A Day of Frank Lloyd Wright ~ September 26, 2016
September 26, 2016
I have always been fascinated by the architecture of Frank Lloyd Wright and knew that he began his career in the Chicago area, so when we started looking into going to Chicago, I started looking for opportunities to explore some of his houses. I was delighted to find that I could do a full day tour and see a number of his designs as well as do a tour of his own home and studio in Oak Park! I signed up, and Jeff spent the day at the Museum of Science and Industry. It was a win-win for both of us!
The tour began at the offices of the Frank Lloyd Wright Trust, located in the heart of downtown Chicago's financial district. The Rookery, a building designed by the architectural partnership of Burnham and Wright and completed in 1888, was designed to be a prestigious business environment. Burnham and Root create an architectural masterpiece with the central feature being a "light court" - basically a skylight that brought light to all of the offices in the building.
Set in the heart of Chicago’s financial district, at 209 South LaSalle Street, Daniel Burnham and John Root’s Rookery Building is a Chicago landmark, containing a luminous and brilliantly designed central light court remodeling by Frank Lloyd Wright in 1905.
The Rookery has an interesting history. In 1871, the Great Fire that ravaged Chicago launched a building boom that pushed architectural experimentation. The Rookery was one of the resulting masterpieces of commercial architecture.
Prior to the Great Fire, the site was known as the “reservoir lot,” housing the water works for the south side of the Loop. The structure had a large central water tank of solid masonry that survived the conflagration (I love this word - an 8th grade vocabulary word). This structure was converted to Chicago’s first public library. The top of the tank was made into a skylight, and bookshelves lined the round walls. City Hall also occupied this site; our tour guide suggested that the name "Rookery" may have something to do with it being the site of City Hall (and the politics that are well known in Chicago history and to this day).
In 1885, City Hall moved from here to a new site, and wealthy Boston brothers Peter and Shepherd Brooks (not the Brooks Brothers of clothing fame) leased a city-owned lot on the southeast corner of Adams and LaSalle Streets. They formed the Central Safety Deposit Company and hired architects Burnham & Root to design a prestigious office building. The completed building – The Rookery – was revolutionary in several respects. Its architecture was unique and much more ornate than had been seen before in commercial buildings. The Rookery also implemented many new and breakthrough building technologies - including metal framing, elevators, fireproofing, electrical lighting, and plate glass - that established the commercial acceptance of the modern skyscraper. At eleven stories tall, The Rookery was one of the earliest examples of metal framing with masonry walls on such a large scale. It is considered the oldest standing high-rise in Chicago.
The building's exterior is a blend of styles, leading some critics to complain of a lack of unity. You can see Moorish, Romanesque Commercial, Indian, Venetian, Arabian, Islamic, and Byzantine elements as you admire the building's exterior.
The interiors are amazingly beautiful. When Wright was commissioned to work at The Rookery in 1905, the light court’s elaborate ironwork and ornament had gone out of fashion. Wright recognized that a full-blown Prairie Style scheme would have overwhelmed the space, so he removed much of the iron and terra cotta detailing on the central staircase, balconies, and walls, and replaced it with strong geometric patterns based on the railings of Root’s oriel stairs. He encased the iron columns in white marble that was gilded and incised with Root’s Arabic motif found in the LaSalle entrance. Wright also added bronze chandeliers with prismatic glass that still hang there today.
In the lobbies, Wright covered nearly every inch with incised and gilded marble, removing or hiding the original decorative panels and railings. The incising was copied from Root’s original work and was likely inspired by Owen Jones’ The Grammar of Ornament, a source Root also used. The staircases were squared-off and simplified, and Wright added geometric urns to the Adams Street entrance.
Wright replaced the elevator grills with an open geometric cage that reflected his personal style. He didn't make many changes to the building’s exterior except to add a canopy that projected from the LaSalle Street entry arches. Today, you can still see the bronze fixtures that once secured the canopy to the building.
After this fascinating tour of The Rookery building, we boarded a bus for the ride out to Oak Park where the tour continued with a visit to the Frank Lloyd Wright home and studio.
