Frank Lloyd Wright is widely regarded as one of the most significant figures in American architecture, celebrated for his unparalleled contributions during a prolific 70-year career that spanned from the late 19th century into the mid-20th century. With over 1,000 structures to his credit, he transcended traditional architectural boundaries as a writer, educator, and visionary. Wright pioneered the concept of “Organic Architecture,” a philosophy that champions a deep connection between human habitation and the natural world. He laid his academic foundation in civil engineering at the University of Wisconsin and honed his skills while working under prominent architects, such as Joseph Lyman Silsbee and Louis Sullivan, both of whom helped shape his early design sensibilities.
As a leading figure of the Prairie School movement, Wright revolutionized architectural design with a distinctive style marked by horizontal lines, flat or gently sloping roofs with broad overhanging eaves, and meticulously arranged windows in horizontal bands. His approach emphasized harmonious integration with the surrounding landscape, durable construction, meticulous craftsmanship, and a disciplined approach to ornamentation.
This article explores ten of Wright’s most iconic creations that have profoundly influenced architectural thought and practice.
1) **Fallingwater**
Fallingwater is an iconic architectural achievement that embodies a masterful fusion of form, function, beauty, and practicality. Designed for the affluent couple Liliane and Edgar J. Kaufmann Sr. in the 1930s, this remarkable residence is partially constructed over the cascading waterfall of Bear Run, located in Stewart Township within the picturesque Laurel Highlands of southwestern Pennsylvania. Wright envisioned a structure that would not merely coexist with its environment but would thrive symbiotically with the natural landscape. Since the early 1960s, the Western Pennsylvania Conservancy (WPC) has maintained Fallingwater as a primary tourist destination, launching house tours in July 1964 and initiating the construction of a visitor center in 1979. The WPC also oversees the stunning 5,000 acres (approximately 2,000 hectares) surrounding the dwelling, ensuring the preservation of this extraordinary site.
Wright’s design intricately incorporates the waterfall as a key element, positioning the home around it to foster a harmonious relationship with nature. The structure is celebrated for its Japanese-influenced architectural style and Wright’s signature design elements—such as cantilevered balconies and strong geometric lines that emphasize both horizontal and vertical dimensions. The aesthetic is further accentuated by his distinctive use of Cherokee red paint on visible steel elements. Today, Fallingwater is considered one of the most-visited private homes in American history.
Among its architectural marvels are multiple outdoor cantilevered terraces that extend dramatically from a central chimney, creating the illusion that they float in mid-air above the waterfall. These terraces are supported by a series of robust concrete beams that project outward from the main structure, enhancing the sense of weightlessness. The construction utilizes locally quarried stone, reinforced concrete, steel, and plate glass, allowing Wright to blur the lines between indoor and outdoor spaces. The windows are ingeniously embedded into the façade, eliminating visible vertical mullions and featuring only horizontal transom bars, while selected corners of the house include windows that pivot inward, further enhancing the connection between the interior and surrounding nature.
2) **Solomon R. Guggenheim Museum**
The Solomon R. Guggenheim Museum, widely celebrated as The Guggenheim, occupies a distinguished position at 1071 Fifth Avenue on the Upper East Side of Manhattan in New York City. Designed by the renowned architect Frank Lloyd Wright, the museum stands in stark contrast to the conventional rectangular edifices that surround it, showcasing an innovative structure that resembles a smooth white ribbon intricately curled into a striking cylindrical form that expands gracefully as it spirals upward toward a breathtaking glass dome.
The museum’s exterior is not just visually captivating; it also sets the stage for an equally remarkable interior. Upon stepping inside, visitors are greeted by a vast 92-foot-tall atrium crowned by an expansive glass dome, which floods the space with natural light. This atrium is framed by a continuous ramp that gently spirals upward for six stories, allowing art enthusiasts to engage with the artworks displayed along the walls as they ascend, turning the experience of viewing art into a dynamic journey.
Wright’s design masterfully incorporates one continuous floor plan with ramps that overlook the open atrium, facilitating interaction and a sense of community among visitors at various levels. Although the sweeping curvature of the building exudes a monumental aura, it also faces notable functional challenges. The curved walls were envisioned to allow for paintings to be tilted back “as on the artist’s easel,” yet this design fell short of its intent, making it difficult to display artwork effectively due to the concave nature of the walls. As a result, before its grand opening, 21 prominent artists voiced their concerns by signing a letter protesting the exhibition of their works in such a space.
