frank lloyd wright tour los angeles

Frank Lloyd Wright Houses and Buildings in Los Angeles

TripSavvy / Christian Hundley

Frank Lloyd Wright's Los Angeles houses are must-see gems in the famous metropolis of Los Angeles. You can tour only one of them. The rest are private homes not open to the public, but that won't stop you from driving by and admiring the architecture from the street. You can see all of Frank Lloyd Wright's Los Angeles houses in a well-planned day.

Some of the homes perch atop the Hollywood Hills with magnificent views of the city below. Others are in an elegant area of Pasadena that any architecture lover will enjoy visiting.

Hollyhock House

TripSavvy / Christian Hundley

If you only have a couple of hours to spare and you want to see a Frank Lloyd Wright home, opt for the Hollyhock House where you can take a guided tour. Built between 1919 and 1921, it represents Wright's efforts to develop a style of architecture for Southern California. 

Named after original owner Aline Barnsdall's favorite flower, Hollyhock House was just part of a living and arts complex set on 36 acres. It was Wright's first commission in Los Angeles and one of his first open floor plans.

Today, the house recognized by the American Institute of Architects as one of the seventeen Wright buildings that are representative of his contribution to American culture. The main house is open for tours, and three other buildings still stand on the site: the main house, the garage and chauffeur's quarters, and the so-called Residence A, which was built for artists' living quarters. 

Anderton Court Shops

Betsy Malloy Photography

The Rodeo Drive shops called Anderton Court are a little-known Wright design and not widely recognized as one of his better works. Multiple modifications obscure the original facade, but you can still see hints of the tower designs he repeated in other structures.

Decorative elements include piers that taper downward and chevron patterns on the central spire and edges of the roofline. Today it is home to a few small offices and a salon.

Ennis House

 Natalie Tepper/ArcaidImages/Getty Images

Ennis House is located at 2607 Glendower Ave, Los Angeles. This large and lovely home is on the National Register of Historic Places. It is also a Los Angeles Cultural Heritage Monument and a California State Landmark. After some devastating damage and a long search for the right buyer, the house was sold and was under renovation.

Frank Lloyd Wright’s Ennis House, which served as a location for films such as “Blade Runner,” has was sold to billionaire Ron Burkle, founder of the Burkle Foundation and a trustee of the Frank Lloyd Wright Conservancy.

After the project is complete, Ennis House is expected to be open to the public a few days per year.

Samuel Freeman House

 Los Angeles/Wikimedia Commons

The Freeman House located at 1962 Glencoe Way in Los Angeles is one of three textile block houses Wright designed in the Hollywood Hills in the 1920s.

The house was listed on the National Register of Historic Places in 1971 and has been listed as a California Historical Landmark and as Los Angeles Historic-Cultural Monument.

The textile block design homes are examples of Wright's pre-Columbian inspired or early Modernist architecture. In 1986, the Freeman House was bequeathed to the USC School of Architecture. After the completion of renovations, the university plans to use it as a residence for distinguished visitors, as well as a setting for seminars and meetings. It is not open to the public.

John Storer House

Farrell Grehan/Getty Images 

The Storer House found at 8161 Hollywood Boulevard in Los Angeles is known for its drama. Although Wright believed in designing structures that blended seamlessly into their natural surroundings, this 3,000-square-foot house does anything but. 

One of the four textile block Wright houses in this pre-Columbian-inspired style in the Los Angeles area, the Storer House is unique because of its four-block designs.

The Storer House was built on a steep hillside in the Hollywood Hills. Dramatic for the era, the house was compared to a Pompeiian villa. It was surrounded by jungle-like lush landscaping which gave the illusion of a hidden Mayan ruin. The Storer house is a private residence and not open to the public.

Arch Oboler Gatehouse and Eleanor's Retreat

Located at 32436 West Mulholland Highway in Malibu, this complex was badly damaged during the Woolsey Fire in late 2018. Its fate is uncertain.

Its started as the grand "Eagle Feather" project that included a studio, house, stables and more designed for a radio personality, movie and early television director/producer Arch Oboler and his wife Eleanor.

However, only a gatehouse and a small studio were actually built. The Arch Oboler Gatehouse and Eleanor's Retreat buildings are the only example of desert rubblestone construction, the same style Wright used at Taliesin West in Scottsdale Arizona. The builders sourced materials from the surrounding area to make it feel as if the buildings were an extension of the desert floor thus the "rubblestone" moniker. 

Sturges House

Bobak Ha'Eri/Wikimedia Commons/CC-By-SA-3.0 

The Sturges House located at 449 N. Skyewiay Road in Brentwood Heights, is considered a masterpiece of American design, often compared to Wright's legendary Fallingwater in southwest Pennsylvania.

This was Wright's first Usonian-style structure on the West Coast with a design that seems to grow out of the side of the hill. Usonian was a term Wright coined for more modest, middle-American homes.

The one-story home is fairly small, 1,200 square feet, but the outdoor space more than makes up for it. The concrete, steel, brick and redwood home features a 21-foot panoramic deck.

The home is not open to the public.

Millard House

Jeremy Levine/Flickr 

The Millard House, also known as La Miniatura, located at 645 Prospect Crescent in Pasadena, sits on an acre of gardens and offers beautiful views. It is listed on the National Register of Historic Places. This is the first of the textile block house designed by Wright who was, at the time, experimenting with concrete building materials and using Mayan and Aztec symbols and designs to decorate them.

Wright was commissioned to build Millard House by Alice Millard, a rare-book dealer after he built a home for her in Illinois twenty years prior.

The home was built in 1923 and it was listed on the National Register of Historic Places in 1976. It is not open to the public.

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Iconic LA: All 8 of Frank Lloyd Wright’s Los Angeles Houses

“ Study nature, love nature, stay close to nature. It will never fail you.” – Frank Lloyd Wright

Frank Lloyd Wright is often called America’s finest architect. There’s a reason he’s not known as “Los Angeles’s best architect” as one might call some of our mid-century masters like John Lautner, or Rudolph Schindler, Paul Williams, or even Wright’s own son, Lloyd Wright. The reason is because Wright’s body of work consisted of homes and structures all over the United States (not to mention abroad), including states like New York, New Jersey, Wisconsin, Arizona, and more. Wright’s oeuvre truly spans the globe and, in fact, he built just eight houses in LA. In honor of his masterpiece Ennis House hitting the market recently, we’ll take a closer look at Wright’s philosophy of organic architecture and all eight of his Los Angeles homes, masterpieces all.

Wright never joined the American Institute of Architects.During Wright’s lifetime, several of his homes were divisive to both the public and to critics alike. He also had a reputation for his unwavering (some might say stubborn) vision. He was known for sparring with his clients, his contractors, and his workers. It wasn’t until 1991 that the AIA recognized Wright as the “greatest American architect of all time.”

Wright began his career working as a draftsman for the firm of Joseph Lyman Silsbee. In 1888, he was hired by the firm of Adler & Sullivan, where he was mentored by legendary architect Louis Sullivan. In classic Wright fashion, he had a bitter falling out with Sullivan and left the firm in 1893. Wright started his own practice in Chicago that same year.

Wright’s Prairie style was uniquely American, inspired by the flat plains of the Midwest, and essentially acted as the catalyst for Modern architecture. The style featured horizontal lines, open floor plans, cantilevered roofs, clerestory windows, unfinished materials, and the integration of interior and exterior environments.

Wright arrived in Southern California during a period in the early 20th century when Los Angeles’s debate about its identity was playing out in its architecture. The default setting for civic design was Spanish Colonial. But Wright—in the midst of his own identity crisis, having pushed the Prairie concept about as far as he could go, and always looking to do something daring—saw a different route. Wright brought his gifts to Los Angeles in 1919 with Hollyhock House, the centerpiece of heiress Aline Barnsdall’s vision for an arts colony. A loose take on Mayan Revival architecture, Hollyhock is a showpiece of concrete patterned blocks and predated Wright’s four “textile block“ homes in Los Angeles: the Millard, Freeman, Storer, and Ennis residences, which are all highlighted below.

Known for coining the term  organic architecture , Wright based his work on the harmonious relationship between the structure, occupant, and the natural landscape. His houses were meant to seem as if they were natural extensions of the landscape itself. He created one of the most enduring design legacies in the United States and some of the most iconic structures in the world, from the Robie House and Fallingwater to the Guggenheim Museum to the eight houses featured below.

Hollyhock House, 1921

The Hollyhock House, was commissioned by oil heiress Louise Aline Barnsdall and named after her favorite flower. The Hollyhock House was Wright’s first foray in Los Angeles and is the only of the eight houses here that you can tour. The Hollyhock House is part of a ambitious living and arts complex set on 36 acres that was to include an avant-garde theatre and cultural complex called Olive Grove. Of the entire complex, only the residence and two apartments were completed.

During the project, Wright and Barnsdall encountered a series of artistic differences. Wright was designing the Imperial Hotel in Japan at the same time and so allegedly left a lot of decisions to his son Lloyd Wright and the Austrian-born American soon-to-be-superstar architect Rudolph Schindler. Towards the end, Barnsdall fired Wright from the project and the house was finished by Schindler.

As Wright’s very first house in Southern California, it marked a change from the Prairie style he had explored in the American Midwest. The architect was now searching for a modern style suited specifically to Southern California. He turned to influences from pre-Columbian Mexico. The home’s inclined upper walls and colonnades bear a similarity to the shapes of temples in Palenque – a Mayan city state in southern Mexico built during the seventh century AD. This residence marks one of the earliest examples of Mayan Revival, a modern architectural style that grew in the 1920s and 1930s.

As Barnsdall requested that the Hollyhock House be a “half house, half garden,” the home is arranged around a central courtyard. At one end it opens to a circular pool with a fountain in the middle, which is wrapped by semi-circular seating. Each of the rooms inside the house also leads out to external spaces, including porches, pergolas and a narrow pool. The upper level provides access to rooftop terraces, which are linked by bridges and staircases and offer impressive views of the Los Angeles basin and the Hollywood Hills. Once completed, the house included seventeen rooms and seven bathrooms

In 1927, Barnsdall donated the residence and its surrounding 11 acres of land to the City of Los Angeles so that it could be used as a public park in memory of her father. Hollyhock House is now part of the  Barnsdall Art Park Foundation , and the park is used for art classes, working studios, a gallery, and a theatre – returning full circle to Barnsdall’s original ambitions for the site.

Millard House, 1923

La Miniatura, or Millard House is located in Pasadena and is one of Wright’s most groundbreaking designs. Millard House is the earliest in Wright’s Textile Block house series. During this time, Wright challenged himself to do something with concrete, which he called “the cheapest (and ugliest) thing in the building world. Why not see what could be done with the gutter rat?” The architect was eventually proud of the home, at one point writing of the Millard House that he “would have rather built this little house in Pasadena than St. Peter’s in Rome.”

The home was built in 1923 for rare books dealers George and Alice Millard. The location of the home itself was a demanding conundrum Wright had to go about solving. Millard House rises like a Mayan temple from a tree-canopied hillside in the middle of a ravine between two eucalyptus trees, which are still there today. When Wright was working on the blueprint, he explained that he was after what he found missing from other local homes: “A distinctly genuine expression of California in terms of modern industry and American life.”

