Архитектура-Франк Лоид / Architecture-Frank Lloyd

      Франк Лойд Райт / Frank Lloyd Wright

	Роден 8 юни 1867г. Ричленд Сентър, Уискънсин, САЩ Починал 9април 1959 г. (на 91 г.) Финикс, Аризона,САЩ Националност американец Стил модерн, органична архитектура
	Born Frank Lincoln Wright June 8, 1867 Richland Center, Wisconsin Died April 9, 1959 (aged 91) Phoenix, Arizona Nationality American Architectural career Buildings Robie House Price Tower Fallingwater Johnson Wax Headquarters Solomon R. Guggenheim Museum Taliesin Darwin D. Martin House Projects Florida Southern College Франк Лойд Райт (на английски: Frank Lloyd Wright ) е прочут американски архитект, интериорен дизайнер, теоретик и основоположник на т.нар. органична архитектура (разкриваща свойствата на естествените материали и органично вписваща се в околния ландшафт). Автор на над 1100 проекта — къщи, офиси, църкви, училища, мостове, музеи и други — 532 от които са реализирани в рамките на 70-годишната му кариера и 409 съществуват и до днес. Райт често проектира много от интериорните елементи на своите сгради, като например обзавеждането с мебели и различни витражи. Творчеството му включва освен това проектиране на десени, изкуство от стъкло, лампи, сребърни предмети и графично изкуство. В допълнение той е плодовит писател, лектор и философ. Автор е на 20 книги и безчет статии, изнася лекции из САЩ и Европа и създава забележителен план за децентрализация на градска Америка (Broadacre City), който продължава да е обект на дискусии и до днес, десетилетия след появата му. Франк Лойд Райт е считан за най-великия архитект на 20 век. Американският институт на архитектите го нарича "най-великият американски архитект на всички времена." Според "Architectural Record" — официалното списание на института — сградите на Райт изпъкват сред най-значителните архитектурни творби в света за последните 100 години [1]. 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 and completed 500 works. Wright believed in designing structures which were in harmony with humanity and its environment, a philosophy he called organic architecture. This philosophy was best exemplified by his design for Fallingwater (1935), which has been called "the best all-time work of American architecture".[1] Wright was a leader of the Prairie School movement of architecture and developed the concept of the Usonian home, his unique vision for urban planning in the United States. His work includes original and innovative examples of many different building types, including offices, churches, schools, skyscrapers, hotels, and museums. Wright also designed many of the interior elements of his buildings, such as the furniture and stained glass. Wright authored 20 books and many articles and was a popular lecturer in the United States and in Europe. His colorful personal life often made headlines, most notably for the 1914 fire and murders at his Taliesin studio. Already well known during his lifetime, Wright was recognized in 1991 by the American Institute of Architects as "the greatest American architect of all time."[1] Биография Франк Линкълн Райт е роден на 8 юни 1867 във фермерското градче Ричленд Сентър, Уисконсин, САЩ, в семейството на Уилям Кари Райт, учител по музика и църковен деятел и Ана Лойд Джоунс Райт, учителка от известното в щата семейство Лойд с уелски корени[2]. Възпитаван е според каноните на унитарианската църква. Като дете много си играел с кубчета (конструктор «Киндергартен», разработен от Фридрих Фрьобел). След като родителите на Райт се развеждат през 1885 г. той поема отговорността за издръжката на майка си и двете си сестри. Успоредно с това приема и майчината си фамилия Лойд. През 1885 Франк постъпва в инженерния факултет на Университета на Уисконсин в Медисън. Успоредно със следването работи като помощник на Алън Коновър, местен инженер-строител. През 1887 г. напуска университета без да завърши и се мести в Чикаго, където постъпва първоначално в архитектурното бюро на Джоузеф Лайман Силзби, а след година в архитектурната фирма «Адлър и Съливан», оглавявана от известния архитект Луис Съливан. През 1899 г. създава семейство с Катрин (Кити) Лий Тобин и проектира дома си в Оук Парк, Илинойс. През 1890 се ражда синът му Франк Лойд Райт младши. През същата година Райт вече е натоварен с проектирането на всички поръчки за частни къщи при Адлър и Съливан. Не след дълго обаче напуска фирмата и от 1893 година започва самостоятелна архитектурна практика в Чикаго. Първият му клиент е Уилям Уинслоу от Ривър Форест, Илинойс, за когото той проектира къща в „прериен“ стил, станал по-късно негова запазена марка. Към 1901 г. вече е автор на около 50 проекта, а към 1909 техният брой вече надхвърля 100. Къщата на първият му клиент Уилям Уинслоу от Ривър Форест, Илинойс./ The house of his first client of the William Winslow from River Forest, Illinois.   Фасада на хотел Империал,  пресъздадена в музея Мейджи-Мура/ Hotel Imperial, recreated in the Museum Meiji-Mura   Райт започва да се прочува и извън границите на САЩ. За популярността му в Европа допринася издаването на 100 негови проекта от 1893-1909 във вид на двутомен албум — т.нар. Васмут портфолио (The Wasmuth portfolio) (1910, Берлин), придружен от монографията Studies and executed buildings. Тъй като не е публикувал в САЩ преди това, на практика това е първото издание на негови проекти, придружено от собствения му коментар. Дело е на германския издател Ернст Васмут и отчасти по повод на публикуването, отчасти по лични причини Райт прави пътуване до Европа, което трае една година (октомври 1909 - октомври 1910). През 1905 г. Райт заминава на първото си пътешествие до Япония, придружен от съпругата си и своите клиенти семейство Уилиц. Започва да колекционира и да търгува с традиционна японска графика. Интересът му към Далечния Изток не секва и през 1913 г. отново пътува до Япония, където получава поръчката за хотел „Империал“. През 1918 г. Райт пътува и до Китай и Корея. Прекарва около 6 години (1915-22) в Токио, където през 1916 дори отваря свой офис. Хотел „Империал“ е забележителен с особената структура на основите си, предвидена да запази сградата в случай на земетресение. И наистина, хотелът устоява на страшното земетресение Канто от 1923 г., разрушило голяма част от града. По-късно обаче градоустройствените планове налагат неговото разрушаване през 1968. Все пак известна част от него е запазена — входното фоайе е изложено в архитектурен парк близо до Нагоя. В Япония Франк Лойд Райт проектира също училището „Джию Гакуен“ и няколко фамилни къщи. Къща в Оук Парк, Илиноис, 1906/ House in Oak Park, Illinois, 1906   През 1928, Райт се жени за Олга Ивановна Хинценбург (наричана съкратено «Олгиванна»). Поради настъпващата икономическа криза броят на поръчките спада и архитектът започва да пътува и изнася лекции, което го прави известен в международен план. През1932 г. публикува своята „Автобиография“ и „Изчезващият град“ — две книги, които оказват силно влияние върху няколко поколения млади архитекти. По време на Голямата депресия Франк Лойд Райт и жена му Олгиванна основават архитектурна школа (стипендиански център) в Талийсин. Тя става известна като „Задругата Талийсин“ (Taliesin Fellowship). Целта на обучението била да осигури пълни условия за учене, като интегрира всички аспекти на студентския живот и ги възпита като отговорни, творчески и културни човешки същества. Студентите се обучавали не само на занаята, но получавали знание по строителство, фермерство, градинарство и готварство и изучавали природата, музика, изкуство и танци. През 1927 г. получава поръчка в Аризона и през следващите години Райт и неговите чертожници често живеят на палатки в пустинята. Едан такава пустинна „резиденция“ Окатильо близо до Чандлър. Това е първият от серията му експерименти с платно като строителен материал. През 30-те години той работи по модела на Broadacre City и се счита за добър архитект, но общо взето навлязъл в залеза си. Но през 1936 започва неговото завръщане на сцената с поредица важни поръчки: административната сграда на Джонсън Уакс, Къщата над водопада (проектирана през 1935 но построена през 1936) и първите Юсоновски къщи. Тези му работи стават много известни и водят до поток от нови поръчки, прекъснат едва от Втората световна война. Избликът му на творческа енергия след две десетилетия затишие се счита за забележително явление в американската история на изкуството, още повече че през 1937 той навършва 70 години. Личният му живот е изпъстрен с обрати и