In 1992, recognizing the need for an enhancement to Wright’s original vision, the museum introduced an addition designed by Gwathmey Siegel & Associates Architects. These architects meticulously studied Wright’s original sketches and intentions, resulting in a 10-story limestone tower equipped with flat walls, which are far more suitable for art display and preservation.
Despite the controversy surrounding its unconventional display spaces, there is no denying that Wright’s design for the Guggenheim Museum endows visitors with a unique and liberating sense of spatial freedom, encapsulating the essence of his innovative architectural style.
3) **Robie House**
The Robie House, also known as the Frederick C. Robie House, is a remarkable historic house museum strategically located at 5757 South Woodlawn Avenue, elegantly positioned on the northeast corner of Woodlawn Avenue and 58th Street within the Hyde Park neighborhood of Chicago, Illinois. This architectural gem, designed by the eminent Frank Lloyd Wright in the Prairie style, was completed in 1910 for manufacturing executive Frederick Carlton Robie and his family. Drawing profound inspiration from the flat, expansive prairie landscape of the American Midwest, Wright’s design redefined residential architecture in America, exemplifying the Prairie-style home. As Wright himself articulated, “The prairie has a beauty of its own, and we should recognize and accentuate this natural beauty, its quiet level,” reflected in the house’s gently sloping roofs, low proportions, serene skylines, and sheltering overhangs.
The Robie House showcases an ingenious arrangement of public and private spaces, skillfully transitioning away from the street through a series of horizontally layered planes. This clever design expands the interior space towards the outdoors while maintaining a sense of enclosure and intimacy.
Wright’s innovative approach to private spaces effectively addressed the client’s desire to “see his neighbors without being seen.” This was realized through an imposing cantilever over the west-facing porch, which extends an impressive 10 feet from its nearest structural support and 21 feet from the closest masonry pier. The entrance to the house is intentionally understated, as Wright believed that the arrival should be an experience in itself. Additionally, he placed significant emphasis on the central hearth, incorporating a fireplace that elegantly separates the living and dining rooms, open to the ceiling above the mantelpiece for the billiard room and playroom, thereby enhancing the scale and warmth of the interior.
The functional program of the house comprises a living room, dining room, kitchen, billiards room, four bedrooms, and a dedicated servant’s wing, all designed to flow harmoniously into one another. The spatial organization was grounded in a modular grid system, articulated by 4-foot window mullions that provide order and structure. Instead of standard windows, Wright implemented “light screens,” composed of meticulously arranged pieces of clear and colored glass that often depict elements of nature, enhancing the aesthetic experience.
4) **Hollyhock House**
Hollyhock House is an acclaimed house museum situated in Barnsdall Art Park in the vibrant East Hollywood neighborhood of Los Angeles, California. This architectural gem was designed by the renowned architect Frank Lloyd Wright for socialite and heiress Aline Barnsdall, and it derives its name from the distinctive motifs inspired by the hollyhock flower, which are prominently featured throughout the structure.
This impressive residence showcases a harmonious blend of various architectural styles and consists of three expansive wings arranged around a central courtyard, creating an inviting and functional layout. In addition to the main house, Hollyhock House encompasses two guesthouses known as Residence A and B, a garage, the Schindler Terrace, and the Spring House, all of which enhance the overall architectural narrative.
Hollyhock House stands as a hallmark of Wright’s early efforts to create a regionally appropriate architectural style tailored to the unique environment of Southern California. The property masterfully intertwines houses and gardens, ensuring that each key interior space is seamlessly connected to an equivalent exterior space via expansively designed glass doors, porches, pergolas, or colonnades. Designated as a historic cultural monument by the Los Angeles Cultural Heritage Commission in 1963, it was further recognized as a National Historic Landmark in 2007, underscoring its significance in architectural history.