To make the concrete blocks for the Millard House, he used sand, gravel, and minerals found on the property and molded them into highly sculptured building blocks. Following his ideas of organic architecture, he also thought the earth-toned concrete would blend with the site its materials came from. Wright saw himself as “the weaver,” knitting together concrete blocks made locally from wooden molds. Each block was 16 inches square and scored in a cruciform pattern suggestive of primitive American Indian design. The results did not turn out to be as uniform as was expected, and the architect sparred with the contractor. Wright complained, “We had no skilled labor, and the builder’s relatives set the blocks.”

The Millard house may be less known to the general public than Wright’s other three “textile-block” homes in the region, but some architectural historians regard Millard as the finest of the four. So does Eric Lloyd Wright who explained the leading reason for critics’ enthusiasm: “The way he set the house in that glen,” forming a cathedral more than 100 feet high over a lily pond.

Ennis House, 1923

The house was designed in 1923 by 20th Century master architect Frank Lloyd Wright. One of Wright’s famous quotes is, “ Study nature, love nature, stay close to nature. It will never fail you.”  With Ennis House, Wright’s idea was to craft an organic structure that literally seemed to rise from the hillside site. In fact, workers extracted decomposed granite from the property to use in many of the 27,000 blocks. And let’s talk about those blocks, shall we? Yes, the 6,000sf (or so) home has 27,000 of them. Following  La Miniatura  in Pasadena, and the Storer and Freeman Houses in the Hollywood Hills, Ennis House is the fourth and largest of Wright’s textile block designs, constructed primarily of interlocking pre-cast concrete blocks, in the northern Los Angeles area. It’s these blocks, at once ingenious and troublesome, that have caused the home to have a bit of trouble over the years, especially after the 1994 Northridge earthquake. But after a $17,000,000 million dollar renovation by billionaire Ron Burkle, all worries about when the next big one hits can maybe be put to bed. Burkle purchased the home in 2011 and spent the next six years fully restoring the home with help from Wright’s grandson Eric Lloyd Wright. “My grandfather designed homes to be occupied by people,” Eric Lloyd Wright said in a statement to The Times. “His homes are works of art. He created the space, but the space becomes a creative force and uplifts when it is lived in every day.”

Wright was inspired by the ruins of Uxmal, Mexico and Mayan temples, and the home certainly feels like a religious experience when you go inside. The home consists of a main house and a smaller chauffeur’s quarters, which are separated by a paved motor court. The striking interior loggia has a mausoleum-like marble floor and links to the multi-level interior spaces. The grand living room has easy outdoor access through a pair of – what would you call these? –  super  tall glass doors. Features also include geometric leaded glass windows, custom light fixtures, concrete columns, coffered ceilings,  hardwood floors, and walls of mosaic tile. The Ennis House was listed on the National Register of Historic Places in 1971. The landmarked residence has been featured in dozens of films, television shows, fashion shoots and music videos including  Buffy the Vampire Slayer ,  Twin Peaks,   Mulholland Drive , and, most famously, 1982’s  Blade Runner .

The house is being shown by appointment only to prequalified buyers, so don’t plan on crashing an open house. But! There may still be a way for us to get inside for a look. The Ennis House Foundation has required that it be open to public tours for at least 12 days per year, a stipulation that will follow the house as it changes hands once again.

Storer House, 1923

Built in 1923 for Dr. John Storer, this textile-block house is in the Hollywood Hills at 8161 Hollywood Boulevard. The home is instantly recognizable as one of Wright’s homes. It’s a private residence and not open to tours. But! If you want to know what it’s like inside, watch this video of Martha Stewart touring the house with Eric Wright . The Storer House is notable for its richly textured concrete walls and is the only of its kind to employ multiple patterns on its blocks (four in all). The house is about 3,000 square feet, with three bedrooms, three baths, and  two outdoor terraces. Perhaps two terraces was a thing for Wright, as all of his Los Angeles homes seem to have them. Inside, the living room acts as the home’s focal point, not the kitchen. The living room is  two stories tall and faces the street. The home has no formal front door, with the main entry actually in the back.

The home was built on a steep hillside and was often compared to a Pompeiian villa at the time of its construction. Lush landscaping further enhanced its exoticism, providing an illusion of a ruin barely visible within its jungle environment. The residence later fell into Pompeiian-like disrepair until, in the 1980s, Joel Silver (producer of your favorite action films from the 80s and 90s including Lethal Weapon and The Matrix ) purchased the home and restored it with Eric Wright. The work included adding a swimming pool which was in the original plans but never built. One of the house’s block designs was used as the Silver Pictures logo from 1991 to 2005. You can see it at the end of The Matrix Trilogy and Conspiracy Theory, among others.

Silver sold it in 2002, and it 2015 it sold again to a “preservation-minded buyer for what is expected to be a record price for a Wright house,” as reported by Curbed LA. They go on to say that the  LA Times  reported the final sale price as $6.8 million. That record will obviously be broken once Ennis House sells.

Freeman House, 1924

Some may say this is Wright’s least famous of the four textile block homes. Perhaps that’s because from the street the house is seemingly hidden behind a system of Wright’s textile blocks, as the house itself sits on a steep hillside and the rest of the house extends to two additional levels down the slope. While guests at the Hollyhock House, Samuel and Harriet Freeman fell in love with Wright’s architecture and commissioned him to build their own dream home at 1962 Glencoe Way in the Hollywood Heights neighborhood, basically neighbors with The Magic Castle. Wright’s resulting $10,000 commission (and, in a story that played out over and over again between Wright and his clients, the final bill went way over budget, at $23,000) takes full advantage of the precarious Hollywood Hills site. The Freeman House clearly expresses the design rationale of Wright’s textile block construction system, incorporating the openness and central hearth of Wright’s earlier Prairie houses with the extensive ornament of the textile blocks. The walls, constructed of 12,000 cast concrete blocks, are textured on both the interior and exterior to create a unified decorative scheme. Large windows, balconies and terraces make the modest home feel expansive.

Two members of the Los Angeles avant-garde, the Freemans ran their house as an artistic and political “salon” from the time of its construction until the 1980s, which adds to the building’s cultural importance in the history of Los Angeles. Visitors included photographer Edward Weston, Martha Graham, architect Richard Neutra, bandleader Xavier Cugat, and actor Clark Gable. In 1986, after 61 years of residence, the Freemans donated their house to the University of Southern California’s School of Architecture. Maintained by the University, the building was stabilized in 2005 and is undergoing additional renovations due to earthquake damage. You can  read about their restoration progress on their website .

Sturges House, 1939

Sturges House is the only example of Wright’s Usonian design in California. The simply gorgeous, seemingly floating home is located in Brentwood Heights and was commissioned by Lockheed engineer George D. Sturges and his wife. The same year this house was built, Wright also completed his  most famous and acclaimed project: the Fallingwater residence and the Johnson Wax Headquarters in Racine, Wisconsin.

Wright assigned his apprentice John Lautner to oversee the construction. In a letter to Lautner, Wright wrote: “It is one of the simplest things we have done and one of the best.” You can see how the design influenced Lautner’s later solo work.

The Sturges House is Usonian in style, uncluttered with only two bedrooms and one bath and less than 1,200 square feet. In fact, its 54-foot-long cantilevered terraces are almost larger than the living area. A roof deck was designed to take in the ocean views. In the overhanging pergola roofline, you can see similarities to Fallingwater. A designated Los Angeles Historic-Cultural Monument, the Sturges House soars above a central brick core and is cantilevered beyond its base, creating a sense of motion and an elegant streamlined shape recalling a stately yacht. Walls of brick and horizontal bands of timeless redwood are its underpinnings. The Sturges family originally asked for a small house just big enough for two, thinking that Mrs. Sturges was unable to have children. Soon after they moved in, she conceived, and Wright altered the house plan to include a nursery.

After the Sturges family grew even larger they moved next door and for decades two Hollywood luminaries — filmmaker James Bridges and actor, playwright, and librettist Jack Larson lived at the home. The Brentwood landmark last sold in 2016 for just under $2 million.

Arch Oboler Gate House and Eleanor’s Retreat, 1940

Situated on a rugged and remote site high in the Santa Monica Mountains, the Oboler complex is Wright’s only example of desert rubblestone construction in Southern California. In the 1940s, radio and television personality Arch Oboler and his wife Eleanor set out to create an estate called “Eaglefeather” on the 360-acre lot they owned in the Santa Monica Mountains above Malibu. An avid rock enthusiastic, Oboler gathered  many of the rocks himself, from a variety of locations, even driving his van to the Arizona desert. Their grand plans included a house, a film-processing studio, stables, and paddock, along with other structures. Regrettably, the main house was never built, but the other segments of the complex that were completed consist of a ridgetop stone and wood gatehouse and a small studio-retreat for Eleanor perched on a nearby hill. World War II created shortages that made construction difficult. According to architect E. Fay Rippon, the Obolers stopped working on the project because their son died on the construction site, but as Oboler entered the world of 3-D, before it became popular the movies, his waning fortunes may have also played a part in the project’s demise.

Comparing the challenges in his life to FLlW’s, Oboler recounted, “A good friend of mine, Frank Lloyd Wright, had all the trouble in his life architecturally that the world of 3-D has. But he always stuck to the precept that you had to start not with the concept of doing something madly, offbeat–but doing some thing that was right for the purpose for which you were doing it; a house, a museum. We talked about 3-D, because I was just starting with it shortly before he died.”

The Obolers lived in the gatehouse and other buildings for many years. After he died in 1987, Eleanor remained briefly on the property, then sold it to a new owner, who eventually planned to restore the buildings . The buildings are in sad shape and are still being prepared for restoration. The interior of the Retreat has been stripped to check the structure after a fire. A caretaker lives in the Gatehouse.  In July 2018,  real estate website Zillow  estimated its value at $2.1 million. The lot covers 79 acres, and the two-bedroom house is listed at 2,486 square feet. I know what you’re thinking, how could 79 acres in Malibu, literally a short stroll from Malibu Wines, be estimated at jsut $2.1 million? I’m going to find out and get back to you.

Wilbur C. Pearce House, 1950

We’ve reached Wright’s final Los Angeles house. The Wilbur C. Pearce House located at the foot of the San Gabriel Mountains is made of simple concrete block, with a dramatic, cantilevered roof covering the carport. Wilbur Pearce was a businessman who moved to Los Angeles in the mid-1940s to work for Firestone Tire and Rubber Company. Pearce and his wife, an art teacher had met Wright when they lived in Akron and talked with him about their move to California. When they got to California, they contacted him and commissioned a design. Wright drafted plans in 1955 and construction began in 1955.

The house looks typically mid-century modern from the outside, but inside the interiors are typical Wright. The style is basically Usonian but takes advantage of the sun in a unique way. Its curved south face lets the some come in all day long. The polished concrete floors are Wright’s typical Cherokee Red, inscribed into squares.The house has two bedrooms and two bathrooms and occupies 1,988 square feet. The small entry area keeps visitors from lingering there and moves them quickly inside. The layout is three sections. The central workspace is rectangular in shape and opens onto a terrace. The living room has one curved wall facing the promenade, and the wing containing bedrooms and bath have curved front and back walls. A workshop sits next to the carport.

