the architect revived the design for the Price Tower in Bartlesville, Oklahoma.

Wright's best-loved building is Fallingwater, a 1936 country house outside of Pittsburgh. Like the Wynand house (F, 610), it is a composition of interlocking terraces at water's edge (a waterfall in fact, a lake in fiction), culminating in a rough stone chimney. Wynand has no counterpart in Wright's life, although Wynand's decision, late in the story, to champion Roark's architecture resembles what Henry Luce was doing for Wright in Time, Life, and Architectural Record in the 1930s.

Miscellaneous incidents. Several small incidents in The Fountainhead also have real-life parallels.

(1) As Rand notes in her journals, the intimate, late-night camaraderie of sculptor, model, and architect at the site of the Stoddard Temple echoes Wright's account of the Midway Gardens, an indoor/outdoor entertainment complex in Chicago. The trashing of the Stoddard Temple is somewhat reminiscent of Wright's sad account of Midway's decline — "a distinguished beautiful woman dragged to the level of the prostitute" — as a result of indifferent ownership and, finally, Prohibition, which drove nightlife underground.

(2) When a sudden insight tells Roark that the ill-fated Sanborn residence needs another wing, he redesigns the house. His unsympathetic clients balk at the change, and he ends up paying for it himself. Wright tells a similar story of how he came to articulate the corner stair towers from the rest of the building at the Larkin offices in Buffalo, but he had a more reasonable client and the story a happier ending. (A, p. 210.)

(3) Roark spends a winter camped out in Pennsylvania while building Monadnock. Wright did the same in Arizona designing the San Marcos-in-the-Desert hotel. But while Roark and his crew roughed it, with time and energy only for work, the bon-vivant Wright put up a wood-and-canvas colony that, to judge from photos and from his own memories, must have been one of his most exuberant buildings. On the other hand, Monadnock saw the light of day, while San Marcos remains perhaps the most regretted of the "office tragedies," as he called his unrealized projects.

Important to Rand's plot is the architectural ghosting whereby Roark more than once saves Peter Keating by designing anonymously for him. Wright sometimes insinuated that he had played such a role at the Arizona Biltmore. (See Brendan Gill's Many Masks, New York, Putnam's, 1987, pp. 304-05) but not in the Autobiography. For the record, the builders hired him as a consultant in the use of reinforced concrete block (in the end not using his method), and scholars still disagree as to what more he might have contributed. A liklier source for Rand would be the 1907 novel Comrade John by Samuel S. Merwin and Henry K. Webster, whose Calumet K she named as her favorite novel. Comrade John is at once a suspense story and a satire of Elbert Hubbard and the Roycrofters, turn-of-the-century flower children who produced some notable examples of the American Arts-and-Crafts style in their upstate-New York workshops. As the novel opens, Herman Stein, a mix of Übermensch and medicine-show charlatan, hires John Chance, an amusement park specialist, to ghost "Beechcroft," the movement's headquarters and mother church. Not only is Chance to deliver designs that Stein will pass off as his own, but he and his crew are to go undercover, posing as Beechcrofters in order to foster the cultists' illusion that their own none-too-strenuous pursuit of "beauty through toil" actually put the buildings up.

Ad Astra per Aspera

Through much of The Fountainhead Roark struggles mightily to establish his career and build as he sees right, even to make a living. This is one part of a more complicated story Wright tells about himself, but even in its milder form it is biographically questionable. Once she got to know him, Rand made regretful note of Wright's preoccupation with making an impression on people. Without the advantage of the decades of scholarship at hand today, she could not have known that his writings show this same penchant for hype.

In a story she notes in her journals, Nathan Moore came to Wright in 1894 and asked for a more conventional house than others the architect had built, so that Moore would not become an outcast who had to take the back way to the train each morning. Having a family to support, Wright gave in and, to his everlasting regret, served up Victorian Tudor. This is flattering to the architect, implying that in his twenties, a year into independent practice, he was already the accomplished revolutionary, with finished buildings to prove it, and needed only clients who were up to his vision in order to turn out more of them. In fact, the young Wright, like the young Beethoven, produced excellent work in a variety of inherited styles, straining at their bounds and finally breaking out a few years after thirty; his Eroica is the 1901 Willits house in Highland Park, Illinois. The Moore residence is simply one of many youthful experiments. (An interesting sequel, not in his memoirs, is that when fire damaged the house thirty years later and the Moores asked him to rebuild, the mature Wright gave them an amazing blend of his early Tudor and the heavy, exotic style he was using at the time in Tokyo and Los Angeles.)

Certain contractors and fabricators, Wright recalls and Rand notes, would have nothing to do with a design once they recognized it as his. The scholarly record shows that contractors always had reservations about bidding on a Wright building, even in his lionized old age, because he experimented constantly with new materials, techniques, and details — nearly always to his clients' greater expense and not always to the buildings' benefit. Rand's own letters attest to this. In 1944, she wrote to Gerald Loeb that she and her husband were considering buying the Storer house in Los Angeles, but it was "in terrible condition." They consulted Lloyd Wright, son of Frank Lloyd Wright and himself an important architect, about the cost of a restoration. A house that needs an architect-supervised restoration at the age of twenty years must have been badly built in the first place, and for a variety of reasons the textile-block houses of the 1920s were. They all went to at least twice budget and have been maintenance horrors ever since.