The striking exterior walls are constructed from hollow clay tiles that provide both insulation and aesthetic appeal, while the wood frames and stucco finish contribute to the house’s artistic expression. These walls slope inward at their tops, creating a unique visual effect. Access to the house is granted through a long loggia—a generously sized covered exterior corridor—surrounded by beautifully landscaped terraces and elegant pools situated to the east and west. Encompassing an impressive 6,000 square feet (560 m²), the house features three distinct wings: the living and music room wing to the west, the dining and kitchen wing to the north, and the gallery and bedroom wing to the south. The outbuildings are constructed using materials that skillfully complement those of the main house, maintaining architectural harmony across the property.
5) ** The John and Catherine Christian House (SAMARA)**
The John and Catherine Christian House, widely known as SAMARA, is a striking example of Frank Lloyd Wright’s Usonian architecture, designed for a Purdue University professor and his wife. Nestled in West Lafayette, Indiana, this residence showcases Wright’s visionary approach to integrating architecture with the natural environment. Its name derives from the samara—a type of fruit with a flattened, wing-like structure—symbolizing the organic connection Wright sought to create between the house and its surroundings. Completed in 1956, just three years before the architect’s passing, SAMARA serves as a lasting testament to Wright’s dedication to his clients and his innovative design philosophy.
The design of SAMARA adheres closely to a four-foot-square grid, allowing for a unique combination of cantilevered surfaces that create a sense of open space and fluidity within the home. The house occupies an area of 2,200 square feet and is strategically positioned on one acre of sloping terrain, taking full advantage of the landscape.
Understanding the lifestyle and needs of its inhabitants—academic professionals with a penchant for entertaining—Wright designed SAMARA to function as both a private sanctuary and a gathering place for faculty, students, and community members. The residence boasts generous areas for social interactions, both indoors and outdoors. Key architectural features include a spacious living room bathed in natural light, a separate dining room designed for formal gatherings, a carport for convenient parking, an expansive terrace for outdoor entertaining, a lanai that serves as a roofed, open-sided porch, and beautifully landscaped gardens. SAMARA comprises 15 distinct yet interconnected areas, with living and dining spaces directly adjacent to the terrace and lanai, centralized work, laundry, and utility spaces cleverly located behind a striking fireplace, as well as master, guest, and nursery bedrooms, bathrooms for guests and the master, a carport featuring an adjoining tool closet, and meticulously designed landscapes. The dining and living areas, as well as the bedrooms, open seamlessly onto the terrace and lanai through expansive floor-to-ceiling French glass doors, oriented southeast to capture optimal sunlight throughout the day.
6) **Frank Lloyd Wright Home & Studio**
The Frank Lloyd Wright Home and Studio is an esteemed historic house museum located in Oak Park, Illinois, United States. Constructed in 1889 by the celebrated architect Frank Lloyd Wright, this structure is an embodiment of his innovative architectural philosophy and has undergone several expansions that further illustrate his evolving design principles.
This building is a significant landmark of both the Shingle and Queen Anne styles while the studio distinctly showcases elements of Prairie-style architecture, characterized by its integration with nature and horizontal lines. It functioned as Wright’s creative laboratory, where he intensely developed ideas that culminated in his groundbreaking Prairie-style architecture. Initially a modest residence, the home expanded significantly through a series of meticulous additions that Wright designed during the two decades he spent there with his wife and their six children. During this pivotal period, he experimented with various architectural features, prioritizing functional design over ornamental aesthetics.
The facades are a harmonious blend of brick, stone, battens, and shingles, chosen specifically to complement the lush, surrounding forested landscape. Both the house and studio are constructed as wood-frame structures, thoughtfully organized around central fireplaces that serve as focal points in the living areas. The sparsely decorated interiors are adorned with exclusive objects crafted by Wright himself, reflecting his meticulous attention to detail.
The first floor of the house encompasses an entry hall, a spacious living room, a formal dining room, a study, and a kitchen—areas that exhibit practical design with elements dating back to 1895. The adjacent studio showcases a reception hall, a well-stocked library, a private office, and a striking double-height drafting room, all designed to facilitate creative work. The second floor includes several family bedrooms, a dayroom, and a dedicated playroom for children, while a basement was added during renovations in the 1980s.
Over the years, this building has garnered extensive architectural commentary and has been the subject of various media, including influential books and documentary films. Its facades comprise meticulously selected materials that integrate seamlessly with the adjacent landscape. The foundation walls, built from local rubblestone, are adorned with a brick veneer at the base, providing a robust structural aesthetic. The remainder of the facade features green wood shingles, which were later repainted in an elegant olive hue, and slender sheathing boards that enhance the overall texture. The roof is topped with cedar shingles, contributing to the organic feel of the structure.
