### Prerequisites for U.S. World Heritage Nominations

**Prerequisite 1 - Legal Requirements:**

**A. National Significance:**

Has the property been formally determined to be nationally significant
for its cultural values (in other words, has it been formally designated
as a National Historic Landmark)?

YES: Unity Temple

Frederick C. Robie House

Hollyhock House

Taliesin

Fallingwater

Herbert and Katherine Jacobs House

S. C. Johnson & Son, Inc. Administration Building and Research Tower

Taliesin West

The Price Tower

Marin County Civic Center

NO: Alice Millard House -- Homeowner has agreed to submit an NHL
nomination in 2007

> Solomon R. Guggenheim Museum - In the spring of 2007 the Guggenheim
> submitted its NHL nomination for review by the National Park System
> Advisory Board.

**B. Owner Concurrence:**

Are all the property owners aware of this proposal for the inclusion of
the property in the U.S. Tentative List and do all of the property
owners agree that it should be considered?

YES: Unity Temple

Frederick C. Robie House

Hollyhock House

Alice Millard House

Taliesin

Fallingwater

Herbert and Katherine Jacobs House

S. C. Johnson & Son, Inc. Administration Building and Research Tower

Taliesin West

The Price Tower

Solomon R. Guggenheim Museum

Marin County Civic Center

**C. Willingness to Discuss Protective Measures:**

If the property is nominated to the World Heritage List, it will be
necessary for all of the property owners to work with the Department of
the Interior to document fully existing measures to protect the property
and possibly to devise such additional measures as may be necessary to
protect the property in perpetuity. Are all the property owners willing
to enter into such discussions?

YES: **X** NO:

**D. Scheduling:**

If you wish a property to be nominated to the World Heritage List in a
particular year during the period 2009-2019, please indicate the
reason(s) why and the earliest year in which you feel it will be
possible to meet all requirements for nomination*.*

Preferred Year: 2009

Reasons: The World Heritage Committee's Gap Report identified the lack
of 20^th^ century properties on the World Heritage List. As it is not
clear how long this "window of opportunity" will be open, it is
important that the Frank Lloyd Wright serial nomination be presented to
the World Heritage Committee while the gap still exists.

Submitting the nomination in 2009 would also allow the Frank Lloyd
Wright Building Conservancy (Building Conservancy) to take advantage of
the momentum begun between the twelve property owners during the
preparation of the Conservancy's Tentative List application.

**Prerequisite 2 - Specific Requirements for Nomination of Certain Types
of Properties:**

**E. Serial (multi-component) Properties:**

If you are proposing a nomination that includes separate components that
could be submitted separately over several years, do you believe that
the first property proposed would qualify to be placed on the World
Heritage List in its own right?

**N/A**

**F. Serial (multi-component) Properties:**

Are you proposing this property as an extension of or a new component to
an existing World Heritage Site?

YES: NO: **X**

**Prerequisite 3 - Other Requirements:**

**G. Support of Stakeholders**

In addition to owners, please list other stakeholders and interested
parties who support the property's proposed inclusion in the Tentative
List. Also note any known to be opposed.

Letters of support from the following individuals/organizations are
attached to this application.

*Please refer to Letters of Support folder on CD*

> Eric Garcetti, President, Los Angeles City Council
>
> Barnsdall Art Park Foundation
>
> Friends of Hollyhock House

The following individuals/organizations have given their support of this
application. The Building Conservancy will forward their letters of
support upon receipt.

> Frank Lloyd Wright Civic Center Conservancy
>
> Frank Lloyd Wright Preservation Trust
>
> Frank Lloyd Wright Wisconsin
>
> Landmarks Illinois
>
> Taliesin Preservation, Inc.
>
> Unity Temple Restoration Foundation

The following individuals/organizations have been contacted about the
Frank Lloyd Wright serial application. The Building Conservancy did not
hear back from them prior to the application deadline; we are optimistic
that we will receive the full support of those contacted.

> Governor of Arizona, Janet Napolitano
>
> Governor of California, Arnold Schwarzenegger
>
> Governor of Illinois, Rod Blagojevich
>
> Governor of New York, Eliot Spitzer
>
> Governor of Oklahoma, Brad Henry
>
> Governor of Pennsylvania, Edward Rendell
>
> Governor of Wisconsin, Jim Doyle
>
> Senator John Kyl
>
> Senator John McCain
>
> Senator Barbara Boxer
>
> Senator Dianne Feinstein
>
> Senator Richard Durbin
>
> Senator Barack Obama
>
> Senator Hilary Rodham Clinton
>
> Sentator Charles Schumer
>
> Senator Tom Coburn
>
> Senator James Inhofe
>
> Senator Robert Casey, Jr.
>
> Senator Arlen Specter
>
> Senator Russell Feingold
>
> Senator Herb Kohl
>
> Congressman Ron Kind
>
> Congressman Harry Mitchell
>
> Congresswoman Diane Watson
>
> Congresswoman Lynn Woolsey
>
> Congressman Adam Schiff
>
> Congressman Bobby Rush
>
> Congressman Danny Davis
>
> Congressman Jerrold Nadler
>
> Congressman John Sullivan
>
> Congressman Bill Shuster
>
> Congresswoman Tammy Baldwin
>
> Congressman Paul Ryan
>
> Mayor of New York City Michael Bloomberg
>
> Mayor of Chicago Richard Daley
>
> Mayor of Los Angeles Antonio R. Villaraigosa
>
> Mayor of Scottsdale Mary Monross
>
> Mayor of Racine Gary Becker
>
> Mayor of Madison Dave Cieslewicz
>
> Mayor of Bartlesville Julie Daniels
>
> Mayor of Pasadena Bill Bogaard
>
> Chicago Alderman Preckwrinkle
>
> Commission on Chicago Landmarks
>
> Los Angeles Conservancy
>
> City of New York Landmarks Preservation Commission
>
> Arizona State Parks, State Historic Preservation Office
>
> California Department of Parks and Recreation, Office of Historic
> Preservation
>
> Illinois Historic Preservation Agency
>
> New York State Historic Preservation Office
>
> Oklahoma Historical Society
>
> Pennsylvania Historical and Museum Commission
>
> Wisconsin Historical Society

**APPLICATION FOR INCLUSION OF A PROPERTY IN THE U.S. WORLD HERITAGE
TENTATIVE LIST**

**1. IDENTIFICATION OF THE PROPERTY OR PROPERTIES**

**1.a. Country:**

United States

**1.b. State, Province or Region:**

Illinois, Oak Park, 875 Lake Street

Illinois, Chicago, 5757 South Woodlawn Avenue

California, Los Angeles (Hollywood), 4800 Hollywood Boulevard

California, Pasadena, 645 Prospect Crescent

Wisconsin, Spring Green, State Highway 23

Pennsylvania, Stewart Township, Mill Run, Route 381

Wisconsin, Madison, 441 Toepfer Avenue

Wisconsin, Racine, 1525 Howe Street

Arizona, Scottsdale, 12621 N Frank Lloyd Wright Boulevard

Oklahoma, Bartlesville, 510 Dewey Avenue

New York, New York, 1071 Fifth Avenue

California, San Rafael, 3501 Civic Center Drive

**1.c. Names of Property:**

Unity Temple

Frederick C. Robie House

Hollyhock House

Alice Millard House

Taliesin

Fallingwater

Herbert and Katherine Jacobs House

S.C. Johnson & Son, Inc. Administration Building and Research Tower

Taliesin West

The Price Tower

Solomon R. Guggenheim Museum

Marin County Civic Center

**Popular and Historic names (only those that have additional names are
listed below)**

[Unity Temple]{.underline}

Unity Temple and Unity House

[Frederick C. Robie House]{.underline}

The Robie House

[Hollyhock House]{.underline}

Aline Barnsdall Complex

Aline Barnsdall Residence

Olive Hill

Barnsdall Park

[Alice Millard House]{.underline}

La Miniatura

[Taliesin]{.underline}

Taliesin III

[Fallingwater]{.underline}

Edgar J. and Liliane Kaufmann House

[Herbert and Katherine Jacobs House]{.underline}

Usonia I

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

Johnson Wax Administration Building and Research Tower

[The Price Tower]{.underline}

Price Tower Arts Center

Tower for the H.C. Price Company

[Solomon R. Guggenheim Museum]{.underline}

Guggenheim Museum

The Guggenheim

**Naming of serial (multiple component) properties and transboundary
sites**

Group Name: Buildings by Frank Lloyd Wright

**Other names or site numbers**

[Unity Temple]{.underline}

The primary name is consistent with the National Historic Landmark
designation.

[Frederick C. Robie House]{.underline}

The primary name is consistent with the National Historic Landmark
designation.

[Hollyhock House]{.underline}

The primary name identifies the residence designed and constructed for
Aline Barnsdall.

[Alice Millard House]{.underline}

The primary name is consistent with the National Register of Historic
Places designation.

[Taliesin]{.underline}

The primary name is consistent with the National Historic Landmark
designation.

[Fallingwater]{.underline}

The primary name is consistent with the National Historic Landmark
designation.

[Herbert and Katherine Jacobs House]{.underline}

The primary name is consistent with the National Historic Landmark
designation.

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

The primary name is consistent with the National Historic Landmark
designation.

[Taliesin West]{.underline}

The primary name is consistent with the National Historic Landmark
designation.

[The Price Tower]{.underline}

The primary name is consistent with the National Historic Landmark
designation.

[Solomon R. Guggenheim Museum]{.underline}

The primary name is consistent with the National Historic Landmark
designation.

[Marin County Civic Center]{.underline}

The primary name is consistent with the National Historic Landmark
designation.

**1.d.-e. Location, boundaries, and key features of the nominated
property**

*Please see Site and Boundary Maps folder on CD*

[Unity Temple]{.underline}

1\. Site plan from Historic American Buildings Survey.

[Frederick C. Robie House]{.underline}

1\. USGS map, Jackson Park Quadrangle, Illinois.

2\. University of Chicago campus map showing location of Robie House.

3\. Site plan from Historic American Buildings Survey.

[Hollyhock House]{.underline}

1\. Barnsdall Park site survey from Barnsdall Park Historic Site Survey
Report (1995).

2\. Annotated aerial view of property from National Historic Landmark
nomination.

3\. Barnsdall Park UTM coordinates from National Historic Landmark
nomination.

[Alice Millard House]{.underline}

1\. USGS map, Pasadena Quadrangle, California.

2\. Site Plan, from Sandborn, 1929.

[Taliesin]{.underline}

1\. Taliesin site plan, showing NHL boundary, from Taliesin Historic
Landscape Plan (1997).

2\. Overview of Taliesin Estate. Courtesy of Taliesin Preservation, Inc.

[Fallingwater]{.underline}

1\. USGS map, Mill Run Quadrangle, Pennsylvania.

2\. Fallingwater Site Plan, Western Pennsylvania Conservancy website.

[Herbert and Katherine Jacobs House]{.underline}

1\. USGS map, Madison West Quadrangle, Wisconsin.

