Designer Devan Kaufman said it best when he declared, “Frank Lloyd Wright houses have always just made sense.” Wright had a way of creating floor plans that was so novice and incredible that anyone of the twentieth century and now could tell that he was the architect of a house just by looking at it. His work was so amazing because of how contemporary and intelligent it was. Wright knew how to do certain things like creating pillars to be soundproof so that you couldn’t hear a busy road just outside the house from inside. Although Wright’s were brilliant, he didn’t think of it all alone. Many people and places influenced Wright, and he influenced many people. Architect Frank Lloyd Wright was the most influenced architect of the twentieth century
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His houses gained international fame. His clients were remarkable people and miniscule daring institutions, but not government or national businesses. Wright insisted on expressing the presence of pure cubic mass, punctures made by undecorated windows, doors in thin walls, hipped roofs and the tint and consistency of raw stone, brick, and copper. “Unexpectedly, light is captured from a clerestory or a room beyond, and a space flows in vistas seen beyond a structural pier, beneath low roofs and cantilevered eaves, over terraces and courts, and through trellises and foliage into gardens and landscape” (Bush-Brown). The muted pleasure in the naturalness of a single mass gave way to corridor of steady, flowing spaces and removed containment, the sense of walls and ceilings. He shaped rooms by screens, piers, irregular planes, and masses that were inclined in crooked compositions. Wright didn’t like vertical lines very much. So, instead, he created vertical elements that rose through horizontal planes. Interior spacers would flare form a central chimney mass. Low areas would rise into a high area that was etched into a second story. “By suggesting spaces, but not enclosing them, then by connecting them, Wright achieved extended, interweaving, horizontal compositions of space, and his roofs, windows, walls, and chimneys struck dynamic balances and rhythms”
His houses gained international fame. His clients were remarkable people and miniscule daring institutions, but not government or national businesses. Wright insisted on expressing the presence of pure cubic mass, punctures made by undecorated windows, doors in thin walls, hipped roofs and the tint and consistency of raw stone, brick, and copper. “Unexpectedly, light is captured from a clerestory or a room beyond, and a space flows in vistas seen beyond a structural pier, beneath low roofs and cantilevered eaves, over terraces and courts, and through trellises and foliage into gardens and landscape” (Bush-Brown). The muted pleasure in the naturalness of a single mass gave way to corridor of steady, flowing spaces and removed containment, the sense of walls and ceilings. He shaped rooms by screens, piers, irregular planes, and masses that were inclined in crooked compositions. Wright didn’t like vertical lines very much. So, instead, he created vertical elements that rose through horizontal planes. Interior spacers would flare form a central chimney mass. Low areas would rise into a high area that was etched into a second story. “By suggesting spaces, but not enclosing them, then by connecting them, Wright achieved extended, interweaving, horizontal compositions of space, and his roofs, windows, walls, and chimneys struck dynamic balances and rhythms”