The exterior is characterized by prominent geometric design details, including rectangular windows, semicircular lunettes, rhombus-shaped glass panes, and sawtooth shingles that contribute to its distinctive silhouette. Both sections feature veranda walls constructed of durable brick, capped with finely crafted limestone coping. Wright, known for his aversion to conventional window treatments, employed art glass and clerestory windows to illuminate the interiors while maintaining privacy for the occupants. The tall, sweeping roofs of the exterior stand in stark contrast to those of Wright’s later works, which often exhibit lower profiles and pronounced eaves.
The house boasts a sturdy stone base and a gracefully sloping gable roof that descends just above the doors and windows, effectively merging the structure with its natural surroundings. The National Park Service emphasizes that the unique shape of the roof exemplifies Wright’s inclination for picturesque architectural elements. Design features such as inglenooks, protruding polygonal bays, and Shingle style characteristics—including rectangular windows and circular verandas—are seamlessly integrated into the overall design. Unlike many of Wright’s later buildings, which often incorporate circuitous paths, the entrance to this house is prominently visible from the street, creating a welcoming gesture to passersby.
The studio occupies what was once the northern yard of the house, strategically positioned along Chicago Avenue. The northern facade of the studio is asymmetrical, boasting a width of 75 feet (23 m). Observed from the north, the studio consists of a rectangular hall flanked on the east by a two-story octagonal drafting room and on the west by a one-and-a-half-story octagonal library, exemplifying the “form follows function” principle. The massing of the studio thoughtfully reflects its interior layout, embodying Wright’s belief in cohesive design.
Both the house and studio are constructed as wood-frame structures, diverging from traditional Victorian-style floor plans that compartmentalize spaces. Instead, Wright embraced an open plan, with numerous areas intentionally devoid of doors—a defining characteristic present in many of his later projects. Despite their internal connection, each section of the home and studio retains its unique architectural identity. Both are thoughtfully arranged around central fireplaces, and rather than featuring an attic, the second floor of the house benefits from high ceilings that enhance the sense of space.
Wright chose a striking gold and green color palette throughout the building and personally curated all the materials employed in its construction. Many features of the house, such as running tap water, flush toilets, and central heating, were revolutionary at the time of its construction. The interiors are minimally adorned, furnished with exceptional items acquired at auction—from Japanese silk prints and Oriental rugs to Ancient Greek sculptures and Victorian lamps—alongside Chinese and Jacobean furniture. Additionally, Wright designed tailored furniture specifically for the house, ensuring a cohesive and elegant aesthetic throughout the space.
7) ** Taliesin (Studio)**
Taliesin, referred to as Taliesin North after 1937, is a paramount house-studio complex located 2.5 miles (4.0 km) south of Spring Green, Wisconsin. Developed and occupied by the renowned American architect Frank Lloyd Wright, this 600-acre (240 ha) estate stands as an iconic representation of the Prairie School of Architecture. Wright strategically selected local building materials to reinforce his vision. The house is expertly designed to integrate with the hill, epitomizing Wright’s philosophy of “organic architecture.” The distinctive bands of windows, a hallmark of his work, facilitate a seamless connection between nature and the living space. This fluid transition from interior to exterior was revolutionary, reinforcing Wright’s belief that architecture should reside “off” the hill rather than merely “on” it. “I attend the greatest of churches. I spell nature with a capital N. That is my church,” he declared in a 1957 television interview.
Taliesin I comprises several partially detached structures arranged in an “L” shape, interconnected by elegant pergolas. The complex features three main sections: the residential wing on the east, where Wright and his companion Borthwick resided; the agricultural wing on the west; and an office wing that bridges these two areas. To the southwest lies a courtyard, complete with stables, service areas, servants’ quarters, and a garage. The one-story complex is accessed via a road leading up the hill to the rear. The estate’s entrance is on County Road C, just west of Wisconsin Road 23, defined by iron gates flanked by solid limestone piers capped with planter urns.