2\. Dane County property parcel map.

3\. Site plan.

4\. Floor plan, *Building with Frank Lloyd Wright*

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

1\. USGS map, Racine South Quadrangle, Wisconsin.

2\. Location plan adapted from *Frank Lloyd Wright* by Brian Carter
(Phaidon, London,1998).

3\. Aerial view of site. Courtesy of S.C. Johnson & Son, Inc.

[Taliesin West]{.underline}

1\. USGS map, Sawik Mountain Quadrangle, Arizona.

2\. Aerial site plan. Courtesy of Frank Lloyd Wright Foundation.

3\. Site plan of Taliesin West buildings. Courtesy of Frank Lloyd Wright
Foundation.

4\. Map showing area of Arizona State Parks easement on drafting studio.

5\. Map outlining five acres of land under protection with the City of
Scottsdale.

6, 7. Maps showing 'Historic Core' under easement with Arizona State
Parks.

[The Price Tower]{.underline}

1\. USGS map, Bartlesville South Quadrangle, Oklahoma.

2\. Surveyor's map, City of Bartlesville.

3\. Site plan, submitted with National Historic Landmark nomination.

[Solomon R. Guggenheim Museum]{.underline}

1\. USGS map, Central Park Quadrangle, New York-New Jersey.

2\. Expanded Carnegie Hill Historic District Map showing location of
Guggenheim Museum.

Courtesy of City of New York Landmarks Preservation Commission.

3\. Location of Guggenheim Museum from Sanborn, Manhattan Land Book, p.
114.

[Marin County Civic Center]{.underline}

1\. USGS map, San Rafael Quadrangle, California.

2\. Boundary map from National Historic Landmark nomination.

3\. Map of site from Marin County Assessor's Office, annotated for
National Historic Landmark nomination.

**1.f. Area of nominated property (ha.)**

+--------------------------------+-------------------------+----------+
| Name                           | Address                 | State    |
+--------------------------------+-------------------------+----------+
| Unity Temple                   | 875 Lake Street, Oak    | Illinois |
|                                | Park                    |          |
+--------------------------------+-------------------------+----------+
| Frederick C. Robie House       | 5757 South Woodlawn     | Illinois |
|                                | Avenue, Chicago         |          |
+--------------------------------+-------------------------+----------+
| Taliesin                       | State Highway 23,       | W        |
|                                | Spring Green            | isconsin |
+--------------------------------+-------------------------+----------+
| Hollyhock House                | 4800 Hollywood          | Ca       |
|                                | Boulevard, Los Angeles  | lifornia |
|                                | (Hollywood)             |          |
+--------------------------------+-------------------------+----------+
| Alice Millard House            | 645 Prospect Crescent,  | Ca       |
|                                | Pasadena                | lifornia |
+--------------------------------+-------------------------+----------+
| Fallingwater                   | Route 381, Mill Run,    | Penn     |
|                                | Stewart Township        | sylvania |
+--------------------------------+-------------------------+----------+
| S. C. Johnson & Son, Inc.      | 1525 Howe Street,       | W        |
| Administration Building and    | Racine                  | isconsin |
| Research Tower                 |                         |          |
+--------------------------------+-------------------------+----------+
| Herbert and Katherine Jacobs   | 441 Toepfer Avenue,     | W        |
| House                          | Madison                 | isconsin |
+--------------------------------+-------------------------+----------+
| Taliesin West                  | 12621 N Frank Lloyd     | Arizona  |
|                                | Wright Boulevard,       |          |
|                                | Scottsdale              |          |
+--------------------------------+-------------------------+----------+
| The Price Tower                | 510 Dewey Avenue,       | Oklahoma |
|                                |                         |          |
|                                | Bartlesville            |          |
+--------------------------------+-------------------------+----------+
| Solomon R. Guggenheim Museum   | 1071 Fifth Avenue, New  | New York |
|                                | York                    |          |
+--------------------------------+-------------------------+----------+
| Marin County Civic Center      | 3501 Civic Center       | Ca       |
|                                | Drive, San Rafael       | lifornia |
+--------------------------------+-------------------------+----------+

[Unity Temple]{.underline}

0.16 hectares (0.39 acres, 100 feet by 170 feet)

[Frederick C. Robie House]{.underline}

0.1175 hectares (0.29 acre, 60 feet by 180 feet)

[Hollyhock House]{.underline}

4.678 hectares (11.56 acres)

[Alice Millard House]{.underline}

0.26 hectares (0.5 acres)

[Taliesin]{.underline}

243 hectares (600 acres)

[Fallingwater]{.underline}

215.5 hectares (530 acres)

[Herbert and Katherine Jacobs House]{.underline}

0.138 hectares (0.34 acres, 120 feet x 125 feet)

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

2.025 hectares (5 acres)

[Taliesin West]{.underline}

166.73 hectares (412 acres)

[The Price Tower]{.underline}

1.215 hectares (3 acres)

[Solomon R. Guggenheim Museum]{.underline}

0.405 hectares (1 acre)

[Marin County Civic Center]{.underline}

32.98 hectares (81.5 acres)

**2. DESCRIPTION AND HISTORY OF THE PROPERTY**

**2.a. Description of the Property**

###### Cultural property - Briefly describe the property and list its major components. 

[Unity Temple]{.underline}

Frank Lloyd Wright (1867 -- 1959) first used monolithic reinforced
concrete in conjunction with the structural cantilever to create an
architecture of space defined by intersecting and overlapping planes in
Unity Temple, designed in 1905 and built between 1906 and 1908. In his
Princeton lectures of 1930, he stated that Unity Temple illustrated the
principle, "The reality of architecture is the space within."

Unity Temple is located in the Chicago suburb of Oak Park on a 100 foot
by 170 foot lot at the southeast corner of Lake Street and Kenilworth
Avenue. The north side faces Lake Street, a major street in the center
of Oak Park, and the west side fronts Kenilworth Avenue, a primarily
residential street. The east facade, which mirrors the west facade,
faces a parking lot and an apartment building. The south facade is
flanked by the driveway of the adjacent former parsonage, now a
religious education building. The lot is edged by sidewalks and grass
strips. The building occupies most of the lot.

Unity Temple is comprised of a cube and a rectangular parallelepiped,
linked by a foyer that contains the entrance doors. The northern
two-and-one-half-story Temple section, the larger of the two, contains
the auditorium/worship space. The lower and wider two-story southern
section, called Unity House, contains classroom and meeting space. High
walls shield steps that lead from Lake Street to the entrance terraces
and foyer entrance doors. Above the doors is the inscription in block
letters, "For the Worship of God and the Service of Man." The exposed
concrete walls of the exterior define a series of geometric units that
appear to be independent of one another and interpenetrate each other in
both the vertical and horizontal directions. Stylized piers, which stand
in front of clerestory windows of art glass, support the cantilevered
flat roofs that extend beyond the wall planes. Parapet walls rise above
them to conceal skylights in the roof. Not only does the closed
appearance of the exterior provide a sense of spiritual removal for the
sanctuary within, the walls also serve the practical purpose of shutting
out noise from the busy street.

The low foyer, or entrance hall, opens into both the Temple and the
Unity House. The central auditorium, designed to accommodate 400 people
in multi-levels of seating, is the focus of the Temple section. The
space is lit by 25 art glass skylights set in a coffered ceiling, and
bands of continuous windows along the walls at clerestory level. The
main level of the auditorium is one-half-story above the level of the
entrance foyer and is entered via steps from the lower passages, or
cloisters, on the east and west sides. Two balcony levels rise on the
east, west, and north walls. The pulpit, set on a platform, and the
organ, which plays a very important part in the worship service, are on
the south wall and serve as a focal point for the members of the
congregation during and after the service. At the conclusion of the
service, members of the congregation approach the pulpit (and minister)
to exit through hidden doors on either side. Stairwells at the corners
of the auditorium are lit by vertical art glass windows that provide
secondary light to the auditorium.

The auditorium is also lit by wall sconces and hanging fixtures,
designed by Wright, to reflect and complement the architectural
character. The plaster walls, originally with a sand-float texture, are
accented with applied oak strips that create geometric patterns that
relate to the organization of the space.

The interior of the Unity House section is organized around a two-story
central meeting space, which has balconies on the east and west sides.
Smaller meeting spaces, lit by art glass windows, are located under the
balconies. There is a large rectangular fireplace on the south wall. The
ceiling contains a central panel with art glass skylights. The wall
surfaces with applied oak strips are similar to those in the main
auditorium, but have a simpler color palette. Wright also designed the
lighting fixtures in Unity House.

[Frederick C. Robie House]{.underline}

The Frederick C. Robie House (Robie House), built between 1908 and 1910,
is the most famous and most influential of Frank Lloyd Wright's Prairie
houses. (The term "Prairie" has been applied to Wright's houses designed
during the first decade of the twentieth century for the analogy between
the horizontality of the designs and the expansive qualities of the
prairie landscape.) Because of its shifting planes and abstract masses,
it drew the attention of European modernists who saw it as presaging the
modern movement in architecture. According to architectural historian
Anthony Alofsin, "Wright himself viewed it as extending his explorations
of the abstraction of natural form into pure geometry."

The Robie House is located in the Hyde Park neighborhood of Chicago, on
the University of Chicago campus. The house sits on a 60 foot by 180
foot lot at the northeast corner of Woodlawn Avenue and East 58^th^
Street and occupies most of the lot. The lot is fronted by sidewalks and
strips of grass along the two streets and by an alley on the east. A
residential building for the Chicago Theological Seminary rises
immediately to the north.

The house of tawny, red-orange Roman brick extends east-west along the
lot and rises for three levels to low-hipped roofs covered with red clay
tiles. Oversized brick corner piers and a central chimney core flank
bands of windows at each level. Casements of geometrically patterned art
glass are fronted by continuous balconies at the main and upper levels.
A low brick wall with limestone coping shields the south side of the
house from East 58^th^ Street. Higher walls extend farther to the east
and enclose an automobile court that led to the original three-car
garage set below the service wing. A porch projects to the west at the
front of the house. The entrance on the north side is approached from
the sidewalk on the west. The path leads past the porch and through an
entry court to a low doorway.

The horizontal lines of the walls, windows, projecting porches, and
roofs emphasize the horizontality of the overall design. The building is
integrated with the larger suburban setting through exterior plantings
in the courtyard and in specially designed planters on the balconies and
porches.

Inside the doorway is a vestibule that provides access to the rooms of
the ground floor and to a stairway that rises behind the chimney core.
The two major rooms on this level are a billiard room with a large
fireplace at the west and the children's playroom at the east. Ascending
the staircase to the main floor, one emerges into the major open living
space, interrupted only by the freestanding chimney. The chimney core
with its fireplaces on both sides is the central organizing element of
the space. The dining room is to the east, and the living room is to the
west. Art glass casements open in the prow-like projections at the east
and west. A large band of art glass casements opens to a continuous
balcony on the south side. The complex ceiling treatment reinforces the
sense of open space. It is lower at the sides of the room and punctuated
with wood screens fitted with translucent glass that filters recessed
lighting. The ceiling then steps up at the room's center. Oak wood
strips cross the ceiling repeating the rhythm of the window bays.
Ceiling light fixtures fitted with globes are placed at the edges of the
ceiling. The ornamental art glass in the windows brings nature inside
the house in an abstract manner. Built-in cabinets and a dining room
buffet were part of the original design. Other rooms on this floor
include a guest room, kitchen, and related service spaces. The top floor
was designed with three bedrooms and two bathrooms for family members.

