Frank Lloyd Wright Quotes

I believe in God, only I spell it Nature.

An idea is salvation by imagination

A doctor can bury his mistakes, but an architect can only advise his clients to plant vines.

I'm all in favor of keeping dangerous weapons out of the hands of fools. Let's start with typewriters.

Early in my career...I had to choose between an honest arrogance and a hypercritical humility... I deliberately choose an honest arrogance, and I've never been sorry.

The longer I live the more beautiful life becomes. If you foolishly ignore beauty, you will soon find yourself without it. Your life will be impoverished. But if you invest in beauty, it will remain with you all the days of your life.

Nature is my manifestation of God. I go to nature every day for inspiration in the day's work.

study nature, love nature, stay close to nature. It will never fail you.

A professional is one who does his best work when he feels the least like working.

The truth is more important than the facts.

There is nothing more uncommon than common sense.

As we live and as we are, Simplicity - with a capital "S" - is difficult to comprehend nowadays. We are no longer truly simple. We no longer live in simple terms or places. Life is a more complex struggle now. It is now valiant to be simple: a courageous thing to even want to be simple. It is a spiritual thing to comprehend what simplicity means.

Youth is not an age thing. It's a quality. Once you've had it, you never lose it.

Tip the world over on its side and everything loose will land in Los Angeles.

The thing always happens that you really believe in; and the belief in a thing makes it happen.

I know the price of success: dedication, hard work, and an unremitting devotion to the things you want to see happen.

Television is chewing gum for the eyes.

Less is more only when more is too much.

Many wealthy people are little more than janitors of their possessions.

You have to go wholeheartedly into anything in order to achieve anything worth having.

Youth is a circumstance you can't do anything about. The trick is to grow up without getting old.

Imitation is always insult--not flattery.

Freedom lies within.

Early in life I had to choose between honest arrogance and hypocritical humility. I chose honest arrogance and have seen no occasion to change.

give me the luxuries of life and I will gladly do without the necessities.

Building becomes architecture only when the mind of man consciously takes it and tries with all his resources to make it beautiful, to put concordance, sympathy with nature, and all that into it. Then you have architecture.

Man is a phase of nature, and only as he is related to nature does he matter, does he have any account whatever above the dust.

The measure of a man's culture is the measure of his appreciation. We are ourselves what we appreciate and no more.

The heart is the chief feature of a functioning mind.

An architect's most useful tools are an eraser at the drafting board and a wrecking ball at the site.

The best thing to do is go as far out as you can get... what you regard as 'too far'--and when others follow, as they will, move on.

Art for art's sake is a philosophy of the well-fed.

The fair awakened America to beauty and as such was a necessary passage that laid the foundation for men like Frank Lloyd Wright and Ludwig Mies van der Rohe.

To me, young has no meaning. It’s something you can do nothing about, nothing at all. But youth is a quality. And if you have it, you never lose it.

...the real junk food is what Frank Lloyd Wright called light entertainment - bubblegum for the eye ...

1. An honest ego in a healthy body 2. An eye to see nature 3. A heart to feel nature 4. Courage to follow nature 5. A sense of proportion (humor) 6. Appreciation of work as idea and idea as work 7. Fertility of imagination 8. Capacity for faith and rebellion 9. Disregard for commonplace (inorganic) elegance 10. Instinctive cooperation

The longer that I live the more beautiful life becomes.

Eventually, I think Chicago will be the most beautiful great city left in the world.

I believe in God, only I spell it Nature.” Frank Lloyd Wright

Space is the breath of art.

The physician can bury his mistakes, but the architect can only advise his client to plant vines — so they should go as far as possible from home to build their first buildings.

Early in life I had to choose between honest arrogance and hypocritical humility. I chose the former and have seen no reason to change.

Philip Johnson is a highbrow. A highbrow is a man educated beyond his capacity. His house is a box of glass — not shelter. The meaning of the word shelter includes privacy.

Noble life demands a noble architecture for noble uses of noble men. Lack of culture means what it has always meant: ignoble civilization and therefore imminent downfall.

A man is a fool if he drinks before he reaches the age of 50, and a fool if he doesn't afterward.

...there is no true understanding of any art without some knowledge of its philosophy. Only then does its meaning come clear.

They say this was built by Frank Lloyd Wright's evil twin," said Wednesday. "Frank Lloyd Wrong.