A porte-cochère or loggia above the entrance to the living quarters provides practical shelter for visiting vehicles. The residential wing includes a bedroom and a spacious combined living-dining room that protrudes impressively from the corner of the hill on two sides. The office wing contains the drafting studio, workroom, and an apartment designated for the head draftsman, likely intended for Wright’s mother. True to the Prairie School ethos, Wright described the house as “low, wide, and snug.” He also meticulously designed the furniture throughout the space.
Wright selected striking yellow limestone from a nearby quarry to construct the house. Local farmers aided in transporting this stone up the Taliesin hill. The stones are laid in long, thin ledges, reflecting their natural positioning in the quarry and the surrounding Driftless Area. The interior plaster was mixed with sienna, imparting a golden hue reminiscent of the sand along the nearby Wisconsin River. Exterior plaster walls, combined with cement, present a grayer shade. Expertly placed windows ensure that sunlight floods each room throughout the day. Wright deliberately omitted gutters, allowing icicles to form in winter. The hip roof features a sturdy wood frame with cedar shingles, designed to weather into a silver-gray color that harmonizes with the nearby trees. The house encompasses approximately 12,000 square feet (1,100 m²) of enclosed space.
8) ** Unity Temple**
Unity Temple is a landmark achievement in Frank Lloyd Wright’s early career, prominently situated in Oak Park, Illinois. Completed in 1908, this architectural masterpiece was commissioned as a replacement for the Unitarian Universalist Church which was tragically engulfed in flames in 1905. Unity Temple is not merely an architectural structure; it is a defining contribution to the Modernist movement of the early 20th century and serves as the foundational work that gave rise to the Prairie School style, which would become central to Wright’s architectural philosophy.
Wright’s connection to Unity Temple was deeply personal, as he was a devoted parishioner of the Unitarian Church in Oak Park. He envisioned the church as a sanctuary for humanity’s spiritual connection with the divine, which led him to boldly abandon the traditional New England Unitarian architectural style characterized by white steeples and ornate detailing. Instead, he embraced a striking modern concrete aesthetic that redefined what a place of worship could be.
The deliberate use of concrete representative of Wright’s bold departure from the normative styles of his time underscores his commitment to a form that emphasizes straightforwardness and the removal of archaic religious symbols. In this vision, he placed humanity at the very core of the worship experience.
Perched on a busy thoroughfare, Unity Temple commands attention as a substantial, solid mass, offering an imposing presence. In response to the external noise, Wright designed the temple to appear almost windowless, incorporating only a few clerestory windows set within recessed areas of the facade. This design choice reflects some of his later architectural principles, as Unity Temple is conceived as a bipartite structure. The central temple integrates seamlessly with a community center, linked via a low-level corridor. While Wright sought to challenge and redefine traditional Unitarian values, he ensured that the temple remained central to the design. This highlights his belief that while the physical environment may evolve, the fundamental spiritual values can endure.
In contrast to the iconic low, horizontal forms that Wright would later champion, Unity Temple emphasizes verticality and volume over traditional wall structures. Throughout his body of work, Wright expertly manipulates the interplay of light and shadow, utilizing materials and spatial configurations that enhance this dynamic. The temple’s exterior is imposing with its heavy, opaque facade, yet once inside, visitors are greeted with an expansive, airy atmosphere that invites the light to pour in generously.
Wright purposely omitted windows at street level to create a focused interior worship environment, recognizing the need for congregants to connect with the essence of the church rather than the distractions of the outside world. To evoke a connection with nature despite the lack of windows, he designed exquisite stained-glass windows featuring rich hues of green, yellow, and brown, encapsulating the beauty of the natural environment within the temples’ interior.
Every seat in the temple is strategically located within 40 feet of the pulpit, reinforcing an intimate sense of community and encouraging congregational participation in worship. Although the temple’s physical dimensions are smaller than they may seem, the strategic use of clerestory windows and skylights creates an illusion of expansive volume, making the interior feel both welcoming and grand.
As with all of his masterpieces, Unity Temple embodies a holistic design philosophy, where every aspect—structural, aesthetic, and spatial—has been meticulously crafted, demonstrating Wright’s unwavering commitment to his architectural principles.