[Hollyhock House]{.underline}

Hollyhock House, completed in 1921, is situated on the crown of Olive
Hill located at the eastern edge of Hollywood, California. The house is
a dramatic expression of Frank Lloyd Wright's approach to creating an
architecture appropriate for a southern California setting. The design
seamlessly melds exterior and interior living space. As Wright's first
courtyard house, Hollyhock House blurs the boundaries between interior
and exterior by literally providing each interior room with its
complementary outdoor space in the form of terraces at both ground and
roof levels, and figuratively in the use of the abstracted hollyhock
ornamental motif.

The house is set on a cast-concrete base and has canted walls of hollow
terra-cotta tile covered with stucco that rise in almost monolithic
fashion. Cast-concrete ornamentation in the form of stylized hollyhocks
rest on beltcourses. Masonry walls covered with stucco extend out from
the major ground floor rooms to enclose terraces. The main entrance is
on the north side through a roofed tunnel-like loggia. A central
courtyard is contained within the four wings of the house. Exterior
stairs at the west end ascend to the roof terraces that provide views
extending from the Hollywood Hills to the Pacific Ocean.

The interior space utilizes both east-west and north-south axes that
relate to the unexecuted master plan for an arts complex Barnsdall
originally intended to build around the house on Olive Hill. This
arrangement provides an intricate circulation pattern connecting
interior and exterior spaces. Major rooms on the main floor include the
dining room, music room, and the large, sunken living room with hipped
ceiling joints accented by oak moldings and a large fireplace surmounted
by a cast-concrete bas relief. A gold-tiled moat surrounds the hearth,
which is further accented by an art glass skylight.

The furniture Frank Lloyd Wright designed for the living room and dining
room is integral to the architectural design. The original dining room
furniture remains in the house and the pieces of living room furniture,
which were previously missing, have been replicated. All the principal
rooms contain windows and doors with elaborate geometrically patterned
art glass. Sidelights with leaded art glass also flank the interior
entrances to the living room. The walls and ceilings are finished in
plaster and wood paneling.

The garage/chauffeur's quarters are sited on an incline adjacent to the
motor court on the north side of the main house and are connected to the
house by a row of fifteen animal cages. The overall architectural form
and character of the garage and animal cages complement the main house.

Secondary structures designed by Wright for Olive Hill include the
Spring House and Residence "A". The Spring House, built of concrete and
stucco over wood frame, is similar in architectural character and
stylized ornamentation to the main house. A concrete trough, running
under the house's foundation, leads from an exterior pool adjacent the
living room to the west, to the pool at the hearth, then to the circular
pond/amphitheater on the eastside of the house. This small structure and
water system were intended to serve a cascade that would empty into a
large pool near the edge of the property. However, this feature was
never executed.

Residence "A," built in conjunction with Hollyhock House, is a
two-and-one-half story building sited on a slope. It is constructed of
stucco over masonry. The horizontal arrangement of multiple levels with
the wide overhanging eaves of a cantilevered roof system recall certain
aspects of Wright's earlier Prairie style. The multi-level building
allows for a complex interior space including a double-height living
room and a second-floor dining room.

Non-contributing structures located on the site include the Schindler
Terrace (1924) the Junior Arts Center (1967), and the Municipal Art
Gallery (1971). The Arts Center and Art Gallery were sited low on the
eastern edge of the property so they would have minimal impact on the
historic landscape and buildings.

[Alice Millard House]{.underline}

Frank Lloyd Wright designed the Alice Millard House, "La Miniatura", in
1923. It was the first of his concrete textile block houses; a
continuation of his innovative experiments with concrete and square grid
planning. It is uniquely sited at the head of a ravine off Prospect
Crescent in the Prospect Park tract of Pasadena. The resulting house is
an exceptional example of Wright's ability to integrate architecture and
landscape by using a pool at the base of the house and the tree-framed
ravine to marry the structure to the site. The primary entrance to the
house is through an entrance loggia adjacent to the garage off Prospect
Crescent. There is also a footpath from Rosemont Avenue that passes
through the garden.

The three-story, split-level house is designed on a square grid. The
fully integrated building mass is visually reinforced by the design of
the cast concrete textile blocks that serve both load-bearing and
decorative functions. From Prospect Crescent, the northeast façade of
the house rises in an almost solid wall, punctuated by rows of vertical
windows. The primary entrance, located on the middle level, is protected
by a bridge connecting the house to the garage. (The garage was enlarged
in 1931.) The southwest façade of the house is open to the garden and
rises up through two-and-one-half stories to a roof terrace. An exterior
staircase on the east façade leads from the garden terrace up to the
living room level. A second bridge leads from the main house to the 1925
gallery, called the "Doll's House", located further into the garden.

The interior of the main level is dominated by the double-height living
room with its interior balcony on the north wall. Full-height glass and
wood mullioned doors provide access to an exterior balcony that
overlooks the lower terrace and garden. A large fireplace is tucked
under the interior balcony on the south wall and a guest bedroom suite
is located behind it on the Prospect Crescent side. The lower level of
the house contains the dining room, with full-height doors opening onto
the garden terrace, and related service rooms and spaces. The dining
room also has a fireplace. (The mantelpiece postdates Millard's
ownership.) The upper level, on the northeast side of the house,
contains a double-height master bedroom. It too features an interior
balcony that provides access to a sleeping room adjacent to the roof
terrace.

The design of the house is dominated by its vertical spatial arrangement
organized around a central chimney mass and the decorative design of the
cast concrete blocks. The cruciform design of the sixteen-inch square
patterned block creates a complex composition when assembled into
groups. Patterned blocks are generally used on the exterior and give
visual expression to the façades. The interior perimeter walls use
combinations of plain and patterned blocks. In various locations the
blocks are pierced and the voids, filled with clear glass, cast into the
block, thus letting in a dappled light. The patterned blocks also form
piers and face concrete beams. The floors of the major rooms are
concrete scored to match the block joints. The bedrooms have wood
floors. The ceilings are either exposed-frame redwood or plaster.
Interior partition walls are also faced with plaster.

[Taliesin]{.underline}

Construction began on Frank Lloyd Wright's home and studio, Taliesin, in
1911. Rebuilt and expanded after two major fires, Taliesin is closely
integrated into the hillside. It grew and developed over half a century
under Wright's careful direction.

The Taliesin estate lies three miles south of the village of Spring
Green, Wisconsin and encompasses approximately 600 acres of land. It is
bounded on the north by the Wisconsin River, on the south by State
Highway 23, on the east by a ridge of three connected, wooded hills, and
on the west by a section line. Both State Highway 23 and County Road C
extend through portions of the acreage. The site is half rolling terrain
and half relatively flat prime agricultural land.

The estate includes Taliesin (1911 and later), and many other structures
designed by Wright: Hillside Home School (1901 - 1903), including
drafting studio, galleries, and theater; Midway Farm buildings (c. 1938
and later), including shed, silos, and house; Tan-y-deri house (1907);
and the related structure of the Romeo and Juliet windmill (1896 - 1897,
rebuilt 1992).

The landscaped grounds, roads, dam, and pond are all part of the overall
composition and setting.

Taliesin is the largest complex on the property. It consists of living
quarters once used for the Wright family, guest rooms, apartments for
Fellowship staff and apprentices, storage facilities, carports, offices
and drafting studio, root cellar, shops, gardens, and terraces.
Altogether the buildings encompass some 37,000 square feet. The
composition is closely integrated with the hill on which it is situated.

Taliesin is approached by a gravel driveway leading from County Road C
over a stone walled bridge designed by Wright. The visitor then travels
through two covered passageways. Upon arrival at the house, the visitor
finds the studio to the right, the entrance to the main house to the
left, and a small court leading up steps to the hill garden straight
ahead.

Taliesin is about 60 feet above Jones Creek, which has been dammed to
create a pond. The hill rises more than 100 feet above the valley floor.
The exteriors of the buildings consist of local Wisconsin limestone
forming chimneys and walls, alternating with sand-finished stucco on
wood frame; cypress fascia and base trim boards, and cedar shingled
roofs. The interiors use similar materials. Cypress flooring alternates
with limestone paving; cypress is used for trim, shelving, and cabinets.
The walls are sand-textured plaster. Covered passageways, constructed of
stone, link the buildings together.

The main house is entered through a small foyer. The living room opens
to the left and overlooks the Jones Valley. A 40-foot cantilevered walk,
known as the birdwalk, extends from one of the alcoves in the living
room. A fireplace is located on the west wall.

The corridor extending from the living room also leads to the guest
room, loggia, and bedrooms used by the Wrights. The guest room has its
own exterior balcony and attached bathroom lit by a clerestory. The
corridor continues beyond the loggia and garden room to the Wright's
bedrooms. Olgivanna Lloyd Wright's room is to the left and is surrounded
by pairs of casement windows. Frank Lloyd Wright's bedroom is at the far
end of the building. His room opens to an outside terrace and has
windows on three walls; it was enlarged in 1950 to provide study space.

A guest bedroom and guest apartment are placed above part of the loggia
and the far bedroom. A guest wing with two apartments, three guest
rooms, and two bathrooms is located below the main floor level.

Frank Lloyd Wright's studio is to the left of the house entrance.
Adjacent offices open to a terrace over the entrance carport. A series
of apartments at several levels extend up the hill from the studio and
offices. Storage rooms, a dormitory wing, and a two-level loft apartment
are also part of this wing.

In addition to the built-in cabinets, shelving, and seating, Wright
designed most of the furniture in the building. The various pieces
enhance the overall architectural effect. Wright also provided the
Chinese and Japanese art, from his own collection, that is seen
throughout the building.

Other structures Wright designed, which are located within the Taliesin
estate, include:

The Hillside Home School buildings, constructed of local sandstone, oak
timbers, plaster, and stucco. One enters the main building and ascends
half a flight of stairs to the original assembly hall, now a Fellowship
living room, with timber-framed, glazed walls overlooked by a balcony. A
large stone fireplace dominates the north wall.

A timber bridge corridor leads from the Fellowship's living room to two
galleries and the drafting studio with a stone fireplace dominating the
north end. Eight wood trusses hold up the roof. Corridors on each side
of the studio lead to apprentice dormitory rooms. Galleries on each side
of the bridge corridor contain architectural models, including the
Broadacre City model and photographs, as well as stone fireplaces.

The Fellowship's dining hall, with a sloping beamed ceiling, is situated
below the living room. The playhouse, or theater, is located west of the
dining room. It also has a sloping, beamed ceiling.