The house is still owned by the Pearce family. Current owner Konrad Pearce is the original owner’s grandson and is working to restore the house.

Sources: Frank Lloyd Wright Foundation Los Angeles Times Trip Savvy LA Conservancy KPCC

Homes & more!

General Information

4800 Hollywood Boulevard Los Angeles, CA 90027

Hollyhock House

Hollyhock House was designed by America’s most important 20th-century architect, Frank Lloyd Wright. The house was commissioned by oil heiress and theatre producer Aline Barnsdall. It was built between 1919 and 1921. Aline Barnsdall was also a philanthropist and in 1927 gave the house and the surrounding twelve acres atop Olive Hill (now Barnsdall Park) to the City of Los Angeles as a memorial to her father Theodore.

Hollyhock House is named for Barnsdall’s favorite flower – the hollyhock. Wright created stylized representations of the hollyhock plant throughout the house, which include the ornamental art stone, textiles, furniture, and striking art glass. In 2012, Hollyhock House underwent an extensive restoration of the public rooms, which reopened to visitors in 2015. Hollyhock House is the only Frank Lloyd Wright residence in Los Angeles open to the public.

OPEN FOR TOURS

Hollyhock House is now open for in-person, self-guided tours. Offered Thursday through Saturday from 11:00 a.m. to 4:00 p.m., tours offer unprecedented access to Hollyhock House’s restored outdoor spaces, showcasing new aspects of Wright’s self-proclaimed “garden house.” Advance ticket purchase at  hollyhockhouse.org  is required, and tour capacity is limited.

LA’S FIRST UNESCO WORLD HERITAGE SITE

On July 7, 2019, Hollyhock House was inscribed on the UNESCO World Heritage List as part of “The 20 th -Century Architecture of Frank Lloyd Wright,” which includes eight sites spanning 50 years of Wright’s career. The collection represents the first modern architecture designation for the U.S. In addition to Hollyhock House (Los Angeles’s first World Heritage Site), the group inscription includes Unity Temple (constructed 1906-09, Oak Park, Illinois), the Frederick C. Robie House (constructed 1910, Chicago), Taliesin (begun 1911, Spring Green, Wisconsin), Fallingwater (constructed 1936-39, Mill Run, Pennsylvania), the Herbert and Katherine Jacobs House (constructed 1936-37, Madison, Wisconsin), Taliesin West (begun 1938, Scottsdale, Arizona), and the Solomon Guggenheim Museum (completed 1959, New York).

There are more than 1,000 World Heritage sites around the world, and the group of Wright sites is now among only 24 sites in the United States. The collection represents the first modern architecture designation in the country on the prestigious list.

About the World Heritage Site

DIGITAL ACCESS: SITE AND COLLECTIONS

In 2019, the Department of Cultural Affairs debuted two major digital initiatives to make Hollyhock House more accessible to audiences worldwide.

The Hollyhock House Virtual Accessibility Experience utilizes technology to increase access to Frank Lloyd Wright’s Hollyhock House and creates an immersive and inclusive experience for visitors of all abilities. This virtual tour is available onsite and remotely via a web browser.

Explore the Virtual Accessibility Experience

The  Hollyhock House Archive  contains original drawings and blueprints detailing plans for the ambitious arts complex that was partially realized by Aline Barnsdall and her architect Frank Lloyd Wright. This digital archive currently holds 81 digitized documents related to the history of the Hollyhock House. Barnsdall Park

Browse the Archive

Residence A

Residence A, completed by Wright in 1921 as a guest house to Hollyhock House, is located in Barnsdall Art Park within the Hollyhock House UNESCO World Heritage Site boundary. It is the first visible element of the Hollyhock House campus upon entrance to the park. The property’s significance extends to its status as both a National Historic Landmark and as Los Angeles Historic Cultural Monument #33. Phase 1 of the Residence A restoration project began in 2017 and cost more than $5 million from various sources including City dollars, funding from the former Community Redevelopment Agency, and the National Park Service. As part of Phase 1, exterior finishes were meticulously recreated, structural and seismic work was completed, and building systems were improved. The planned Phase 2 will provide critical interior detailing, furnishings, finishes, and infrastructure repair, as well as exterior landscaping and ADA‐commensurate hardscaping needed to re-open the site to the public.

Hollyhock House was Frank Lloyd Wright’s first Los Angeles commission and an ode to California’s freedom and natural beauty. Built between 1919 and 1921 for Aline Barnsdall, the house introduced young architects Rudolph Schindler and Richard Neutra to Los Angeles. It is a harbinger of California Modernism, which came to include celebrated homes by all three visionaries that continue to impact the direction of residential design.

Both Hollyhock House and Residence A today are curated and operated by DCA. The lead architect and project manager for the restoration was the Bureau of Engineering, with the Department of General Services serving as general contractor. Project Restore, a nonprofit organization, served as grant administrator and restoration manager.

Residence A, west facade view, 2021 - Stan Ecklund, courtesy of Hollyhock House

Residence A, north balcony windows, 2021 - Stan Ecklund, courtesy of Hollyhock House

Residence A, dining bay detail, 2021 - Stan Ecklund, courtesy of Hollyhock House (1)

Residence A, north facade perspective, 2021 Stan Ecklund, courtesy of Hollyhock House

Abbey Chamberlain Brach

[email protected] 213-309-2004

Related Cultural Centers

Barnsdall Arts Center

Barnsdall Gallery Theatre

Barnsdall Junior Arts Center & Barnsdall Junior Arts Center Gallery

Los Angeles Municipal Art Gallery (LAMAG)

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HOLLYHOCK HOUSE

Hollyhock house, a unesco world heritage site, was commissioned by aline barnsdall and designed by frank lloyd wright, one of the greatest american architects of the twentieth century..

The project was also the proving ground for the early careers of Wright’s assistant, RM Schindler, and Wright’s son Lloyd Wright, as they oversaw the completion of the project in 1921. Hollyhock House’s innovative plan and bold aesthetic were catalysts for the modern California architecture movement. Schindler and Lloyd Wright both became influential design pioneers and inspired other notable figures to establish their architecture practices in Los Angeles, including Richard Neutra, Gregory Ain, and John Lautner.

In 1963, Hollyhock House was recognized as a Historic-Cultural Monument by the City of Los Angeles.

In 1971, the building was listed in the National Register of Historic Places.

The United States Department of the Interior designated Hollyhock House a National Historic Landmark in 2007.

In 2019, Hollyhock House was inscribed as the first UNESCO World Heritage Site in Los Angeles.

It is one of eight seminal Wright buildings that were collectively recognized as UNESCO’s first modern architecture designation in the United States.

Hollyhock House joins Yosemite National Park and Redwood National and State Parks as the third site in California with the distinguished UNESCO status.

Hollyhock House enjoys tremendous community support. Each year, nearly 100 passionate and insightful volunteer docents contribute thousands of hours of service to the mission of sharing the home’s vibrant history and alluring architectural features with more than 43,000 annual visitors.

Photos: Joshua White / JWPictures.com

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• Frank Lloyd Wright Week
• Curbed Inside

A full tour of Frank Lloyd Wright’s Hollyhock House

Completely restored in 2015, the home has been named a UNESCO World Heritage site

The Hollyhock House was the first house Frank Lloyd Wright designed in Los Angeles, part of a performing arts complex commissioned in the early 1920s by oil heiress Aline Barnsdall for an incredible 36-acre hilltop site on the Hollywood and Los Feliz border.

The house contains the "germination of what I think you can easily say became California Modernism," says Hollyhock curator Jeffrey Herr.

But Wright was often away during construction, working on the Imperial Hotel in Japan, and building was mostly overseen by project manager Rudolph Schindler. When costs got out of control, Barnsdall fired Wright and eventually hired Schindler, and she never moved into the house, which had been designed around the icon of her favorite flower, the Hollyhock.

In 1927, she donated the property, with the surrounding 12 acres, to the city of Los Angeles, and over the decades since it was deformed over and over by bad renovations and general entropy. (Lloyd Wright oversaw two renovations, on in 1946 and one in the unfortunate design year of 1974.)

Following years of closure, the Hollyhock is now reopen with a beautiful, painstaking restoration that has brought many of its public spaces back to their 1921 magnificence. In 2019, the home was named as a UNESCO World Heritage site , along with seven other Wright buildings.

Herr supervised the restoration, along with Hsiao-Ling Ting of the city’s Bureau of Engineering, and Kevin Jew of the nonprofit Project Restore, which wrote the grant for the project.

The exterior was perhaps the easy part; they found a buried piece of stucco from the house’s heyday and were able to reproduce the texture and color so that Hollyhock is now more "harmonious" with the surrounding landscape.

The entryway, a Modernist version of a formal foyer, looks pristinely 1920s now, but just a few years ago had concrete floors, recessed lighting, and sliding glass doors.

Today it has been almost entirely reconstructed with historically accurate plaster, intricate ceiling moldings—originally stripped back in the ’40s—painstakingly created and aligned by a woodworker named Erik Mortensen, and accordion-folding glass doors that open to completely erase the division between house and courtyard, with actual 1920s door handles and latches.

Hollyhock’s centerpiece, though, is a showstopping hearth backed in an abstract, Hollyhock-themed bas relief, with a detailed skylight above and a pool below (it’s not filled, sadly; water isn’t very kind to the house).

Herr calls the fireplace "one of the best things [Wright] ever did." The elaborate accompanying couches, which Herr calls "better suited for viewing Wright’s work than for conversation," is a 1990s reproduction of original furniture.

The dining room still has its original furniture, incredibly, including a set of chairs with spines like Hollyhocks.

The clerestory windows that ring the room were removed during restoration, at which point Herr realized that a change in the roof height had cut off their bottom four inches years ago. So they put the roof back where it was; now the windows have the views they were intended to have, plus there’s a lot more light in the dining room.

The library and kitchen have only been returned to 1940s Lloyd Wright form (though the library’s donated books are all pre-1925). Meanwhile, most of the private rooms are still in the ’70s, but they won’t be open to the public anyway, because of ADA requirements. Herr hopes to makeover the house’s forecourt next, which has become a pretty unattractive parking lot.

Hours for self guided tours of the house are 11 a.m. to 4 p.m., Thursday through Sunday. A 20-minute docent-led exterior tour is offered at 11:15 a.m., 12 p.m. and 12:45 p.m., Thursday through Sunday. A 40-minute docent-led exterior and interior tour is offered Tuesday and Wednesday at 11 a.m. and 12:30 pm. Admission for all tours is $7 for adults.