9) **Price Tower**
The Price Tower is a remarkable architectural icon situated at 510 South Dewey Avenue in Bartlesville, Oklahoma. This striking skyscraper, soaring to a height of 221 feet (67 m) over nineteen stories, is a testament to the visionary genius of Frank Lloyd Wright, a name synonymous with innovative and organic architecture. With the omission of its 35-foot (11 m) spire, the main structure towers at an impressive 186 feet (57 m). The building’s design features a secure two-story base supporting a dynamic 17-story upper section, culminating in an exquisitely designed three-story penthouse. Adjacent to this, a thoughtfully integrated two-story annex enhances the overall composition of the tower.
Wright poetically dubbed the Price Tower “the tree that escaped the crowded forest,” a vivid metaphor that captures the building’s striking presence and its harmonious interaction with the surrounding urban landscape. Whether regarded as Wright’s only completed skyscraper or one of just two—alongside the Research Tower at Johnson Wax Headquarters—it is undeniably a significant achievement in architectural history. The Price Tower is cleverly divided into quadrants, with one dedicated to double-height residential apartments, while the remaining three sectors serve as spacious office spaces. The unique asymmetry of the design is further underscored by one quadrant being intentionally smaller, contributing to the tower’s visual intrigue.
Upon its grand completion, the Price Tower made available around 42,000 square feet (3,900 m²) of rentable space, masterfully distributed across its mixed-use design. The sophisticated floor plan features an arrangement of parallelograms intermingled with 30-60-90 triangles, intricately organized around a central pinwheel-shaped structural core characterized by four robust piers. This innovative engineering solution was inspired by Wright’s unrealized 1925 vision for St. Mark’s Tower in New York City, an ambitious concept of a tree-like mast supported by a central “trunk” comprised of four elevator shafts anchored within a substantial foundation.
The building’s facade is a captivating display of architectural elegance, featuring an asymmetrical design where each elevation presents a unique and compelling character, transforming it into a visual landmark. The exterior is adorned with carefully selected copper decorations that enrich its artistic quality, and the facade panels are ingeniously suspended from the building’s floor slabs. Practicality meets style in the incorporation of louvers measuring 20 inches (510 mm) wide, which are expertly designed to protect the interiors from harsh sunlight and inclement weather. These louvers were pre-oxidized to a distinctive blue-green hue, and they exhibit a thoughtful configuration: horizontal arrangements on the office levels act as a shield against rain and wind, while vertical louvers on the residential section are strategically placed on the sun-drenched southwest corner to mitigate intense sunlight exposure throughout the day. The sixth-floor terrace features adjustable louvers, allowing for optimal environmental control.
Adding to the building’s architectural allure, embossed copper spandrels echo motifs from the floor plans, creating an interplay of patterns that enhance the visual dynamic of the structure. Wright anticipated these spandrels would undergo a graceful aging process, allowing their beauty to evolve. The predominant use of poured concrete, lavishly coated with stucco, defines the primary facade, while all exterior trims are crafted from lightweight yet durable aluminum, complemented by intricately designed copper lamps that illuminate the surroundings with a warm glow. Originally, the glass panes exhibited captivating hues of gold and copper, and although reflective films were applied to the windows during the late 20th century, the decision was made to remove this film from the southeast quadrant windows in 2003, restoring their original brilliance.
Every floor of the Price Tower features expansive balconies that provide both shade and outdoor access, allowing residents and occupants to enjoy the fresh air while enhancing the building’s aesthetic character. Lush roof gardens flourish atop the annex and residential balconies, reinforcing Wright’s philosophy of organic architecture, which promotes the seamless integration of interior spaces with the natural environment. He envisioned these terraces as vital connections—”intermediaries”—that foster a rich dialogue between indoor and outdoor living. To accentuate the facade, the building also showcases an eye-catching 4-by-4-inch (100 by 100 mm) red tile, prominently featuring Wright’s initials, a signature touch that imbues the structure with an element of personal charm.
At street level, the annex was initially designed with a striking separation from the main tower, marked by a drive-through counter framed by vertical windows that create a modernist statement. Though the second story of the annex was physically joined to the tower, access between the two sections required movement outdoors, an intentional design choice that enhances the experience of traversing between spaces. The northern wall of the annex features a dramatic rhombus-shaped window adorned with embossed copper bands, paired with a copper-framed skylight that bathes the entrance with natural light. Between 1978 and 1979, the drive-through counter was transformed and enclosed to become the inviting Taliesin Room, enriching the building’s functionality and allure. Additional structures, including a one-story storage shed constructed to the east in the late 20th century, along with canopies and loggias, were designed to facilitate pedestrian and vehicular access thoughtfully.