Frank Lloyd Wright Home and Studio ~ 1889
333 Forest Avenue, Oak Park, IL
Frank Lloyd Wright lived and worked in this home for the first 20 years of his career - from 1889 to 1909. He used his home as an architectural laboratory, experimenting with design concepts that contain the seeds of his architectural philosophy. He borrowed money from his bosses, Adler and Sullivan, and purchased the land in Oak Park, on the western edges of Chicago. He constructed a home in the Shingle style for his first wife, Catherine Tobin. The house draws on conventions Wright adopted when he worked for architect Joseph Lyman Silsbee in 1887. Like many of Silsbee’s residential commissions, which were modeled after beach cottages on the East Coast, Wright’s home features bay windows, a wood frame, and wooden shingle cladding. The stamp of Sullivan’s influence is apparent in the simplification and abstraction of the building and its plan. The home’s façade is defined by bold geometric shapes—a substantial triangular gable set upon a rectangular base, polygonal window bays, and the circular wall of the wide veranda.
Wright’s original plan included a hall, living room, dining room, pantry, and kitchen on the first floor; and studio, bathroom, and two bedrooms on the second. Despite its modest scale, the interior of the home exhibits an early indication of Wright’s desire to liberate space. On the ground floor Wright created a suite of rooms arranged around a central hearth and inglenook, a common feature of the Shingle style. The rooms flow together, connected by wide, open doorways hung with portieres that could be drawn for privacy.
The Oak Park residence was a site of experimentation for the young architect during the twenty-year period he lived there. Wright revised the design of the building multiple times, continually refining ideas that would shape his work for decades to come.
After the tour of the home and studio we took a walking tour of the neighborhood which contained many Wright designed homes.
Robert P. Parker House ~ 1892
1019 Chicago Ave., Oak Park, IL
Similar in plan and design to the Emmond house, the Robert Parker house is defined by bold, geometric forms. An octagonal turret stands adjacent to the entrance which is sheltered by a shallow overhanging eave. The entrance leads to an octagonal reception room, library, and dining room on the left. The second floor features four bedrooms and a bathroom. The house was originally commissioned by Walter and Thomas Gale, who owned several lots along Chicago Avenue. It was later purchased by Robert Parker.
Thomas Gale House ~ 1892
1027 Chicago Avenue, Oak Park, IL
Walter Gale House ~ 1893
1031 Chicago Avenue, Oak Park, IL
The Walter Gale house is among the first houses Wright designed after his departure from the firm of Adler and Sullivan in 1893. The façade is dominated by a large circular turret. The rounded turret on the right of the house is balanced on the left by a narrow, angular dormer that extends two stories from the building’s second floor to its attic. The second floor master bedroom is encircled by a continuous band of curved windows with diamond-paned leaded glass. The uninterrupted grouping of windows is similar to the continuous band of leaded glass windows found in the semi-circular dining room bay of Wright’s 1893 William Winslow house.
Francis Woolley House ~ 1893
1030 Superior St., Oak Park, IL
The Francis Woolley house abuts the Robert Parker residence. On the building’s exterior, Wright carried thin clapboard siding from the first floor to the sill of the second. From there, wood shingles extend to the soffit line. This bipartite division of the façade subtly distorts the scale of each story. Wright employed a similar device in other of his residential designs from this period, including the Winslow, Goan, and Furbeck houses.
Nathan G. Moore House ~ 1895/1923
333 Forest Ave., Oak Park, IL
Born in Cherry Tree, Pennsylvania on January 26, 1853 to a minister and his wife, Nathan Grier Moore was, at various times in his life, a musician, inventor, writer, attorney, church elder and real estate expert. He also wanted a home built by Frank Lloyd Wright. After moving from Peoria to Oak Park, he eventually paid a visit to Wright’s office and convinced him to design a home for the Moore family, stating – according to Wright’s autobiography: “I don’t want you to give us anything like that house you did for Winslow” (referring to the home in River Forest).
Wright took the commission and, in 1895, the Moore home would become the only English Tudor styled home he would ever design; he never really liked the house. It was a three-story home that featured a steep, gabled roof. Wright also added a matching stable building to the southwest which featured bands of leaded glass casement windows and eight fireplaces. The Moores were delighted with their new home. Wright was not happy he had copied other historic designs for the home, but he did like the huge, south-facing porch he had added along with some of his signature urns.
