Wright practiced what is known as organic architecture, an architecture that evolves naturally out of the context, most importantly for him the relationship between the site and the building and the needs of the client. Houses in wooded regions, for instance, made heavy use of wood, desert houses had rambling floor plans and heavy use of stone, and houses in rocky areas such as Los Angeles were built mainly of cinder block. 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. 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 camesPyrex 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). (instead of the traditional lead) for his leadlight windows, and he famously used
Wright evolved a new concept of interior space in architecture. Rejecting the existing view of rooms as single-function boxes, Wright created overlapping and interpenetrating rooms with shared spaces. He designated use areas with screening devices and subtle changes in ceiling heights and created the idea of defined space as opposed to enclosed space.
Through experimentation, Wright developed the idea of the prairie house - a long, low building with hovering planes and horizontal emphasis. He developed these houses around the basic crucifix, L or T shape and utilized a basic unit system of organization. He integrated simple materials such as brick, wood, and plaster into the designs.
In 1914 Wright lost his wife and several members of his household when a servant burned down Taliesin, his home and studio in Wisconsin. Following the tragedy, he re-directed his architecture toward more solid, protective forms. Although he produced few works during the 1920s, Wright theoretically began moving in a new direction that would lead to some of his greatest works.
Walter Burley Griffin was among the many notable architects to emerge from the Wright studios. In 1932 Wright established the Taliesin Fellowship - a group of apprentices who did construction work, domestic chores, and design studies. Four years later, he designed and built both Fallingwater and the Johnson Administration Building. These designs re-invigorated Wright's career and led to a steady flow of commissions, particularly for lower middle income housing. Wright responded to the need for low income housing with the Usonian house, a development from his earlier prairie house.
As Wright's career progressed, so as well 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 most well-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.[20]
Often, Wright designed not only the buildings, but the furniture as well. Some of the built-in furniture remains, while other restorations have included replacement pieces created using his plans.
Wright responded to the transformation of domestic life that occurred at the turn of the twentieth century, when servants became a less prominent or completely absent feature of 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. He drove a custom yellow raceabout in the Prairie years, a red Cord convertible in the 1930s, a famously customized 1940 Lincoln for many years, each of which earned him many speeding tickets.
Colleagues and influences
Wright would rarely credit any influences on his designs, but most architects, historians and scholars agree he had five major influences:
1. Louis Sullivan, whom he considered to be his 'Lieber Meister' (dear master),
2. Nature, particularly shapes/forms and colors/patterns of plant life,
3. Music (his favorite composer was Ludwig van Beethoven),
4. Japan (as in art, prints, buildings),
5. Froebel Gifts[citation needed]