More often than refusing to work on his buildings, contractors simply bid very high on them, for the extra time they knew they would need. Thus, far more clients (including the O'Connors) turned down Wright's finished designs for cost reasons than for their unconventionality.

At times, Wright talks about himself in terms that readers of The Fountainhead will recognize. Recalling the years when he created his first great houses, he wrote:

And would the young man in architecture ever believe that this was all "new" then? Not only new, but destructive heresy, or ridiculous eccentricity. So new that what little prospect I had of ever earning a livelihood by making houses was nearly wrecked... . Oh, they called them all sorts of names that cannot be repeated, but "they" never found a better term for the work unless it was "horizontal Gothic," "temperance architecture" (with a sneer), etc., etc. (KL, p. 54.)

Courtesy Screenrush.co.uk

BTW, this film scene from The Fountainhead,
with Gary Cooper and Patricia Neal - also had an off-screen dimension,
that nearly broke up a marriage, - Z

Wright claims, without giving details, that he lost jobs over his refusal to use sash-hung windows ("guillotine" was his term) instead of the outward-swinging casements he preferred, but the record shows no documented instance in which he lost a commission, as Roark did, over a refusal to give clients the styles they wanted. Those who were in the market for historical revivals did not come to Wright in the first place.

Just as often and less dramatically, Wright treats his tribulations as a normal cost of the prosperity and professional success that he enjoyed from the start. Like Roark, if clients wanted something unsuitable, Wright dealt with them by persuasion, and the extent of his built work shows how good he was at it. One of his most charming accounts of this is from a recollected conversation with an "exponent" of the Chicago World's Fair, in which he had refused to participate:

Ex: "Frank, I don't know how you feel about it. But I believe if a client wants a door here or a window there I give it to him. If he wants this or that room here or there or so big, he gets it and where he wants it. And after the thing is all together, if I can't make architecture out of the thing I camouflage the whole business. I am camouflaging a house now."

W: "Easy enough, but on that basis, Ray, any contractor could do for your client all you do. Any fool decorator can camouflage. Where do you come in as an architect?"

Ex: "All right, then, how do you get your houses built? By telling the owner what he's got to do? Or do you hypnotize him?"

W: "Yes, I hypnotize him. There is nothing so hypnotic as the truth. I show him the truth about the thing he wants to do as I have prepared myself to show it to him. And he will see it. If you know, yourself, what should be done and get a scheme founded on sensible fact, the client will see it and take it, I have found." (A, p. 361. "Ray" would be Raymond Hood, whom Rand discusses so disapprovingly in J, pp. 149-52) ...

Copyright 1990-2005, The Atlas Society. All rights reserved. (http://www.objectivistcenter.org/cth--24-Wright_Rand.aspx)

May 10th, 2008, 05:57 PM
I still chuckle every time I see Ms. Neal's bunny fur(!) trimmed velvet sheath. :confused: :confused: :confused:

May 13th, 2008, 12:05 PM

The American Institute of Architects (AIA) has designated seventeen American buildings designed by Frank Lloyd Wright to be retained as an example of his architectural contribution to American culture.

Click on image for more about each building.

Frank Lloyd Wright Residence (1889), Oak Park, Illinois.

Wright constructed this house for himself and his family while working for the Chicago firm of Adler and Sullivan. Surfaced with wood shingles, it is the oldest extant building attributed wholly to Frank Lloyd Wright.

http://www.delmars.com/wright/flwaia1.jpg (http://www.delmars.com/wright/flw8-1.htm)

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

The Winslow House was Wright's first independent commission after leaving the offices of Adler & Sullivan. Although the design is related to his work with Adler & Sullivan, some scholars think the Winslow House is his first "mature and original" building.

http://www.delmars.com/wright/flwaia2.jpg (http://www.delmars.com/wright/flw8-2.htm)

Ward W. Willets House (1901), Highland Park, Illinois

The Willits House was the first house to embody all the classic elements of the Prairie style. Wright believed that the "space within the building was more important than its enclosure," and, with this house, he "opened the box."

http://www.delmars.com/wright/flwaia3.jpg (http://www.delmars.com/wright/flw8-3.htm)

Unity Church (1904), Oak Park, Illinois

Unity Church was the "first significant American architectural statement in poured concrete." Wright's use of concrete was truly original, and Unity Church introduced this type of construction on a grand scale.

http://www.delmars.com/wright/flwaia4a.jpg (http://www.delmars.com/wright/flw8-4.htm)

Frederick C. Robie House (1906), Chicago, Illinois

The Robie House is considered Wright's masterpiece of the Prairie Style. Concealed, cantilevered steel beams create long, uninterrupted spaces that extend through windows onto porches and balconies, making walls disappear.