скандали. Превръщайки се в преуспял архитект, Райт не се лишавал от нищо и често ставал мишена на жълтата преса. Три пъти е сключвал официален брак, но на два пъти се наложило да изчака оформянето на развода от предишния си брак. Бракът му с Кити се разпада към 1909 г. поради любовната му връзка с Мейма Ботуик Чейни, с която заминава за дълго пътешествие из Европа. Развод от Кити получава едва през 1922 г. Съжителството му с Мейма Чейни, която е съпруга на един от клиентите му, завършва трагично през 1914 г. — тя и двете ѝ деца стават жертва на убийство в къщата на Райт «Талийсин I», а къщата изгаря. Бракът му със скулпторката Мириам Ноуел (1923 г.) се разпада бързо поради пристрастеността на Мириам към морфина. Последната спътница на Райт е Олга Ивановна Хинценбург. Той е погребан редом с нея и дъщеря ѝ в Талийсин Запад в Скотсдейл, Аризона. Райт има седем деца: три сина и четири дъщери. Двама от синовете му — Франк Лойд Райт-младши и Джон Лойд Райт също стават архитекти. Внучката на Райт — Ан Бакстър — е актриса, носител на „Оскар“ за второстепенна женска роля. Early years Frank Lloyd Wright was born in the farming town of Richland Center, Wisconsin, United States, in 1867 and named Frank Lincoln Wright. His father, William Carey Wright (1825–1904), was a locally admired orator, music teacher, occasional lawyer, and itinerant minister. William Wright had met and married Anna Lloyd Jones (1838/39 – 1923), a county school teacher, the previous year when he was employed 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 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. According to his biography his mother declared, when she was expecting her first child, that he 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.[citation needed] The family moved to Weymouth, Massachusetts in 1870 for William to minister a small congregation. In 1876, Anna visited the Centennial Exhibition in Philadelphia and 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. A trained teacher, Anna was excited by the program and bought a set of blocks for her family. Young Wright spent much time playing with the blocks. These were geometrically shaped and could be assembled in various combinations to form three-dimensional compositions. This is how Wright described, in his autobiography, 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 . . ."[2] Many of his 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.[3] At this time Wright changed his middle name from Lincoln to Lloyd in honor of his mother's family, the Lloyd Joneses. As the only male left in the family, Wright assumed financial responsibility for his mother and two sisters. Education and work for Silsbee (1885–1888) Wright attended a Madison high school, but there is no evidence he ever graduated.[4] He was admitted to the University of Wisconsin–Madison as a special student in 1886. There he joined Phi Delta Theta fraternity,[5] took classes part-time for two semesters, and worked with a professor of civil engineering, Allan D. Conover.[6] In 1887, Wright left the school without taking a degree (although he was granted an honorary Doctorate of Fine Arts from the University in 1955). In 1887, Wright arrived in Chicago in search of employment. As a result of the devastating Great Chicago Fire of 1871 and recent population boom, new development was plentiful in the city. He later recalled that his first impressions of Chicago were that of grimy neighborhoods, crowded streets, and disappointing architecture, yet 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.[7] 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.[8] While with the firm, he also worked on two other family projects: the 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.[9] 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. In his autobiography, Wright recounts that he also had a short stint in another Chicago architecture office. 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.[10] 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.[11] Still, Wright aspired for more progressive work. After less than a year had passed in Silsbee's office, Wright learned that the Chicago firm of Adler & Sullivan was "looking for someone to make the finish drawings for the interior of the Auditorium [Building]." [12] 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.[13] Adler & Sullivan (1888–1893) 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.[14] In spite of this, "Sullivan took [Wright] under his wing and gave him great design responsibility." As a show of respect, Wright would later refer to Sullivan as Lieber Meister (German for "Dear Master").[15] Wright 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.[16] Wright's home in Oak Park, Illinois/ Къща проектирана от Райт в Оук Парк, щата Илинойс   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?"[17] 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.[18] 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.[16] However, that office was actually shared with friend and draftsman George Elmslie, who was hired by Sullivan at Wright's request.[19] 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 that 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.[19] 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 Sullivan's townhouse (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.[20][21] 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/ Къщата на Уолтър Гейл (1893) е в стил на кралица Ана, разполагащ с прозорец-ленти и веранда с конзолен покрив, които загатват за развиващите се естетика Райт   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 compound the problem, Wright's children – including first born Lloyd (b.1890) and John (b.1892) – would share similar tastes for fine goods.[17][22] 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, Parker, Blossom, and Walter Gale houses.[23] As with the residential projects for Adler & Sullivan, Wright 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.[21] 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.[24] 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 accounted that Wright had Cecil Corwin sign several of the bootleg jobs, indicating that Wright was aware of their illegal nature.[21][25] 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, Wright established his own practice on the top floor of the Sullivan designed Schiller Building (1892, demolished 1961) 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.[26] Within a year, Corwin decided that he did not enjoy architecture and journeyed east to find a new profession.[27] With Corwin gone, 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 first licensed female architect in the United States, also designed furniture, leaded glass windows, and light fixtures, among other features, for Wright's houses.[30][31] 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/ Къща на Уилям Х. Уинслоу (1893) в Ривър Форест, Илинойс   Wright's projects during this period followed two basic models. On one hand, there was his first independent commission, the Winslow House, which combined Sullivanesque ornamentation with the emphasis on simple geometry and horizontal lines that is typical in Wright houses. 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 more conservative clients, Wright conceded to design 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 Roberts House (1896).[32] As an emerging architect, Wright could not afford to turn down clients over disagreements in taste, but even his most conservative designs retained simplified massing and occasional Sullivan inspired details.[33] 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.[34][35] Wright's studio (1898) viewed from Chicago Avenue/ Студиото на Райт (1898) видян от  Чикаго Авеню   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 past five years had seen the birth of three more children – Catherine in 1894, David in 1895, and Frances in 1898 – prompting Wright to sacrifice his original home studio space for additional bedrooms. Thus, moving his workspace 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.