Barnsdall Art Park

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Combined Shape .st0{fill-rule:evenodd;clip-rule:evenodd;fill:#fff} .st0{fill-rule:evenodd;clip-rule:evenodd;fill:#fff} SMS Main navigation Things to Do Attractions & Tours Arts & Culture Outdoors & Wellness Shopping Budget Family Hidden Gems Luxury Pet-Friendly Eat & Drink Bars Clubs Dine LA Restaurant Week Restaurants Business Spotlight Find Events Itineraries Where to Stay Celebrate LA Heritage AAPI Heritage Black LA Latino Heritage LGBTQ+ Tourist Information Meetings About LA Tourism Travel Trade Membership Business Spotlight Media Research Careers Today's must read Hidden Gems of Los Angeles Log in Search Search Things to Do Arts & Culture Frank Lloyd Wright's Hollyhock House: The Story of an LA Icon The architectural masterpiece is LA's first UNESCO World Heritage Site

Herr said his favorite area of Hollyhock House is the colonnade along the north side of the inner courtyard . "It's lovely in the afternoon with the sunlight streaming through the columns and equally beautiful at night with the restored lighting."

With so many interesting details throughout the house, there are bound to be a few hidden gems. Herr said, "I think most people forget to look up and consequently miss the exquisitely crafted ceiling mouldings in the loggia."

Rather than highlighting a particular aspect of the restoration for visitors to seek out, Herr said, "Perhaps it is what visitors will not notice that is most important. Our goal has been to recreate the 1921 appearance without making the re-creation obvious. What visitors will experience is the opportunity to step back in time."

Hollyhock House is open for self-guided tours Thursday to Saturday from 11am to 4pm. Pricing is $7 for Adults, and $3 for Seniors (65+) and Students with valid ID. Children under 12 are free when accompanied by a paying adult. Docents are on hand to provide information and answer questions. Guidebooks are available to visitors for onsite use.

For more information and to purchase tickets, visit the Hollyhock House website .

Hollyhock House Barnsdall Art Park 4800 Hollywood Blvd, Los Angeles 90027 (323) 988-0516

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Hollyhock House

Frank Lloyd Wright's first Los Angeles project thrives as the centerpiece of a civic arts complex.

Place Details

• Frank Lloyd Wright

Designation

• Preservation Award Recipient

Property Type

• Single-Family Residential
• Los Angeles

On July 7, 2019, the Hollyhock House and seven other U.S. sites designed by Frank Lloyd Wright joined the UNESCO World Heritage Sites list . This is the only Los Angeles site that has attained this level of international cultural heritage recognition.  

Built between 1919 and 1921, Hollyhock House was the first Los Angeles commission for the legendary architect Frank Lloyd Wright. He designed it for Aline Barnsdall, a wealthy iconoclast and patron of the arts ( learn more about her here ). Barnsdall envisioned the house as the centerpiece of an artists’ colony on Olive Hill in the neighborhood of Los Feliz.

Construction was supervised by Wright’s son Lloyd Wright, and the project brought a young Rudolf Schindler to Los Angeles.  Due to intense differences between Wright and Barnsdall, only three buildings were constructed, and Barnsdall rarely occupied her residence. In 1927, she donated the property to the City of Los Angeles for use as an art park.

Featuring a decorative motif inspired by Barnsdall’s favorite flower, Hollyhock House is an extraordinary and early expression of Southern California architecture.

Wright referred to his design for the house as “California Romanza,” from a musical term meaning “freedom to make one’s own form.”

The house is monumental in form, yet it seamlessly integrates the indoors with outdoor gardens and living spaces. Its structural system predates the textile-block system Wright would use in his other Los Angeles houses.

While the interior is remarkable throughout, the living-room hearth—topped by a skylight and integrating a seemingly floating hearthstone, bas-relief stone mural, and wood-slat screen—provides a particularly dramatic focal point.

The house was designated as a National Historic Landmark in 2007 and has been nominated as a UNESCO World Heritage Site.

Regular maintenance kept the house in good condition over the years. Yet it was renovated several times, had long suffered from water intrusion, and was damaged in the 1994 Northridge earthquake. In 2007, the City and Project Restore, a public-private partnership, began planning a project to address structural needs and restoration. In 2010, the project team began four years of work to repair and prevent water damage, seismically strengthen the house, restore historic elements, and reverse past alterations.

Hollyhock House reopened to the public in February 2015, and the meticulous project earned a 2015 Conservancy Preservation Award. This project was a major achievement for the City of Los Angeles, as well as clear evidence of the value of civic investment in historic places.

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Project Description

Los angeles – frank lloyd wright.

Languages available:  EN ES

Customizable tour:  Yes

Recommended group size per guide: 25

Duration: 4 hours

DESCRIPTION –  Los Angeles: Frank Lloyd Wright

The great architect master  Frank Lloyd Wright  left part of his legacy in Los Angeles. The guided tour by our architect through Wright works in the city lasts four hours and transportation will be need. His son also built several buildings that we will see in the itinerary.

In this tour we will see different types of architecture, from homes to malls like the one Wright designed in the fifties in  Rodeo Drive , Beverly Hills. We will see the  Hollyhock House  in Hollywood, in its environment in  Barnsdall Park . The tour will continue with a visit of “Los Feliz” where, in addition to the  Griffith Observatory  where you can see the city from above, and it is also known for James Dean’s movie “Rebel Without a Cause”, we will see three of the homes of Wright’s son: one that is known as “Jaws” (Sowden), the House “Samuels-Navarro” and the House Taggart. Furthermore, also in “Los Feliz”, we will visit the outside of the  Charles Ennis House , which is being renovated, and it is famous for showing up in the movie “Blade Runner”.

The tour will continue through the hills of Hollywood so we will visit the exterior of the house Samuel Freeman  (University Of Southern California) and  John Storer House . We will continue walking by the Lloyd Wright’s Home and Studio up to Rodeo Drive to see his  Anderton Court Shops .

The tour can be extended to see “La Miniatura” or Millard House in Pasadena; ask about our custom itineraries.

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61 comments.

Hello, My name is Stephan Sweeton and I am interested in taking the Los Angeles: Frank Lloyd Wright tour. I will be visiting L.A. area this week and would be available for the tour on Weds 3-27, Thurs 3-28 or 3-29.

Hello Stephan Sweeton, Thanks for your comment. Please, check out your email, we answered you there. Best regards, Artchitectours.

I’m interested in the tour but wondered how much walking is involved, what transportation is used and, of course, the cost. Is this available on week days? Many thanks!

Hello Cynthia, Thanks for your comment. Please, check out your email, we answered you there. Best regards, Artchitectours.

Hi, I will in LA from Set 4th to the 12th. I would like to take the Frank Lloyd Wright or Hollywood tour. Please provide rates and times if possible.

I’m a huge Frank Lloyd Wright fan. I’m interested in the Frank Lloyd Wright architectural tour. Refer below for my questions:

1) What is the cost of the tour? 2) What are the times and days for the tour? 3) What transportation is used? 4) Do I meet you at a certain place to join the tour? 5) How much does it cost to extend the tour to include the Millard House in Pasadena? How long is the tour that would include the Millard House?

Thanks, Ting

Hello Ting Leong, Thanks for your comment. Please, check out your email, we answered you there. Best regards, Artchitectours.

Hey, I have the same questions as the above poster Ting. We’ll be in town from the 14-19. Thanks.

Hello Eilish Rodden, Thanks for your comment. Please, check out your email, we answered you there. Best regards, Artchitectours.

I wish to attend the Frank Lloyd Wright Los Angeles tour. I live in San Diego and am able to see drive up should there be a tour planned that I may join. Thank you

Hi Deborah, Thank you for your comment. We don’t have programmed tours; they’re all tailor-made for each client. If you wish to do a private tour please send us an email to [email protected] with your request. Best regards, Artchitectours.

What are the prices for the frank lloyd Wright tour on student basis?

Hello Nishi, Thanks for your comment. Please, check out your email, we answered you there. Best regards, Artchitectours.

I’m interested in touring Frank Loyyd Wright house in So Cal. Please send me cost, times, dates, location closest to Ventura, etc.

Thank you, Vicci

Hello Vicci, Please check your email, we’ve sent you all the information there. Thank you, Artchitectours.

We are travelling as a family of four to LA mid-end of July and staying for a number of days. Could you forward details of your tours please? The four hour tour with option to head out to Pasadena is of particular interest. We will have a hire car Thank you

Hello Pete, Thanks for your comment. Please, check out your email, we answered you there. Best regards, Artchitectours.

I am Interested in going on the tour with my dad. How much does it cost? How much walking does it take? In the somebody guiding us. Also what’s the availability for next week.

Hello Denise, Thanks for your comment. Please, check out your email, we answered you there. Best regards, Artchitectours.

Hi, I am interested in this tour in LA. Can you send me the price and availabiity around august 5th for 2 people?

Hello Jenny, Thanks for your comment. Please, check out your email, we answered you there. Best regards, Artchitectours.

Hello i would be interested to follow you on the Frank Lloyd Wright tour at the end of august (28/29/30) what are the details ?

Hello Arielle, Thanks for your comment. Please, check out your email, we answered you there. Best regards, Artchitectours.

Hi, when is your next walking tour?

Hello Visnja Bacoka, Thanks for your comment. Please, check out your email, we answered you there. Best regards, Artchitectours.

I am interested in this tour for Thursday 12th September … for four people.

Could you please let me know further details?

With thanks, Nicci

Hello Nicci, Thanks for your comment. Please, check out your email, we answered you there. Best regards, Artchitectours.

I am interested in purchasing as a gift for two friends. What is the cost per person and is it required to select a date or can I purchase and allow them to select the date? Thank you

Hello Kristin, Thanks for your comment. Please, check out your email, we answered you there. Best regards, Artchitectours.

Hello, my name is Kristin. I am interested in the Frank Lloyd Wright tour of LA as a gift. Please let me know cost and available dates. This would be for two people. Thank you.

I will be in LA on 1/18-23 and am interested in the FLW tour. Is it available at that time. Thanks.

Hello Mike, Thanks for your comment. Please, check out your email, we answered you there. Best regards, Artchitectours.

Do you have any availability March 23 or March 24?

Hello Brenna, We have sent you a reply by email. Thank you, Artchitectours.

I will be in LA next week from 01/15-18 and wanted to know if there is a planned tour I could join, I am traveling alone (without a group).

Hello Camila, Thanks for your comment. Please, check out your email, we answered you there. Best regards, Artchitectours.

Hello, May I please get information for any upcoming architectural tours scheduled for the Los Angeles area.

Thank you very much

Hello Jean, Thanks for your comment. Please, check out your email, we answered you there. Best regards, Artchitectours.

Good afternoon. We will be visiting LA at the end of March. Can you please provide with pricing, availability for the tours, and any additional important information for tours. Thanks!

I am interested in the Frank Lloyd Wright tour.

1) What is the cost of the tour? 2) Is this available on weekdays? If so, what time? 3) What transportation is used? 4) Is there a specific area to meet up? 5)Is Millard House on the tour?

Hello Ashley, Thanks for your comment. Please, check out your email, we answered you there. Best regards, Artchitectours.

We are interested in the joining a Frank Lloyd Wright tour.

1) What is the cost of the tour? 2) Are their weekday tours available? 3) What transportation is used?

Hello! My girlfriend and I are interested in visiting the Frank Lloyd Tour during anytime during 04/09-04/13 if any available. Let me know. Thank you!

I would enjoy this tour. Please send info. I’m in LA April 6 – 9

Are these tours still in operation? My friends emailed several weeks ago and never received a reply. We are very interested in your tours.