The complex of farm buildings between Taliesin and Hillside is called
Midway due to its location. The barns and other buildings are painted
red and have roofs of red asphalt shingles. The exterior walls are
mainly stucco with some wood siding. The north-south barn has an
apartment at the north end and a spire above a round stone milk house at
the south end. The east-west barn has an apartment and cottage (moved to
this location and remodeled in 1933) at the west end. Three concrete
block silos (minus their caps) and the remnants of a machine shed are
also part of the complex.

North of Hillside and west of the Midway farm buildings is the
Tan-y-deri house and the Romeo and Juliet windmill. Tan-y-deri, designed
in 1907 for Jane and Andrew Porter (Wright's sister and her husband), is
a four-square design with Prairie School details typical of Wright's
work during the early years of the twentieth century. The exterior is
covered with wood shingles and horizontal battens.

The Romeo and Juliet windmill is a reconstruction of the wood-frame
structure that Wright designed in 1896 to pump water for the Hillside
school. In plan, it consists of an interlocking octagon and diamond that
reinforce and support each other, hence the nickname.

[Fallingwater]{.underline}

Fallingwater is located in the southern Laurel Highlands of southwestern
Pennsylvania, four miles south of the village of Mill Run just off State
Route 381. It is an area characterized by a valley extending north to
south separating the two westernmost ridges of the Allegheny Mountains.
The area features some of the highest elevations, deepest gorges and
most numerous waterfalls in the entire state, and is home to diverse
plant and wildlife. It also contains Pennsylvania's only mixed
mesophytic forest (the most biologically diverse temperate forest type),
which includes many different tree and shrub species such as mountain
laurel, rhododendron, sugar maple, red and white oak, birch, hemlock,
and tulip poplar.

Built as a weekend retreat for Edgar and Liliane Kaufmann, Fallingwater
encompasses approximately 7,000 total square feet, about half of which
is terrace area. The main house, built between 1936 and 1938, rises
three stories with reinforced concrete floor slabs cantilevered over the
upper waterfall of Bear Run, the stream running through the property.
Spacious terraces articulate the house at each level. A massive chimney
of native sandstone anchors the composition.

The visitor approaches the house from a driveway that winds through the
woods, crosses a bridge, and curves around the north side of the house
under a concrete trellis that is tied into the hill. The first floor is
dominated by a large living/dining room that opens to terraces over the
water. Steps from a hatchway through the floor lead down to the stream.
The corner fireplace anchors the room, while the waxed stone floor
evokes the wet stone of the stream bottom. The second floor contains the
master bedroom, a bedroom/study used by Edgar Kaufmann, Sr., and a guest
bedroom. Both the master bedroom and Edgar Kaufmann, Sr.'s bedroom/study
open directly onto private terraces. The guestroom terrace is the only
covered terrace and is accessible either from the interior second floor
hall or from the exterior via the living room's east terrace. Both the
master bedroom and the study have stone fireplaces. Edgar, Jr.'s study,
which also has a stone fireplace, and a gallery with a sleeping area
opening onto a terrace, is located on the third floor.

The interior spaces incorporate floors of native sandstone and built-in
furniture and cabinetry of black walnut, all designed by Wright. Steel
and glass casement windows and doors open onto the terraces and flank
the chimney, providing a contrasting sense of light and openness,
against the solid mass.

A covered bridge leads from the second floor level and over the driveway
to a curving walk that leads up the hill to the guest wing. A tiered
concrete canopy supported by steel uprights at each level covers it. A
reinforced concrete pool is placed to the east of the guest wing. The
guest wing was completed in 1939 and contains a living room, bedroom,
and bath on one side of a chimney mass. Former servants' quarters, now
used as office space, and a carport are on the other side of the chimney
mass. Like the main house, it has Wright-designed built-in fittings and
furnishings.

Some changes have been made to the property entrance on State Route 381
to accommodate visitors to the site. The original driveway, while still
intact, is normally closed. A new driveway and gatehouse have been added
to the south. The driveway leads to a parking lot that is encircled by
trees. Visitors leave the parking lot by footpaths to the visitors'
center, added in 1980, with a central information desk, a museum store,
café and permanent exhibit area, and restrooms. Tours of the house leave
from the visitors' center. In keeping with Edgar Kaufmann, Jr.'s wishes,
all of these facilities are set far enough away from the house so that
they are not visible.

[Herbert and Katherine Jacobs House]{.underline}

The house Frank Lloyd Wright designed for Herbert and Katherine Jacobs
was built in 1937 and is the first of Wright's Usonian houses. It is an
artistic house of low cost for an average American of moderate means.

The house is located on the northeast corner of Toepfer Avenue and Birch
Street, part of a suburban subdivision platted in 1927 but largely
developed after World War II. The small house of 1550 square feet has an
L-shaped plan and is located on the northwestern two-thirds of a double
lot. The walls facing toward the street, clad with horizontal Ponderosa
pine boards and horizontal, recessed redwood battens, are largely solid
except for bands of clerestory windows. The walls on the opposite side
of the house are largely composed of glass doors and open onto an
interior yard that was planned to contain a garden. The three-part
stepped back soffits of the flat roofs extend well beyond the walls. The
house rests on a concrete slab (laid on packed sand) that incorporates
pipes for radiant floor heating and is inscribed with the lines of the 2
by 4 foot unit system that Wright used in the design the house. A
dramatically cantilevered carport, the first that Wright designed,
projects from the house towards the northwest and signals the presence
of two entrances, one leading into the living room and the other into
the bedroom wing. The entrances are set in the brick walls that form the
central core.

Inside the house, the two wings extend from the masonry/fireplace core,
which contains the bathroom and the compact, open kitchen, both lit by
high clerestory windows that can be opened for ventilation. The main
entrance flanks the brick chimney end of the core and opens into the
large living room. The west wall is mainly filled with built-in shelves,
while the east wall is filled with window-doors that open onto the
garden. The wall surfaces are the same pine boards and redwood battens
that are used on the exterior. The dining alcove is located next to the
kitchen, east of the fireplace. The alcove is enhanced by a bay of
casement windows.

The second entrance opens into a hallway that leads into a bedroom wing
with three sleeping rooms. The rooms, which are modest in size, are also
constructed of board and batten walls. The expansive, spatial effect of
the two main bedrooms results from glass doors that open onto the
garden. The built-in furniture in these rooms was constructed by the
current owner to be compatible with the original Frank Lloyd Wright
design.

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

The S. C. Johnson & Son, Inc. Administration Building and Research
Tower, historically known as the Johnson Wax buildings, were built
between 1936 and 1939, and 1947 and 1950 respectively. The buildings
have been described by Anthony Alofsin, as Frank Lloyd Wright's
"interpretation of streamlined design in a continuation of his
exploration of a suitable environment for the workforce of corporate
America."

The Administration Building and Research Tower occupy a city block which
is bounded by what was 15^th^ Street on the north, 16^th^ Street on the
south, Franklin Street on the east, and Howe Street on the west.

The Administration Building, completed in 1939, was designed in two
sections: the section containing the great workroom and offices is to
the south, the section containing garage space and carports is to the
north. A driveway passes beneath the bridge that links the two sections.
The reinforced-concrete structure is clad in specially crafted Cherokee
red brick set in walls with curved corners. Both the roofs over the
carport and the great workroom are supported on dendriform (lily-pad)
columns. The columns have a base diameter of nine inches, widen
gradually to form a calyx two feet and ten inches in diameter, then
spread to a diameter of 18 feet and six inches. The columns vary in
height from 31 feet in the lobby to 21 feet and 7 and ½ inches in the
main space. These columns are a continuation of Wright's innovations in
concrete. They also symbolically evoke nature in their forms. The
third-floor level contains executive offices. From the exterior, these
sections are angled and set back from the main parapet. Circular shafts,
which Wright dubbed "nostrils," for air intake rise from the third-floor
level. The relationship of the building with nature was enhanced by
plantings on the exterior terraces (the company's long range plan is to
restore the planters/plantings).

From the automobile drive-through one enters the lobby, which is
overlooked by balconies at the second and third-floor levels.
"Bird-cage" elevators and circular staircases ascend to the offices and
conference rooms on upper floors. Beyond the lobby is the great workroom
with its forest of columns that is surrounded by mezzanine balconies.
Brass railings have been added to comply with safety-code requirements.
Lush interior plantings at various locations help bring nature into the
building. All of the spaces were originally lit by a novel, experimental
system of Pyrex glass tubing that formed streamlined bands and admitted
natural light. Because of leakage, the tubes in the skylights in the
great workroom were replaced by molded Plexiglass in the late 1950s. The
Plexiglass mimics the form of the original tubing. Pyrex tubing in other
locations has been maintained. An enclosed bridge, with glass walls and
a molded Plexiglass ceiling (originally glass tubing) connected the
administration building to a squash court above the carport. The bridge
now links the Administration Building to the third floor offices and the
squash court, which is now used as an office (but retains its original
court floor).

The Research Tower, completed in 1950, was added in the middle of the
north section of the building and is linked into it. The tower rises 153
feet and five inches above grade and has a central reinforced concrete
core. The 14 floors are cantilevered out from the core. The
circumference is 40 square feet, but at ground level the base is only 13
feet across. The exterior walls are faced in two-story bands of glass
tubing held in place by stainless-steel wires bound to aluminum
supports. Bands of brick alternate with the bands of glass. On the
interior, the floors are designed in pairs, with square floors
alternating with circular mezzanine floors. The circular floors can be
seen through the glass when the tower is lit. This arrangement was
intended to permit the installation of tall laboratory equipment. The
central core contains an elevator and circular staircase.

Frank Lloyd Wright designed the original furniture in the great workroom
and the offices, both in the Administration Building and the Research
Tower, including tables, cabinets, benches, and shelving. Much of this
remains in place and enhances the overall character.

[Taliesin West]{.underline}

Taliesin West began in 1938 as the winter home and studio of Frank Lloyd
Wright and the Taliesin Fellowship. Its dramatic siting and innovative
use of materials, Taliesin West supplemented Taliesin as Wright's design
laboratory. Here he tried new forms, tested materials and concepts, and
refined his ideas about training future architects. From its beginnings
as an almost primitive desert camp, Taliesin West became a group of
permanent structures with translucent roofs that meshed buildings and
landscape.

Taliesin West is located in the northeastern section of Scottsdale,
Arizona, north of Shea Boulevard and east of the thoroughfare now known
as Frank Lloyd Wright Boulevard. The eastern half of the 412-acre
property lies in the foothills of the McDowell Mountains. The western
part lies on gentle sloping terrain bordered on the south and southwest
by the Granite Reef Aqueduct and the dike of the Central Arizona
irrigation project. The terrain is Sonoran desert crossed by deep
washes. The property slopes upward to the north.