Every idea that is a true idea has a form, and is capable of many forms. The variety of forms of which it is capable determines the value of the idea. So by way of ideas, and your mastery of them in relation to what you are doing, will come your value as an architect to your society and future. That's where you go to school. You can't get it in a university, you can't get it here, you can't get it anywhere except as you love it, love the feeling of it, desire and pursue it. And it doesn't come when you are very young, I think. I believe it comes faster with each experience, and the next is very simple, or more simple, until it becomes quite natural to you to become master of the idea you would express. "Idea and Essence" September 7, 1958

A visionary company is like a great work of art. Think of Michelangelo’s scenes from Genesis on the ceiling of the Sistine Chapel or his statue of David. Think of a great and enduring novel like Huckleberry Finn or Crime and Punishment. Think of Beethoven’s Ninth Symphony or Shakespeare’s Henry V. Think of a beautifully designed building, like the masterpieces of Frank Lloyd Wright or Ludwig Mies van der Rohe. You can’t point to any one single item that makes the whole thing work; it’s the entire work—all the pieces working together to create an overall effect—that leads to enduring greatness.

The longer I live, the more beautiful life becomes.

Life is truth...

Regard it as just as desirable to build a chicken house as to build a cathedral.” —Frank Lloyd Wright

An idea is inevitably a coordination. It is a coming together of something that is separate or disorganized or incomplete. With an idea you begin to feel into the nature of that incompleteness. "Nature and Idea" December 30, 1956

We have no longer an outside and an inside as two separate things. Now the outside may come inside and the inside may and does go outside. They are of each other. Form and function thus become one in design and execution if the nature of materials and method and purpose are all in unison.

The desire to make art begins early. Among the very young this is encouraged (or at least indulged as harmless) but the push toward a 'serious' education soon exacts a heavy toll on dreams and fantasies....Yet for some the desire persists, and sooner or later must be addressed. And with good reason: your desire to make art -- beautiful or meaningful or emotive art -- is integral to your sense of who you are. Life and Art, once entwined, can quickly become inseparable; at age ninety Frank Lloyd Wright was still designing, Imogen Cunningham still photographing, Stravinsky still composing, Picasso still painting. But if making art gives substance to your sense of self, the corresponding fear is that you're not up to the task -- that you can't do it, or can't do it well, or can't do it again; or that you're not a real artist, or not a good artist, or have no talent, or have nothing to say. The line between the artist and his/her work is a fine one at best, and for the artist it feels (quite naturally) like there is no such line. Making art can feel dangerous and revealing. Making art is dangerous and revealing. Making art precipitates self-doubt, stirring deep waters that lay between what you know you should be, and what you fear you might be. For many people, that alone is enough to prevent their ever getting started at all -- and for those who do, trouble isn't long in coming. Doubts, in fact, soon rise in swarms: "I am not an artist -- I am a phony. I have nothing worth saying. I'm not sure what I'm doing. Other people are better than I am. I'm only a [student/physicist/mother/whatever]. I've never had a real exhibit. No one understands my work. No one likes my work. I'm no good. Yet viewed objectively, these fears obviously have less to do with art than they do with the artist. And even less to do with the individual artworks. After all, in making art you bring your highest skills to bear upon the materials and ideas you most care about. Art is a high calling -- fears are coincidental. Coincidental, sneaky and disruptive, we might add, disguising themselves variously as laziness, resistance to deadlines, irritation with materials or surroundings, distraction over the achievements of others -- indeed anything that keeps you from giving your work your best shot. What separates artists from ex-artists is that those who challenge their fears, continue; those who don't, quit. Each step in the artmaking process puts that issue to the test.

Now a work of art is a work of nature, but it is a work of human nature. It is a work of the mind: and it's a work of the mind in circumstances for an occasion which, to which, for which, and which it may be supremely natural and simple and effective. "The Nature of Art" December 19, 1954

The thing always happens that you really believe in and the belief in a thing makes it happen.

The measure of its nobility and its continuity is its depth of feeling and its sincerity. And if it has that quality, it stands. "Toward a New architecture" July 14, 1957

Frank Lloyd Wright insisted that constraints historically have resulted in a flowering of the imagination: “The human race built most nobly when limitations were greatest and, therefore, when most was required of imagination in order to build at all.

Coonskin caps and silly putty were just not going to cut it anymore. The good mother got her kids toys that were educational, that advanced gross and fine motor skills, that gave them the spatial sensibilities and design aptitude of Frank Lloyd Wright, and that taught Johnny how to read James Joyce at age three. God forbid that one second should pass where your child was idle and that you were not doing everything you could to promote his or her emotional, cognitive, imaginative, quantitative, or muscular development.