Hello, interested about this tour offer, where I can find more info regarding the tour?

Hi, I have the same questions as everyone else. For the Wright tours. Dates for Summer 2022. Cost. Transportation requirements etc. Is there somewhere to review this information or is it via private e-mail only? Comments on the site seem to indicate the later?

Hello Carol, Thanks for your comment. Please, send us an email to [email protected] and we’ll reply as soon as possible! Best regards, Artchitectours.

We would like to tour FLlW houses. How many of his houses can you actually walk inside and tour the interior? We’ve toured Hollyhock house. Are there any other tours that we can actually tour the interior of his houses?

Hello Maria, Thanks for your comment. Please, check out your email, we answered you there. Best regards, Artchitectours.

Hello Jack, We have sent you an email with all the information. Thank you, Artchitectours.

I am travelling alone and wondered if you do any group tours of Los Angeles Frank Lloyd Wright. I am in LA 3 to 9 March.

Hello Denise, We have sent you an email with all the information. Thank you, Artchitectours.

Hi, is it possible to take a tour between 9-11 of April?

Hello Ekaterina, We have sent you an email with all the information. Thank you, Artchitectours.

Hi, We are interested in your tours. Is it possible to join one of them this Friday maybe? We are leaving on Saturday, so would be great to make it on one of the two mornings. Thank you in advance, Lilla

Hello Lilla, We have sent you an email with all the information. Thank you, Artchitectours.

I am visiting on march 23rd 2024. Is this tour available then?

Hello Theresa, We have sent you a reply by email. Thank you, Artchitectours.

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Frank Lloyd Wright in LA

Meet your guide.

Barry S.     Indio, California, United States

I love people, and I love sharing what I've learned with them. . . that's why I do this! 1- What,... more

Book this tour

$900 USD  PER TOUR For up to 6 people  (duration: 7 hours)  deposit ?

Tour Number

Activity level.

City, First Time Visitor, Local Experience, Museums / Culture

Kid Friendly: No. Friendly: No. Maximum travelers: 6

Language(s)

explanation

English (fluent)

Tour the Homes!

Join your guide, Barry Schoenfeld, as we visit the best of Frank Lloyd Wright in Los Angeles, where he first developed his "textile block" style -- some overseen by his son, Lloyd Wright, Rudolf Schindler and Richard Neutra. Plus, time permitting, we'll see homes designed by his son Lloyd Wright. (all tours INSIDE homes subject to advance booking). 1- Hollyhock House (The first example of modern American architecture to make the UNESCO World Heritage list) 2- Ennis House ("Mayan Revival" Style) 3- Storer House (Restored by Joel Silver) 4- Freeman House (Owned by USC) 5- Millard House ("La Miniatura") Time Permitting: 6- Lloyd Wright's Novarro House (once owned, and restored by Diane Keaton) 7- Lloyd Wright's Sowden House (home of the "Black Dahlia" murder?) 8- Lloyd Wright Studio-Residence (restored by Eric Lloyd Wright)

1- Hollyhock House 2- Ennis House 3- Storer House 4- Freeman House 5- Millard House Time Permitting: 6- Lloyd Wright's Novarro House 7- Lloyd Wright's Sowden House 8- Lloyd Wright Studio-Residence (restored by Eric Lloyd Wright)

Meeting Point + Tour Duration

Meeting Point Options: Rail or Bus Station, Cruise Ship Port, Airport, Hotel, Address or Intersection, Monument/Building

Duration: 7 hours

Transportation

Honda Odyssey Van

What’s Included

• Guiding Services
• Private Transportation
• Admission Tickets

Other: Beverages and snacks en route

Estimated Local Cash Needed

25 USD - Lunch (?)

What’s Extra

• Personal Expenses

Other: Lunch (?)

Restrictions

I am not a licensed guide -- just an experienced one, with almost 10 years as a guide! Driver & van are included. I can promise you the best experience possible...

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Contact this Guide

Questions about the tour? Not seeing exactly what you’re looking for? Contact this guide with questions, or to create a custom itinerary for you and your travel companions.

• Add to Cart

Web address (URL) of this page: https://www.toursbylocals.com/FrankLloydWrightLA

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World Heritage List

World Heritage List of 20th-Century Architecture of Frank Lloyd Wright

The collection of buildings, formally known as The 20 th -Century Architecture of Frank Lloyd Wright , span 50 years of Wright’s influential career and marks the first modern architecture designation in the United States on the World Heritage List. Of the 1,199* World Heritage sites around the world, the group of eight Wright locations makes up one of 25* sites in the United States.

• Unity Temple. Oak Park, Illinois. Photo by Tom Rossiter courtesy of Harboe Architects. 2. Frederick C. Robie House. Chicago, Illinois. Photo by Nick Abele courtesy of Frank Lloyd Wright Trust. 3. Taliesin. Spring Green, Wisconsin. Photo by Andrew Pielage. 4. Hollyhock House. Los Angeles, California. Photo by Joshua White. 5. Fallingwater. Mill Run, Pennsylvania. Photo courtesy of the Western Pennsylvania Conservancy. 6. Herbert and Katherine Jacobs House. Madison, Wisconsin. Photo by David Heald courtesy of James Dennis. 7. Taliesin West. Scottsdale, Arizona. Photo by Andrew Pielage. 8. Solomon R. Guggenheim Museum. New York, New York. Photo courtesy of Solomon R. Guggenheim Foundation.

The 20 th -Century Architecture of Frank Lloyd Wright World Heritage List Inscription by the Numbers

• 8:  The number of Frank Lloyd Wright buildings inscribed to the UNESCO World Heritage List

15: The number years it took to complete the nomination

50: The number of years the sites inscribed span of Wright’s influential career

*1199: The number of  World Heritage List properties around the world

*25: The total number of sites in US , only 12 of which are cultural sites

10: The amount of selection criteria reviewed when a site is submitted to the World Heritage List, sites must meet at least one

449: Number of realized Wright-designed structures

67: Demolished Wright-designed structures

380 : Extant Wright-designed structures

12: The number of Wright’s buildings Architectural Record selected for its list of the 100 most important buildings of the 20th century. The 12 include the Solomon R. Guggenheim Museum, Taliesin, Taliesin West, and Fallingwater.

74: Public Wright sites , while the rest of sites are private

36: The number of states Frank Lloyd Wright built in

The Whirling Arrow

News and updates from the Frank Lloyd Wright Foundation

Frank Lloyd Wright + Arizona

Frank Lloyd Wright’s connection to Arizona, the location of his personal winter home Taliesin West, runs deep, with his architectural influence seen all over the Valley. Here, PhD student David R. Richardson gives a brief overview of several of Wright’s most notable projects in the Grand Canyon state.

Celebrating World Art Day April 15, 2024

Tracing Frank Lloyd Wright’s Influence

Over his 70-year career, Frank Lloyd Wright designed more than 1,000 structures—museums, homes, churches, commercial buildings—532 of which were built. But thanks to his ideas (and his fame) his influence maps far beyond his work . From the 1930s onward, to be inspired by Wright could mean working alongside him as an apprentice or fellow  at his home, studio, and architectural school Taliesin in Spring Green, Wisconsin, and later Taliesin West in Scottsdale, Arizona—like E. Fay Jones , one of Wright’s esteemed protégés. It could also mean admiring Wright’s ideas from afar. One of the best examples of this is Joseph Eichler, who in the early ’40s rented  a Usonian-style house  designed by Wright in Hillsborough, California, and was so inspired by its long, horizontal lines and walls of windows that he developed his Eichler homes with similar modernist principles.

Frank Lloyd Wright at a drafting table with several onlookers while at Taliesin in Spring Green, Wisconsin, in 1937.

Wright’s influence reached other architects from his generation and later ones, too. He popularized the term organic architecture , referring to the philosophy of designing in harmony with natural surroundings, and was among the group of Chicago-area architects to introduce Prairie style  as an extension of the early-20th-century Arts and Crafts movement. Unsurprisingly, many of Wright’s actual descendants also pursued careers in architecture: His son, Frank Lloyd Wright Jr., also known as Lloyd Wright, became a landscape architect and designed a number of Southern California homes and landmarks . Meanwhile, Lloyd Wright’s son, Eric Lloyd Wright , also went on to become an architect and spent much of his career restoring his father’s and grandfather’s buildings.

But the web of Wright’s architectural influence doesn’t stop there: Here are nine architects whose works were touched by Wright’s ideas, whether directly or from a distance. Wright treated his residential projects as testing grounds for his evolving visions; unsurprisingly, his impact on future generations of architects shines in the homes they designed.

Rudolph Schindler’s 1930s Bubeshko Apartments in L.A.’s Silver Lake neighborhood have decorative caps on the exterior walls that resemble Wright’s textile block constructions.

Rudolph Schindler’s textile block details

Austrian-born architect Rudolph Schindler (1887-1953) designed and built his most important works in Southern California during the first half of the 20th century. He relocated to Los Angeles in 1920 at the request of Wright, who’d hired him at Taliesin a few years prior, to supervise the construction of Wright’s Mayan Revival Hollyhock House , which in 2019 became L.A.’s first UNESCO World Heritage Site (and is  open for tours in East Hollywood). He also designed two apartments for Wright’s  Samuel Freeman House in the Hollywood Hills. Schindler decided to stay in L.A. and open his own practice; in the ’30s, he designed the  Greek village-inspired Bubeshko Apartments  in the Silver Lake area, which have decorative wall caps that resemble Wright’s iconic textile blocks from both aforementioned projects.

A precursor to his Kaufmann and Goodman Houses, Richard Neutra’s 1929 Lovell Health House was commissioned by a physician and naturopath. The client’s health-conscious lifestyle inspired the design of the home, making it a good example of Neutra’s philosophy of "biorealism," which shares some attributes with Wright’s organic architecture. 

Richard Neutra’s approach to connection with nature

Richard Neutra (1892-1970) is also known for his 20th-century Southern California modernist designs, like fellow Austrian émigré and Taliesin apprentice Schindler. Among Neutra’s most famous works  is the 1946 Kaufmann House in Palm Springs, designed for the same (eponymous) client who commissioned Wright a decade prior for Fallingwater in rural Pennsylvania. Over his career, Neutra developed his own concept for a design approach based on a connection between humans and nature, coining the term " biorealism ." Neutra’s principles of biorealism are evident in the ’50s wooden, rectangular Goodman House in San Bernardino, California, which he designed with clerestories at the bottom of a glass wall and mitered corner windows, similar to features of Wright’s Usonians.

While architect Bruce Goff’s style was imaginative and eccentric, he was inspired by some of his longtime mentor’s ideas about organic architecture. The 1967 Searing House in Goff’s home state of Kansas, for example, features open spaces and skylights, as well as lots of wood and brick.