Taliesin West was Wright's home and studio; the estate included a number
of other buildings comprising a campus extending west to east for over a
quarter of a mile. The principal structures are linked to the terrain
and each other by low retaining walls, walks, and broad terraces. The
architectural composition uses a 16-foot square unit system, rotating at
45-degrees on itself. Walls and roofs are set at 15-degree slopes.
Indoors and outdoors flow into each other, and the experience of
movement through the complex is an important part of the architectural
experience. The main facilities are: the office, drafting studio,
kitchen, dining room, garden room and the Wrights' living quarters,
apprentice court, conference room (Kiva), music pavilion, cabaret
theater, shop, visitor center and bookstore, archives building, and sun
cottage.

One enters the property from Frank Lloyd Wright Boulevard, driving past
a gate and along a winding road that follows a desert wash. The entrance
to the complex is marked by a stone-and-concrete monolith adjacent to a
gravel court and parking area, as well as a strategically placed
petroglyph boulder.

The office is the first principal building encountered by visitors. It
is a structure of sloping desert masonry walls topped with a translucent
roof (originally canvas), supported by beams of wood and steel. One of
the first buildings constructed (1938), it served as Wright's business
office, reception room, and design studio. The adjacent concrete terrace
is scored with joints establishing the 16-foot module.

Next, one encounters an interconnected group of buildings at the core of
the complex. The drafting studio, 96 feet long and 30 feet wide, is
covered with a beamed roof similar to the one in the office. It has a
fireplace at one end. The central kitchen is set behind the fireplace:
its location is marked by a tower. A pantry and dining area open from
the kitchen with a breezeway extending beyond the dining room.
Originally an open space, Wright later enclosed the dining room in
glass. Above the dining area is a second floor with several apartments
and guest rooms and a terrace overlooking the valley. At a half level
down from the dining room a former apartment has now been converted to
office and conference room space facing south and west. The drafting
studio looks out onto a terrace with a garden and pool extending out at
a 45-degree angle, similar to the prow of the ship. The dining room
looks out north and east to the McDowell Mountains.

The breezeway connects to another terrace by a short flight of wide
stairs from which one gains entry to the garden room or living room and
the Wright family living quarters. The garden room was a continual work
in progress for Wright. The room is 56 feet long and 34 feet wide, with
views to a garden on the east and the horizon to the south. A large
fireplace dominates one end of the room, which is further enhanced by
the Wright-designed furniture and Native American and East Asian works
of art. A suite of rooms opening onto the patio to the north of the
garden room formed the private living quarters for Frank and Olgivanna
Lloyd Wright. These quarters were recently restored (2003-2006), based
on a building conditions assessment report prepared by John Eifler and
Associates of Chicago, and a major grant from the city of Scottsdale.
Other private apartments and office spaces are located at the end of the
wing.

The Taliesin apprentices originally lived in tents in the desert. During
the brief period before World War II as Taliesin West was being
constructed, the apprentices moved into a compound of small individual
rooms, each with fireplace and canvas flaps which opened to the desert.
This compound, which became known as the apprentice court, now consists
of small private apartments constructed from the original rooms.
Adjacent is a large swimming pool with deck, enclosed by surrounding
walls.

At one corner of the apprentice court is a separate building. Windowless
and built of desert masonry, it is called the Kiva. When built in 1938,
it served as storage space in the summer and was outfitted with risers
and benches to allow for movie viewing during the winter. It later
became an apprentice lounge and library, and now is used as a classroom
when not open for public tours.

From the Kiva, one can pass under the pergola adjacent to the drafting
studio, or move across the garden court to the music pavilion and
cabaret theater. The pavilion was opened in 1957 as a multi-purpose hall
seating 100 people. The profile was kept deliberately low so that it
would not block the view of the mountains from the entrance drive. The
walls were desert masonry; plastic treated fabric stretched over wood
frames forming a translucent roof. After a fire in 1962 destroyed the
roof structure, it was rebuilt with steel beams covered with translucent
plastic. Adjacent the stage, new rooms were added including: space for
storage, a music room, and the archives and offices of the William
Wesley Peters Memorial Library. The half-sunken cabaret theater,
completed in 1951, extends from Wright's office. It was built as a
reinforced-concrete and stone structure. A fireplace and projection
booth are at one end. The floor slopes down to a screen and acoustically
enhanced performance stage.

The craft and shop area is located at the west end of the complex. The
desert masonry walls open onto a courtyard. This area was expanded with
the addition of the visitor's center and bookstore. The Frank Lloyd
Wright Foundation Archives building was also added a short distance west
of this area.

The Sun Cottage is located northeast of the apprentice court. Between
1938 and 1941 a group of sleeping spaces was located here and served as
the first living quarters for the Wrights. In 1947 these living quarters
where demolished and a new experimental structure, called Sun Cottage,
was built. Because of the experimental nature of the construction, it
was rebuilt in steel with wood decking in the 1960s. The building
contained two apartments with a small atrium. It was further expanded in
the 1970s with a large room for various communal purposes, and a row of
dormitory rooms.

The surrounding desert is an integral part of Taliesin West and its
experience. The prehistoric inhabitants of the land are acknowledged by
the strategic placement of boulders with petroglyphs. In the late 1950s,
Wright focused attention on the areas surrounding the buildings and
terraces. He rerouted the entrance drive to give maximum visual impact
of the buildings to visitors. Automobiles were placed behind a screen
wall. An entrance gate was installed just beyond the property line and
then moved onto the property in 1972.

[The Price Tower]{.underline}

The Price Tower, built between 1953 and 1956 for the H. C. Price Company
of Bartlesville, Oklahoma, is Frank Lloyd Wright's tallest built
structure. It was designed to serve as the headquarters for the H. C.
Price Company as well as to provide rentable spaces for commercial and
residential tenants. The building's concept was based on the 1929 design
for St. Mark's-in-the-Bouwerie in New York City that was never realized
due in part to the effects of the Great Depression. Wright characterized
the building standing on the Oklahoma prairie as "the tree that escaped
the crowded forest," a phrase that describes not only the tower's
"escape" from the forest of Manhattan skyscrapers, but also alludes to
the architect's philosophy of organic architecture. An example of
Wright's innovations in reinforced concrete, the Price Tower imitates a
tree in its design -- the "trunk" is comprised of four elevator shafts,
the tower's 19 floors are cantilevered and tapered much like the
branches of a tree, and its embossed patinated copper cladding and sun
louvers can be interpreted as representations of leaves.

The Price Tower with its two-story base sets on a 150 foot by 140 foot
downtown lot that coincides with the boundary of the property. Outside
of the boundary is a one-story annex storage building and public and
private parking spaces. The building rises prominently to a height of
221 feet, and finds itself unchallenged by adjacent buildings of equal
or greater height. Two covered carports of reinforced concrete,
supported by tapering patinated copper columns, are located on the north
and south sides of the tower (north for commercial tenants, south for
residential tenants). A drive-through passageway that connected the
carport parking areas to the tower was closed off in the late 1970s
during renovations by Taliesin Associated Architects, Wright's successor
firm.

The exterior finish of the tower's concrete is painted stucco with
alternating bands of patinated embossed copper and aluminum framing the
gold/peach-colored awning-style windows. All floor slabs are
cantilevered from four structural vertical shafts of reinforced
concrete. This allows for the exterior "screen" walls to be supported on
the outer edge of each cantilevered floor and to open into all-glass
corner windows. Horizontal bands of patinated embossed copper panels are
attached to the exterior fascia and were embedded into the wet concrete
as each floor was poured. Between the horizontal bands were similarly
designed patinated embossed copper louvers to shade the building's
expansive quantity of window glass. The louvers were placed horizontally
on the exterior of the three office quadrants and vertically on the
apartment quadrant, and served to identify the interior functions of
each quadrant of the building.

The interior spaces were planned to conform to a grid of parallelograms,
comprised of a combination of four 30-60-90 degree triangles that extend
out from a cast bronze logo plate embedded into each floor's pigmented
concrete floor. All walls and partitions conform to this grid, as do the
built-in furnishings. All interior details such as lighting and
ventilation grilles are based upon a half-unit, which takes the form of
an equilateral triangle. The interior spaces have angled walls; each
upper floor consisted of three office spaces totaling 1,150 square feet
and a two-story apartment containing 982 square feet.

The double-height entrance lobby served to introduce visitors to
Wright's palette of materials as well as his geometric language with
triangular columns separating built-in seating and triangular lighting
fixtures and ventilation grilles spread across the ceiling. The built-in
upholstered hexagonal hassock seating was of the same shape as the four
elevator cabs. One elevator was dedicated for the apartments and opened
at both the living and sleeping levels of each apartment. Three of the
elevators serviced commercial tenants and opened onto a small elevator
lobby on each floor, permitting visitors a view to the exterior through
any of the offices' glass doors and reinforcing Wright's philosophy of
relating a building's interior to its exterior.

At the building's opening, the two-story base housed the offices of the
Public Service Company of Oklahoma, a women's dress shop, and a beauty
salon in addition to a lobby newsstand. Floors 3 through 15 were
typically arranged with three offices and an apartment per floor. Floor
16 served as the commissary for the Price Company, and featured rooftop
dining in addition to indoor lunch counter seating. Floors 17 and 18
housed the Price Company corporate apartment, a small office, and the
company's main conference room. The penthouse level served as the
executive office suite, with a secretarial work station adjacent to
Harold Price's private office.

Throughout the building are several significant artistic features. In
the building's lobby, a text mural of excerpted Walt Whitman stanzas
edited by Wright offers inspirational direction to those visiting the
tower. In the living area of the Price Company corporate apartment, a
geometric wall mural designed by Wright was installed on the room's east
wall, over the built-in desk, and was inscribed to Harold Price by
Wright on a lower corner title block. In Harold Price's office, a mural
of triangular glass and mirror was designed by Wright and his senior
apprentice, Eugene Masselink, and installed by Masselink on site.

Office interiors were furnished similarly and with flexibility in mind.
Apart from the Price Company, a wide variety of tenants occupied the
building's lower floors -- lawyers, doctors, accountants, insurance
agents, and other professionals -- and each was offered customized
arrangements of Wright-designed furnishings and interior partition
walls. The eight apartments featured a lower level for living, cooking,
and dining and a mezzanine level for sleeping and bathing. Their
amenities included a small terrace off the master bedroom, a modern
kitchen with the latest appliances, a gas-burning fireplace, and a
powder room in addition to the full-size bath on the upper level. A
banquette sofa, desk, dining table, and wall shelving were built-in. The
remaining furniture was Wright-designed cast aluminum seating, similar
to that used in the offices.

[Solomon R. Guggenheim Museum]{.underline}

The Solomon R. Guggenheim Museum (the Guggenheim), built between 1956
and 1959, is internationally recognized as a major icon of modern
architecture. The fusion of spatial drama with the spiral form
represents a culmination of the evolution of Frank Lloyd Wright's ideas
of organic architecture.

The Guggenheim is located on the east side of 5^th^ Avenue between East
88^th^ and East 89^th^ Streets, facing Central Park. Its modern
aesthetic and sculptural qualities distinguish the building from its
more traditionally styled neighbors. A narrow ten-story annex, completed
in 1992, is set behind the museum facing East 89^th^ Street on the
footprint of an earlier four-story annex.