http://www.delmars.com/wright/flwaia5.jpg (http://www.delmars.com/wright/flw8-5.htm)

Hollyhock House (1917), Los Angeles, California

The Aline Barnsdall "Hollyhock House", built about 1920, was named for its ornamental forms. The structure's monumentality and decorative elements evoke the architecture of the Maya which Wright admired as "mighty, primitive abstractions of man's nature."

http://www.delmars.com/wright/flwaia6a.jpg (http://www.delmars.com/wright/flw8-6.htm)

Taliesin III (1925ff), Spring Green, Wisconsin

The residence of Wright and his family and, later, the summer home of the Taliesin Fellowship, Taliesin rests on the brow of a hill overlooking a valley of the Wisconsin River. Taliesin has been described as the architect's "autobiography in wood and stone."

http://www.delmars.com/wright/flwaia7.jpg (http://www.delmars.com/wright/flw8b.htm)

Fallingwater (1935), Bear Run, Ohiopyle, Pennsylvania

In Fallingwater, which was built as a weekend retreat for Edgar J. Kaufmann, we see Wright's greatest expression of "organic architecture" --the union of the structure and the land upon which it is built. Fallingwater is considered Wright's masterwork.

http://www.delmars.com/wright/flwaia8.jpg (http://www.delmars.com/wright/flw8-8.htm)

Honeycomb House (1936), Stanford, California

This Usonian house built for Paul R. Hanna is planned on a hexagonal grid system with most walls meeting at 120-degree angles. Many interior walls are wood and can be easily assembled or disassembled for reconfiguration of living space.

http://www.delmars.com/wright/flwaia9b.jpg (http://www.delmars.com/wright/flw8-9.htm)

S. C. Johnson Administration Building (1936), Racine, Wisconsin

The "great workroom" of the Johnson Building has been called one of Wright's most "astonishing" spaces. The slender, hollow concrete columns are each capable of supporting six times the weight imposed on them.

http://www.delmars.com/wright/flwaia10.jpg (http://www.delmars.com/wright/flw8-10.htm)

Taliesin West (1937ff), Scottsdale, Arizona

Taliesin West, the winter home of Frank Lloyd Wright and the Taliesin Fellowship, appears to be part of the surrounding desert and mountain landscape. It is considered his "most dramatic assimilation of a building into a natural environment."

http://www.delmars.com/wright/flwaia11.jpg (http://www.delmars.com/wright/flw8-11.htm)

S. C. Johnson Research Tower (1944), Racine, Wisconsin

Utilizing principles of design and construction that he initially conceptualized in the 1920's, the Research Tower was Wright's first cantilevered high-rise structure. Together with the earlier Administration Building, it is considered one of his greatest designs.

http://www.delmars.com/wright/flwaia12.jpg (http://www.delmars.com/wright/flw8-12.htm)

Unitarian Church (1947), Shorewood Hills, Wisconsin

Wright believed that light and a "geometric type of space" allowed a structure "to achieve the sacred quality particular to worship." The plan and roof of this church are triangular and impart a reverential quality "without recourse to the steeple."

http://www.delmars.com/wright/flwaia13.jpg (http://www.delmars.com/wright/flw8-13.htm)

V. C. Morris Gift Shop (1948), San Francisco, California

The fortress-like facade of the rectangular structure that surrounds this retail space protects the contents within, yet invites visitors to enter. The interior's circular mezzanine, spiral ramp and sensuous surfaces contrast dramatically with the simplicity of the exterior.

http://www.delmars.com/wright/flwaia14.jpg (http://www.delmars.com/wright/flw8-14.htm)

Price Company Tower (1952), Bartlesville, Oklahoma

With the Price Tower, which rises 221 feet above the Oklahoma prairie, Wright expresses the organic ideal of the tree. A tap-root foundation solidly anchors the building to its site, and cantilevered floors hang like branches from the structural core of reinforced concrete.

http://www.delmars.com/wright/flwaia15.jpg (http://www.delmars.com/wright/flw8-15.htm)

Beth Sholom Synagogue (1954), Elkins Park, Pennsylvania

The glass walls of this tent-like structure are suspended from a steel tripod frame that allows the sanctuary to soar to a height of 100 feet without internal supports. Wright wanted to create the "kind of building in which people, on entering it, will feel as if they were resting in the hands of God."

http://www.delmars.com/wright/flwaia16.jpg (http://www.delmars.com/wright/flw8-16.htm)

Solomon R. Guggenheim Museum (1956), New York, New York

Of the museum's interior Wright said, "We are not building a cellular composition of compartments, but one where all is one great space on a continuous floor... no meeting of the eye with angular or abrupt changes of form..." It has been called one of the great architectural spaces of the 20th century.

http://www.delmars.com/wright/flwaia18.jpg (http://www.delmars.com/wright/flw8-17.htm)



Wright on the Web. Seventeen Buildings Honored by the American Institute of Architects. (http://www.delmars.com/wright/flw8.htm)

May 13th, 2008, 12:07 PM
From television to film to books – what about a play?