[36]   Прерийна къща Къщата на Фредерик Роби в Чикаго, 1908-9/ Robie House in Chicago, 1908-9   Прерийната къща се превръща в определен тип дизайн на градска къща, който Райт развива между 1900 и 1911 година [2]. Според самия архитект „Прерията притежава своя собствена красота, която трябва да се научим да разпознаваме и да ценим нейната хубост и равнинен простор. И оттам идват покривите с плавен наклон, ниските пропорции, спокойните хоризонти, скъсените широки комини, навесите, ниските тераси с изнесени напред стени, ограждащи уединени градини“. Много от къщите имат кръстовидно сечение, а разположеното в центъра огнище-камина обединява откритото пространство. Райт отделя особено внимание на интериорите, като сам проектира мебелите и настоява всеки елемент да бъде осмислен и органично да се вписва в създаваната от него среда. С включването на вградени библиотеки, канапета, бюфети, шкафове архитектът успява да свърже неразривно мебелировката с общия дизайн на сградата, макар че често оставал неразбран от клиентите, които настоявали да се нанасят с мебелите от предишното си жилище. Най-известни проекти в този стил са къщите на Уилиц, на Мартин и на Роби. Своя собствен дом, наречен Талийсин (Taliesin), Райт също строи в прериен стил през 1911 г. в Спринг Грийн, Уисконсин. Името е уелска дума и означава „пламтящо било“ [2]. Талийсин на два пъти — през 1914 и 1925 г. — е разрушаван от пожари и напълно преустрояван, като се преименува съответно в Талийсин II и Талийсин III. Prairie House 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!"[37] Between 1900 and 1901, Frank Lloyd Wright completed four houses which have since been considered 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.[38] Meanwhile, the Thomas House and Willits House received recognition as the first mature examples of the new style.[39][40] 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. Bok also extended the offer to other architects, but Wright was the sole responder. "A Home in a Prairie Town" and "A Small House with Lots of Room in it" appeared respectively in the February and July 1901 issues of the journal. Although neither of the affordable house plans were ever constructed, Wright received increased requests for similar designs in following years.[38] Wright's residential designs were "Prairie Houses" because the design is considered to complement the land around Chicago. These houses featured extended low buildings with shallow, sloping roofs, clean sky lines, suppressed chimneys, overhangs and terraces all using unfinished materials. The houses are credited with being the first examples of the "open plan". Windows whenever possible are long, and low, allowing a connection between the interior and nature, outside, that was new to western architecture and reflected the influence of Japanese architecture on Wright. The manipulation of interior space in residential and public buildings are hallmarks of his style. 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.  Darwin D. Martin House, Buffalo, New York/ Къщата на Дарвин Д. Мартин в Бъфало, Ню Йорк   Hillside Home School, 1902, Taliesin, Spring Green, Wisconsin/ Училище Хилдсайд Холм, 1902, Талиенсин, Спринг Гриин, Уисконсин   Many examples of this work are in Buffalo, New York as a result of 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. Other Wright houses considered to be masterpieces of the late Prairie Period (1907–1909) 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. This building had a profound influence on young European architects after World War I and is sometimes called the "cornerstone of modernism". However, Wright's work was not known to European architects until the publication of the Wasmuth Portfolio. Стил „Юсон“, 30-е години Дневната в Самара хаус, Индиана/  Daily room in Samarra House, Indiana   Вторият значителен период в творчеството на Райт е през 30-е години. Тогава Райт започва да използва готови строителни елементи и железобетонни конструкции [3], но продължавайки да противопоставя романтическите идеи за единение с природата на по-технически ориентирания функционализъм. За клиентите си от средната класа през този период Райт разработва нескъпи проекти, които нарича «юсоновски» или «североамерикански», от съкращението U.S.O.N.A (Unites States of Nothern America). Това са фамилни къщи, в които не е предвидено да има прислуга. Практични, компактни, икономични и технологични, «юсоновските» къщи развиват принципите, заложени в «Прерийната къща». Широкият покрив като че плува над стените. Къщите са предимно едноетажни и със сечение във форма на буквата L, което им позволява да се вписват в парцели с неправилна форма. Кухните често били малки, долепени до трапезариите. Трапезариите на свой ред плавно преминавали в дневната, която била централното помещение аз общуване, с фокус върху камината. Спалните са изолирани и неголеми, насърчавайки семейството да се събира в дневната. Концепцията за пространства вместо стаи е развитие на идеята на Прерийната къща, а вградените мебели са свързани с принципите на движението Arts and Crafts. Типичен пример за къща от този период е къщата на Пол и Джийн Хана в Станфорд, Калифорния, наричана също „Honeycomb House (Къщата-пчелна пита)“, защото е проектирана като серия долепени шестоъгълници. «Къщата над водопада»/ Wright's famous house over waterfall   «Юсоновските» къщи е трябвало да станат градивни елементи на градоустройствената концепция на Райт — «Градът на широките хоризонти». Концентрираният и пренаселен град трябвало по естествен начин да се «деурбанизира», като се разпредели по предградията, а основно превозно средство в него трябвало да стане автомобилът. Тази концепция е оказала съществено влияние на характера на застрояване на американските нискоетажни предградия. През 1935—1939 Райт построява за Едгар Дж. Кауфман известната «Къща над водопада» («Fallingwater») в Мил Рън, щат Пенсилвания. Къщата е композиция от свободно висящи тераси и вертикални варовикови повърхности, кацнали върху стоманени подпори над водата. Част от скалата е оставена вътре в зданието и е използвана в оформлението на интериора. С този проект Райк успява да постави обитателите на дома в особено близък контакт с природата наоколо. Строителството възлиза на 155 000 долара, от които хонорарът на архитекта е 8 000 долара. Къщата на два пъти е реконструирана, тъй като се наложило добавянето на допълнителни стоманени подпори. Дървовидни колони в интериора на «Джонсън Уакс»/ Columns in the interior of the "Johnson Wax»   В този период Райт строи и нежилищни здания, сред които най-известна е административната сграда на компанията «Джонсън Уакс» (1936—1939) в Расин, Уисконсин. В центъра на конструкцията е голяма работна зала с дървовидна колонада, в която всяка колона се разширява към върха. Дървовидната структура се повтаря и в сградата с лабораториите, построена по-късно. Това е сграда на четиринадесет етажа, чиито помещения се групират около централно ядро-«ствол», в който са асансьорните шахти, а етажите се разтварят от централния пилон като клоните на дърво и се редуват — квадратните етажни плочи образуват скелета на сградата, а между тях са вписани кръгли плочи. Отвън цялата сграда е облицована със стъклен кожух с прикрепени и отвътре стъклени плочи за по-добра изолация. Градоустройствени проекти Още от началото на кариерата си Франк Лойд Райт се интересува от градоустройство. Неговите първи поръчки и теории в тази област датират още от 1900 г. и той продължава да се занимава с градско планиране до смъртта си, макар и много от проектите му да остават нереализирани. Получил е общо 41 градоустройствени поръчки. [4] Започва да обмисля проект за предградията на големия град през 1900 и предложеното от него се отличава от традиционните дотогава проекти, като разполага къщите на групи от по по четири квадратни парцела, образуващи голям квадрат, по чиито страни минават пътищата за достъп ( "Quadruple Block Plan") - съвсем различен план от възприетите дотогава дълги редици от къщи на успоредни улици. Самите къщи, които по проект са подобни на "Прерийната къща" са разположени близо до центъра на големия квадрат, като по този начин пространството се използва максимално и същевременно вътре между къщите остава уединен участък. Това разположение позволява и по-интересни гледки от всяка къща. Макар този план да не се реализира, Райт го публикува в портфолиото Васмут, публикувано през 1910 г.[4] През 1913 г. той участва в конкурс по градско планиране, организиран в Чикаго (Chicago Land Development Competition). Задачата е да се проектира цял крайградски квартал. Представеният от него проект взема за основа Quadruple Block Plan, но вече отчита нуждите на различни социални слоеве По-луксозните къщи са разположени в по-скъпите зони, а паркове и общи пространства ги делят от по-скромните къщи и блокове с апартаменти. Присъстват и така необходимите за всеки град училища, музеи, пазари и т.