Just before Christmas of 1922, an early morning electrical fire destroyed the third floor of the home and caused significant damage to the floors below. Moore asked Mr. Wright to redesign the reconstruction, and although Wright was involved with several projects in California, he agreed to do the work. While retaining the basics of the Tudor style, Wright did make a few changes that shared some similarities with other of his projects from the same period. On major change was Wright's decision to leave out the second floor walls, thereby opening up the second floor and allowing the roof to sit directly on the first floor, thus making the building significantly shorter. A second floor terrace was also added.
Nathan Moore passed away, leaving the home and property to his daughter Mary and her husband Edward Hills, who in turn sold it the following year, keeping some of the property to increase their own lot size. William Dugal, Jr. purchased the home and lived in it until his death at the age of 83 in 2011. During his life he would open the house for tours to benefit a charity.
H. C. Goodrich House ~ 1896
534 North East Avenue, Oak Park IL
With its symmetrical massing, visually attenuated second story, flared eaves and wooden base, the design of the Goodrich house hints at Wright’s mature design vocabulary.
On the first floor of the residence, a sitting room, library, dining room, and kitchen emanate from a centrally located fireplace, while five bedrooms and a bathroom occupy the second floor. This plan is similar to those Wright conceived of, but never realized, for a group of low cost houses designed for Charles Roberts, another of his clients. Client Harry Goodrich, once a business partner of Roberts’s, was an inventor who held more than 100 patents. His most profitable creation was a sewing machine tuck-marking attachment.
George Furbeck House ~ 1897
223 N. Euclid Ave., Oak Park, IL
The George Furbeck house was designed around the same time as Wright’s own Studio, and both structures make use of strong octagonal shapes. In the Furbeck house, for instance, two large, octagonal turrets flank the entrance that leads to a larger octagonal living room. Likewise, faceted walls border an alcove located off of the first floor dining room. Wright employed light, sandy colored bricks as a surface treatment on the exterior of the building‘s lower story. The modulated texture of the masonry lends the structure a dynamism that is reinforced by the geometric volumes that variously project and recede from the architectural mass. One of Wright’s first applications of plate-glass appears in the living room of the George Furbeck house. This window treatment eventually became a distinctive characteristic of his designs.
E.R. and Mary Hills House Remodeling ~ 1900
313 Forest Avenue, Oak Park, IL
In 1900, Wright’s client, Nathan Moore, purchased the house neighboring his own as a gift for his daughter, Mary, and her husband Edward R. Hills. Wright subsequently remodeled the 1883 building. His modifications entailed reorienting the structure on its site, the addition of two verandas on the first floor, and finishing the exterior of the house in stucco with dark wood trim. The Hills house caught fire during a restoration project in 1976, and much of the first floor was burned down. The house has since been painstakingly rebuilt.
Frank Thomas House ~ 1901
210 Forest Ave., Oak Park, Illinois
The Frank Thomas house was the first of Wright’s mature prairie-style residences constructed in Oak Park. In his description of the house, Wright evoked the organic unity of a blossoming flower to suggest the complexity with which the structural components were integrated as a cohesive whole. Nature served as a continual source of inspiration, and Wright stated that the Thomas house, “flare[s] outward, opening like a flower to the sky.”
The residence features an L-shaped plan and Wright employs a variety of design innovations to harmonize its two wings and upper and lower stories. Wright emphasizes the structure’s horizontal planes and visually connects distinct architectural volumes through the use of ribbon windows and dark stringcourses. In his design of the house Wright abandons the traditional structure elevating the basement to ground level and raising the living quarters in order to increase privacy. The main entrance of the house is accessed indirectly through an elaborate arrangement of passageways—a walled walk leads to a dramatic archway, just beyond and to the left of which are stairs that wind back and forth to the expansive terrace and entrance. Beaded molding and geometric ornament in the woodwork, as well as the abstracted floral motifs that appear in the leaded glass doors and casement windows, reinforce Wright’s analogy between the house and a natural organism.
Arthur B. Heurtley House ~ 1901
318 Forest Avenue, Oak Park IL
Solid and monolithic, the Heurtley house is one of Frank Lloyd Wright’s greatest residential designs. Located a short distance from Wright’s own Home and Studio in Oak Park, the house was commissioned by banker Arthur Heurtley. While the rectangular form and monumental massing of the building, evoke Wright’s earlier Winslow house of 1893, the design reflects the remarkable evolution of Wright’s work, and the emergence of his mature Prairie style design vocabulary.