Philosophy is to the mind of the architect as eyesight to his steps. The Term 'genius' when applied to him simply means a man who understands what others only know about. A poet, artist or architect, necessarily 'understands' in this sense and is likely, if not careful, to have the term 'genius' applied to him; in which case he will no longer be thought human, trustworthy or companionable. Whatever may be his medium of expression he utters truth with manifest beauty of thought. If he is an architect, his building is natural. In him, philosophy and genius live by each other, but the combination is subject to popular suspicion and appellation 'genius' likely to settle him--so far as the public is concerned.

called to testify in a court case. Asked to identify himself, he announced that he was the world’s greatest architect. When asked how he could make such a statement, he replied, with visible enjoyment and a gleam in his eye, that he had no choice, he was under oath.

The mother art is architecture. Without an architecture of our own we have no soul of our own civilization.

The mission of an architect is to help people understand how to make life more beautiful, the world a better one for living in, and to give reason, rhyme, and meaning to life.

As Frank Lloyd Wright once observed, “The human race built most nobly when limitations were greatest.

Frank Lloyd Wright observed: “Many wealthy people are little more than the janitors of their possessions.

Tip the world over on its side and everything loose will land in Los Angeles.” “Frank Lloyd Wright said that.

I believe in God,’ Frank Lloyd Wright said, "only I spell it Nature." Gardeners spend much of their time kneeling in postures of prayer.

The members of Joy Division likely weren’t meditating on Frank Lloyd Wright when they took the stage in Manchester but those flat-fronted black cotton trousers and narrow cut shirts didn’t come from nowhere. Peter Saville, who designed all of Factory’s records, understood in perfectly well: the iconic weight of black and white balanced against the release of splendour, in this case the dark magnificence of the music itself. Which might describe the tension of Protestant affect more generally: all guardedness and restraint until the eruption of an unextirpated beauty wakes us for a moment from the dream of efficiency.

...his house was large and strived to be impressive. It had a lot of glass and redwood in its makeup and was obviously designed by someone who idolized Frank Lloyd Wright without quite grasping his basic principles.

THE FAIR HAD A POWERFUL and lasting impact on the nation’s psyche, in ways both large and small. Walt Disney’s father, Elias, helped build the White City; Walt’s Magic Kingdom may well be a descendant. Certainly the fair made a powerful impression on the Disney family. It proved such a financial boon that when the family’s third son was born that year, Elias in gratitude wanted to name him Columbus. His wife, Flora, intervened; the baby became Roy. Walt came next, on December 5, 1901. The writer L. Frank Baum and his artist-partner William Wallace Denslow visited the fair; its grandeur informed their creation of Oz. The Japanese temple on the Wooded Island charmed Frank Lloyd Wright, and may have influenced the evolution of his “Prairie” residential designs. The fair prompted President Harrison to designate October 12 a national holiday, Columbus Day, which today serves to anchor a few thousand parades and a three-day weekend. Every carnival since 1893 has included a Midway and a Ferris Wheel, and every grocery store contains products born at the exposition. Shredded Wheat did survive. Every house has scores of incandescent bulbs powered by alternating current, both of which first proved themselves worthy of large-scale use at the fair; and nearly every town of any size has its little bit of ancient Rome, some beloved and be-columned bank, library or post office. Covered with graffiti, perhaps, or even an ill-conceived coat of paint, but underneath it all the glow of the White City persists. Even the Lincoln Memorial in Washington can trace its heritage to the fair.

What is needed most in architecture today is the very thing that is most needed in life- Integrity. Just as it is in a human being, so integrity is the deepest quality in a building...if we succeed, we will have done a great service to our moral nature- the psyche- of our democratic society...Stand up for integrity in your building and you stand for integrity not only in the life of those who did the building but socially a reciprocal relationship is inevitable.