н. Тази негова философия за необходимост от децентрализация на големия град по-късно се засилва в теоретичния му проект Broadacre City. Според него бъдещето на жилищата в Америка е извън големите градове и трябва всички услуги и учреждения да се намират сред жилищата: фабрики редом с ферми и жилища ( “factories side by side with farm and home.”)[5] Други негови комунални проекти са: 1909 – Como Orchard Summer Colony – проект за изграждане на жилища в Битерруут Вали, Монтана (реализиран частично, но къщите не са оцелели до днес) 1938 – Suntop Homes - 4 къщи в Пенсилвания. С тях се свързва и проектът Cloverleaf Quadruple Housing — правителствена поръчка за Министерство на отбраната – бюджетни многофамилни жилища, алтернатива на предградията (нереализиран) 1945 – Usonia Homes – кооперативен проект на 100 акра с 47 къщи в Плезънтвил, Ню Йорк (3 проектирани от Райт) 1949 – The Acres, (Galesburg Country Homes), 5 къщи (4 проектирани от Райт) в Чарлтън Тауншип, Мичиган По-късни проекти Mузея Соломон Гугенхайм в Ню Йорк/ Guggenheim museum exterior in New York City (1959) Проектът на музея Соломон Гугенхайм в Ню Йорк отнема 16 години на Райт (1943–1959)[6] и вероятно е най-известният му шедьовър. Сградата се издига плавно като бежова спирала на Пето Авеню, а вътрешността ѝ прилича на охлюв. Нейната уникална централна геометрия е замислена с цел посетителите да вземат асансьора и да започнат обиколката от най-горе, спускайки се плавно надолу по централната спираловидна рампа, чиято геометрична визия е подсилена от кръгли форми, вградени в пода и триъгълни осветителни тела. Но след завършването на строежа редица от идеите на Райт не са изцяло реализирани. В момента експозицията се разглежда отдолу нагоре. Прайс Тауър/  Price tower   Единственият построен небостъргач по проект на Райт е Прайс Тауър, 19-етажна кула в Бартълсвил, Оклахома. Тя е втората негова вертикална структура (другата е изследователският център в Расин, Уисконсин). Прайс Тауър е построена по поръчка на Харолд Прайс за неговата нефтохимическа компания и отваря врати през 1956. През 2007 г. Прайс Тауър е обявена за национална историческа забележителност [7] Творби Проектите на Райт са реализирани в много щати на САЩ, както и в Япония. В таблицата са описани някои от тях по щати, но списъкът съвсем не е изчерпателен. Най-голямата колекция от сгради по проекти на Франк Лойд Райт на едно място се намира в кампуса на Флорида Саудърн Колидж (FSC) в Лейкланд, Флорида. Това са 18 отделни сгради, построени между 1941 и 1958 и наречени „Дете на Слънцето“ (Child of the Sun)[8]. Щат Населено място Сграда Илинойс Оук Парк Къща и студио на Франк Лойд Райт 1889–1909 Къщата на госпожа Томас Гейл 1909 Унитарианската църква 1905 Ривър Форест Къщата на Уилям Уинслоу 1894 Чикаго Къщата на Фредерик Роби 1909 Небостъргач, висок една миля (The Illinois) 1956 - нереализиран Ривърсайд Къщата 1907 и театърът 1913 на Ейвъри Кунли Хайланд Парк Къщата на Уорд Уилиц 1901 Уисконсин Спринг Грийн Талийсин, къща, ателие и ферма на Франк Лойд Райт 1911 Стипендиантски център Талийсин 1932 - 39 Шоруд Хилс Унитарианската църква 1947 Къщата на Джон Пю 1938 Расин Административна сграда 1936 и изследователски център „С. К. Джонсън и син“ 1943 - 50 Мидълтън Къщата на Хърбърт Джейкъбс, „Соларен полукръг“ 1944 - 48 Калифорния Лос Анджелис Къщата на Чарлс Енис 1923 „Къшата с ружите“ (Холихок хаус), дом на Ейлийн Барнсдал 1917 – 20 Пасадена „Ла Миниатюра“, къща на Алис Милард 1923 Сан Франциско Магазин за подаръци „В. С. Морис“ 1948 - 50 Сан Рафаел Общински център на окръг Марин 1957 – 66 Станфорд „Къщата-пчелна пита“ на Джийн и Пол Хана 1935 - 37 Аризона Финикс Къщата на Норман Лайкс 1959 - 68 Къщата на Роуз Поусън 1939 Скотсдейл Талисийн Запад, къща и ателие на Франк Лойд Райт 1937 - 59 близо до Чандлър „Окатильо“, пустинна резиденция на Франк Лойд Райт 1929 Освен архитектурни проекти Франк Лойд Райт издава и редица книги: „Архитектурата и модерният начин на живот“ (1937 г.), „Органичната архитектура“ (1939 г), „За архитектурата“ (1941 г), "Бъдещето на архитектурата" (1953 г.), "Природосъобразният град" (1954 г.), „Американската архитектура“ (1955 г.), „История на кулата“ (1956 г.) "Завещание" (1957 г.) и "Живият град" (1958 г.). Наследство   Прозорец в къщата на Роби, проектиран от Франк Лойд Райт, Чикаго (1906)/RobieHouseWindows Chicago (1906)   Дори много години след смъртта му, настъпила на на 9 април 1959, Франк Лойд Райт е съпровождан от сътресения. Когато той умира, третата му жена Олгиванна оглавява Стипендиантския център в Талийсин Запад в Скотсдейл, Аризона и го ръководи до смъртта си през 1985 г. Нейното последно желание е тя, дъщеря ѝ от първия брак и Франк да бъдат кремирани и погребани заедно в Скотсдейл. Дотогава в продължение на 25 години тялото на Райт е почивало в гробището в близост до местната Унитарианска църква в Талийсин, домът на Райт в Спринг Грийн, Уисконсин. Идеята на Олгиванна включвала и изграждането на градина-мемориал, която към момента на смъртта ѝ все още не била завършена и затова минало известно време докато погребенията били извършени. Затова днес върху гроба на Франк Лойд Райт в Спринг Грийн има само мемориален камък.[9] Личен стил и концепции Творчеството на Райт в областта на органичната архитектура обхваща и най-дребните детайли. И в най-големите си комерсиални проекти, и в най-скромните Юсоновски къщи, той обръща внимание на всеки детайл отвън и отвътре в сградата, включително мебели, килими, прозорци, врати, осветление и декоративни елементи. Подобно на Чарлс Рени Макинтош в Шотландия той е сред първите архитекти, които проектират не само сградата, но и специални мебели и други декоративни елементи, които са неразделна част от целия проект и дори често се връщал към завършени вече проекти, за да променя вътрешните елементи. Неговите Прерийни къщи съдържат подхождащи им дизайнерски елементи, обединени в една тема (често основана на растителни мотиви), които се повтарят по прозорците, подовите настилки и други елементи на вътрешното оформление. Той прави нововъведения като започва да използва нови строителни елементи като предварително оформени бетонни блокчета, стъклени тухли и цинкови ограничители при витражите (вместо традиционните оловни) и е прочут с използването на тръби от стъкло пирекс като основен елемент в административната сграда на Джонсън Уакс. Райт е и един от първите архитекти, проектирали и изработвали по поръчка електрически лампи, включително и едни от първите свободно стоящи лампиони и първите стъклени абажури във форма на сфера (преди това газеното осветление не е позволявало подобни форми). Прозорец в училището Джию Гакуен, Япония/Jiyu Gakuen Myonichikan   Стъклото заема специално място в проектите му поради прогреса, постигнат в механизацията на процесите по обработката му. То се вписва отлично във философията на органичната архитектура, тъй като позволява взаимодействие с и наблюдение на външния свят, като в същото време осигурява заслон от дъжд и вятър. През 1928 г. Райт пише есе върху стъклото, в което го сравнява с огледалата на природата: езера и реки. Един от първите случаи, при които той използва стъкло е да подреди редица прозорци по външната стена като опит да се разчупи нейната монотонност. Използвайки много стъкло, Райт търси баланс между лекотата и въздушността на стъклото и солидните стени. Най-известните примери за негово изкуство от стъкло се срещат в Прерийните къщи. Отделните прости геометрични форми се събират в сложни орнаменти и това е една от неговите запазени марки в цялата му кариера.[10] Творчеството на Райт отразява промяната в традиционния домашен бит на американското семейство, настъпила в началото на 20-и век. Прислугата се среща все по-рядко или напълно отсъства от повечето домакинства и затова той се насочва към проектирането на все по-големи и отворени пространства, противоположно на стаите-кутийки. Това позволява на домакинята да работи в своя “работен кът”, както той често нарича кухнята, като същевременно има възможност да наблюдава децата или гостите в дневната и да общува с тях. Значителна част от съвременната архитектура, включително ранните работи на Лудвиг Мис ван дер Рое може да се свърже с пионерските проекти на Райт. Райт е бил дизайнер и на част от собственото си облекло. Той се отличавал с артистичен стил и обикновено се обличал в скъпи костюми, носел шалчета и наметала. Колите му били също така направени по поръчка и се набивали в очи: жълт Mercer raceabout в началото, червен Cord кабриолет през 30-те и поръчков Линкълн от 1940 нататък. Силната му индивидуалност впечатлява и Айн Ранд, която не само цени високо неговото творчество, но и го взема за основа при изграждането на образа на архитекта Хауърд Роурк в романа си „Изворът“.   