There is Frank’s Home, a play I was able to see free last year as a gift from the people I had worked with in Chicago. I probably talked too much about Frank “Lincoln” Wright as I preferred to label him, and planned one too many trips away from my given tasks just to take in a Wright building here, and another one there.

Admittedly, Frank’s Home was not a particularly engrossing play, but it has its moments. Here we have a quick reference that could also be found in the local Chicago Reader. (One small note about detail – Louis Sullivan was from Boston, not Chicago.)


Robocop channels Frank Lloyd Wright

Peter Weller to star as Frank Lloyd Wright, with Harris Yulin as Louis Sullivan, in Frank's Home, a new play by Richard Nelson, directed by Robert Falls, that has its premiere at Chicago's Goodman Theatre in December.

-by Lynn Becker

Peter Weller, the actor whose film work ranges from Robocop to David Cronenberg's Naked Lunch, will play Frank Lloyd Wright in the Goodman Theatre production of Frank's Home, which begins previews on November 25th, with a run from December 5th through the 23rd.


The play is written by Richard Nelson, whose musical adaptation of James Joyce's short story, The Dead, was an intimate Broadway triumph in 1999, and it's being directed by the legendary Robert Falls, fresh from his recent staging of King Lear with Stacy Keach.

The play takes place at a turning point in Wright's life, in the late summer of 1923, at as the architect has moved from Chicago to California to work on a commission for a Beverly Hills home for Aline Barnsdall, whose iconic Hollyhock house was completed two years before [for a visual, select this house from list of 17 in prior post – Z]. On September 1st, the great Tokyo earthquake left in question the fate of Wright's Imperial Hotel. "I am greatly agitated over the news from Tokyo," Sullivan is writing his friend on September 3rd. "The calamity is terrible to think of."

The relationship between Wright and Sullivan, which, after a long estrangement that followed Sullivan's firing of his young protege for taking on outside commissions on the sly, ending in what was probably the most enduringly affectionate relationship in Wright's long life. In Frank's Home, Sullivan is to be played by veteran character actor Harris Yulin, last seen here in Goodman's production of Arthur Miller's last completed play, Finishing the Picture, in 2004.

Wright provided Sullivan with support, both moral and monetary, during the elder architect's long, sad, final decline. "Your letter, mailed at sea, reached me this morning," Sullivan wrote to Wright at the Imperial Hotel, then under construction. "To find a cheque in it positively paralyzed me, for I was at the very end of my string." The correspondence is reprinted in Frank Lloyd Wright, Letters to Architects, edited by Bruce Brooks Pfeiffer.


That past June, Sullivan had been evicted from his offices in the Auditorium Building. "My stuff went to warehouse yesterday," Sullivan wrote, "and I turned over my office key." By August of 1921, Sullivan's desperation had only increased: "I have just cabled you as follows: 'Am in trouble. What can yo do in the shortest time.'" Two years later, it was "If you have any money to spare, now is the urgent time to let me have some."

By the time we get to 1923, the year of Frank's Home, Wright is writing Sullivan from Los Angeles, "No word from you and I am wondering if you are perhaps ill. The weather here is remarkably fine . . . " In August, Wright was consoling Sullivan over the death of "your little companion" a mystery woman who visited Sullivan in his spare, shabby lodgings at the Warner Hotel. In September, Sullivan was congratulating Wright on the survival of the Imperial Hotel through the devasting earthquake.

The following April, Wright made a final visit to the fast fading Sullivan, who had just published his glorious, Whitmanesque The Autobiography of an Idea. Three days later, Louis Sullivan died. At 57, Wright's career, in a way, was just beginning. At 67, Sullivan's had largely ended decades before. All but forgotten, the world had little use for him. And in his native city of Chicago, with two irreplacable Sullivan landmarks carelessly and needlessly destroyed just this year, it doesn't seem much has changed.

[This Photo added -
Adler/Sullivan church (1890), during recent fire that destroyed
its pitch-perfect and aesthetically pleasing wooden interior.
Fortunately, there are plans and seed monies to rebuild it - Z]

Chicago Tribune / Courtesy of The Place Where We Live

© Copyright images and text Lynn Becker All rights reserved. (http://lynnbecker.com/repeat/frankshome/frankshome.htm)

May 13th, 2008, 12:49 PM
Courtesy Guggenheim Museum

That (Above) is an image of an abstract work of Hilla Rebay. Ms. Rebay is now the little known "other sponsor" to Frank Lloyd Wright's commission to create the Guggenheim Museum in New York City. She had quite a life, and was an artist in her own right, who could afford to sponsor other artists.


