Showcasing several rarely published Wright houses in new photos, this lavishly illustrated book is devoted to the Prairie Style of domestic design. 225 illustrations.

In 1912, San Jose architect Frank Delos Wolfe, inspired by Frank Lloyd Wright, applied the architectural style of the Midwestern Prairie School to the California bungalow. The result was something unique to Northern California--an ornate and strikingly modern home that suited the California lifestyle and appealed to those who wanted something decidedly different.With more than 200 photographs, author Krista Van Laan presents a look at the work of Frank Wolfe focusing on the years 1912 through 1922. Set against the backdrop of the Santa Clara Valley during a period of economic and architectural growth, "Frank Delos Wolfe: California Prairie Architecture" tells the stories of these special buildings and their special owners and establishes Wolfe's place among American architects.

Over 400 photographs, floor plans, elevations, detailed drawings — exteriors and interiors — for over 100 structures of Prairie School period. Complemented by author's concise text. Important primary source.

"Barry Byrne (1883-1967) was one of the first significant apprentices of Frank Lloyd Wright, studying in Wright's Oak Park studio from 1902 t0 1908. He followed Wright's principles, but forged an individual style more reminiscent of Louis Sullivan and Irving Gill, with taut planar skins enveloping modern space plans. From 1914 to 1917 he was the American partner of Walter Burley Griffin. In 1922 he designed the first modern Catholic church, St. Thomas Apostle in Chicago, and concentrated on Catholic churches and schools for much of his career. This book charts the entire length of Byrne's work, highlighting its qualities while discussing the cultural conditions that kept it in the shadows of his more famous contemporaries. In 1924 he traveled to Europe where be met Mies, Mendelsohn, Oud and other modernist architects there. He was the only Prairie School architect to build in Europe, designing the concrete Church of Christ the King, built in 1928-31 in Cork, Ireland. Illustrated by more than 100 photographs and drawings, this is the first book-length study of Byrne"--

A Notable Social Studies Trade Book for Young People * A NSTA/CBC Best STEM Book Frank Lloyd Wright, a young boy from the prairie, becomes America's first world-famous architect in this inspirational nonfiction picture book introducing organic architecture -- a style he created based on the relationship between buildings and the natural world -- which transformed the American home. Frank Lloyd Wright loved the Wisconsin prairie where he was born, with its wide-open sky and waves of tall grass. As his family moved across the United States, young Frank found his own home in shapes: rectangles, triangles, half-moons, and circles. When he returned to his beloved prairie, Frank pursued a career in architecture. But he didn't think the Victorian-era homes found there fit the prairie landscape. Using his knowledge and love of shapes, Frank created houses more organic to the land. He redesigned the American home inside and out, developing a truly unique architecture style that celebrated the country's landscape and lifestyle. Author Barb Rosenstock and artist Christopher Silas Neal explore the early life and creative genius of architect Frank Lloyd Wright, highlighting his passion, imagination, and ingenuity.

Inspired by Louis Sullivan and given guidance and prominence by Frank Lloyd Wright, the members of the movement sought to achieve a fresh architectural expression. Their designs were characterized by precise, angular forms and highly sophisticated interior arrangements-an approach that proved immensely significant in residential architecture. H. Allen Brooks discusses the entire phenomenon of the Prairie School-not just the masters but also the work of their contemporaries. Drawing on unpublished material and original documentation as well as on interviews, he assesses each architect's contribution and traces the course of the movement itself-how and why it came into existence, what it achieved, and what caused its abrupt end.

Frederick H. Schultz was one of Jacksonville, Florida's most prominent citizens in the latter half of the 20th century. An investor, civic leader, civil rights champion, philanthropist, and advocate for education and the arts, Schultz went on to become Speaker of Florida's House of Representatives. He also served as vice chairman of the Federal Reserve Board of Governors under Paul Volcker during a pivotal time in this nation's economic history. This is his autobiography, published posthumously.