Bruce Goff’s early Wright mentorship

The iconoclastic architectural footprint of Bruce Goff (1904-1982) is most predominant in Oklahoma and across the Midwest, where his family moved around during his childhood. At age 12, Goff apprenticed at a Tulsa architecture firm and started correspondence with a much-older Wright and Wright’s own mentor, architect Louis Sullivan. Over the course of their long, complicated friendship , Goff developed his own highly imaginative style, but was also inspired by Wright and Sullivan’s ideas about organic architecture and modernism. Some of Goff’s earliest (albeit more traditional) buildings are still standing in Tulsa, including the Art Deco Boston Avenue Methodist Church , as well as the McGregor House , one of Goff’s first-known designs (created while he was still in high school), which is now listed on the National Register of Historic Places—and on VRBO as a rental . The home evokes Wright’s wide, Prairie-style overhangs, along with a tiered roof.

The Sheats-Goldstein Residence, designed and built by John Lautner between 1961 and 1963, is an example of organic architecture. The house consists of a substantial amount glass, concrete, and wood, with little division between the interior and outdoor areas.

John Lautner’s embrace of organic architecture

Inspired by Wright’s 1932 autobiography , John Lautner (1911-1994) applied to the Taliesin Fellowship in Wisconsin and apprenticed to Wright throughout the mid-’30s. He oversaw the construction of Wright’s Prairie-style Wingspread in Wisconsin, the Mayan Revival Ennis Hous e in L.A., and the Abby Longyear Roberts House , a lesser-known Wright project actually commissioned by Lautner’s mother-in-law near where he grew up in Michigan’s Upper Peninsula. Though Lautner is known  for his Southern California residential designs and his seminal contributions to  Googie architecture , he shared Wright’s passion for organic architecture. His ’60s  Sheats-Goldstein Residence in L.A.’s Beverly Crest neighborhood, for example, uses skylights, walls of windows, exterior covered pathways, and an open plan to blend the interior spaces with the outdoors.

After Wright’s 1959 death, his longtime protégé William Wesley Peters and Taliesin Associated Architects expanded the Hayward-Shepherd House (also known as Tirranna) in New Canaan, Connecticut, which Wright designed during the last years of his life.

William Wesley Peters: protégé and son-in-law

One of the first Taliesin apprentices, William Wesley Peters (1912-1991) left the Massachusetts Institute of Technology to work under Wright in 1932. A few years later, he also became Wright’s son-in-law—he married the architect’s stepdaughter, Svetlana, who later died in a car accident—and assisted Wright on many projects throughout his career. Upon Wright’s death in 1959, Peters found his own beat as chairman of Taliesin Associated Architects, the firm established by four of Wright’s apprentices to carry on his architectural vision. Not far from Taliesin, Peters’s saucer-shaped Bank of Spring Green  has nods to similar lines seen in Wright’s Annunciation Greek Orthodox Church in Milwaukee and the David and Gladys Wright House in Phoenix, which Wright built in 1952 for the namesake residents, his son and daughter-in-law.

Architect and FLW apprentice Edgar Tafel’s design for the First Presbyterian Church in New York’s Greenwich Village incorporates ornate decorative touches that evoke his former mentor’s stylistic touches.

Edgar Tafel’s structural touches

Edgar Tafel (1912-2011) spent most of the ’30s at Taliesin, working with Wright on Fallingwater and Wingspread, as well as the SC Johnson headquarters in Racine, Wisconsin. In the early ’40s, he established his own practice in New York City and designed many projects there, including two churches in Greenwich Village, where he was a longtime resident. A  weekend house Tafel designed for his parents in 1946 in Croton-on-Hudson, located an hour north of Manhattan, features a carport, built-ins lining the bedroom wing’s hallway, and cypress walls throughout—all clear nods to Wright.

Midcentury developer Joseph Eichler worked with architect Claude Oakland to design many of his more than 11,000 trademark tract houses—including the above 1962 Eichler—drawing influence from a Wright-designed home Eichler had rented in the early ’40s.

Joseph Eichler’s modernist tract houses

While neither Joseph Eichler (1900-1974) nor Claude Oakland (1919-1989) were direct apprentices of Wright, both the real estate developer and his most prolific architect were deeply influenced by Wright’s approaches. Eichler’s experience living in Wright’s Sidney Bazett House during his early days as a developer coaxed him to employ  similar natural light and space-saving storage tactics, like walls of windows and atriums and tucked-away built-ins, in his own trademark tract houses . Many of the nearly 11,000 Eichlers  built between the late-’40s and mid-’60s were designed by Oakland.

In the 1970s, Italian-American architect and urban planner Paolo Soleri tested his ideals at Arcosanti, an experimental community designed according to his philosophy of "arcology."

Paolo Soleri’s utopian visions

Italian-American architect Paolo Soleri (1919-2013) worked with Wright as a Taliesin West fellow in the late ’40s. From the mid-’50s to the late ’60s, Soleri built his own home and workshop—with the help of his own volunteer apprentices—just down the road in Arizona’s Paradise Valley and called it Cosanti , which blends the Italian words "cosa" and "anti," meaning "against things." In the ’70s, some 60 miles north of Wright’s architecture school, Soleri tested his progressive urban planning ideals at Arcosanti , an experimental community designed according to his concept of " arcology ," which bridged architecture and ecology (not unlike Wright’s organic architecture). Soleri and Wright had very different visions for American utopias; Wright’s Broadacre City concept sought to decentralize urban areas in favor of more sprawling setups, while Soleri envisioned a densely built, communally-oriented environment. Still, his 1949 Dome House in Cave Creek, Arizona, designed with another Wright apprentice, Mark Mills, has many references to Wright’s architectural style, among them banquette seating and floating stairs.

The John Rattenbury-designed Kessler House in New Jersey evokes some of Wright’s Prairie-style signatures. The owners actually commissioned Rattenbury because they admired Wright’s Fallingwater in Pennsylvania and wanted a home with a similar feel.

John Rattenbury’s desert designs

John Rattenbury (1928-2021) helped cofound Taliesin Associated Architects after Wright’s death. But the Canadian architect was first inspired by Wright after reading a 1948 issue of Architecture Forum ; in 1950, he applied to the fellowship and was accepted, working alongside Wright at Taliesin West until his mentor’s passing. A nearby Phoenix home by Rattenbury  is a study in geometry based on one of Wright’s concepts. It draws clear nods to Wright’s final residential design: the  Norman Lykes House , with its stainless-steel kitchen counters and cylindrical living rooms, which Rattenbury completed for Wright the same year, in 1967. In New Jersey, the Rattenbury-designed Kessler House  also evokes some Wright signatures; the owners actually commissioned Rattenbury because they admired Wright’s Fallingwater and wanted a home with a similar feel.

Top Image (from left): Photo of Taliesin West by DeAgostini/Getty Images; photo of Fallingwater courtesy the Western Pennsylvania Conservancy; photo of Richard Neutra’s Kaufmann House by Slim Aarons/Getty Images

Related Reading:

Who Owns Frank Lloyd Wright’s Legacy? It’s Complicated

Frank Lloyd Wright’s Largely Forgotten Forays Into Prefab Housing

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• Unique Spaces

Inside The Home Frank Lloyd Wright Designed For His Son

Released on 04/23/2024

[serene music] [birds chirping]

When your father's the most

celebrated architect in America,

the greatest gift he can give you is a house.

Frank Lloyd Wright designed this house

for his son David and daughter-in-law Gladys

using many of the same ideas

that he was building into the Guggenheim Museum.

Spirals are fascinating forms,

they can symbolize the infinite or longevity.

David and Gladys Wright, they both lived

to be more than 100-years-old.

At the David and Gladys Wright House,

the spiral really takes on a unique sense of longevity

as it moves from one generation, father,

to the next generation, son,

and even today as it moves between father and daughter,

working on this restoration.

[soft idyllic music]

Located in the Arcadia neighborhood of Phoenix, Arizona,

this neighborhood was once filled with orange groves.

Today it's a residential neighborhood.

It's a special place.

It's unlike anything else

that Frank Lloyd Wright did in the course of his career

and we're so excited to show it to you.

The entry to this house really begins here,

at the bottom of a spiral ramp.

Wright began exploring spiral forms

along with all of the other elementary geometries

that were part of his body of work in the 1920s.

[idyllic music continues]

This is long before we came up with ways to curve glass

and curve woodwork in a way

that was structurally sustainable.

And so what we see is this combination of polygon forms,

triangular ends for the wood framework, for the windows,

and even for the roof, set above the circular surfaces

of the building itself.

It's this interesting juxtaposition of forms

that's really a signature

of Frank Lloyd Wright's body of work.

This whole experience coming up the ramp,

it's this little journey that Wright's taking you on.

The movement through space is something

that Wright calls the continual becoming.

This idea that space is constantly

unfolding and revealing itself,

and you really see that as you climb up the ramp

and come up here to the entry.

Now that we're at the top of the ramp,

we see this beautiful landscape.

We're out in this bright sun

and Wright wants to create a juxtaposition,

so he's gonna take us in under a low ceiling

and sort of a shaded, darkened space.

[soft idyllic music continues]

Wright has this technique that he calls

compression and release,

being enveloping darker space,

and then opening up into a lighter, brighter,

more expansive space.

This is very similar to taking a walk through nature

where you might be walking on a forest path,

nature's embracing you,

and then suddenly you're in a clearing

where you're open to the sky,

there's bright light all around you.

It is an emotional journey that we take.

Much of the work on this house,

the delineation, the renderings,

and the design of the rug

were done by a Wright apprentice from China named Ling Po.

Ling came over from China in the 1940s

and worked with Wright

and worked at the Foundation for many decades

after Wright died in 1959.

The furniture is made of plywood, really humble material,

but in the mid-century, Wright gravitated to this material.

If you look at the edge detail,

what you see are the different layers of the plywood,

and instead of covering that up like most people would,

Wright exposes it and celebrates it.

He wants you to see not only how the furniture is made,

but indeed that the wood itself,

like the cement blocks from which the house is constructed,

could actually be quite beautiful.

Even these tables themselves have this unusual feature,

a little hole down the center

for this beautiful circular globe.

So again, the circle, the sphere,

the sense of festivity is always part

of every element of design of this house.

This fireplace, a beautiful cylinder tapering in.

In fact, this is the continuity

from one of the piers below,

tapering upward, from the ground all the way up,

past the roof and into the chimney.

But a beautiful circular fireplace,

a beautiful fireplace grate

that again reflects the circles, patterns of this house.

There's another important sense

of intergenerational continuity

that's reflected in this house.

Frank Lloyd Wright designs this house for his son David

and David's family.

Today, the current owners are Bing Hu,

who has brought his daughter, a newly minted architect,

into the restoration of this house.

I come to the US for the first time to study architecture,

and then a year later I went back to China, get my wife.

From there, our community,

also, my family grown, so we have our first daughter,

and then later on we have two more daughters.

It was only natural for me to want to study architecture.

As soon as I told my dad that,

I was expecting him to be so excited.

But he said, Don't do architecture. It's a hard life.

But of course as his daughter, I don't listen to him.

So I did exactly the opposite of that

and I studied architecture.

When this property,

Dave Gladys Wright House come to my attention,

a spec builder bought the property from the family

with the intention to demolish the house

and create two spec houses.

So the first I learned that is like we got to rescue this.

My dad called me

and asked me if I would consider leaving my job

to come work with him

to restore the David and Gladys Wright House.