Eichler, whose company spawned more than eleven thousand homes in various California subdivisions between 1950 and 1974. Inspired by Frank Lloyd Wright’s vision of simple modern homes for the American “everyman,” Eichler built inexpensive houses

How many understand that Nature is the essencial character of whatever is. It's something you'll find by looking not at, but in, always in. It's always inside the thing, and it makes the outside. And some day, when you get sufficiently proficient in understanding the use of the term, you can tell by the outside pretty much from what's inside. [...] But everything that's ever going to be of use to you in architecture or in life or anywhere you go or whatever you do is going to be Nature, in some of its immensely varied forms. So varied that there's no end to the variety imaginable. "Nature" September 7, 1958

Liberty may be granted but freedom cannot be conferred. Freedom is from within. Notwithstanding all the abuses to which freedom is now subject--marking man down as a commercial item and cutting him off from his birthright by senseless excess and the demoralization of the profit-system--yet man may still be in love with life and find life less and less abundant for this very reason. Truth is of freedom, always safe and affirmative, therefore conservative. Truth proclaims rejection of dated minor traditions, doomed by the great Tradition of The Law of Change is truth's great "eternal." Freedom is this "great becoming.

The Frank Lloyd Wright–designed Sidney Bazett house on Reservoir Road in Hillsborough, outside San Francisco, is located at the end of a winding, tree-cloaked driveway and not visible from the street. Its extraordinariness is murmured about but rarely seen.

...the multitudinous substitutes for indigenous culture cannot grow. Having no roots, they can only age and decay. Studious, sincere youth retires, defeated. American youth, capable of becoming serious competent artists, under such pressure as this on every side, confused, try not to give up--or "fall in line." This is the nature of about all that can be called American education in the arts and architecture at this time. As for religion true to the teaching of the great redeemer who said "The Kingdom of God is within you"--that religion is yet to come: the concept true not only for the new reality of building but for the faith we call democracy.

The primitive ideals of centralization are now largely self-defeating. Human crucifixion by vertically on the now static checkerboard of the old city is pattern already in agony; yet for lack of any organic planing it is going on and on--not living, but rather hanging by its eyebrows from its nervous system.

You will find Goodness and Truth everywhere you go. If you have to choose, choose Truth. For that is closest to Earth. Keep close to the Earth, ...: in that lies strength. Simplicity of heart is just as necessary for an architect as for a farmer or a minister if the architect is going to build great buildings.

Man in his upended street must know he is becoming a mere numerical item of convenience; on the way to being a thing. His inherent instinct for love and beauty is not only becoming suspect but, in spite of all intent, useless to society. He sees the human creature atrophy as he sees poverty of imagination in much "modern art," so-called. But it was Walt Whitman himself who raised the perpendicular hand to declare: "It is provided in the essence of things that from any fruition of success no matter what, shall come forth something to make a greater struggle necessary." This is what is now coming forth in our architecture as in our life.

Le génie est un péché contre la masse.

The belief in a thing makes it happen.

Our forefathers were not only brave. I believe they were right. I believe that what they meant was that every man born had equal right to grow from scratch by way of his own power unhindered to the highest expression of himself possible to him. This of course not antagonistic by sympathetic to the growth of all men as brothers. Free emulation not imitation of the "bravest and the best" is to be expected of him. Uncommon he may and will and should become as inspiration to his fellows, not a reflection upon them, not to be resented but accepted--and in this lies the only condition of the common man's survival. So only is he intrinsic to democracy. Persistently holding quality above quantity only as he attempts to live a superior life of his own, and to whatsoever degree in whatever case he finds it; this is his virtue in a democracy such as ours was designed to be. Only this sense of proportion affords tranquility of spirit, in itself beauty, in either character of action. Nature is never other than serene even in a thunderstorm. The assumption of the "firm countenance, lips compressed" in denial or resentment is not known to her as it is known to civilization. Such negation by human countenance may be moral (civilization is inclined to morality) but even so not nature. Again exuberance is repose but never excess.

Museum architectural search committees have invariably included the Kimbell in their international scouting tours of exemplary art galleries (a practice pioneered by Velma Kimbell, the founder’s widow, in 1964). Those groups no doubt respond to the Kimbell with suitable reverence, but given the buildings they later commissioned, many post-Bilbao museum patrons obviously wanted something quite different. The disparity between Kahn’s museums and recent examples of that genre parallels the discrepancy he saw between postwar Modernism and ancient Classicism: “Our stuff looks tinny compared to it.” At a time when commercial values are systematically corrupting the museum - one of civilized society’s most elevating experiences - the example of Kahn, among the most courageous and successful architectural reformers of all time, seems more relevant and cautionary than ever.