Situated on an expansive lot, the house is anchored to its site by a substantial stone water table. A low-hipped roof with broad, overhanging eaves, shelters the residence. The horizontal form of the building is further emphasized by Wright’s use of two colors of Roman brick, laid in alternating, projecting bands. On the upper level of the house, in place of a decorative frieze, a continuous band of leaded glass casement windows extend across the façade.
Entrance to the house is via a heavy Romanesque arch. The ground floor is given over to a reception hall, a large reception room/playroom, guestrooms and a servant’s hall. Similar in concept to Wright’s Husser and Thomas houses, the principal rooms are elevated to the second story. In contrast to the darker lower level, the upstairs area is defined by airy, open and contiguous light-filled spaces. At the heart of the home, a substantial arched fireplace occupies a central position in the living room. In form and material, the fireplace echoes the prominent arch on the exterior of the building. Leaded glass windows that line the west side of the house, flood the main living spaces with light. An open air elevated porch, accessed via French doors in the living room, blurs the division between interior and exterior space.
Dr. William H. and Frances Copeland House ~ 1906
400 Forest Avenue, Oak Park, IL
Constructed in 1875, the Copeland house was built in the popular Italianate style. William Copeland, a physician and manufacturer of patent medicines, commissioned Wright to remodel the garage in 1908, and house in 1909. Wright proposed a number of renovations aimed at opening the interior spaces to more natural light and giving both structures a simplified, horizontal appearance. Wright eliminated decorative elements from the house’s façade and enlarged its eaves. On the interior, he introduced dark wood stringcourses, which make the tall-ceilinged rooms appear lower. The stringcourses form uninterrupted horizontal bands that create a sense of continuity and free-flowing space between rooms. Wright designed furniture and a built-in sideboard for the dining room, and renovated the fireplace in the reception room. He replaced the steeply pitched roof of the detached garage with a lower, hipped roof more characteristic of those found on his Prairie-style designs. He also added a ground floor shop and converted the garage’s second story to an apartment with a hall, living room, bedroom, and closet.
Copeland’s daughter, Frances, married Walter Pratt Beachy, the son of Emma and Peter A. Beachy, who lived in another Wright designed home on Forest Avenue. Pratt founded the Red Square Company, the toy manufacturer responsible for Lincoln Logs, with John Wright, Frank Lloyd Wright’s son.
Copeland’s daughter, Frances, married Walter Pratt Beachy, the son of Emma and Peter A. Beachy, who lived in another Wright designed home on Forest Avenue. Pratt founded the Red Square Company, the toy manufacturer responsible for Lincoln Logs, with John Wright, Frank Lloyd Wright’s son.
Peter A. Beachy House ~ 1906
238 Forest Avenue, Oak Park, Illinois
In 1906, Emma Beachy, the daughter of Peter Fahrney, a successful doctor and real-estate investor in Chicago, commissioned Wright to renovate a Gothic cottage on Forest Avenue for her children and second husband, Peter A. Beachy. Wright’s renovations were dramatic, and left little more than the foundation of the original structure intact. The resulting house is situated on the northern corner of its large lot, a strategy that maximizes the exposure to natural light. The house features gabled roofs and is finished in red brick on its first story and stucco with dark wood trim on its upper level. In contrast to many of Wright’s Prairie houses, which featured casement windows with abstracted panels of clear and colored glass framed in zinc and copper caming, the casement windows of the Beachy house were designed with heavy wood mullions.
The Hills-DeCaro House, 313 Forest Ave., Oak Park, Illinois. Most Frank Lloyd Wright homes are identified by the names of the original owners (Robie or Darwin Martin to name a few). A few carry the names of the original owners AND that of a person responsible for serious renovation of the home. The Hills-DeCaro house is definitely one of the latter. This home was originally commissioned as a renovation by Nathan Moore, owner of the Wright-built home next door, as a gift for his daughter and her new husband. It was originally a Victorian Stick style house that was built in 1883 on a different part of the lot. The home was relocated and re-positioned on the lot, turning it 90 degrees so that the original entry faced the side. Wright's preliminary drawings date to 1900. Wright added horizontal accents to the steeply pitched roof to combine the Japanese influence with that of his Prairie designs.
The interior of the house is pure Prairie School. Wood accents and beautifully crafted radiator covers are the norm when you step into the house. Large book shelves, art glass and doors and a large central fireplace add to the feel of this Prairie design house. Soon after moving in, The Hills decided they didn't like the decor and hired a decorator to change it. It was also renovated in 1912 to add a maid's quarters to the back of the house and enlarge the kitchen. A 1917 renovation enclosed the back veranda and added a basement to the home. Mrs. Hills lived in the home until her death in 1965.