It means a lot for my parents to come as Chinese immigrants

and sort of be here preserving the legacy

of American architecture as well.

[soft serene music]

This ceiling is constructed of Philippine mahogany.

It's a wood species that you can't get today.

Unfortunately, because the roof leaked

into this room for many years,

this mahogany ceiling became stained,

and because you can't get this wood anymore,

cleaning and removing that staining is a meticulous craft.

If any board gets destroyed,

you actually have to replace the whole ceiling,

and indeed all the wood in the house

because it's all one species.

So one of the things that I love about this restoration

is the very careful attention to detail.

Because the house hasn't been properly maintained,

especially in the most beautiful wood you can see.

If you see before, it was night and day difference.

When we started to dig, to uncover it,

there were like three or four layers

of spray foam insulation up there.

Anytime there was a big storm,

I think the owners were just like,

Go spray up another layer,

and hopefully it'll do it this time.

Embarking on this journey, it kind of felt like we were able

to uncover history of the past that wasn't written.

Beyond the look of the ceiling,

it also has a really interesting function.

Wright loved to connect interiors and exteriors.

We have a piano here in the room.

Wright loved the piano.

Everybody in his family was musical

and music was something that they gravitated to.

[birds chirping]

Well, how do you get your musical performances outdoors?

You create a ceiling that will reflect the sound

out through these doors

and down into the courtyard

where you might be gathering for a party

or just relaxing on a Sunday afternoon.

Wright had learned about acoustics

in his first apprenticeship in Chicago

with Dankmar Adler, one of the great acousticians

in American architectural history,

and he brought that into his practice and used it everywhere

but seldom with such dramatic effect

as you see in this house.

We've already experienced compression and release

in the entryway into the living room,

and now we're gonna go through another

somewhat compressed space, which is this hallway

that takes us from the central living space

to the primary bedroom of the house.

[soft enthralling music]

Another sense of release

after the compressed space of the hallway.

And once again, we have an emotional journey.

You also have this beautiful built-in banquette.

You'll notice that there's some storage underneath it.

No wasted space in a Frank Lloyd Wright House.

This is important, Wright often designs rooms

so that they have a different emotional impact

and a different sense of space

when you're standing or when you're sitting.

And when you sit in here, the views will be very different.

It may be hard to tell,

but we could actually start in one of those carports

and make a continuous spiral up the ramp, through the entry,

through the living room, down the hallway,

and into this bedroom

without ever breaking that continuous curve.

Let's go see the other room

that people are always curious about,

what we would call the kitchen,

but what Frank Lloyd Wright called the workspace.

So we're gonna take this journey back through the hallway.

Once again, we have the sense of surprise,

space is unfolding,

and even though we've been here before

and we know what's expected,

it's still the sense of seeing this room differently.

But as we come to the workspace,

I want you to first notice something special.

We have this cone that's tapering.

How do you have a door?

Well, you cut the door to meet the building.

Again, this wonderful little gesture,

but Wright has thought of everything.

Wright doesn't refer to these spaces as kitchens.

These are spaces where you do your work

to prepare for your guests.

It's not like kitchens of today that become social spaces,

but truly a space that's just designed for the work.

And in this case, also a little table for the family.

And a little trapezoidal trash can

that fits perfectly into that space.

It's one of those features that just delights people

when they visit the house.

You also see this angled line,

this ramp that takes us to the roof.

He's actually revealing the structure

of the building, in this space,

that there's this continuity that's provided.

Up here on the rooftop terrace,

we can really see Wright's intention,

how he connects the building with the landscape.

Out to our southeast, we see the Papago Buttes.

And behind me in the other direction,

the head of the camel of Camelback Mountain.

By firmly centering this building

between these two landmarks that nature provided,

Wright gives us the sense of being part of this world

and not merely on it, but at one with it.

You'll notice that we're actually walking under the house

because the house is elevated.

[gentle music]

This courtyard is an outdoor room,

but it wasn't just a room to gather in,

maybe have picnic in,

it also originally had a pool.

Also because the pool itself

being constructed out of concrete block,

slowly over time begins to disintegrate,

something that Wright didn't anticipate

when he built the house.

So today we just have the memory of the pool reflected here.

When you stand in the middle of this courtyard

on this central paver,

you can hear sound reverberating

from all around you. [voice reverberates strongly]

It's a space that will capture

what we hear from inside the house

to give you the sense that you're not outdoors,

but really you're just in another room of the house.

[soft idyllic music] [birds chirping]

David Wright worked for the Besser Manufacturing Company

and they made concrete block molds.

And so David insisted that his company's molds

and concrete block be used for the construction

and design of this house.

And for Wright, concrete block wasn't simply

an industrial material.

He saw it as elevated.

And this particular block, I think he really enjoyed.

And so you'll see that at the end

of wherever there was a concrete slab,

he included this decorative block with the circular motif

and then this piece coming out of it.

It also shows something

that Wright really enjoyed about working with concrete,

which is called in architecture terms, plasticity,

meaning that it's moldable.

[enthralling music]

You'd think that when your father is the architect,

building this house would be easy, but it wasn't.

All the usual challenges between architect

and client showed up,

everything from budget

to not having the right foreman.

In fact, at one point David writes his father

and asks for some changes and says,

Dad, can the house be only 90% Frank Lloyd Wright,

and 10% David and Gladys Wright?

And Wright said, You're making your poor old father tired,

but accommodated his son's wishes.

At the end of the day, what we see in between them

is the exchange of gifts reflected in correspondence.

It is been a really interesting experience

and cherished experience too.

Working with my dad,

I feel like I've learned so much about him

and it's explained just seeing him at work

and how he makes his decisions.

Even today I was thinking about,

I'm so annoyed that my dad is getting these window washers

to come the same day we're filming this video.

And I realized he did that because it's the desert.

So if we did this two days in advance,

they would've been completely covered in dust. [chuckles]

So little things like that have shown me

that my dad is really the smartest person I know.

I saw since I come here,

I really wanna work in the skyscrapers,

you know, in New York City,

you know, in Chicago, working for a big architect.

So after the years, I think that this is my destiny.

The plan for the future of this property,

I want it to become my architectural design studio.

I can open my door to let my client come.

So that's kind of indirect way to welcome the public

to able to see this masterpiece.

I feel really lucky that

we have a place like this home to come back to

and that we'll get to enjoy it for many generations to come.

[gentle piano music]

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You’re in the Wright Place!

California , Film Site , Mayan Revival

Ennis house (1923).

Frank Lloyd Wright had designed the first of his California homes in 1909. Built in 1910 and located in Montecito, the design was a 5,000 sq, ft. “summer cottage” for Emily and George C. Stewar t. His third design in the state (there were 24 in all) was a home for Charles and Mabel Ennis. Designed in 1923 by Wright and built by his son, Lloyd in 1924, the home is located in the Los Feliz neighborhood of Los Angeles.

This house is privately owned and not available for tours.

• Official Website
• Visit all FLWsites on a Google Map

2655 Glendower Ave, Los Angeles, CA

Through its almost 100-year existence, the house has the interesting distinction of appearing in countless Hollywood productions (more than 80, according to the Frank Lloyd Wright Foundation). If you have seen Blade Runner, Buffy the Vampire Slayer, Black Rain, Twin Peaks, The Karate Kid Part III, House of Frankenstein or House on Haunted Hill (a favorite Vincent Price vehicle), you have seen various shots of the Ennis House. See below for additional movies.

The exterior of the building is constructed from 27,000 precast and intricately patterned “textile” blocks ion a post-and-lintel system – also called a trabeated system – of horizontal beams held up by columns / posts. decorated in a Mayan revival style. The interlocking and delicately decorated blocks suggest Wright may have been greatly inspired by Mayan architecture.

The Ennis house is the last and – at 6200 sq. ft. – definitely the largest of Frank Lloyd Wright’s four “textile block” houses in the Los Angeles area. Charles Ennis passed away in 1928, only a few years after the house was completed. His wife, Mable sold the property eight years later.

From Architectural Digest (October 17, 2019): “After a little over a year on the market, the unique 6,000-square-foot residence—also known fondly as the Blade Runner house—was recently purchased by an unnamed buyer for $18 million, making it the most expensive property designed by the legendary architect ever sold.”

Movies Filmed on Site

There are a number of movies and music videos that have been filmed in Wright’s Ennis House over the years. The movies are listed below in chronological order and have links to Amazon where may trailers are available to watch for free or the movie may be rented or purchased. Some are also linked to YouTube. You can view our YouTube channel at YouTube.com/@FLWsites

This page may contain affiliate links. See our disclosure about affiliate links here .

Female (1933) Ruth Chatterton, George Brent

House on Haunted Hill (1959) Vincent Price

The Day of the Locust (1975) Donald Sutherland, Karen Black, Burgess Meredith

Blade Runner (1982) Harrison Ford, Sean Young, Daryl Hannah

Black Rain (1989) Michael Douglas, Andy Garcia, Kate Capshaw

The Rocketeer (1991) Billy Campbell, Alan Arkin, Jennifer Connelly

Grand Canyon (1991) Steve Martin, Danny Glover, Kevin Kline

Ricky Martin music video, Vuelve (1998)

The Thirteenth Floor (1999) Craig Bierko, Gretchen Mol, Dennis Haysbert

Fuel video of the song “Bad Day”

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Yvonne Carpenter-Ross

Flw enthusiast & webmaster.

Architecture and home design have always fascinated me. As a young girl I enjoyed drawing floor plans, rearranging my parent’s furniture and playing with Lincoln Logs and Legos.  My passion has always been the architecture of Frank Lloyd Wright. Since I have been old enough to drive a car, I have visited Frank Lloyd Wright homes in the Chicagoland area and attended the Wright Plus house walks. Now, as co-owners of Northern Sky Designs , my husband & I are able to combine our website design skills and FLW travels to bring you this website! Enjoy!

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There are three guided tours available that range from $15 to $30 per person.

Home and Studio Interior Tour

This is the most popular tour for Oak Park visitors. You'll have guided views of the architect's home and work studio. The duration of this tour is about 1 hour.

When:  Every day from 10 a.m. to 4 p.m.

Where:  Oak Park, Illinois

Visit:  Tickets start at $20,  Tickets

For the best chance of starting the tour at a desired time, purchase your tickets in advance. I walked in and purchased tickets at the counter and had to wait about 20 minutes for the next available tour.

✅ Check availability for the Frank Lloyd Wright Home and Studio Tour

Outdoor Historic Neighborhood Audio Tour

This tour may be the best for those who are challenged with mobility and want to see the famous architecture of Frank Lloyd Wright. The duration is about 1 hour.

Interior Tour + Outdoor Historic Neighborhood Audio Tour

This is a tour of the home and studio's interior. Afterward, you'll use a hand-held device to take a self-guided audio tour and walk in the Frank Lloyd Wright Historic District to learn about some famous homes and architecture in the neighborhood. The duration of this tour is about 2 hours.

The audio tours start at early at 9:30, so there is plenty of time to grab breakfast at one of the Oak Park restaurants nearby .

The Tour Review

What to expect.

While I waited for my tour to begin, I browsed the gift shop for unique items to gift. This is one of the best places to pick up souvenirs of Frank Lloyd Wright .