Hilla Rebay - A Baroness in Westport


Hilla Rebay at the age of 45, New York, 1935


2 Women, a pochoir by Hilla Rebay

About Hilla Rebay

Born a European Baroness, Hilla Rebay was the visionary spirit and co-founder of what is now the Solomon R. Guggenheim Museum, as well as a noted painter of non-objective art, and spent a good deal of time at her Westport home, Franton Court, which she owned for 30 years.

Born Baroness Hildegard Anna Augusta Elizabeth Rebay von Ehrenwiesen, to a titled family in Strassburg, Alsace, in 1890, she began drawing portraits at age five. Rebay went on to study art in Dusseldorf, Munich, Paris and Rome, and, in 1927, she immigrated to the United States, where she felt that both she and her art would be more appreciated.

In 1929, Hilla Rebay began an extraordinary collaboration with Solomon R. Guggenheim, resulting in the creation of one of the world’s finest collections of early twentieth century modern art. By 1939, the rapid expansion of the collection led to the formation of the Solomon R. Guggenheim Foundation, which was endowed to operate a museum, The Museum of Non-Objective Painting, with Hilla Rebay as its director.

In 1942, Rebay began working closely with architect Frank Lloyd Wright on plans for the “temple of spirit” she visualized as the final home for the collection, and in 1943, Guggenheim commissioned Wright to design a permanent structure to house The Museum of Non-Objective Painting. Revisions of the building plans, problems in locating the proper site and the fact that materials and labor were still in short supply following the war, held up its construction.

When Solomon Guggenheim died in 1949, Wright had not been officially designated the museum’s architect. It was not until 1951 that Wright could convince the trustees that the museum should be built as a memorial to Solomon R. Guggenheim. Wright did not live to see the museum completed. When the museum finally opened its doors in 1959, Rebay was no longer its director, having been forced out by the board of trustees in 1952, because they felt that she had long held too much control over the late Solomon Guggenheim during his lifetime.


Frank Lloyd Wright, Hilla Rebay, Solomon Guggenheim at the unveiling
of the model for the Guggenheim Museum, August, 1945

After leaving her 13-year post as Guggenheim’s director, Rebay made her 14-1/2 acre Westport estate, Franton Court, her permanent home. It was at this home that she received the best known artists of the day, such as Kandinsky, Chagall and Léger. During World War II the estate also served as a haven for artists who had relocated to America from Europe. She converted an old cow-barn on the property into a studio for herself, where she created her unique, large-scale non-objective artworks.

Following her death in 1967, the disposal of Rebay’s estate became a matter of litigation between the Hilla Rebay Foundation and the Guggenheim Museum. A final agreement was reached in 1974: The Rebay Collection would be curated by the Guggenheim Museum and the fate of the estate would be decided by the Hilla Rebay Foundation. … A portion of the estate (8-1/2 acres) is preserved as a nature and wildlife sanctuary …

Since the estate was settled, paintings from the Hilla Rebay Foundation have been shown at four Fairfield County venues. …

SOURCE (http://images.google.com/imgres?imgurl=http://www.westporthistory.org/images/Exhibits/Hilla_Rebay/Frank-lloyd-Wright-hilla-gu.jpg&imgrefurl=http://www.westporthistory.org/exhibits/Hilla_Rebay.html&start=65&h=569&w=726&sz=130&tbnid=5AESavR455fkhM:&tbnh=111&tbnw=141&hl=en&prev=/images%3Fq%3DFrank%2BLloyd%2BWright%26start%3D60%2 6um%3D1%26hl%3Den%26safe%3Doff%26client%3Dsafari%2 6rls%3Den-us%26sa%3DN&um=1)

May 13th, 2008, 10:47 PM
Biography: Frank Lloyd Wright

1867: Born Richland Centre, Wisconsin on June 8.

1885: Begins working for Allen D Conover while studying at the University of Wisconsin.

1887: Moves to Chicago; works for architect Joseph Lyman Silsbee.

1888: Apprenticed to Louis Sullivan.

1889: Marries Catherine Lee Clark Tobin.

1893: Dismissed from Sullivan's firm; opens his own office.

1894: Moves to the Steinway Piano building; starts the prairie school of architecture.

1898: Begins working from his home in Oak Park.

1909: Elopes to Berlin with Martha "Mamah" Cheney, the wife of a client.

1911: Back in Wisconsin, builds new home, Taliesin.

1914: A fire at Taliesin kills Mamah, her children and four staff. Miriam Noel sends condolences; she moves into rebuilt Taliesin.

1916: Accepts Imperial Hotel project in Tokyo and leaves for Japan.

1922: Opens office in Los Angeles.

1923: Marries Miriam Noel.

1924: Separates from Noel; meets Olga Milanoff Hinzenberg.

1925: Hinzenberg moves into Taliesin; Taliesin rebuilt after another fire.

1928: Marries Hinzenberg.

1932: Establishes Taliesin Fellowship.

1934: Apprentice Edgar Kaufmann Jr persuades his father to commission Fallingwater.

1940: Establishes Frank Lloyd Wright Foundation.

1943: Accepts commission for Guggenheim.

