The document discusses the influences and career of American architect Frank Lloyd Wright. It mentions that Wright was influenced by his mentor Louis Sullivan and impressed by the masterplans and "White City" design at the 1893 World's Columbian Exposition in Chicago. Wright developed an interest in Japanese prints and introduced the Prairie School style with its horizontal lines and integration of interior and exterior spaces. The document also summarizes Wright's "Nine Points of the Prairie House Type" and his 1907 proposal for a $5,000 fireproof home design published in Ladies' Home Journal. Finally, it notes the 1910 Wasmuth Portfolio publication of Wright's early works through lithographed plans and perspectives.

1. FRANK LLOYD WRIGHT 1867-1959 SPRING GREEN, WI

2. PHILADELPHIA CENTENNIAL EXHIBITION 1876

3. FRIEDRICH FROEBEL 1782 – 1852 KINDERGARTEN CONCEPT
Through guided play, children
were introduced to pattern
making, beauty, harmony,
aesthetics, and structure, as
well as basic geometric and
mathematical concepts.

4. FRIEDRICH FROEBEL FROEBEL GIFTS

5. FRIEDRICH FROEBEL FROEBEL GIFTS
“…the maplewood
blocks…are in
my fingers to this
day.”

6. WAINWRIGHT BUILDING 1983 CHICAGO LOUIS SULLIVAN--WRIGHT MENTOR

7. COLUMBIAN EXPO 1983 CHICAGO LOUIS SULLIVAN TRANSPORTATION BUILDING

8. COLUMBIAN EXPO 1983 CHICAGO LOUIS SULLIVAN TRANSPORTATION BUILDING

9. COLUMBIAN EXPO 1983 CHICAGO LOUIS SULLIVAN TRANSPORTATION BUILDING

10. COLUMBIAN EXPO 1983 CHICAGO MASTERPLAN BURNHAM/OLMSTED

11. COLUMBIAN EXPO 1983 CHICAGO DANILE BURNHAM-WHITE CITY

12. COLUMBIAN EXPO 1983 CHICAGO DANILE BURNHAM-WHITE CITY

13. COLUMBIAN EXPO 1983 CHICAGO WHAT ELSE WRIGHT SAW

14. COLUMBIAN EXPO 1983 CHICAGO WHAT ELSE WRIGHT SAW

15. COLUMBIAN EXPO 1983 CHICAGO WHAT ELSE WRIGHT SAW

16. WRIGHT’S INTEREST IN JAPANESE PRINTS

17. WRIGHT’S INTEREST IN JAPANESE PRINTS

18. WRIGHT’S INTEREST IN JAPANESE PRINTS

19. WRIGHT’S INTEREST IN JAPANESE PRINTS

20. WRIGHT’S INTEREST IN JAPANESE PRINTS

21. FRANK LLOYD WRIGHT NINE POINTS OF THE PRAIRIE HOUSE TYPE
FIRST: TO REDUCE THE NUMBER OF NECESSARY PARTS OF THE
HOUSE AND THE SEPARATE ROMS TO A MINIMUM, AND MAKE
ALL COME TOGETHER AS ENCLOSED SPACE SO DIVIDED THAT
LIGHT, AIR AND VISTA PERMEATED THE WHOLE WITH A SENSE
OF UNITY.
SECOND: TO ASSOCIATE THE BUILDINGS AS A WHOLE WITH
ITS SITE BY EXTENSION AND EMPHASIS OF ALL THE PLANES
PARALLEL TO THE GROUND, BUT KEEPING THE FLOORS OFF THE
BEST PART OF THE SITE, THUS LEAVING THAT BETTER PART FOR
USE IN CONNECTION WITH THE LIFE OF THE HOUSE. EXTENDED
LEVEL PLANES WERE FOUND USEFUL IN THIS CONNECTION.
THIRD: TO ELIMINATE THE ROOM AS A BOX AND THE HOUSE
AS ANOTHER BY MAKING ALL WALLS ENCLOSING SCREENS-
-THE CEILINGS AND FLOORS AND ENCLOSING SCREENS TO
FLOW INTO EACH OTHER AS ONE LARGE ENCLOSURE OF
SPACE, WITH INNER SUBDIVISIONS ONLY. MAKE ALL HOUSE
PROPORTIONS MORE LIBERALLY HUMAN, WITH LESS WASTED
SPACE IN STRUCTURE AND STRUCTURE MORE APPROPRIATE TO
MATERIAL, SO THE WHOLE MORE LIVABLE. LIBERAL IS THE BEST
WORD. EXTENDED STRAIGHT LINES OR STREAMLINES WERE
USEFUL IN THIS.