Галерия   Домът на Ф. Л. Райт в Оук парк, Илинойс/ Studio Chicago Frontage   Хана хаус, Станфорд, Калифорния/ Hanna House   Къща „Ямамура“ в гр. Ашия, Япония/ Yamamura house   Вилата Талийсин, Уисконсин/ Taliesin   Стокман Хаус, Айова/ G C Stockman House   Училище Джию Гакуен, Япония/  Jiyu gakuen myonichikan   Еспланада в кампуса на FSC, Флорида/ Lakeland FSC esplanade   Талийсин Запад, Аризона/ TWentrance   Източници ↑ Фондация „Франк Лойд Райт“, посетен на 25.11.2010 ↑ а б в ((bg)) Пфайфър, Брус Брукс. Франк Лойд Райт. София, Taschen, Алианс 97, 2004. ISBN 9549817237. с. 96. ↑ ((ru)) Фремптон К. Современная архитектура: Критический взгляд на историю развития. М., Стройиздат, 1990, стр.274 ↑ а б Wrightscapes: Frank Lloyd Wright's Landscape Designs, Charles E. and Berdeana Aguar, McGraw-Hill, 2002, p.344 ↑ "Undoing the City: Frank Lloyd Wright's Planned Communities," American Quarterly, Vol. 24, No. 4 (Oct., 1972), p. 542-4 ↑ ((en)) Официален сайт на музея Гугенхайм, посетен на 23.11.2010{ ↑ ((en)) National Park Service – National Historic Landmarks Designated, April 13, 2007 ↑ FSC „Child of the Sun“, посетен на 23.11.2010 ↑ Frank Lloyd Wright: A Biography, Meryle Secrest, University of Chicago Press, 1992. ↑ Frank Lloyd Wright's Glass Designs, Carla Lind, Pomegranate Artbooks/Archetype Press, 1995. http://bg.wikipedia.org/wiki/%D0%A4%D1%80%D0%B0%D0%BD%D0%BA_%D0%9B%D0%BE%D0%B9%D0%B4_%D0%A0%D0%B0%D0%B9%D1%82  http://en.wikipedia.org/wiki/Frank_Lloyd_Wright Midlife controversy and architecture Family abandonment Aerial photo of Taliesin, Spring Green, Wisconsin/ Въздушна снимка на Талиесин, Спринг Гриин, Уисконсин 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 paternal and the brood required most of Catherine's attention. In 1903, Wright designed a house for Edwin Cheney, a neighbor in Oak Park, and immediately took a liking to Cheney's wife, Mamah Borthwick Cheney. 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, even though Wright had been married for almost 20 years. Often the two could be seen taking rides in Wright's automobile through Oak Park, and they became the talk of the town. Wright's wife, Kitty, sure that this attachment would fade as the others had, refused to grant him a divorce. Neither would Edwin Cheney grant one to Mamah. In 1909, even before the Robie House was completed, Wright and Mamah Cheney went together to Europe, leaving their own spouses and children behind. The scandal that erupted virtually destroyed Wright's ability to practice architecture in the United States. Scholars argue that he felt by 1907 that he had done everything he could do with the Prairie Style, particularly from the standpoint of the single family house. Wright 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 Ernst Wasmuth, who had agreed in 1909 to publish his work there.[41] This chance also allowed Wright to deepen his relationship with Mamah Cheney. Wright and Cheney left the United States in 1909 going to Berlin, where the offices of Wasmuth were located. 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 one 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's return to the United States in October 1910, Wright 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 was Y Gwir yn Erbyn y Byd which means "The Truth Against the World"; it was created by Iolo Morgannwg who also had a son called Taliesin, and the motto is still used today as the cry of the druids and chief bard of the Eisteddfod in Wales.[42] More personal turmoil 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.[43] The dead included Mamah; her two children, John and Martha; a gardener; a draftsman named Emil Brodelle; a workman; and another workman's son. Two people survived the mayhem, one of whom helped to put out the fire that almost completely consumed the residential wing of the house. Carlton swallowed muriatic acid immediately following the attack in an attempt to kill himself.[43] He was nearly lynched on the spot, but was taken to the Dodgeville jail.[43] Carlton died from starvation seven weeks after the attack, despite medical attention.[43] In 1922, Wright's first wife, Kitty, granted him a divorce, and Wright was required to wait one year until he married his then-partner, 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 declared invaluable. Wright estimated the loss at $250,000 to $500,000.[44] Wright rebuilt the living quarters again, 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 Minnetonka, Minnesota.[45] The charges were later dropped. Wright and Miriam Noel's divorce was finalized in 1927, and once again, Wright was required to wait for one year until marrying again. Wright and Olgivanna married in 1928. California and the textile block houses Mosaics at Mitla Ruins, Mexico. These were among the inspirations for Wright's textile blocks, though he never acknowledged the source.[46] Photo circa 1900, courtesy SMU./ Мозайки в Митла Руинс, Мексико. Тези бяха сред вдъхновенията на Райт за текстилни блокове , въпреки че той никога не признава източник.     Wright also built several houses in the Los Angeles area. Currently open to the public are the Hollyhock House (Aline Barnsdall Residence) in Hollywood and the Anderton Court Shops in Beverly Hills. Following the Hollyhock House, Wright used an innovative building process in 1923 and 1924, which he called the textile block system[47] where buildings were constructed with precast concrete blocks with a patterned, squarish exterior surface: The Alice Millard House (Pasadena), the John Storer House (West Hollywood), the Samuel Freeman House (Hollywood) and the Ennis House in the Griffith Park area of Los Angeles. During the past two decades the Ennis House has become popular as an exotic, nearby shooting location to Hollywood television and movie makers. He also designed a fifth 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 House. Most of these houses are private residences closed to the public because of renovation, including the George Sturges House (Brentwood) and the Arch Oboler Gatehouse & Studio (Malibu). Mature Organic style During the later 1920s and 1930s Wright's Organic style had fully matured with the design of Graycliff, Fallingwater and Taliesin West. Graycliff, located just south of Buffalo, NY is an important mid-career (1926–1931) design by Wright; it is a summer estate designed for his long-time patrons, Isabelle and Darwin D. Martin. Created in Wright's high Organic style, Wright wrote in a letter to the Martins that "Coming in the house would be something like putting on your hat and going outdoors."[48] Graycliff consists of three buildings set within 8.4 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)/ Водопадът, Мил Рън, Пенсилвания (1937)   One of Wright's most famous private residences was built from 1934 to 1937—Fallingwater—for Mr. and Mrs. Edgar J. Kaufmann Sr., at Mill Run, Pennsylvania, near Pittsburgh. It was designed according to Wright's desire to place the occupants close to the natural surroundings, with a stream and waterfall running under part of the building. 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. 