No other architect or designer of the modern era transformed the use of leaded glass in architecture as Frank Lloyd Wright. Creating ribbons of uninterrupted glass casement windows and doors in his Prairie style buildings, Wright conceived …

Signature works in the collection include: Wright’s seminal furniture suite designed for the dining room of his Oak Park residence; one of five known oak print stands designed to exhibit and examine items from Wright’s extensive collection of Japanese prints; leaded glass windows at the Home and Studio that chart the development of Wright ...

The Ward Willits house is widely considered the first of Wright’s mature Prairie style designs. The design closely relates to Wright’s article “A Home in a Prairie Town,” published in the Ladies …

Architect: Frank Lloyd Wright The windows are banded together to form light screens. Contrast the balconies here to the Queen Anne porches we saw. Here the balconies are an integral part of the structure. The balcony walls create privacy for the homeowner and they help unify the house with its environment.

Typically installed in the upper registers of windows in both industrial and commercial spaces, these ribbed, 4-inch square sheets of glass used refraction to illuminate large, deep spaces with natural light. Wright’s many designs for Luxfer Prisms are distinguished by …

Avery Coonley, a wealthy Chicago industrialist, and his wife, Queene Ferry, granted Wright tremendous creative freedom to design a residence that he ultimately deemed “the most successful of my houses.”

Niedecken was responsible for preparing presentation drawings and fabricating and designing textiles, lighting fixtures, furniture, moldings, stained glass, frescoed murals, and cabinetry both in collaboration with and independent of Wright.

The dormered gambrel roof and columned veranda, as well as the dark stained shingle siding that originally covered the Frederick Bagley house, were typical features of American domestic …

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The drawings in the Frank Lloyd Wright Archives at the Avery Library reflect the nineteenth century taste for compact, restricted interior spaces; a square plan; steeply pitched roofs; and double hung windows—design elements Wright had emphatically abandoned by 1903.