The Guggenheim is constructed of reinforced concrete and seamlessly
integrates form and materials. The building consists of three major
components: the main spiral-shaped Rotunda at the south end of the lot;
the smaller, circular "monitor" at the north end; and the horizontal
cantilevered bridge that connects the two and wraps around the south,
west, and north sides of the building at the second-story level. The
entire design is based on the geometric modules of circles, triangles,
and lozenges. These motifs carry the design from the ground level to the
dome and are visible on such elements as sidewalks, terrazzo floors,
fountains, planters, stairways, and screens. The composition is
developed through a series of interlocking forms. The large gallery, or
rotunda, is composed of a spiral that is anchored by a triangular shaft
enclosing the staircase and elevator. Similarly the circular monitor is
engaged with a lozenge-shaped staircase.

The rotunda takes the form of a giant spiral that coils five times
around to a sky-lit dome or oculus 95 feet above the floor. The
collective experience of museum-goers is reinforced by the spiral form.
Wright conceived of the spiral as a pure cantilever with the ramp
integral with the exterior wall and the interior balcony wall. Because
of the concerns of the building inspectors, twelve reinforced concrete
partitions, or web walls, were added to the spiral. They also create
bays for the display of art. The twelve-sided dome above the rotunda is
formed of ribs that are extensions of the structural partitions. The
fountain at the base of the spiral ramp and the planters at various
levels consciously introduce nature into a building that evokes nature
in its structural forms.

The monitor, originally an administrative wing, is based on a circular
module. All of the interior spaces in the monitor have been converted to
gallery space. The bridge links the rotunda and monitor at the second
floor and also shelters the main entrance which is tucked within the
building envelope. When the building opened, a driveway led under the
second level of the building between 5^th^ Avenue and East 89^th^
Street. The driveway was enclosed in 1975 to create a bookstore and
restaurant, and the East 89^th^ Street outlet of the driveway was
converted to a service entrance.

The basement level of the building contains office and classroom space
as well as a theater/lecture room. The theater is circular in plan, with
seating arranged in curved rows that are directed towards the
semi-circular platform. The circular coved ceiling incorporates recessed
lighting.

[Marin County Civic Center]{.underline}

The Marin County Civic Center (the Civic Center), designed in 1957-1958
by Frank Lloyd Wright, is the last major work of his career and the only
project for a government entity that he ever built. In its siting, use
of materials, and melding of exterior and interior space, it reflects
Wright's ideas of organic architecture as they evolved through his long
career.

The Civic Center is composed of two long sections set at a 120 angle to
each other: the 580-foot Administration Building, built between 1960 and
1962; and the 880 foot Hall of Justice, built between 1966 and 1969.
They are joined by a rotunda 80 feet in diameter with a shallow dome
flanked by a 172 foot polygonal tower. The rounded ends of the two
sections are built into the sides of two low hills. The entrance drive
passes through an archway on the ground level of the Administration
Building. Two drives pass through the two archways of the Hall of
Justice. The roadways follow the contours of the site and provide access
to the parking lots and circulation around the site. A United States
Post Office is located near the main entrance to the grounds off San
Pedro Road.

Both sections of the building are constructed with a combination of
steel with poured concrete and precast and prestressed concrete
elements. The roof system is composed of a series of precast concrete
trusses supporting a thin, barrel-arched shell of reinforced concrete.
Precast ornamental units are placed on the roof. Gold anodized aluminum
is used for the balls on the roof fascias, "pendant crescents" (the
round arches attached to the railings outside the offices), and
ornamental grilles.

The interiors, which Wright's plans refer to as a mall, have open light
wells or atriums that increase in width as the building rises. These
provide natural light in the office and meeting room spaces, and were
intended to provide natural air conditioning. Although Wright originally
wanted to have them open to the sky, the wells in both sections of the
building were covered with barrel-vaulted skylights made of Plexiglass.

One enters the Administration Building wing from the center of the
archway over the entrance drive. Most of the first level is taken up by
building facilities, although planting beds extend along the center of
the hallway. An escalator leads to the second level. County offices are
located on the second, third, and fourth levels. The building was
designed to have a flexible system of movable interior walls, with
lighting, heating and air-conditioning ducts in the ceilings, and
telephone and communication lines in the floors.

The rotunda, which acts as the hinge between the two building sections
and was built with the Administration Building wing, encompasses the
Board of Supervisors and Planning Commission chambers at the third level
and the Civic Center branch of the Marin County Public Library at the
fourth level. A prow-shaped open terrace opens off the rotunda at the
second level. It is landscaped and contains a pool with an outlet that
flows down the slope. The gold-painted polygonal tower with spire rises
from the terrace. It contains the vent stack from the boiler and was
also intended to contain a radio transmitter.

There are two entrances to the Hall of Justice, one from each archway.
The entrance level contains building and service functions similar to
the first level in the Administration Building. The courtrooms and their
vestibule are one level up on the court level. Offices for the county
court and the county sheriff's office are located on the first and
second levels. (The numbering of these levels corresponds with the
numbering system in the Administration Building.) A cafeteria that opens
onto the landscaped terrace is on the south end of the second level. The
former county jail space is at the north end of the second level.

All of the furniture and cabinetry for both sections of the building was
designed by architect Aaron Green, a former Wright apprentice who
oversaw the San Francisco office of the Frank Lloyd Wright Foundation.
It was manufactured in the furniture factory at San Quentin State
Prison.

The United States Post Office, designed by Wright and built in 1959, is
located near the entrance to the Civic Center grounds off San Pedro
Road. It is a one-story reinforced concrete building that is elliptical
in plan. A round-arched concrete canopy is cantilevered from the façade
above a glazed wall. When built, a large globe of the world intersected
the glazed wall (half exterior, half interior). The globe was removed
after it was vandalized.

The master plan for the Civic Center site, as devised by Wright and
continued under his immediate successors, respected the topography. The
buildings, hills, roads, parking areas, lagoon, and other landscape
features were linked together to facilitate the movement of people and
automobiles. The lagoon is the only feature on the north part of the
grounds that survives largely as Wright intended. Aaron Green worked
with Wright to develop the landscape plan and plantings which combine
native pine trees with non-native trees. Current landscape issues are
being addressed in accordance with the recommendations in the *Marin
County Civic Center Master Design Guidelines* (see 5.e.).

**Which features or aspects of the property do you believe qualify it
for the World Heritage List?**

[Unity Temple]{.underline}

Unity Temple is one of the first creations in modern architecture of a
building as a construction of space. It demonstrates a very early use of
reinforced concrete to mold an interior space and create a fluid
interaction between interior and exterior. It is also an early example
of the integration of lighting, both electric and natural, and heating
to create a unified space. The geometry used was based on the square and
double squares, creating a complex abstract web of space. Wright
integrated the space through decorative stripping and color panels. The
distinction and unification of the functions of the school and
auditorium became critical to the work of Louis Kahn and Aldo van Eyck.

[Frederick C. Robie House]{.underline}

In its use of horizontal lines, the Robie House reflects the prairie
landscape, which the house came to symbolize for the world at large.
More than any other house designed by Wright, Robie House is considered
to be the quintessential Prairie house as it is the most complete and
fullest expression of the type. Materials such as the long, thin Roman
brick, and deeply raked horizontal mortar joints, uniquely emphasize the
horizontal and continuous character of the lines of the house. Wright
created a powerful image of shelter through the means of sliding and
interpenetrating volumes and planes that create deep recesses under the
overpowering lines of the roofs. The single, open, and continuous space
forming the living and dining rooms on the main floor, enabled by the
use of steel c-channel beams incorporated in the length of the
cantilevered roof, represents a radical conception of modern living
space for its period. Equally significant is the disintegration of the
traditional solid, containing walls into intersecting and floating
planes that define rather than bound space. The bands of art glass
windows create an extraordinary synthesis of openness and closure of
private and public space.

The Robie House displays a highly unusual and early integration of
heating and lighting within the structural and decorative framework of
the house. The inclusion of an attached three-car garage and automobile
court is an early example of the integration of the automobile into
modern residential architecture.

Wright created a complete work of art in which all the furnishings
(carpets, lighting, furniture, windows, etc.) realize a total vision.
The Robie House was a harbinger of the modern aesthetic that
characterized twentieth century architecture. As European architects
such as Ludwig Mies van der Rohe and H.P. Berlage were to maintain,
there was nothing in continental Europe at the time that was comparable
to the Robie House in terms of spatial openness, dynamic form, or
abstraction of tectonic elements.

The dramatic forms of the Robie House have been repeatedly cited as a
source for the abstract qualities that would underlie the development of
modern architecture in the twentieth century.

[Hollyhock House]{.underline}

Hollyhock House is an original adaptation of the local Spanish tradition
of a patio house combined with reference to ancient Amerindian forms
appropriate to the history of the area. It is a mythopoeic expression of
southern California through symbolic treatment of landscape forms using
water, fire and sculptural elements in a complex narrative sequence.
Hollyhock House demonstrates a major development of decorative forms to
characterize the building as an element of the landscape and as an
expression of the client. The interior finishes and fittings further
enhance the overall artistic effect and reinforce the hollyhock theme. A
large variety of interior spaces, ranging from the double square living
room looking toward the Pacific Ocean to the child's playroom looking
south, have leaded glass windows butted directly at the corner---a very
early use of corner windows in architecture.

Wright created a multi-level spatial experience around the court,
culminating in one of the first, if not the first roof terraces in
modern architecture, which provide views of the surrounding landscape
extending from the Hollywood Hills to the Pacific Ocean. Hollyhock House
was conceived as the central part of a large art and cultural center
containing a cinema theatre, artist's studios, theater, plus separate
houses for those who would run the center (of which Residence "A" still
exists).

Hollyhock House represents a new phase in Frank Lloyd Wright's approach
to residential architecture and is a romantic expression of southern
California, giving the idea of regionalism a truly modern form. The
relaxed and informal arrangement of rooms and garden rooms became a
defining element of residential architecture and a prototype for new
ways of living. It is equally important in the considerable influence it
had on Wright's later work and the significant inspiration it provided a
younger generation of Modernist architects.

[Alice Millard House]{.underline}

The Millard House is the first and most celebrated example of the
innovative system of reinforced concrete construction (called "textile
block") that Wright developed in the early 1920s as a response to modern
industrial practices of standardization and prefabrication. Through the
use of integral decoration, the material components of the house imbue
the functional character of utilitarian concrete with a beauty that few
at the time considered possible. A remarkable example of the new, modern
studio house type, it was designed around a two-story living room with
dining room below and bedrooms on split levels to the rear.

The Millard House is an extraordinary adaptation of a small house to an
architecturally challenging ravine site that creates an unprecedented
relationship of architecture to nature. The house displays a
relationship between clearly defined geometric form and overall
decorative surface that establishes a profound resonance with the
climatological and cultural traditions of the region providing a unique
regional quality in contrast to the more conventional, eclectic
architectural styles evident in California at the time. Wright's son
Lloyd Wright and several other colleagues used textile blocks during the
decade, but the Millard House remains the most innovative in its design,
form, and integration with its setting.

