New definition to the little-known work Wright produced during this period, which he describes as Wright's primitivist phase. He traces this influence in his art through Wright's explorations of primitivist sources, innovations in sculpture, and an intensification of the architect's use of ornament. Less tangible, but as important, was Wright's view of himself, his art, and society, and Alofsin uncovers the European impact on the architect's image of himself as a.

The story--personal and professional--of one of the greatest architects who ever lived is here told by the man whom Frank Lloyd Wright once introduced as "Grant Manson, who knows more about me than I do." This volume takes the reader up to 1910, a turning point in Wright's life as an architect and as an individual. Wright's accomplishment by 1910 was considerable; he had already enjoyed what to many people would have been a full career. Most outstanding perhaps was his conception and evolution of the Prairie House, an expression of organic architecture that was the result of many factors: Wright's resourceful Welsh forebears, his Midwest background, his experience with Lyman Silsbee and Louis Sullivan, his interest in Japanese art, and especially his native genius. During the same period Wright also set many precedents for nonresidential architecture, including Unity Church and the Larkin Building. These buildings--residential and nonresidential--plus the unexecuted projects shown add up to a new understanding of Wright's mentality. Grant Carpenter Manson first met Mr. Wright in 1939 while preparing his Harvard doctoral thesis, but his influence reaches back to Mr. Manson's childhood. He fell in love with the Husser House at the age of six and has been faithful ever since.

The complete Wasmuth drawings, 1910. Wright's early experiments in organic design: 100 plates of buildings from Oak Park period from first edition. Includes Wright's iconoclastic introduction.

Between 1898 and 1909, Frank Lloyd Wright’s residential studio in the idyllic Chicago suburb of Oak Park served as a nontraditional work setting as he matured into a leader in his field and formulized his iconic design ideology. Here, architectural historian Lisa D. Schrenk breaks the myth of Wright as the lone genius and reveals new insights into his early career. With a rich narrative voice and meticulous detail, Schrenk tracks the practice’s evolution: addressing how the studio fit into the Chicago-area design scene; identifying other architects working there and their contributions; and exploring how the suburban setting and the nearby presence of Wright’s family influenced office life. Built as an addition to his 1889 shingle-style home, Wright’s studio was a core site for the ideological development of the prairie house, one of the first truly American forms of residential architecture. Schrenk documents the educational atmosphere of Wright’s office in the context of his developing design ideology, revealing three phases as he transitioned from colleague to leader. This heavily illustrated book includes a detailed discussion of the physical changes Wright made to the building and how they informed his architectural thinking and educational practices. Schrenk also addresses the later transformations of the building, including into an art center in the 1930s, its restoration in the 1970s and 80s, and its current use as a historic house museum. Based on significant original and archival research, including interviews with Wright’s family and others involved in the studio and 180 images, The Oak Park Studio of Frank Lloyd Wright offers the first comprehensive look at the early independent office of one of the world’s most influential architects.

This is the first book devoted to Frank Lloyd Wright's designs for remaking the modern city. Stunningly comprehensive, The Urbanism of Frank Lloyd Wright presents a radically new interpretation of the architect’s work and offers new and important perspectives on the history of modernism. Neil Levine places Wright’s projects, produced over more than fifty years, within their historical, cultural, and physical contexts, while relating them to the theory and practice of urbanism as it evolved over the twentieth century. Levine overturns the conventional view of Wright as an architect who deplored the city and whose urban vision was limited to a utopian plan for a network of agrarian communities he called Broadacre City. Rather, Levine reveals Wright’s larger, more varied, interesting, and complex urbanism, demonstrated across the span of his lengthy career. Beginning with Wright’s plans from the late 1890s through the early 1910s for reforming residential urban neighborhoods, mainly in Chicago, and continuing through projects from the 1920s through the 1950s for commercial, mixed-use, civic, and cultural centers for Chicago, Madison, Washington, Pittsburgh, and Baghdad, Levine demonstrates Wright’s place among the leading contributors to the creation of the modern city. Wright’s often spectacular designs are shown to be those of an innovative precursor and creative participant in the world of ideas that shaped the modern metropolis. Lavishly illustrated with drawings, plans, maps, and photographs, this book features the first extensive new photography of materials from the Frank Lloyd Wright Foundation Archives. The Urbanism of Frank Lloyd Wright will serve as one of the most important books on the architect for years to come.

The birth of the skyscraper in Chicago in the mid-1880s introduced a new direction for city architecture: upwards. But how-and why- was it that Chicago set the standard for high-rise buildings, not only across the USA but all over the world? Rolf Achilles here introduces the style of the First Chicago School from 1880 to 1910, explaining the innovative use of iron frames for strength, height and openness, and the ubiquity of gridded window arrangements. With reference to such famous architects as William Le Baron Jenny and Frank Lloyd Wright, and colorful pictures of, among many others, the Reliance, Brooks and Marquette buildings, this book is a fascinating exploration of the structures that helped to give Chicago its identity, and the world a new way of building.

In architectural terms, the twentieth century can be largely summed up with two names: Frank Lloyd Wright and Philip Johnson. Wright (1867–1959) began it with his romantic prairie style; Johnson (1906–2005) brought down the curtain with his spare postmodernist experiments. Between them, they built some of the most admired and discussed buildings in American history. Differing radically in their views on architecture, Wright and Johnson shared a restless creativity, enormous charisma, and an outspokenness that made each man irresistible to the media. Often publicly at odds, they were the twentieth century's flint and steel; their repeated encounters consistently set off sparks. Yet as acclaimed historian Hugh Howard shows, their rivalry was also a fruitful artistic conversation, one that yielded new directions for both men. It was not despite but rather because of their contentious--and not always admiring--relationship that they were able so powerfully to influence history. In Architecture's Odd Couple, Howard deftly traces the historical threads connecting the two men and offers readers a distinct perspective on the era they so enlivened with their designs. Featuring many of the structures that defined modern space--from Fallingwater to the Guggenheim, from the Glass House to the Seagram Building--this book presents an arresting portrait of modern architecture's odd couple and how they shaped the American landscape by shaping each other.

From the New York Times-bestselling team behind Chasing Vermeer comes another thought-provoking art mystery featuring Frank Lloyd Wright's Robie house--now in After Words paperback! Spring semester at the Lab School in Hyde Park finds Petra and Calder drawn into another mystery when unexplainable accidents and ghostly happenings throw a spotlight on Frank Lloyd Wright's Robie House, and it's up to the two junior sleuths to piece together the clues. Stir in the return of Calder's friend Tommy (which creates a tense triangle), H.G. Wells's The Invisible Man, 3-D pentominoes, and the hunt for a coded message left behind by Wright, and the kids become tangled in a dangerous web in which life and art intermingle with death, deception, and surprise.

An “immensely valuable” dual biography of the iconic American architect and the city that transformed his career in the early twentieth century (Francis Morrone, New Criterion). Frank Lloyd Wright took his first major trip to New York in 1909, fleeing a failed marriage and artistic stagnation. He returned a decade later, his personal life and architectural career again in crisis. Booming 1920s New York served as a refuge, but it also challenged him and resurrected his career. The city connected Wright with important clients and commissions that would harness his creative energy and define his role in modern architecture, even as the stock market crash took its toll on his benefactors. Anthony Alofsin has broken new ground by mining the Wright archives held by Columbia University and the Museum of Modern Art. His foundational research provides a crucial and innovative understanding of Wright’s life, his career, and the conditions that enabled his success. The result is at once a stunning biography and a glittering portrait of early twentieth-century Manhattan.