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, AZ, 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/  Чарлз Уелтзхеймер Резидентс (1948) в Оберлин, щата Охайо Основна статия: Usonia 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. An early version of the form can be seen in the Malcolm Willey House (1934) in Minneapolis; but the Usonian ideal emerged most completely in 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 most commonly featured flat roofs and were mostly constructed without basements, completing the excision of attics and basements from houses, a feat Wright had been attempting since the early 20th century. Intended to be highly practical houses for middle-class clients, and designed to be run without servants, Usonian houses often featured small kitchens – called "workspaces" by Wright – that adjoined the dining spaces. These spaces in turn flowed into the main living areas, which also were characteristically outfitted with built-in seating and tables. As in the Prairie Houses, Usonian living areas focused on the fireplace. Bedrooms were typically isolated and relatively small, encouraging the family to gather in the main living areas. The conception of spaces instead of rooms was a development of the Prairie ideal; as the built-in furnishings related to the Arts and Crafts principles from which Wright's early works grew. Spatially and in terms of their construction, the Usonian houses represented a new model 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. Fewer than 60 of Wright's Usonian houses were built. His Usonian homes set a new style for suburban design that was a feature of countless developers. Many features of modern American homes date back to Wright, including 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)/ Музеят Соломон Р. Гигенхайн, Ню Йорк (1959)   The Solomon R. Guggenheim Museum in New York City occupied Wright for 16 years (1943–1959)[49] 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, which features a floor embedded with circular shapes and triangular light fixtures to complement the geometric nature of the structure. Unfortunately, when the museum was completed, a number of important details of Wright's design were ignored, including his desire for the interior to be painted off-white. Furthermore, the Museum currently designs exhibits to be viewed by walking up the curved walkway rather than walking down from the top level. Wright's Price Tower in Bartlesville, Oklahoma/ Кулата Прайс в Бартлесвил, Оклахома   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.[50] Other projects Wright designed over 400 built structures[51] 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 Great Kantō Earthquake of 1923. 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.[52] Imperial Hotel, Tokyo (1923)/ Хотел Имперял в Токио (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 (1911) in Alberta, Canada was destroyed in 1939. The Imperial Hotel, in Tokyo (1913) survived the Great Kantō earthquake but was demolished in 1968 due to urban developmental pressures.[53] One of his projects, Monona Terrace, originally designed in 1937 as municipal offices for Madison, Wisconsin, was completed in 1997 on the original site, using a variation of Wright's final design for 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.[54] 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. A lesser known project that never came to fruition was Wright's plan for Emerald Bay, Lake Tahoe.[55] Few Tahoe locals know of the iconic American architect's plan for their natural treasure. The Kalita Humphreys Theater in Dallas, Texas was Wright's last project before his death. Wright's last design and first European project A design that Wright signed off on shortly before his death in 1959 – possibly his last completed design – was realized in late 2007 in the Republic of Ireland.[56] Wright scholar and devotee Marc Coleman worked closely with the Frank Lloyd Wright Foundation, dealing with E. Thomas Casey, the last surviving Foundation architect who trained under Wright. Working with the Foundation, Coleman selected an unbuilt design that was originally commissioned for Mr. and Mrs. Gilbert Wieland and due to be built in Maryland, USA. However, the Wielands subsequently had financial problems and the design was shelved. The Foundation looked through its archive of 380 unbuilt designs and selected 4 for Coleman that were the closest fit for his site. In the end, he chose the Wieland house, largely because the topography of his site is virtually identical to that for which the building was originally designed. The completed house,[57] in only the fourth country in which a Wright design has been realized, is attracting broad interest from the international architectural community. Casey visited the site in County Wicklow, but died before construction began Community planning Frank Lloyd Wright was interested in site and community planning throughout his career. 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.[58] 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.[59] 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.[60] 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."[61] Notable Community Planning Designs: 1900–1903 – Quadruple Block Plan – 24 homes in Oak Park, IL (unbuilt) 1909 – Como Orchard Summer Colony – Town site development for new town in the Bitterroot Valley, MT 1913 – Chicago Land Development competition – Suburban Chicago quarter section 1934–1959 – Broadacre City – Theoretical decentralized city plan – exhibits of large scale model 1938 – Suntop Homes also known as Cloverleaf Quadruple Housing Project – commission from Federal Works Agency, Division of Defense Housing – low 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.[62] (unbuilt) 1945 – Usonia Homes – 47 homes (3 designed by Wright himself) in Pleasantville, New York 1949 – The Acres, also known as Galesburg Country Homes, 5 homes (4 designed by Wright himself) in Charleston Township, Michigan 1949 – Parkwyn neighborhood – A plat in Kalamazoo, MI developed by Wright himself 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".[63] For a time, Wright made more from selling art than from his work as an architect. 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.[63] 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,[63] and to prominent museums such as the Metropolitan Museum of Art in New York.[64] He penned a book on Japanese art in 1912.[64] 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.[64] 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.[63] Wright continued to collect, and deal in, prints until his death in 1959, frequently using prints as collateral for loans, frequently relying upon his art business to remain financially solvent[64] 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 to 1922.[64] These discoveries, and subsequent research, led to a renewed understanding of Wright's career as an art dealer. Death and legacy 1954 portrait by Al Ravenna, New York World-Telegram and the Sun staff photographer/ 1954 портрет на Ал Равена, Ню Йорк Уорлд Телеграм и на Сън щабен фотограф   Wright-designed window in Robie House, Chicago (1906)/ Райт проектира прозорец в Роби Хаус, Чикаго (1906)   Turmoil followed Wright even many years after his death on April 9, 1959, while undergoing surgery in Phoenix, Arizona, to remove an intestinal obstruction.[65] His third wife, Olgivanna, ran the Fellowship after Wright's death, until her own death in Scottsdale, Arizona, in 1985. That year, it was learned that her dying wish had been that Wright, she, and her daughter by a first marriage all be cremated and relocated to Scottsdale, Arizona. By then, Wright's body had lain for over 25 years in the Lloyd-Jones cemetery, next to the Unity Chapel, near Taliesin, Wright's later-life home in Spring Green, Wisconsin.[66] Olgivanna's plan called for a memorial garden, already in the works, to be finished and prepared for their remains. Although the garden had yet to be finished, his remains were prepared and sent to Scottsdale where they waited in storage for an unidentified amount of time before being interred in the memorial area. Today, the small cemetery south of Spring Green, Wisconsin and a long stone's throw from Taliesin, contains a gravestone marked with Wright's name, though its grave is empty.[67] Personal style and concepts Wright's creations took his concern with organic architecture down to the smallest details. From his largest commercial commissions to the relatively modest Usonian houses, Wright conceived virtually every detail of both the external design and the internal fixtures, including furniture, carpets, windows, doors, tables and chairs, light fittings and decorative elements. He was one of the first architects to design and supply custom-made, purpose-built furniture and fittings that functioned as integrated parts of the whole design, and he often returned to earlier commissions to redesign internal fittings. Some of the built-in furniture remains, while other restorations have included replacement pieces created using his plans. His Prairie houses use themed, coordinated design elements (often based on plant forms) that are repeated in windows, carpets and other fittings. He made innovative use of new 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. 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.