Can it be that the ultimate chapter of this new era of democratic freedom is going to be deformed by this growing drift toward conformity encouraged by politics and sentimental education? If so then by what name shall our national American character be justly called? Doomed to beget only curiosities or monstrosities in art, architecture and religion by artists predominant chiefly by compliance with commercial expediency? Machine standardization is apparently growing to mean little that is inspiring to the human spirit. We see the American workman himself becoming the prey of gangsterism made official. Everything as now professionalized, in time dies spiritually. Must the innate beauty of American life succumb or be destroyed? Can we save truth as beauty and beauty as truth in our country only if truth becomes the chief concern of our serious citizens and their artists, architects and men of religion, independent of established authority?

Those who change the course of art use any means to convince the world that it needs something it neither anticipates nor understands and rarely wants. Artistic achievement is in large part a function of will; it is rarely a function of character.

One of the many interesting and appealing things about questioning is that it often has an inverse relationship to expertise—such that, within their own subject areas, experts are apt to be poor questioners. Frank Lloyd Wright put it well when he remarked that an expert is someone who has “stopped thinking because he ‘knows.’”2 If you “know,” there’s no reason to ask; yet if you don’t ask, then you are relying on “expert” knowledge that is certainly limited, may be outdated, and could be altogether wrong.

Alexander sloot zijn ogen en Marie zweefde hem bloot voor de geest. Nee, niet in deze kamer. In een eenzaam landhuis, stijl Frank Lloyd Wright, de kamer gaat onmerkbaar over in een subtropische savanne, zon op rode aarde, enorme cactussen dragen gele bloemen, de hemel is donkerblauw, het huis is naar alle kanten open en toch zwaar beschaduwd door het ver uitstekende dak. Aan de horizon huilen coyoten en deze vrouw strekt zich naakt uit op enorme kussens van bordeauxrood, blonde vrouwen zijn de naakste van alle…

The Machine is Intellect mastering the drudgery of the earth that the plastic art may live; that the margin of leisure and strength by which man’s life upon earth can be made beautiful, may immeasurably widen; its function ultimately to emancipate human expression!

As we work along our various ways, there takes shape within us, in some sort, an ideal - something we are to become - some work to be done. This, I think, is denied to very few, and we begin really to live only when the thrill of this ideality moves us in what we will to accomplish.

...pseudo-scientific minds, like those of the scientist or the painter in love with the pictorial, both teaching as they were taught to become architects, practice a kind of building which is inevitably the result of conditioning of the mind instead of enlightenment. By this standard means also, the old conformities are appearing as new but only in another guise, more insidious because they are especially convenient to the standardizations of the modernist plan-factory and wholly ignorant of anything but public expediency. So in our big cities architecture like religion is helpless under the blows of science and the crushing weight of conformity--caused to gravitate to the masquerade in our streets in the name of "modernity." Fearfully concealing lack of initial courage or fundamental preparation or present merit: reactionary. Institutional public influences calling themselves conservative are really no more than the usual political stand-patters or social lid-sitters. As a feature of our cultural life architecture takes a backward direction, becomes less truly radical as our life itself grows more sterile, more conformist. All this in order to be safe? How soon will "we the people" awake to the fact that the philosophy of natural or intrinsic building we are here calling organic is at one with our freedom--as declared, 1776?

How is he made? Oftentimes bitter, sometimes sweet, seldom even wide-awake, architectural criticism of "the modern" wholly lacks inspiration or any qualification because it lacks the appreciation that is love: the flame essential to profound understanding. Only as criticism is the fruit of such experience will it ever be able truly to appraise anything. Else the spirit of true criteria is lacking. That spirit is love and love alone can understand. So art criticism is usually sour and superficial today because it would seem to know all about everything but understand nothing. Usually the public prints afford no more than a kind of irresponsible journalese wholly dependent upon some form of comparison, commercialization or pseudo-personal opinion made public. Critics may have minds of their own, but what chance have they to use them when experience in creating the art they write about is rarely theirs? So whatever they may happen to learn, and you learn from them, is very likely to put over on both of you as it was put over on them. Truth is seldom in the critic; and either good or bad, what comes from him is seldom his. Current criticism is something to take always on suspicion, if taken at all.