1957: Construction begins on Guggenheim.

1959: Dies April 5 in Phoenix, Arizona.

guardian.co.uk © Guardian News and Media Limited 2008 (http://arts.guardian.co.uk/greatbuildings/story/0,,2193994,00.html#article_continue)

May 14th, 2008, 10:23 AM
1889: Marries Catherine Lee Clark Tobin.

1909: Elopes to Berlin with Martha "Mamah" Cheney, the wife of a client.

1914: A fire at Taliesin kills Mamah, her children and four staff. Miriam Noel sends condolences; she moves into rebuilt Taliesin.

1923: Marries Miriam Noel.

1924: Separates from Noel; meets Olga Milanoff Hinzenberg.

1928: Marries Hinzenberg.

1959: Dies April 5 in Phoenix, Arizona.

1962: Elopes to Monaco with dead wife of former client.......j/k!

Man, he was hard to live with, wasn't he!

May 14th, 2008, 11:32 AM
I'm sure the huge ego didn't help! :p

March 23rd, 2013, 02:07 AM

Mapping the Country's 20 Frank Lloyd Wright Listings

by Rob Bear

(click to enlarge photos)

http://curbed.com/uploads/%20void%280%29-thumb.jpeg (http://curbed.com/uploads/%20void%280%29.jpeg)
Frank Lloyd Wright's Millard House, Pasadena, Calif., the second of two the architect built for the Millard family. Both are currently on the market.

The celebrated architect and Prairie-Style progenitor Frank Lloyd Wright designed more than 500 completed structures over the course of his illustrious career, but few ever seem to be on the market simultaneously. Not anymore. More than 20 Wright works are on the market around the country, ranging from a monolitic gift shop in San Francisco (his only work in that city), to masterpieces like Chicago's Heller House, to the only gas station the great architect ever designed.
—additional research by Alexandra Danna

http://cdn.cstatic.net/gridnailer/150x150%5E/http://cdn.cstatic.net/images/gridfs/514b5472f92ea1380d01401f/url.jpeg (http://cdn.cstatic.net/images/gridfs/514b5472f92ea1380d01401f/url.jpeg)
Thomas Gale House
1027 Chicago Avenue, Oak Park, IL 60302

An example of Wright's early, pre-Prairie architecture, the Gale House was completed in 1892. Set in Chicago's historic Oak Park suburb, this unassuming Wright is asking (http://www.zillow.com/homedetails/1027-Chicago-Ave-Oak-Park-IL-60302/87721689_zpid/) $849K.

http://cdn.cstatic.net/gridnailer/150x150%5E/http://cdn.cstatic.net/images/gridfs/514b57bef92ea1474c02a838/109-8th-Ave_La-Grange_IL_60525_M72762-35379.jpeg (http://cdn.cstatic.net/images/gridfs/514b57bef92ea1474c02a838/109-8th-Ave_La-Grange_IL_60525_M72762-35379.jpeg)
Emmond House
109 8th Avenue, La Grange, IL 60525

Also completed in 1892, the Emmond House is a near mirror image of the Gale, with strong Queen Anne influences. Respectfully updated, the house is currently asking (http://www.realtor.com/realestateandhomes-detail/109-8th-Ave_La-Grange_IL_60525_M72762-35379) $1.195M.

http://cdn.cstatic.net/gridnailer/150x150%5E/http://cdn.cstatic.net/images/gridfs/514b6030f92ea102010196f0/Screen%20Shot%202013-03-21%20at%203.30.56%20PM.png (http://cdn.cstatic.net/images/gridfs/514b6030f92ea102010196f0/Screen%20Shot%202013-03-21%20at%203.30.56%20PM.png)
Warren McArthur House
4852 South Kenwood Avenue, Chicago, IL 60615

One in a pair of neighboring early Wright houses that are both for sale, the Warren McArthur House is a gambrel-roofed outlier on Wright's CV. The untouched interiors, however, are more recognizable as Wright. The McArthur is asking (http://www.zillow.com/homedetails/4852-S-Kenwood-Ave-Chicago-IL-60615/3985145_zpid/) $1.298M.

http://cdn.cstatic.net/gridnailer/150x150%5E/http://cdn.cstatic.net/images/gridfs/514b6128f92ea16dbe02527f/url.jpeg (http://cdn.cstatic.net/images/gridfs/514b6128f92ea16dbe02527f/url.jpeg)
George Blossom House
4858 South Kenwood Avenue, Chicago, IL 60615

Like its neighbor, the McArthur House, the Blossom House looks little like a typical Wright from the outside. Both were completed in 1892, but only the $1.288M Blossom received (http://www.zillow.com/homedetails/4858-S-Kenwood-Ave-Chicago-IL-60615/3985146_zpid/) a Prairie-style garage addition from Wright in the early 1900s.

http://cdn.cstatic.net/gridnailer/150x150%5E/http://cdn.cstatic.net/images/gridfs/514b6c5bf92ea123cd02913a/url.jpeg (http://cdn.cstatic.net/images/gridfs/514b6c5bf92ea123cd02913a/url.jpeg)
William E. Martin House
636 North East Avenue, Oak Park, IL 60302