[68] Wright responded to the transformation of domestic life that occurred at the turn of the 20th century, when servants became a 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. Wright drove a custom yellow 'raceabout' in the Prairie years, a red Cord convertible in the 1930s, and a famously customized 1940 Lincoln for many years. He earned many speeding tickets in each of his vehicles.[citation needed] Colleagues and influences Wright rarely credited any influences on his designs, but most architects, historians and scholars agree he had five major influences: Louis Sullivan, whom he considered to be his 'Lieber Meister' (dear master), Nature, particularly shapes/forms and colors/patterns of plant life, Music (his favorite composer was Ludwig van Beethoven), Japanese art, prints and buildings, Froebel Gifts[citation needed] He also routinely claimed the architects and architectural designers who were his employees' work as his own design and claimed that the rest of the Prairie School architects were merely his followers, imitators and subordinates.[69] 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 in architecture and Santiago Martinez Delgado in the arts. As a young man, actor Anthony Quinn applied to study with Wright at Taliesin. However, Wright suggested that he first take voice lessons to help overcome a speech impediment. Bruce Goff never worked for Wright but maintained correspondence with him. Their works can be seen to parallel each other. Simon & Garfunkel recorded "So Long, Frank Lloyd Wright" as a tribute to Wright. Recognition 1966 U.S. postage stamp honoring Frank Lloyd Wright/ 1966, САЩ, пощенска марка в чест на Франк Лойд Райт   Later in his life and well after his death in 1959, Wright received much honorary recognition for his lifetime achievements. He received Gold Medal awards from The Royal Institute of British Architects (RIBA) in 1941 and the American Institute of Architects (AIA Gold Medal) in 1949. 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, and 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. 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. 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.[70] 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, is an architect in Colorado Springs, Colorado. She is the mother of Christine, an interior designer in Connecticut, and Catherine, an architecture professor at the Pratt Institute.[71] 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.[71] 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. They divorced after she could not adjust to the communal lifestyle of the Wright communities, which she compared to life in the Soviet Union under her father, and because of the constant interference of Wright's widow. Peters served as Chairman of the Frank Lloyd Wright Foundation from 1985 to 1991. A great-grandson of Wright, S. Lloyd Natof, currently lives and works in Chicago as a master woodworker who specializes in the design and creation of custom wood furniture.[72] Archives Photographs and other archival materials are held by the Ryerson & Burnham Libraries at the Art Institute of Chicago. The Herbert and Katherine Jacobs Residence and Frank Lloyd Wright Records, 1924–1974, Collection includes drawings, correspondence, and other materials documenting the construction of two homes for the Jacobs as well as research files on Wright's life. The Frank Lloyd Wright in Michigan Collection, 1945–1988, consists of research documents, including photocopied correspondence between Wright and his clients, used for the book "Frank Lloyd Wright in Michigan." The Wrightiana Collection, c. 1897–1997 (bulk 1949–1969), includes a variety of printed materials and photographs about Wright and his projects. The Joseph J. Bagley Cottage Collection, c. 1916–1925, contains photographs and drawings documenting the Bagley cottage which was completed in 1916. The architect's personal archives 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 in Los Angeles, California, 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.      Selected works Main article: List of Frank Lloyd Wright works Nathan G. Moore House, Oak Park, Illinois/  Къща на Натан Г. Муре в Оак Парк, Илинойс     The Robie House on the University of Chicago campus/ Роби Хаус в кампуса на университета на Чикаго     Taliesin West Panorama from the "prow" looking at the "ship"/Талиесин Уест Панорама от Талиесин Запад     Gammage Auditorium viewed from one of the pedestrian ramps/ Гамадже Алдиториум видяна от една от пешеходните рампи     Weltzheimer/Johnson_House in Oberlin, Ohio/ Уелтзхеймер/ Къщата на Джонас в Оберлин, Охайо     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 Dana-Thomas House, Springfield, Illinois, 1902 Darwin D. Martin House, Buffalo, New York, 1903–1905 Dr. G.C. Stockman House, Mason City, IA, 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 Gammage Auditorium, Tempe, Arizona, 1959–1964 Graycliff. Buffalo, NY 1926 First Jacobs House, 1936–1937 Herbert F. Johnson Residence ("Wingspread"), Wind Point, WI, 1937 Hollyhock House (Aline Barnsdall Residence), Los Angeles, 1919–1921 Imperial Hotel, Tokyo, Japan, 1923 (demolished, 1968; entrance hall reconstructed at Meiji Mura near Nagoya, Japan, 1976) Johnson Wax Headquarters, Racine, Wisconsin, 1936 Kenneth Laurent House It is the only home Wright designed to be handicapped accessible. Built in 1949 in Rockford, Illinois. Kentuck Knob, Ohiopyle, Pennsylvania, 1956 Larkin Administration Building, Buffalo, New York, 1903 (demolished, 1950) Marin County Civic Center, San Rafael, CA, 1957–1966 Marshall Erdman Prefab Houses, various locations, 1956–1960 Midway Gardens, Chicago, Illinois, 1913 (demolished, 1929) Clubhouse at the Nakoma Golf Resort, Plumas County, California, Designed in 1923. Opened in 2000. Park Inn Hotel is the last standing Wright designed hotel, Mason City, Iowa, 1910 Price Tower, Bartlesville, Oklahoma, 1952–1956 Frederick C. Robie Residence, Chicago, Illinois, 1909 Solomon R. Guggenheim Museum, New York City, 1956–1959 Taliesin I, Spring Green, Wisconsin, 1911 Taliesin III, Spring Green, Wisconsin, 1925 Taliesin West, Scottsdale, Arizona, 1937 The Illinois, mile-high tower in Chicago, 1956 (unbuilt) Unity Temple, Oak Park, Illinois, 1904 Usonian homes, various locations, 1930s–1950s V. C. Morris Gift Shop, San Francisco, 1948 Westhope (Richard Lloyd Jones Residence, Tulsa, Oklahoma, 1929 William H. Winslow House, River Forest, Illinois, 1894 Ward Winfield Willits Residence, and Gardener’s Cottage and Stables, Highland Park, Illinois, 1901 See also 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 Works cited in article ^ a b Brewster, Mike (July 28, 2004). "Frank Lloyd Wright: America's Architect". Business Week (The McGraw-Hill Companies). Retrieved January 22, 2008. ^ 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 ^ Frank Lloyd Wright: A Biography, by Meryle Secrest, University of Chicago Press, 1992, p.72 ^ Phi Delta Theta list of Famous Phis, accessed on May 26. 2008 ^ Frank Lloyd Wright: A Biography, by Meryle Secrest, p. 82 ^ Wright, Frank Lloyd (2005). Frank Lloyd Wright: An Autobiography. Petaluma, CA: Pomegranate Communications. pp. 60–63. ISBN 076493243. ^ "A brief Biography". Wright's Life + Work. Frank Lloyd Wright Foundation. 