Jobs later explained, “We discussed whether it was correct before we ran it. It’s grammatical, if you think about what we’re trying to say. It’s not think the same, it’s think different. Think a little different, think a lot different, think different. ‘Think differently’ wouldn’t hit the meaning for me.” In order to evoke the spirit of Dead Poets Society, Clow and Jobs wanted to get Robin Williams to read the narration. His agent said that Williams didn’t do ads, so Jobs tried to call him directly. He got through to Williams’s wife, who would not let him talk to the actor because she knew how persuasive he could be. They also considered Maya Angelou and Tom Hanks. At a fund-raising dinner featuring Bill Clinton that fall, Jobs pulled the president aside and asked him to telephone Hanks to talk him into it, but the president pocket-vetoed the request. They ended up with Richard Dreyfuss, who was a dedicated Apple fan. In addition to the television commercials, they created one of the most memorable print campaigns in history. Each ad featured a black-and-white portrait of an iconic historical figure with just the Apple logo and the words “Think Different” in the corner. Making it particularly engaging was that the faces were not captioned. Some of them—Einstein, Gandhi, Lennon, Dylan, Picasso, Edison, Chaplin, King—were easy to identify. But others caused people to pause, puzzle, and maybe ask a friend to put a name to the face: Martha Graham, Ansel Adams, Richard Feynman, Maria Callas, Frank Lloyd Wright, James Watson, Amelia Earhart. Most were Jobs’s personal heroes. They tended to be creative people who had taken risks, defied failure, and bet their career on doing things in a different way.

The fair awakened America to beauty and as such was a necessary passage that laid the foundation for men like Frank Lloyd Wright and Ludwig Mies van der Rohe. For Burnham personally the fair had been an unqualified triumph. It allowed him to fulfill his pledge to his parents to become the greatest architect in America, for certainly in his day he had become so. During the fair an event occurred whose significance to Burnham was missed by all but his closest friends: Both Harvard and Yale granted him honorary master’s degrees in recognition of his achievement in building the fair. The ceremonies occurred on the same day. He attended Harvard’s. For him the awards were a form of redemption. His past failure to gain admission to both universities—the denial of his “right beginning”—had haunted him throughout his life. Even years after receiving the awards, as he lobbied Harvard to grant provisional admission to his son Daniel, whose own performance on the entry exams was far from stellar, Burnham wrote, “He needs to know that he is a winner, and, as soon as he does, he will show his real quality, as I have been able to do. It is the keenest regret of my life that someone did not follow me up at Cambridge … and let the authorities know what I could do.” Burnham had shown them himself, in Chicago, through the hardest sort of work. He bristled at the persistent belief that John Root deserved most of the credit for the beauty of the fair. “What was done up to the time of his death was the faintest suggestion of a plan,” he said. “The impression concerning his part has been gradually built up by a few people, close friends of his and mostly women, who naturally after the Fair proved beautiful desired to more broadly identify his memory with it.

Ebenezer Howard, Frank L. Wright et Le Corbusier, avaient tous les trois compris qu'ils devaient associer des programmes de restructuration politique et économique à leurs programmes de reconstruction urbaine. Ils avaient conclus que les auteurs des projets s'étaient bornés à décorer le monde de toutes sortes de manières : ce qu'il fallait vraiment c'était le changer.

Howard, Wright et Le Corbusier se sont servit de leurs cités idéales pour dépeindre un monde où leurs objectifs économiques et sociaux étaient déjà atteints. Chacun d'eux voulait montrer que les projets de ville qu'il défendait n'était pas seulement rationnels et beaux en tant que tels, mais qu'ils concrétisaient les objectifs sociaux auxquels chacun croyait.

Les cités idéales étaient une pensée sociale en trois dimensions.

Louis Sullivan, engorged with praise and awards for his Transportation Building—especially its Golden Door—again took up his work with Dankmar Adler but under changed circumstances. The deepening depression and missteps by the two partners had left the firm with few projects. For all of 1893 they would complete only two buildings. Sullivan, never easy on his peers, became furious with one of the firm’s junior architects when he discovered the man had been using his free time to design houses for clients of his own. Sullivan fired him. The junior man was Frank Lloyd Wright.

Wright is an interesting study of a superstar architect having both right and wrong influence. “All Architecture, worthy the name,” he decreed in 1910, “will, henceforward, more and more be organic.”12 So inspired by Viollet-le-Duc and Louis Sullivan, he inspired countless others (including young me) toward an organic approach to architecture. At the same time, the very pomposity of his decrees helped inflame a fatal egotism in generations of architects, and his most famous buildings belie his organic ideal. They were so totally designed—down to the screwheads all being aligned horizontally to match his prairie line—that they cannot be changed. To live in one of his houses is to be the curator of a Frank Lloyd Wright museum;

They say this was built by Frank Lloyd Wright’s evil twin,” said Wednesday. “Frank Lloyd Wrong.” He chuckled at his joke.