Two subsequent owners let the house deteriorate significantly in the 10 years that followed. That is where the DeCaros entered the scene. They purchased the home in 1975 and the renovations began. A disastrous fire burned all but the first floor of the home while it was under renovation. Amazingly enough, much of the original furniture and fixtures on the first floor survived the fire, including the original blueprints that were rolled up in one of the china cabinets. Faced with an even more daunting task of renovating this home, the DeCaros persevered and the home was brought back to its original state with a few changes. Two upstairs bedrooms were merged into a master suite and much modernization was done to the facilities of the house. The home has had 4 owners since the DeCaros sold the house.
Laura Robeson Gale House ~ 1909
6 Elizabeth Court, Oak Park, IL
The Laura Robeson Gale house is a simple, stucco and wood structure situated on a narrow lot on a quaint, winding street in Oak Park, Illinois. The entrance to the house, which is partially concealed by a tall pier, provides access to a hall. On the interior, a massive Roman brick fireplace separates the hall from the living room at the front of the house, while piers with built-in shelving and a slightly raised floor level define the dining room space at the back of the house. The structure’s second story includes four bedrooms and a maid’s room, and the north facing bedrooms are joined by a cantilevered balcony.
While modest in scale, the design of the house played an important role in the progression of Wright’s architectural vision. The dramatically cantilevered balconies and roofs, for instance, led Wright to describe the residence as the “progenitor of Fallingwater,” the house Wright designed for Edgar Kaufmann Sr. in Bear Run, Pennsylvania in 1935, and a masterpiece of modern domestic architecture. Following the publication of Wright’s Wasmuth portfolio in 1910, the form of the Gale House imparted a significant impression on European architects and designers, particularly those affiliated with the Dutch De Stijl movement.
The Laura Gale House in Oak Park was designed by master architect Frank Lloyd Wright and built in 1909. It is located within the boundaries of the Frank Lloyd Wright-Prairie School of Architecture Historic District. Laura R. Gale, widow of realtor Thomas Gale, commissioned Frank Lloyd Wright to design the house on Elizabeth Court in 1909. This was not the first time that the Gale family utilized Wright. The architect had designed two houses on Chicago Avenue in Oak Park, two of Wright's "bootleg" houses, for the Gales. The Gale House was designed during Wright's most productive Prairie style period and has been cited by architectural "authorities" as a milestone in the development of early modern architecture. The house was occupied by its original owner until 1962 when architect Howard Rosenwinkel purchased it and undertook a meticulous restoration. The house was designed by the American architect Frank Lloyd Wright in his own Prairie style. Through his use of abstract geometrical shapes in the detail and mass of the house Wright may have anticipated and inspired the modern European architects of the 1920s. The house is considered one of Wright's most unusual designs from his years in Oak Park, Illinois. It is compact and made up of interlocking rectilinear forms which surround a fireplace at its center. The extreme rectilinear shapes and masses on the home's exterior are represented in none of Wright's other works either before or after the completion of the Gale House. The home is considered one of Wright's most successful small house designs and the forerunner to several other important Prairie style, Wright-designed homes which culminated with the completion of Fallingwater in Mill Run, Pennsylvania in 1936.
Emil Bach House ~ 1915
This richly conceived yet intimately scaled residence was built in 1915 for Emil Bach, president of Chicago’s Bach Brick Co. A modification of Wright’s design for “A Fireproof House for $5000,” published in Ladies Home Journal in 1907, the Bach House was executed between Wright’s return from Europe in 1911 and his departure to Japan in 1916 to oversee construction of the Imperial Hotel. In contrast to the expansive, open Prairie houses Wright designed prior to his European sojourn, the Bach House is strongly centered and self-contained. While adopting the vocabulary of Wright’s Prairie house, the Bach House looks toward future stylistic directions in Wright’s work, in its contained geometry, efficient scale, and distinctive window designs. The home is part of a series of geometric, cubic homes with overhanging, flat roofs designed by Wright in the early 20th century. The first was the Laura Gale House in Oak Park, Illinois, followed by the Oscar Balch House, also in Oak Park, Coonley Kindergarten, the Bogh House and then the Bach House. Of the houses of this type in Chicago, with cubic masses and a slab roof, the Bach House is the only one left standing.