2010. Retrieved May 16, 2010. ^ O'Gorman, Thomas J. (2004). Frank Lloyd Wright's Chicago. San Diego: Thunder Bay Press. pp. 31–33. ISBN 1-59223-127-6. ^ Wright 2005, p. 69. ^ Wright 2005, p. 66. ^ Wright 2005, p. 83. ^ Wright 2005, p. 86. ^ Wright 2005, pp. 89–94. ^ Tafel, Edgar (1985). Years With Frank lloyd Wright: Apprentice to Genius. Mineola, N.Y.: Dover Publications. p. 31. ISBN 0-486-24801-1. ^ a b Saint, Andrew (May 2004). "Frank Lloyd Wright and Paul Mueller: the architect and his builder of choice". Architectural Research Quarterly (Cambridge: Cambridge University Press) 7 (2): 157–167. Retrieved March 16, 2010. ^ a b 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: Pomegranite. p. 4. ISBN 0-7649-1461-8. ^ a b 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. ^ a b c Lind, Carla (1996). Lost Wright: Frank Lloyd Wright's Vanished Masterpieces. New York: Simon & Schuster, Inc.. pp. 40–43. ISBN 0-684-81306-8. ^ Frank Lloyd Wright Preservation Trust 2001, p. 7. ^ O'Gorman 2004, pp. 38–54. ^ Wright 2005, p. 101 ^ Tafel 1985, p. 41 ^ Wright 2005, p. 112. ^ Wright 2005, pp. 118–119. ^ 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. ^ 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 ^ a b 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. ^ Frank Lloyd Wright: A Biography, by Meryle Secrest, Alfred A. Knopf, 1993, p. 202 ^ "Home Country". Unitychapel.org. July 1, 2005. Retrieved October 16, 2009. ^ a b c d BBC News article: "Mystery of the murders at Taliesin". ^ Frank Lloyd Wright: A Biography, by Meryle Secrest, p. 315–317. "$500,000 Fire in Bungalow,"The New York Times, April 22, 1925 ^ Minnesota Historical Society, Collections Up Close, "Frank Lloyd Wright Arrested in Minnesota" ^ Anthony Alofsin, Frank Lloyd Wright: the lost years, 1910–1922 : a study of influence, 1993, University Of Chicago Press. ISBN 0-226-01366-9. Google Books preview. P. 372, note 33 refers to Millard House. ^ A. P. Vargas & G. G. Schierle, The textile block system: seismic analysis and upgrading, http://library.witpress.com/pages/PaperInfo.asp?PaperID=18110 ^ State University of New York at Buffalo Archives http://ubdigit.buffalo.edu/collections/lib/lib-ua/lib-ua001_DDMartin.php ^ Guggenheim Museum – History[dead link] ^ National Park Service – National Historic Landmarks Designated, April 13, 2007 ^ 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 June 12, 2008. Retrieved October 16, 2009. ^ Berstein, Fred A. "Near Nagoya, Architecture From When the East Looked West," New York Times. April 2, 2006. ^ Monona Terrace Convention Center, history web page ^ "Frank Lloyd Wright Emerald Bay, Lake Tahoe". Tahoelocals.com. January 8, 2007. Retrieved October 16, 2009. ^ "Wright On". constructireland.ie. Retrieved October 16, 2009. ^ Wright On – Late 1950s Frank Lloyd Wright design realized in Wicklow (Retrieved November 18, 2009) ^ Wrightscapes: Frank Lloyd Wright's Landscape Designs, Charles E. and Berdeana Aguar, McGraw-Hill, 2002, p.344 ^ Wrightscapes:Frank Lloyd Wright's Landscape Designs, Charles E. and Berdeana Aguar, McGraw-Hill, 2002, pp. 51–56 ^ "Undoing the City: Frank Lloyd Wright's Planned Communities," American Quarterly, Vol. 24, No. 4 (Oct., 1972), p. 544 ^ "Undoing the City: Frank Lloyd Wright's Planned Communities," American Quarterly, Vol. 24, No. 4 (Oct., 1972), p. 542 ^ Treasures of Taliesin: Seventy Seven Unbuilt Designs, Bruce Brooks Pfeiffer, Director of the Frank Lloyd Wright Archive ^ a b c d Cotter, Holland (April 6, 2001). "Seeking Japan's Prints, Out of Love and Need". New York Times. ^ a b c d e Reif, Rita (March 18, 2001). "Frank Lloyd Wright's Love of Japanese Prints Helped Pay the Bills". New York Times. ^ "Frank Lloyd Wright Dies; Famed Architect Was 89". nytimes.com<!. April 10, 1959. Retrieved May 21, 2010. ^ The Unity Chapel, designed by Joseph Silsbee, should not be confused with the much larger and vastly more famous Unity Temple, designed by Wright and located in Oak Park, IL. Wright was the draftsman for the design of the Unity Chapel. ^ Frank Lloyd Wright: A Biography, Meryle Secrest, University of Chicago Press, 1992. ^ Frank Lloyd Wright's Glass Designs, Carla Lind, Pomegranate Artbooks/Archetype Press, 1995. ^ "The Magic of America", Marion Mahony Griffin ^ ascedia.com. "Taliesin Preservation, Inc. – Frank Lloyd Wright – FAQs". Taliesinpreservation.org. Archived from the original on June 10, 2008. Retrieved October 16, 2009. ^ a b Mann, Leslie (February 1, 2008). "Reflecting pools: Descendants follow in Frank Lloyd Wright's footsteps". Chicago Tribune. Retrieved March 28, 2008. ^ "The Short List". Chicago Magazine. November 2006. Retrieved March 10, 2008. Selected books and articles on Wright’s philosophy An Autobiography, by Frank Lloyd Wright (1943, Duell, Sloan and Pearce / 2005, Pomegranate; ISBN 0-7649-3243-8) Frank Lloyd Wright: A Primer on Architectural Principles, by Robert McCarter (1991, Princeton Architectural Press; ISBN 1-878271-26-1) Frank Lloyd Wright’s Usonian Homes: Designs for Moderate Cost One-Family Homes, by John Sergeant (1984, Watson-Guptill; ISBN 0-8230-7178-2) Frank Lloyd Wright’s Usonian Homes (Wright at a Glance Series), by Carla Lind (1994, Pomegranate Communications; ISBN 1-56640-998-5) "In the Cause of Architecture", Architectural Record, March, 1908, by Frank Lloyd Wright. Published in Frank Lloyd Wright: Collected Writings, vol. 1 (1992, Rizzoli; ISBN 0-8478-1546-3) Natural House, The, by Frank Lloyd Wright (1954, Horizon Press; ISBN 0-517-02078-5) Taliesin Reflections: My Years Before, During, and After Living with Frank Lloyd Wright, by Earl Nisbet (2006, Meridian Press; ISBN 0-9778951-0-6) Truth Against the World: Frank Lloyd Wright Speaks for an Organic Architecture, ed. by Patrick Meehan (1987, Wiley; ISBN 0-471-84509-4) Understanding Frank Lloyd Wright's Architecture, by Donald Hoffman (1995, Dover Publications; ISBN 0-486-28364-X) Usonia : Frank Lloyd Wright's Design for America, Alvin Rosenbaum (1993, Preservation Press; ISBN 0-89133-201-4) Frank Lloyd Wright, by Daniel Treiber (2008, Birkhäuser Basel, 2nd, updated edition; ISBN 978-3-7643-8697-9) Biographies of Wright Frank Lloyd Wright: Architecture, man in possession of his earth, by Iovanna Lloyd Wright (1962, Doubleday; OCLC 31514669) Many Masks, by Brendan Gill (1987, Putnam; ISBN 0-399-13232-5) Frank Lloyd Wright, by Ada Louise Huxtable (2004, Lipper/Viking; ISBN 0-670-03342-1) Frank Lloyd Wright: a Biography, by Meryle Secrest (1992, Knopf; ISBN 0-394-56436-7) Frank Lloyd Wright: His Life and Architecture, by Robert Twombly (1979, Wiley; ISBN 0-471-03400-2) Frank Lloyd Wright: by Vaccaro, Tony, (2002, Kultur-unterm-Schirm) The Fellowship: The Untold Story of Frank Lloyd Wright and the Taliesin Fellowship, by Roger Friedland and Harold Zellman (2006, Regan Books; ISBN 0-06-039388-2) Loving Frank, by Nancy Horan, (2008, Random House, Inc; ISBN 0-345-49499-7) Selected survey books on Wright’s work Architecture of Frank Lloyd Wright, The, by Neil Levine (1996, Princeton University Press; ISBN 0-691-03371-4) Architecture of Frank Lloyd Wright: A Complete Catalog, The, by William Allin Storrer (2007 updated 3rd. ed., University of Chicago Press; ISBN 0-226-77620-4) Frank Lloyd Wright, by Robert McCarter (1997, Phaidon, London; ISBN 0-7148-3148-4 (hardback), ISBN 0-7148-3854-3 (paperback)) Frank Lloyd Wright: America’s Master Architect, by Kathryn Smith (1998, Abbeville Publishing Group (Abbeville Press, Inc.); ISBN 0-7892-0287-5) Frank Lloyd Wright: Architect, by the Museum of Modern Art (1994, ISBN 0-87070-642-X) Frank Lloyd Wright Companion, The, by William Allin Storrer (2006 Rev. Ed., University of Chicago Press; ISBN 0-226-77621-2) Frank Lloyd Wright: Masterworks, by Bruce Brooks Pfeiffer (1993, Rizzoli; ISBN 0-8478-1715-6) Frank Lloyd Wright: Building for Democracy, by Bruce Brooks Pfeiffer (2004, Taschen; ISBN 3-8228-2757-6) Wrightscapes: Frank Lloyd Wright’s Landscape Designs, by Charles and Berdeana Aguar (2003, McGraw-Hill; ISBN 0-07-140953-X) Wright Space: Pattern and Meaning in Frank Lloyd Wright's Houses by Grant Hildebrand (1991, University of Washington Press; ISBN 0-295-97005-7) Frank Lloyd Wright Field Guide, by Thomas A. Heinz (1999, Academy Editions; ISBN 0-8101-2244-8) Frank Lloyd Wright's Glass Designs, by Carla Lind (1995, Pomegranate; ISBN 0-87654-468-5) The Gardens of Frank Lloyd Wright, introduction by James van Sweden, Frances Linden 2009 ISBN 978-0-7112-2967-8 Frank Lloyd Wright Complete Works 1943–1959, by Bruce Brooks Pfeiffer and Peter Gössel (editor) (2009, Taschen; ISBN 978-3-8228-5770-0). First in a series of three monographs featuring all of Wright's 1,100 designs, both realized and unrealized. Selected books about specific Wright projects Fallingwater Rising: Frank Lloyd Wright, E. J. Kaufmann, and America's Most Extraordinary House, by Franklin Toker (2003, Knopf; ISBN 1-4000-4026-4) At Nature's Edge: Frank Lloyd Wright's Artist Studio, by Henry Whiting II. (2007). ISBN 978-0-87480-877-3 External links Wikimedia Commons has media related to: Frank Lloyd Wright Wikiquote has a collection of quotations related to: Frank Lloyd Wright Frank Lloyd Wright Foundation Official Website 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 Original Letters Shapell Manuscript Foundation Frank Lloyd Wright – PBS documentary by Ken Burns and resources American System-Built Houses by Frank Lloyd Wright – an overview with slideshow. 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 gas station. Frank Lloyd Wright and Quebec Frank Lloyd Wright interviewed by Mike Wallace on The Mike Wallace Interview recorded September 1 & 28, 1957