"Compared with the land, everything else is illusion. The cities are the startled thoughts of sleep." -- Alfred Caldwell Alfred Caldwell is one of the twentieth century's pre-eminent landscape designers. Called a "genius"by Jens Jensen, he corresponded with Frank Lloyd Wright and visited him at Taliesin in Wisconsin. He collaborated regularly with German city planner Ludwig Hilberseimer and worked behind the scenes with Craig Ellwood in California on projects that brought Ellwood prominence. Caldwell taught architecture at the Illinois Institute of Technology at Mies van der Rohe's invitation and at the University of Southern California, earning a reputation at both institutions as the most demanding and inspiring professor on the faculty. Yet this radical thinker consistently attacked academic peers and the parks and roads they designed, cried out against the loss of natural prairie lands to unchecked urban expansion, often began lectures with provocative discussions of the atom bomb, and even asserted that capitalism would likely collapse and be replaced by a more just communist economic system. In Alfred Caldwell, Dennis Domer has collected essays, poetry, drawings, autobiographical writings, and correspondence of this enigmatic figure who has guided and inspired a generation of landscape designers and architects. Caldwell's writings -- on topics ranging from landscape design to the role of technology in the twentieth century to the history of architecture -- offer proof of the creative genius of this passionate individual. He attacked the ideas behind urban renewal and promoted instead an organic, decentralized city that carefully exploited the environmental advantages ofplacing polluting industries downwind, gave residents ready access to healthful sunlight, separated traffic from pedestrians with green space, made walking to work possible, and formed neighborhoods into new settlement units. Dennis Domer's introduction provides more than just a complete chronology of Alfred Caldwell's life. Through his exhaustive use of varied sources as well as taped interviews and letters, Domer offers an unprecedented study of Alfred Caldwell that establishes irrefutably his place beside the other giants of twentieth-century landscape design.

"The mid-twentieth century was one of the most productive and inventive periods in Frank Lloyd Wright's career, producing such masterworks as the Guggenheim Museum, Price Tower, Fallingwater, the Usonian Houses, and the Lovness House, as well as a vast array of innovative furniture and object design. With a wide variety of shapes and forms-ranging from honeycombs to spirals-this period defies simplistic definition. Simplicity, democratic designs, and organic forms characterize Mid-Century Modern, and, mentoring such mid-century talents as Richard Neutra and Rudolph Schindler among others, Wright was one of its most influential proponents. Frank Lloyd Wright: Mid-Century Modern is a comprehensive examination of an under-explored period in Wright's career, a time dating from roughly 1935 to 1958, during which this master architect was at his most daring and innovative."--Jacket

"Architecture doesn't just apply to buildings. It can apply to the way we shape our environment and the habitats of other creatures," says Monica Barron. "There's also an architecture to our emotional/intellectual makeups." Deeply aware of how humans read their surroundings, and how these readings become the bones of a culture, Barron takes us from pond to prairie, from beauty salon to abandoned gas station, from fireside loving to winter ice. Often meditative, often whimsical, the songs, sonnets, and postcard poems in Prairie Architecture cluster naturally around ideas or images, though Barron rejects the rigidity of sections with titles. "I've focused on sequencing poems that might help reveal the bones of the body of the book," she says. Thus, we see how environment shapes perspective in "Why We Need Ponds," ("to break the monotony of crops," for example, and "to teach us patience/ when the water we prepared for doesn't come." We see environment shaping perspective again two poems later, in "Kansas makes her think about." In this small and precise poem "banks of wild, cream-colored iris/ mark where a house used to be," and we sense past and present blend in beauty. And just a few poems later, in a set of seven linked sonnets titled "Meditation from West of the River," we watch the poet remembering how "a heart/could hold heat like sand after a sunset," and again, how "a steady heart can hold heat across/ two states. Mine did. Light and color/ sustained me." This seemingly simple means of sustenance gets immediately complicated as Barron names the colors: "the silver of frost on rotting soybeans" and the red of "a carcass left to the dogs as the sun bled/ the afternoon away." The linked poems here together convey a long and rich love in which closeness and distance play their parts, and in which "whatever it is that connects the heart and mind/ it's at the mercy of memory." In the words of Jamie D'Agostino, describing the half-dozen "postcard poems" scattered through the book, "Barron's the perfect poet to write these: armed with the photographer's eye, the traveler's restlessness, and the poet's imagined scrawl on the back of the card, she's out there, missing us, taking in the world she wants to share." Prairie Architecture gives body to the wide expanses of the human heart by quickly, lightly touching the tiny nerves and arteries which feed it--whether they are heated by a funereal bonfire ("Fare Well") or warmed like butternut squash simmering in wine ("Sometimes your only muse is The Minimalist") or as empty as Audrey's Place after the owner shot her husband in the abandoned kitchen ("Hunting Song.") The medieval concept of microcosm/macrocosm finds a natural place here as word-become-image grows into rich, dense, sweet, sharp metaphor, and human concerns find their place in the midst of it all. As Lori Desrosiers concludes, "we will always remember grandmother's signs of rain, and find beauty in this exquisite journey of a book."