Initially, the residential and office components of the Price Tower featured separate lobbies and elevator access, effectively maintaining the privacy of each sector. The uppermost three stories were designated as a luxurious penthouse apartment and office for the Price family. Although the usage of the space has evolved over the years, transitioning apartments into office spaces, the exterior has remarkably maintained its original character and integrity. Upon opening, the Price Tower was acclaimed as the most expensive building ever erected in Bartlesville, establishing itself as an emblematic example of pioneering skyscrapers designed to integrate both residential and commercial functions from the outset.
10) **Johnson Wax Headquarters **
The Johnson Wax Headquarters serves as the corporate headquarters for S. C. Johnson & Son, a prominent household goods company headquartered in Racine, Wisconsin, United States. This architectural landmark comprises two original buildings designed by the visionary Frank Lloyd Wright: the Administration Building, completed in April 1939, and the Research Tower, which was finalized in November 1950. Additionally, the headquarters complex includes the Golden Rondelle Theater, an impressive structure relocated from the 1964 New York World’s Fair, as well as Fortaleza Hall and The Commons, both of which honor the legacy of Samuel Curtis Johnson Jr. Upon their completion, these buildings garnered widespread acclaim and have been prominently featured in various architectural exhibits and media, solidifying their place in architectural history. Moreover, the original headquarters has attained the prestigious American Institute of Architects’ Twenty-five Year Award and has been designated a National Historic Landmark, acknowledging its significance and enduring legacy.
The Johnson Administration Building showcases Frank Lloyd Wright’s interpretation of the streamlined Art Modern style, which is characterized by its striking, curved brick facade and innovative Pyrex glass-tube windows that allow ample natural light to flow into the interior spaces. At the heart of the Administration Building lies the expansive Great Workroom, supported by a series of concrete shell columns embellished with large “calyxes” that provide structural and aesthetic support. This dynamic space is designed for flexibility, featuring offices located on an elevated mezzanine and a sophisticated penthouse, as well as an overpass that connects to a carport. Each office and communal space is furnished with custom-designed furniture conceived by Wright himself, creating a cohesive aesthetic throughout the interior.
Adjacent to the Administration Building, the Research Tower rises impressively as a 15-story architectural marvel, characterized by a striking brick facade and large Pyrex tube windows. This tower is thoughtfully designed with a series of alternating square floors and circular mezzanines that cantilever outward from a solid structural core, creating a unique visual profile. The building is surrounded by a tranquil courtyard, providing a serene environment for research and collaboration.
Wright’s forward-thinking vision is evident in his incorporation of modular furniture and an open office layout aimed at enhancing productivity and facilitating collaboration among workers. The Administration Building was a pioneer in incorporating full air-conditioning technology, making it one of the first such structures in the United States, significantly improving the working conditions for its occupants. Wright’s design expertise extended to creating over 40 pieces of bespoke furniture specifically tailored for the Administration Building, each piece enhancing both functionality and the building’s distinct aesthetic, exemplified by the versatile rolling file carts designed for mobility within the Great Workroom. Open “birdcage” circular elevators elegantly transport occupants from the basement to the penthouse, offering breathtaking panoramic views of the building and its surroundings.
Attention to detail is a hallmark of Wright’s work, reflected in his deliberate choice of a warm red-brown hue for both the exterior and interior walls. Departing from conventional brick design, the Administration Building’s architecture was uniquely crafted to accommodate nearly 200 custom-designed brick shapes, including a variety of interior and exterior radii and corner bricks, enhancing the building’s organic form. The trim, made from high-quality Kasota Stone, complements the rich tones of the brick, while the meticulously raked mortar in the horizontal joints contributes to a continuous, streamlined visual effect that enhances the building’s overall elegance.
Frank Lloyd Wright’s influence on architecture is profound and transformative, revolutionizing established norms of building design and human habitation. His distinguished career, which spanned over seven decades until his passing in 1959, resulted in the realization of 532 of the 1,114 architectural projects he conceived, ensuring his lasting impact on the architectural landscape. His remarkable body of work has justly earned him the title of the American Institute of Architects’ “greatest American architect of all time.”