The turn of the century brought Wright's Prairie style into full bloom and by 1902 he had completed the Martin House. Today, this cornerstone of the Frank Lloyd Wright Historic District is asking (http://savewright.org/index.php?page=33&id=106#) $1.295M.

http://cdn.cstatic.net/gridnailer/150x150%5E/http://cdn.cstatic.net/images/gridfs/514b581af92ea16daa01ed71/0313flw9.jpg (http://cdn.cstatic.net/images/gridfs/514b581af92ea16daa01ed71/0313flw9.jpg)
George Madison Millard House
1689 Lake Avenue, Highland Park, IL 60035

By 1906, when he built this house for rare book dealers George and Alice Millard, Wright had firmly established his Prairie style. Immaculately preserved, but devoid of any original furnishings, the 3,000-square-foot home is listed (http://www.realtor.com/realestateandhomes-detail/1689-Lake-Ave_Highland-Park_IL_60035_M83749-57648) for $1.15M. As a widow, Alice would later commission a California home from Wright, now known as the Millard House.

http://cdn.cstatic.net/gridnailer/150x150%5E/http://cdn.cstatic.net/images/gridfs/514b59fbf92ea11987026d61/%20void%280%29.jpeg (http://cdn.cstatic.net/images/gridfs/514b59fbf92ea11987026d61/%20void%280%29.jpeg)
Millard House
645 Prospect Crescent, Pasadena, CA 91103

A prime example of Wright's use of textile block construction, the 1913 Millard House was once slated to be moved to Japan. After that deal fell through, the house is now listed (http://millardhouse.com/) for just under $5M.

http://cdn.cstatic.net/gridnailer/150x150%5E/http://cdn.cstatic.net/images/gridfs/514b72d0f92ea12df701401d/Screen%20Shot%202013-03-21%20at%2012.59.47%20PM.png (http://cdn.cstatic.net/images/gridfs/514b72d0f92ea12df701401d/Screen%20Shot%202013-03-21%20at%2012.59.47%20PM.png)
Avery Coonley House - North Wing
281 Bloomingbank Road, Riverside, IL 60546

A Wright masterpiece completed in 1909, the Coonley House was disassembled at some point in its history, with the bedroom wing split off and sold as a separate residence. The celebrated public spaces and servants wing comprise (http://savewright.org/index.php?page=33&id=108) this $2.25M offering.

http://cdn.cstatic.net/gridnailer/150x150%5E/http://cdn.cstatic.net/images/gridfs/514b5ec7f92ea12df7006d1e/lindholm1.jpeg (http://cdn.cstatic.net/images/gridfs/514b5ec7f92ea12df7006d1e/lindholm1.jpeg)
Lindholm Service Station
202 Cloquet Avenue, Cloquet, MN 55720

One of the few commercial buildings on this list, the Lindholm Service Station was completed in 1956, a few years after the Lindholm family's private residence. The only gas station Wright ever designed, it is on the market (http://savewright.org/index.php?page=33&id=72) for $750K.

http://cdn.cstatic.net/gridnailer/150x150%5E/http://cdn.cstatic.net/images/gridfs/514b5baaf92ea136690185b1/url.jpeg (http://cdn.cstatic.net/images/gridfs/514b5baaf92ea136690185b1/url.jpeg)
R.W. Lindholm Residence
947 Highway 33, Cloquet, MN 55720

Commissioned by the same family that tapped Wright to design the Lindholm Gas Station, this 2,300-square-foot classic sits on 15 acres, abutting both a city park and a strip mall, and is asking (http://savewright.org/index.php?page=33&id=91) just $690K.

http://cdn.cstatic.net/gridnailer/150x150%5E/http://cdn.cstatic.net/images/gridfs/514b629bf92ea16dbe025d7c/08254327_2.jpg (http://cdn.cstatic.net/images/gridfs/514b629bf92ea16dbe025d7c/08254327_2.jpg)
George W. Furbeck House
223 North Euclid Avenue, Oak Park, IL 60302

A seminal example of Wright's transition to Prairie-style architecture, the Furbeck House was finished in 1897. The interiors are largely unaltered, but a 1920 addition changed the outward appearance. Today's asking (http://www.redfin.com/IL/Oak-Park/223-N-Euclid-Ave-60302/home/13272160) price is $949K.

http://cdn.cstatic.net/gridnailer/150x150%5E/http://cdn.cstatic.net/images/gridfs/514b677cf92ea1020101e03f/Frank_Lloyd_Wright_2491114b.jpeg (http://cdn.cstatic.net/images/gridfs/514b677cf92ea1020101e03f/Frank_Lloyd_Wright_2491114b.jpeg)
Bachman-Wilson House
1423 Millstone River Road, Hillsborough Township, NJ 08844

Finished in 1954, the Bachman-Wilson House is a product of Wright's Usonian vision, but is threatened by flooding. Originally slated to be moved to the Hamptons to escape the rising waters, it now may be headed (http://curbed.com/archives/2013/02/25/endangered-new-jersey-flw-house-to-pack-its-bags-for-italy.php) to Italy, but is still available, according (http://savewright.org/index.php?page=33&id=125) to the Frank Lloyd Wright Building Conservancy.