[Taliesin]{.underline}

Through careful site planning and use of materials native to the site,
Taliesin is a complete integration of building and landscape wherein the
architecture loses its sense of independence and becomes absolutely
contingent upon its landscape setting; the flow of interior and exterior
spaces seems to deny any barrier between the two. Taliesin shows how
modern architecture could remain modern while at the same time
conforming to the dictates of its site.

Wright treated the building as a laboratory for his thinking, changing
it over time according to his changing thoughts about design. The
interior spaces are some of Wright's most astounding formal inventions
and contain some of his most important advances in interior design.
Thus, Taliesin stands as the single most important work of his career.

[Fallingwater]{.underline}

Built over the waterfall that gives the house its name, Fallingwater is
a daring cantilevered construction of reinforced concrete, glass and
steel that combines natural materials of native stone and wood to create
an astounding and celebrated example of modern architecture that is made
one with nature. In 1986, New York Times architecture critic Paul
Goldberger wrote concerning Fallingwater: "This is a house that summed
up the 20^th^ century and then thrust it forward still further. Within
this remarkable building Frank Lloyd Wright recapitulated themes that
had preoccupied him since his career began a half century earlier, but
did not reproduce them literally. Instead, he cast his net wider,
integrating European modernism and his own love of nature and of
structural daring, and pulled it all together into a brilliantly
resolved totality. Fallingwater is Wright's greatest essay in horizontal
space; it is his most powerful piece of structural drama; it is his most
sublime integration of man and nature." In 1991 the American Institute
of Architects voted it the best all-time work of American architecture.

[Herbert and Katherine Jacobs House]{.underline}

The Jacobs House is the first example of Wright's efforts to develop a
moderate cost house for a middle class family. He did this at the onset
of the effort by modern architects to produce an affordable, partially
prefabricated, standardized type of living unit (which Wright called
Usonian). With a minimal budget and extremely simplified program, this
house uses the most basic geometric forms and materials to create spaces
that ennoble the fundamental aspects of daily life in America. The house
reveals how Wright was able to apply concepts of space, movement and
material form that international style architects had generally provided
only for wealthy clients.

The Usonian house established a replicable modern form of domestic
environment characterized by: the use of a shallow gravel bed with
radiant heating pipes inlaid in it (no foundation), a concrete mat floor
laid over these pipes, a grid scored in the floor for ease of
construction, plywood board and batten walls, large areas of glass, a
centralized kitchen/bathroom core, a flat roof, and an open carport.

It was in the Jacobs House that Wright first used his "sandwich-wall"
construction which was a model for prefabrication. The walls consist of
three layers of wood with paper insulation between them; the surfacing
boards are fastened to the core board with number 10, slotted screws
through the redwood battens. The interior and exterior surfaces are
identical horizontal boards and battens. The walls could be preassembled
at the site and raised into place, or made to size at the mill and
delivered to the site. All the interior fittings and furniture of the
house were designed by the architect to be able to be built either at
the time of construction or later by the client.

The Usonian house type was planned for maximum privacy from the street,
turning a nearly solid wall to it, and an L-shaped, mainly glass wall of
doors opening onto an interior garden. The traditional kitchen, as a
separate room, has been eliminated and instead has become a space
adjacent and open to the dining area, which also functions, by its large
window, as a point of surveillance to the children in the garden. The
Jacobs House was the genesis of these and other innovative building
concepts still utilized by the building industry today.

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

The Administration Building is an early and highly successful creation
of an open landscape-type office space arrangement. The building is a
complete work of art in that every chair, desk, and other pieces of
furniture and interior design elements were designed by the architect,
creating an extraordinary light-filled, open, rhythmically articulated,
beautifully furnished space for the company's white-collar workers. The
building displays an advanced use of reinforced concrete in the form of
lily-pad columns and horizontal bands of Pyrex glass tubing (later
replaced by molded Plexiglass) to articulate the space in a way that led
the architectural critic and historian Siegfried Giedion to describe the
building as an unprecedented return to "luxury" for modern architecture.
The building shows an early incorporation of the automobile in the
design of covered parking that acts as, and provides direct access to,
the main entrance to the building.

The addition of the Research Tower, in the same materials as the
original structure, and with its cantilevered floors, gave a vertical
accent to the horizontal composition and a power point of focus to the
whole in its urban setting. The two buildings created an integrated
arrangement of administrative and research space combined with
recreational and social facilities for employees.

[Taliesin West]{.underline}

Taliesin West is a completely original concept of structure and form in
response to the harsh climatological and topological conditions of the
American desert. Wright used angular shapes in plan and section to fit
in with the landscape and employed wood and canvas raised above concrete
and stone walls to create habitable spaces. Wright used existing ancient
petroglyph boulders, found at the site, to mark the relationships
between the buildings and the major mountains surrounding the complex so
as to create a sense of intimacy with the landscape in a historical as
well as a topographical way. The buildings were constructed with a type
of primitive "rubble stone" construction that used the existing volcanic
deposits at the site and could be implemented by unskilled workers---a
composite prefiguring the post-World War II "beton brut" made famous by
Le Corbusier.

Pathways, plazas, and open spaces are integrated with the multiple
structures to define a series of axes related to the topographical
features of the site in such a way that gives the site a greater meaning
than it might otherwise have had. The extensive use of indigenous
plants, water features and other landscape elements create an
architecture that is as much a work of site-specific landscape
architecture as it is a building. All the spaces in the complex are
calculated for views toward the landscape and its special features.

Many early visitors to the site spoke of the building as appearing like
an ancient ruin, having a pre-historic and timeless character. The
processional movement through the site, from the entrance sequence,
through the pergola, out onto the prow, and finally into the main living
spaces, was characterized by Philip Johnson in the late 1940s as the
most extraordinary and first example of what he would call the
processional aspect of architecture.

[The Price Tower]{.underline}

The Price Tower was an early attempt to create a multi-use tall building
that combined offices and apartment units. A startling composition of
reinforced concrete, glass, and verdigris copper, the materials are
combined in a complex vertical angularity ensuring that no two exterior
elevations are the same. It is a conception of the American skyscraper,
not of a rigid abstract grid based on steel frame construction, but
rather as a single organic form developed like a tree with the trunk
serving as a structural and circulation core and the branches becoming
the cantilevered floors. This was the realization of a conceptual leap
that Wright made in the late 1920s with his design for the St. Mark's
Towers in New York City.

[Solomon R. Guggenheim Museum]{.underline}

The Guggenheim's reinforced-concrete structure is a seamless integration
of program, form, structure and materials and is an outstanding
illustration of Wright's principles of organic architecture. The spiral
ramp and interlocking forms of the monitor (a circle) and service core
(a triangle) create a unique design on the exterior and an unparalleled
sculptural and dynamic interior space under a skylit dome. The
unprecedented integration of circulation and gallery space makes
visiting the museum a social as well as an artistic experience where
visitors by sense what the first director of the museum called a new
"sociability." At the same time they can view the individual works of
art in a way that isolates them from one another as well as joins them
in completely unexpected unities as one looks across the open space to
the galleries on the other side. When experienced in the way the
building was designed, which is to say from the top down, the movement
through the space takes advantage of the elevator which brings visitors
to the top of the ramp and then submits them to the law of gravity as
they move down the ramp.

The Guggenheim established and set the standard for the idea of a modern
museum that would, by its form, characterize the art it was intended to
house. It also established the idea of the modern museum as a
destination point in the contemporary urban environment. Philip Johnson
called it "one of the greatest rooms of the twentieth century."

[Marin County Civic Center]{.underline}

The Civic Center is an unprecedented design to house the functions of
county government in a structure intended to be symbolic of the
building's role in its regional setting. It was a total re-thinking of
the traditional government center bringing multiple separate buildings
into a unified structure linked by an internal sky-lit multi-story
galleria.

Conceived as a single articulated structure, it spans and connects a
series of hills and relates by its forms and colors to surrounding hills
at a greater distance. Treated as a landscape feature, the building
directs the water flowing through it from a pool located in the raised
garden at the center of the structure to a man-made lake below that
flows into a stream that eventually empties out in the San Francisco Bay
thus connecting the building with the larger ecology of the area.

This was one of the first buildings designed to accommodate and
celebrate the post World War II automobile culture of the United States
by aligning itself with the highway it parallels: establishing its point
of access to the highway interchange, turning the building itself into a
bridge over the access road that runs through it, treating the parking
areas as parts of the overall landscape design, and establishing an
image through which the building's aqueduct-like form can be read in a
glance by a passing motorist in a car going 60 miles an hour.

The Civic Center was a revival of the 19^th^ century arcade or galleria
type space to create a sense of community that became a precedent for
the malls that have proliferated through suburbia in the United States
and elsewhere. In its revival of the ancient Roman form of the aqueduct;
the building is a startling premonition of post-modern historicism that
would follow in its wake.

**What are the important present or proposed uses of the property and
how do they compare with the traditional or historic uses of it?**

[Unity Temple]{.underline}

Unity Temple contains the multi-use functions that are part of the
original design. It contains an auditorium used for purposes of worship,
performance, and assembly, and a meeting hall (Unity House) used for
informal gatherings with related classroom spaces and offices.

[Frederick C. Robie House]{.underline}

Robie House was built as a single-family residence. It remained in that
use until 1926, when it was converted to dormitory accommodations for
the Chicago Theological Seminary. Between 1966 and 1997, portions of the
house were used as offices by the University of Chicago. Since then it
has been in use as a house museum that also incorporates interpretative
displays and education spaces. The ongoing restoration effort (later
discussed in 2.b.) has been part of the educational program.

[Hollyhock House]{.underline}

While Hollyhock House was built as a private house, it was soon
converted to a club and exhibition space. The residence is currently
open for tours as a house museum and also contains exhibition space. The
small Spring House survives next to the Junior Arts Center. Residence
"A," built as a secondary residence, was used for many years as a studio
for arts instruction but it is currently vacant and awaiting
restoration.

[Alice Millard House]{.underline}

The house was designed as a single-family residence and has remained in
this use today.

[Taliesin]{.underline}

Taliesin contains living spaces for members of the Taliesin Fellowship,
office spaces, and other work spaces. The other buildings that comprise
the estate serve a variety of uses. Hillside School contains spaces for
the educational programs of the Taliesin Fellowship including the
drafting room, a theater, work rooms, and sleeping rooms. These are the
historic uses of these buildings. The Midway Barn complex contains
sleeping rooms for Taliesin apprentices; historically the buildings also
contained farm animals.

[Fallingwater]{.underline}

The house was built as a private country weekend retreat. Since 1964 it
has been in use as a house museum.

[Herbert and Katherine Jacobs House]{.underline}

The house was designed as a single-family residence and has remained in
this use today.

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

The Administration Building was constructed to house the administrative
and executive offices of the S. C. Johnson & Son, Inc., as well as
accommodate automobile parking for the employees. The building remains
in that use. The enclosed garage space, adjacent to the carport in the
north section, has been converted to office use. The Research Tower was
built with office space on the lower three stories and laboratories
above. The office space remains in use. The laboratory floors are vacant
because of space limitations and stricter safety-code requirements.