The 2,700 square foot house was designed as a two-story single family residence with a basement. When the house was constructed it was a "country home" with a clear view of Lake Michigan from its rear (east) facade. Due to the changing nature of the Rogers Park neighborhood, the house now stands among commercial properties and apartment buildings on a busy city street (North Sheridan Road). Because of the lake view, the original building had a large rear porch and sun deck; they were both enclosed when houses were built between the Bach House and the lake, obstructing the view. The enclosure of the sun deck and porch utilized mainly glass, to aid in the alteration's melding with Wright's intended vision. Nonetheless, the current owner intends to restore the rear porch and sun deck. Other alterations included the removal of some of Wright's signature built-in features. A built-in seat was removed from the living room and a built-in counter removed in the dining room. Both have since been restored. On the second floor, the servant's room was converted into a second bathroom.
The tour included a delicious lunch at Winberie's. I had a fabulous chicken salad sandwich and some iced tea. I sat with some interesting folks from the area and we chatted about our interest in FL Wright. And then we were back on the bus for our last house tour: The Robie House.
The Robie House ~ 1910
The Robie House on the University of Chicago campus is considered one of the most important buildings in the history of American architecture. Completed in 1910, the house Wright designed for Frederick C. Robie is the consummate expression of his Prairie style. The house is conceived as an integral whole—site and structure, interior and exterior, furniture, ornament and architecture, each element is connected. Unrelentingly horizontal in its elevation and a dynamic configuration of sliding planes in its plan, the Robie House is the most innovative and forward thinking of all Wright’s Prairie houses.
On the exterior, bands of brick and limestone anchor the building to the earth, while overhanging eaves and dramatic cantilevered roofs shelter the residence. The horizontality of the house is reinforced at every level of the design—from the iconic roofline, to the very bricks and mortar of the building itself. Through his use of materials, Wright achieves a remarkable balance of tone and color, as iron-flecked brick harmonizes with the iridescent leaded glass of the windows that encircle the building. Broad balconies and terraces cause interior and exterior space to flow together, while urns and planters at every level were intended to bloom with the seasons.
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The expansive living space at the heart of the home is one of the great masterpieces of 20th century architecture and interior design. The light-filled open plan is breathtaking in its simplicity—a single room, comprising a living and dining space, divided only by a central chimney. Doors and windows of leaded glass line the room, flooding the interior with light. Iridescent, colored and clear glass composed in patterns of flattened diamond shapes and diagonal geometries evoke floral forms, while subtly echoing the plan and form of the building. In his design of the Robie House, Wright achieves a dynamic balance between transparency and enclosure, blurring the boundaries between interior space and the world of nature beyond.
In October of 1909, with construction underway at the Robie House, Wright left America for Europe to work on the publication of a substantial monograph of his buildings and projects. The result was the Wasmuth Portfolio of 1910, which introduced Wright’s work to Europe and influenced a generation of international architects. The Robie House would be the last of Wright’s true Prairie houses. On his return from Europe in 1910 Wright would continue to explore the concept of organic architecture but would seek new influences beyond that of the Midwest prairie.
Over the course of the twentieth century, the Robie house experienced a turbulent history of ownership. On his father’s death in 1909, Robie promised to settle his debts and was ultimately forced to sell the house. Two additional families lived at the residence, the Taylors from 1911 to 1912 and the Wilburs from 1912 to 1926. The Wilburs were the last family to live at the Robie House.
For the next seventy years the house would have a checkered existence, serving at times as a classroom building, a refectory, a dormitory, and office space for several organizations. The house was twice threatened with demolition, once in 1941 and then again in 1957. Wright himself campaigned each time to save the building. The Robie House was the only one of Wright’s many creations to inspire this reaction in him.
Wright would go on to create such masterpieces of modern architecture as Fallingwater, in 1939, and the Guggenheim Museum, completed in 1959. The Robie House, however, remains as one of the defining moments of the architect’s career. In 1991, the house was recognized by the American Institute of Architects as one of the ten most significant structures of the twentieth century. I'd love to see this house again once the renovation is complete.
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It was a really great day of architectural wonders. I was exhausted by the time I got back to the apartment. Lots of walking and lots of listening and note taking.
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