The tour is led by a local who is passionate about the heritage of Oak Park and the legacy of Frank. They spill bits of interesting information and give plenty of opportunity for personal photos.

On the home and studio tour, we visited the restored interior spaces, which feature Frank's architectural style elements such as long horizontal lines, natural materials, and open floor plans. You can literally stand and one room and see 2 or 3 others.

Noteworthy spaces in the home include the main living area showcasing his philosophy of integrating interior and exterior space, and the children's playroom decorated with Wright-designed furniture and art glass.

The drafting studio is where Frank developed innovative designs, like Unity Temple, the Robie House, and several Frank Lloyd Wright homes in the area. The ground floor was used by him and his students. There is also an upper balcony with stunning art glass and an octagonal ring that holds the roof in place.

Interesting Facts

Frank Lloyd Wright practiced architecture for 72 years.

The building was once reconfigured to house 7 apartments.

Frank built his studio around nature; there are remnants of a tree growing through a wall.

The entire family of eight shared one bathroom.

Frank Lloyd Wright Home and Studio Parking

Only street parking is available, and it is easy to find nearby.

On Forest Avenue, 2-hour parking is available from 9:00 AM to 5:00 PM. There is no parking on Chicago Avenue which is close to the home and studio.

Things to Know Before You Go

Because the building is historic, it is not ADA-compliant. The home and studio have 19 steps ascending to the second floor for which half the tour takes place. The outdoor audio tour is the best option for wheelchair users.

The tours are in English. However, there are printed translations of information regarding the tour that you can request at the start of the tour.

Nearby restaurants like Cooper's Hawk are just a 5-minute walk away to pause for a lunch break .

Photos are allowed in the interior structures, but videos are not. There are no free admissions, regardless of age, and children under 8 years of age are not permitted to enter.

Final Thoughts on the Frank Lloyd Wright Home and Studio Tour

I can't believe it took me this long to visit this place. It was worth every dime and provided an intimate look into the personal life and career of Frank (he feels like an old friend, now).

The tour was incredibly inspiring and has me adding more Oak Park stops to my bucket list. If you are planning a visit to this charming town.

Need help planning your stay in Oak Park? Take the guesswork out of planning and use our 2-day Oak Park itinerary from a local to make the most of your stay. Oak Park hosts the most amazing outdoor events that you won't want to miss.

Safe travels.

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Times of San Diego

Local News and Opinion for San Diego

CityScape: Remembering Frank L. Hope III, a Modernist Architect Whose Firm Transformed San Diego

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Frank L. Hope III, who headed what was San Diego’s largest architectural firm from 1966 to 1993, died last month. He was 93.

In its prime, Hope Design Group had 150 employees and offices in Southern California, San Francisco and Saudi Arabia. They designed hundreds of buildings here and abroad including military projects in the Philippines. 

Hope’s most visible San Diego structures included San Diego Stadium (aka Jack Murphy, Qualcomm, SDCCU), the former San Diego Union-Tribune headquarters in Mission Valley, the Timken Museum of Art in Balboa Park and buildings at UC San Diego, and San Diego City College.

Hope advocated for good planning and architecture in a rapidly growing city. He served as president of the American Institute of Architects, San Diego, and was an AIA Fellow. He was also a San Diego planning commissioner and a Port of San Diego commissioner.

Meanwhile, through seven decades, the Hope firm, founded by his father, Frank L. Hope Jr., in 1928, designed buildings for colleges, the United States Navy, churches, school districts, banks and hospitals.

Hope III was a community leader and company CEO (his brother Charles was an engineer and president of Hope) with a knack for business and hiring talented architects. 

Exhibit A was Gary Allen, who studied with Isamu Noguchi and had worked in the offices of famed East Coast architects including Philip Johnson. In San Diego with Hope, Allen designed the stadium (1967) and 1960s San Diego City College buildings including the sleek concrete library and creative arts center. 

Another gifted Hope architect, C.W. Kim, designed a pair of striking downtown high-rises during the 1980s construction boom. Completed in 1982, Columbia Centre (now One Columbia Place), on West A Street, added a distinctive clipped corner to the skyline. Kim also designed the first of two waterfront Inter-Continental Hotel towers (1984, now Marriott) near Seaport Village, its shape inspired by billowing sails.

Drawing on his experience at Hope, Kim opened his own office and went on to dream up the coolest San Diego high-rise of its era: the Oz-ish Emerald Shapery Center (1990, now Emerald Plaza) on West Broadway, featuring eight hexagonal spires covered in white stone panels and emerald green glass.

As downtown matured into a forest of high-rises and major mixed-use projects by international developers with overseas financing, blue chip architects with extensive national and international experience were sometimes favored over local competitors such as Hope.

For instance, Hope’s proposal for the early-1980s Horton Plaza shopping center in downtown San Diego was an enclosed suburban-style mall. That plan lost out to Los Angeles architect Jon Jerde’s colorful open-air destination inspired by Italian villages. 

From UCSD’s founding in 1960, competition was also stiff between local architects and out-of-towners, but San Diegans took the lead in designing the earliest buildings. 

Hope was responsible for McGill and Mandler halls (1969), modernist structures of concrete and fluted precast panels. These first-class buildings became assets in the recruitment of prominent faculty such as brain scientist George Mandler.

But outsiders won some of the most prestigious UCSD commissions. William Pereira, a Los Angeles architect featured on the cover of Time magazine, designed the central library (1970) that became the university’s logo. 

Meanwhile, between 1928 and 1966, under Hope III’s father, Frank Jr., the company designed buildings in both revivalist and modernist styles. 

In his time, Hope Jr. was among a  generation of San Diego architects directly linked to visionary predecessors such as Irving Gill, whose sleek white buildings stood in stark contrast to historical styles popular in San Diego in the early 1900s. Hope Jr. knew Gill, and he once chauffeured Frank Lloyd Wright on a tour of San Diego architecture.

During the Frank Jr. era, the company designed several Catholic churches including The Immaculata (1959) at the University of San Diego, with its blue domes visible from I-5. 

The company also designed one of San Diego’s first modern high-rises: Home Tower (1963, since remodeled, now Chase Bank) at 7 th Avenue and Broadway. 

Three generations of Hopes, including Frank III’s son F. Leland Hope, earned architecture degrees at the University of California, Berkeley, and brought to San Diego ideas gleaned from Bay Area modernists such as Bernard Maybeck (Gill’s peer), William Wurster and Joseph Esherick.

Lee Hope chose a different path than his predecessors. After his father retired to travel, ski and live with his wife on his yacht, and amid an early-1990s recession, Lee became CEO of the family business but soon shut it down and opened his own office.

Today, from his one-man shop in a two-story building on the Pt. Loma waterfront, where military ships and sailboats glide by in the distance, he is content designing modest residential and commercial projects. He is remodeling his grandfather’s former Mediterranean-style house nearby for its current owners.

In his office, the only remnants of his father’s legacy are a large mid-century print by Alexander Calder, a big marble conference table where he spread out a few files of his father’s work –a nd a desktop souvenir model of the stadium given to fans who attended the final San Diego Padres game before the structure was demolished in 2021.

Dirk Sutro has written extensively about architecture and design in Southern California. His column appears monthly in Times of San Diego.

CityScape is supported by the  San Diego Architectural Foundation , promoting outstanding architecture, landscape, interior and urban design to improve the quality of life for all San Diegans.

FLOWERS FOR ALINE: AN EXHIBITION BY SOGETSU IKEBANA LOS ANGELES BRANCH

April 18-21 & 25-28, 2024

Saturday, April 20, 2-4 pm: Free demonstrations by Sogetsu Masters

Hollyhock House presents Flowers for Aline , a special exhibition of 45 fresh-flower works by the Sogetsu Ikebana Los Angeles Branch. With dynamic arrangements featuring spring’s finest blooms, the installation will transform Frank Lloyd Wright’s “garden house,” designed in 1921 for the visionary arts patron Aline Barnsdall, who gifted the landmark site to the people of Los Angeles nearly a century ago.

The exhibition, curated by Hollyhock House director Abbey Chamberlain Brach and architect and ikebana artist Ravi GuneWardena, will feature expressive arrangements both inside and out—activating terraces gardens, spilling from cast concrete planter boxes, and responding to Wright’s artful interiors. For the first time since the site’s 2022 reopening, the child’s bedroom will be on view as part of this special exhibition with six ikebana works in this space alone. 

On Saturday, April 20, 2-4 pm, four high-ranking Sogetsu masters and selected students will present ikebana demonstrations free to the public in the Barnsdall Gallery Theatre. Demonstrations by  Marilyn Drageset, Yumiko Inoue, Chiyoko Chasin, Tony Shum, Mikayo Arao, Keiko Miyahara, Haruko Takeichi, and Kaz Kitajima. 

Early advance reservations recommended for this limited-run exhibition. To book tickets, CLICK HERE

Photos: Hollyhock House living room, c. 1921, Los Angeles Public Library. Installation view of Ravi GuneWardena: Ikebana for Hollyhock House by Hiroshi Clark, 2023. Installation view of Sogutsu Ikebana Los Angeles Branch exhibition at MAK Center, 2012.

RAVI GUNEWARDENA: IKEBANA FOR HOLLYHOCK HOUSE

December 2023–Fall 2024

OFF VIEW: April 18 –28, 2024 during Flowers for Aline: An Exhibition by the Sogetsu Ikebana Los Angeles Branch

Hollyhock House presents Ravi GuneWardena: Ikebana for Hollyhock House . The installation features striking new ikebana by GuneWardena, which reanimate the interiors of the Frank Lloyd Wright-described “garden house” through the Japanese art of flower arranging. The expressive arrangements introduce bold forms and textures with dried plant material, bringing nature indoors and further showcasing the influence of Japanese art and design on the site—built simultaneously with Wright’s Imperial Hotel in Tokyo.

“The placement of an ikebana arrangement can inform and define the work itself.  The light and space of Hollyhock House appear to have been designed with this art form in mind,” says GuneWardena.

The compositions reference the placement, mass, and scale of floral arrangements that Aline Barnsdall had in the house during the 1920s. GuneWardena also utilizes innovative materials that Sogetsu School founder Sofu Teshigahara embraced in his practice, dating back to the late 1920s. While ikebana is a centuries-old artform, the Sogetsu School, of which GuneWardena is a part, was established in 1927, challenging traditions of ikebana and celebrating freedom of individual expression. GuneWardena’s works active Wright’s gesamtkunstwerk interiors for Hollyhock House, adding new reference points in dialogue with the site’s holistic approach to art and architecture.

The exhibition is organized by Abbey Chamberlain Brach, Director & Curator at Hollyhock House.

EXHIBITION GUIDE  

Advance reservations recommended. To book a self-guided tour ticket, CLICK HERE .

Photo: Installation view of Ravi GuneWardena: Ikebana for Hollyhock House by Hiroshi Clark, 2023.

ENTANGLEMENTS: LOUISE BONNET AND ADAM SILVERMAN AT HOLLYHOCK HOUSE

February 15–June 24, 2023

BROCHURE  |  EXHIBITION CHECKLIST