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Gerald B Tonkens House
6980 Knoll Road, Cincinnati, OH 45237

Listed this year for the first time since its 1955 construction, the Tonkens House is a textile block masterpiece with a screaming red painted driveway and a guesthouse. Set on four acres, the three-bedroom house is asking (http://www.zillow.com/homedetails/6980-Knoll-Rd-Cincinnati-OH-45237/34313533_zpid/) $1.788M.

http://cdn.cstatic.net/gridnailer/150x150%5E/http://cdn.cstatic.net/images/gridfs/514b696cf92ea1198703076a/Screen%20Shot%202013-03-21%20at%2012.17.44%20PM.png (http://cdn.cstatic.net/images/gridfs/514b696cf92ea1198703076a/Screen%20Shot%202013-03-21%20at%2012.17.44%20PM.png)
Maynard Buehler House
6 Great Oaks Circle, Orinda, CA 94563

Tucked away down a quiet cul-de-sac on the eastern outskirts of the Bay Area, the Buehler House features some of the most extravagant detailing available in a Wright house—gold-plated ceiling anyone?—and a price to match: (http://www.zillow.com/homedetails/6-Great-Oaks-Cir-Orinda-CA-94563/18477989_zpid/) $3.35M. The landscaping is by Henry Matsutani of Golden Gate Park fame.

http://cdn.cstatic.net/gridnailer/150x150%5E/http://cdn.cstatic.net/images/gridfs/514b6ac2f92ea1020101fdd5/vc_morris_507_x_600.jpg (http://cdn.cstatic.net/images/gridfs/514b6ac2f92ea1020101fdd5/vc_morris_507_x_600.jpg)
V.C. Morris Gift Shop
140 Maiden Lane, San Francisco, CA 94108

The only Wright structure in San Francisco, this brick monolith was built in 1948 to house a gift shop and features an interior spiral similar to that found in New York's famous Guggenheim Museum. It is currently for sale, (http://savewright.org/index.php?page=33&id=128) but the sellers haven't disclosed a price.

http://cdn.cstatic.net/gridnailer/150x150%5E/http://cdn.cstatic.net/images/gridfs/514b6badf92ea1547402fdf3/Samm13.jpg (http://cdn.cstatic.net/images/gridfs/514b6badf92ea1547402fdf3/Samm13.jpg)
Ray Brandes House
2202 212th Avenue Southeast, Sammamish, WA 98075

A Usonian design of 1952, the Brandes House is one of three Wright houses in Washington State. At 1,600 square feet, it is no sprawling mansion, but sits on 3.2 private wooded acres, and is offered (http://citrone-partners.com/listing/designed-by-architect-frank-lloyd-wright-2) at $1.39M.

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Andrew B. & Maude Cooke House
320 51st Street, Virginia Beach, VA 23451

Wright designed the Cooke House in 1953, but construction would not commence until just two months before his death, in 1959. Just a short walk from Atlantic beaches, the house sports (http://flwrightbeachhouse.com/purchase/sales-information/) a deep-water dock, gym, sauna, and a $3.75M price tag.

http://cdn.cstatic.net/gridnailer/150x150%5E/http://cdn.cstatic.net/images/gridfs/514b7032f92ea123cd02af91/DE20120125-Heller-House.jpg (http://cdn.cstatic.net/images/gridfs/514b7032f92ea123cd02af91/DE20120125-Heller-House.jpg)
Isidore Heller House
5132 South Woodlawn Avenue, Chicago, IL 60615

A fixture of the Hyde Park neighborhood, Wright's 1897 Heller House represents one of the architect's early forays into the Prairie style. Designated a National Historic Landmark in 2004, the seven-bedroom mansion was just relisted (http://www.zillow.com/homedetails/5132-S-Woodlawn-Ave-Chicago-IL-60615/3985705_zpid/) for $2.5M.
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Arnold Jackson House
N7669 Indian Hills Trail, Beaver Dam, WI 53916

Originally built in Madison, Wis. in 1957, the Jackson House was moved to this lakeside cul-de-sac in 1985. Today it operates (http://arnoldjacksonhouse.com/) as a bed & breakfast, but is also available for sale for $800K.

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Como Orchard Summer Colony
634 Bunkhouse Road, Darby, MT 59829

Built as the Como Orchard Summer Colony and now known as Alpine Meadows Ranch, this 250-acre property was supposed to include more than a dozen Wright-designed structures, but today contains just a handful. The low-cost construction belies (http://savewright.org/index.php?page=33&id=103) its current price tag: $5.6M.


...whatever happened to ablarc?