22. FRANK LLOYD WRIGHT NINE POINTS OF THE PRAIRIE HOUSE TYPE
FOURTH: TO GET THE UNWHOLESOME BASEMENT UP OUT
OF THE GROUND, ENTIRELY ABOVE IT, AS A LOW PEDESTAL
FOR THE LIVING-POSITION OF THE HOME, MAKING THE
FOUNDATION ITSELF VISIBLE AS A LOW MASONRY PLATFORM
ON WHICH THE BUILDING SHOULD STAND.
FIFTH: TO HARMONIZE ALL NECESSARY OPENINGS TO OUTSIDE
OR TO INSIDE WITH GOOD HUMAN PROPORTIONS AND MAKE
THEM OCCUR NATURALLY--SINGLY OR AS A SERIES IN THE
SCHEME OF THE WHOLE BUILDING. THE ROOM AS SUCH WAS
NOW THE ESSENTIAL ARCHITECTURAL EXPRESSION, AND THERE
WERE TO BE NO HOLES CUT IN WALLS AS HOLES ARE CUT IN A
BOX, BECAUSE THIS WAS NOT IN KEEPING WITH THE IDEAL OF
PLASTIC. CUTTING HOLES WAS VIOLENT.
SIX: TO ELIMINATE COMBINATIONS OF DIFFERENT MATERIALS
IN FAVOR OF MONO MATERIALS SO FAR AS POSSIBLE; TO USE
NO ORNAMENT THAT DID NOT COME OUT OF THE NATURE OF
THE MATERIALS, TO MAKE THE WHOLE BUILDING CLEARER
AND MORE EXPRESSIVE AS A PLACE TO LIVE IN, AND GIVE
THE CONCEPTION OF THE BUILDING APPROPRIATE REVEALING
EMPHASIS. GEOMETRICAL OR STRAIGHT LINES WERE NATURAL
TO THE MACHINERY AT WORK IN THE BUILDING TRADES, SO
THE INTERIORS TOOK ON THIS CHARACTER NATURALLY.

23. FRANK LLOYD WRIGHT NINE POINTS OF THE PRAIRIE HOUSE TYPE
SEVEN: TO INCORPORATE ALL HEATING, LIGHTING, PLUMBING
SO THAT THESE SYSTEMS BECAME CONSTITUENT PARTS OF
THE BUILDING ITSELF. THESE SERVICE FEATURES BECAME
ARCHITECTURAL AND IN THIS ATTEMPT THE IDEAL OF AN
ORGANIC ARCHITECTURE WAS AT WORK.
EIGHT: TO INCORPORATE AS ORGANIC ARCHITECTURE--AS
FAR AS POSSIBLE-- FURNISHINGS, MAKING THEM ALL ONE
WITH THE BUILDING AND DESIGNING THEM IN SIMPLE TERMS
FOR MACHINE WORK. AGAIN ALL STRAIGHT LINES AND
RECTANGULAR FORMS.
NINE: ELIMINATE THE DECORATOR. HE WAS ALL CURVES AND
ALL EFFLORESCENCE. IF NOT ALL “PERIOD.”

24. Frank Lloyd Wright A Fireproof House for $5000 For the Ladies Home Journal, April 1907

25. Frank Lloyd Wright A Fireproof House for $5000 For the Ladies Home Journal, April 1907
“No attic, no “butler’s pantry,”
no back stairway have been
planned; they would be
unnecessarily cumbersome in
this scheme, whiCH is trimmed
to the last ounce of the
superfluous.”
Estimate of Cost:
Concrete construction, masonry
and plastering ... $3100
Carpentry, millwork, sash-door
and screen, labor and trimming ...
$1100
Plumbing and furnace ... $460
Wiring ... $70
Painting and glazing ... $160
Hardware ... $90
(Subtotal = $4980)
If magnesite floors are used add
$320
TOTAL ... $5300

26. Wasmuth portfolio 1910 Ausgefuhrte Bauten und Entwurfe von Frank Lloyd Wright
Berlin Publisher Ernst Wasmuth produced a two-volume folio of 100 lithographs con-
taining plans and perspectives of Frank Lloyd Wright’s buildings from 1893-1909.

27. Wasmuth portfolio 1910 DANA HOUSE

28. Wasmuth portfolio 1910 WILLITS HOUSE