[Taliesin West]{.underline}

Taliesin West was constructed as the winter home of the Wrights and the
Taliesin Fellowship. It still contains living and working spaces for
members of the Taliesin Fellowship as well as office, entertainment, and
instruction spaces for the architectural school.

[The Price Tower]{.underline}

At present, the Price Tower is owned by the Price Tower Arts Center, and
its function has returned to that of a multi-use building. The two-story
base houses the Price Tower Arts Center's galleries and museum store as
well as reception areas for the Inn at Price Tower, a 21-room hotel
opened in 2003 and is comprised of renovated office and apartment
spaces. Floors three through six are utilized by Arts Center and Inn at
Price Tower employees while floors seven through 13 are dedicated to
guest rooms. Part of the 11^th^ floor and the entire 14^th^ floor are
rented to private tenants, while floors 15 and 16 house the Inn's
restaurant and lounge. The Price Tower's upper three floors, 17 through
19, were restored to their 1956 appearance during the summer of 2006,
retaining the features and furnishings designed by Wright and
replicating those which had been removed over the past fifty years. They
are currently part of Price Tower Arts Center's tour of the Price Tower,
and are only open to the public through docent-guided tours.

[Solomon R. Guggenheim Museum]{.underline}

The building was constructed as a museum for the display of art and
remains in that use. The building itself, both its construction and the
restoration campaigns, have been the subject of exhibitions in the
museum.

[Marin County Civic Center]{.underline}

The building was designed as a center of government for Marin County and
built to house the county's administrative and judicial functions,
including offices, meeting spaces, a county library branch, courts, and
a jail. All of these uses are still in the building, except for the
county jail. The former jail space is being remodeled for expanded
office space. The United State Post Office, a small freestanding
building near the main building, is still in use as a post office.

**2.b. History and Development of the Property**

**Cultural property**

**When was the site built or first occupied and how did it arrive at its
present form and condition? If it has undergone significant changes in
use or physical alterations, include an explanation.**

[Unity Temple]{.underline}

Unity Temple, built between 1906 and 1908, is the home of the Unity
Temple Unitarian Universalist Congregation of Oak Park and has not
experienced significant changes.

In 1871, a group of Unitarians and Universalists came together to form a
new congregation, Unity Church. When Frank Lloyd Wright, his mother, and
sister moved to Oak Park in 1887, they lived with Auguste Chapin, the
minister of the Unity Church congregation, for about two years. The
original church building, a traditional Gothic-inspired design with a
tall steeple, burned to the ground after being struck by lightning in
June 1905. The congregation, under the leadership of its minister, the
Rev. Rodney Johonnot, had been raising funds for a new building since
1901. Rather than rebuild on the original site, the congregation chose
the present site, which was owned by Edwin Gale, a prominent member of
the congregation.

Nine architects were interviewed and invited to submit designs. Charles
Roberts, the head of the building committee, had been a client of
Wright's as were several other congregation members. With the agreement
of the minister, Wright was chosen in September 1905 to design the new
Unity Church. Rev. Johonnot was particularly concerned that the design
embody the principles of Unitarianism, namely unity, truth, beauty,
simplicity, freedom, and reason. Wright's design was accepted by March
1906; ground was broken on May 15, 1906. In June 1906, Frank Lloyd
Wright and Rev. Johonnot wrote *The New Edifice of Unity Church, Oak
Park, Illinois*, that explained the design and the reasons for its
adoption. Work encompassing both the Temple section and Unity House was
completed in October 1908. Not only had Wright, with Rev. Johonnot's
backing, persuaded the congregation to accept a thoroughly modern,
unconventional design that was in keeping with the ideals of the liberal
church, he also proposed to build in the unconventional material of
concrete, arguing that the costs would be much less than a more
traditional building of brick or stone.

The forced air heating system located in the corner piers was not
successful. Steam pipes and radiators had to be added early in the
building's history. The exterior concrete surfaces were originally an
exposed pea gravel aggregate finish. In 1961, to obscure surface cracks,
a bonding agent (Albitol) was applied to the surfaces. Then in the early
1970s, this surface was removed and replaced by "Gunite," a
pneumatically applied concrete that allowed the original finish to be
replicated.

Interior work was also undertaken in the 1960s. The basement cloak rooms
below the auditorium were converted to toilet and wash rooms. Partition
walls were added to the balconies in Unity House to create additional
classroom space. The interior walls were repainted in colors suggested
by William Wesley Peters and John Howe of Taliesin Associates.

While the building has continued to serve the needs of the Unitarian
Universalist congregation, that entity recognized that another
organization was needed to deal with the long-term preservation needs of
Unity Temple. In 1973, the Unity Temple Restoration Foundation was
established to serve that purpose. It is a not-for-profit corporation
independent of the church. Subsequently, in 1987, the congregation
granted an easement covering the exterior and all interior public spaces
in the building to the Landmarks Preservation Council of Illinois, now
Landmarks Illinois. This ensures that Unity Temple will be preserved in
perpetuity.

[Frederick C. Robie House]{.underline}

Frank Lloyd Wright designed this house, long regarded as the epitome of
his Prairie house designs, for Frederick C. and Lora Robie. Mrs. Robie,
a graduate of the University of Chicago, wanted to stay in the
neighborhood and purchased the site from friends. Commissioned in 1908,
the house was completed in 1910. Frederick Robie, a successful
manufacturer of bicycles and sewing machines, was anxious for a house
that incorporated the latest in design and technology. He told Wright
that he wanted a fireproof, reasonably priced house to live in. Wright
obliged with a design that incorporated an astonishing fusion of space
and light, enhanced by a careful use of color in the art glass, plaster
walls, and furnishings. Wright also designed much of the furniture,
which was made of golden oak by George Niedecken of Milwaukee. The
construction of the astonishing cantilevered roof was enabled by the use
of rolled steel beams, similar to those used in shipbuilding. It also
incorporated a very early attached three-car garage, complete with
maintenance pit, where Frederick Robie could house and work on his
automobiles.

Unfortunately, the Robies' tenure in the house was short, some two and a
half years. In order to settle family debts after the death of Frederick
Robie's father, the house was put up for sale. The strain on the family
led Lora Robie to leave with their two children and file for a divorce.
In 1912, the house was sold to Marshall D. Wilber and his family. The
Wilbers lived in the house until 1926, when it was sold to the nearby
Chicago Theological Seminary. The seminary used it variously as a
women's dormitory, classroom building, and conference center. During
this time many of the original fixtures and furnishings were removed.
The wall that enclosed the automobile court was lowered from eight to
three feet. In 1941, the seminary announced its plans to replace the
Robie House with a dormitory; there were international protests
including one from Wright himself. The entry of the United States into
World War II stopped the demolition. Then in 1957, when the seminary
announced that it would tear down the building to construct married
students' housing on the site, the protests and outcry again were
vigorous. Eventually the real estate firm of Webb and Knapp bought the
house to use as construction headquarters for neighborhood redevelopment
projects. In 1962, it offered to donate the house to any responsible
agency that would preserve it. On February 4, 1963, the University of
Chicago took on that task provided that outside parties raise the money
for preservation costs. An international committee eventually collected
enough money so that Taliesin Associated Architects could undertake a
modest restoration campaign. In this phase, the tile roof was replaced
and new heating and electrical systems were installed. The University of
Chicago then used the house for offices, first as the home of the Adlai
Stevenson Institute of International Affairs*,* and then as the Alumni
Office. The University also made the living room and dining room
available for public tours on a limited basis.

In 1997, the University entered into a three- party agreement with the
National Trust for Historic Preservation, as lessee, and the Frank Lloyd
Wright Preservation Trust, as sub-lessee, to transfer responsibility for
restoration, preservation and ongoing management of the Robie House as a
historic site and an accredited museum to the Preservation Trust, which
also has managed the Frank Lloyd Wright Home and Studio in Oak Park
since 1974. In 1997, a conference was held to review a draft of the
Master Plan for Restoration and Adaptive Use of the Robie House and to
gather input from eleven external architects, historians, scholars and
staff regarding the plan for restoration. In 1999, the Robie House was
named a project of the Save America's Treasures (SAT) program, and a
ten-year restoration program was launched. A Restoration Committee,
comprising Preservation Trust staff members, architects, architectural
historians, and curators oversees the planning and makes decisions about
the restoration using the Preservation Trust's Master Plan for
Restoration as its guidelines. In addition to the SAT grant, major
grants have come from the National Park Service, the National Trust for
Historic Preservation, the State of Illinois, the Pritzker Foundation,
and contributions from members and friends of the Frank Lloyd Wright
Preservation Trust.

Although the Robie House suffered from years of decay and neglected
maintenance it has not experienced permanent significant changes since
its construction.

[Hollyhock House]{.underline}

Aline Barnsdall, an oil heiress and patron of the arts and theater, met
Frank Lloyd Wright in Chicago in 1914. Preliminary discussions for a
theater became concrete in 1919 when Barnsdall purchased a 36 acre tract
in Hollywood, California. The site contained a distinctive hill
approximately 89 feet above street level. An existing olive grove on the
slopes gave the property its Olive Hill moniker. Here Barnsdall wanted
to create an arts complex that would include a theater for the
production of avant-garde plays, a cinema theater, studios for artists,
housing for actors and director, and a personal residence.

The Barnsdall residence, known as Hollyhock House, was Wright's first
southern California commission. Work began on the residence and two
guest houses in 1919 and ended in 1921. Difficulties between client and
architect aborted the project, with the result that the second floor of
her residence remained unfinished. Barnsdall later engaged Wright's
construction supervisor, Rudolph Schindler, to complete the second
floor. The landscape design for the project was executed by the
architect's son, Lloyd Wright.

In 1923 Barnsdall decided to donate the residence, a guest house, and
part of the site to the City of Los Angeles. Her offer was rejected and
Barnsdall re-evaluated the site. She rehired Wright to design a private
school for her daughter, which was nicknamed the Little Dipper because
the structure's footprint mimicked the outline of the constellation of
the same name. The foundation was laid, but city inspectors halted the
work over code requirements. Barnsdall refused to pay for changes even
though 7,508 concrete textile blocks had been cast, and 226 blocks had
been set. Instead, she engaged Schindler to adapt the existing site as a
garden terrace, using Wright's footprint and materials.

In 1927 Barnsdall again offered the property to the city; this time the
City accepted the offer. The gift included Hollyhock House, Residence
"A", the Spring House, and the Schindler Terrace, as well as eleven and
one-half acres for use as a public park in memory of her father, oil
tycoon Theodore Barnsdall. (The gift did not include Residence "B,"
which was razed in 1954.)

Hollyhock House was leased by the City to the California Arts Club, a
local organization of painters, sculptors, architects, and designers,
between 1927 and 1942. From 1946 to 1956 the house was leased to Dorothy
Clune Murray as headquarters for the Olive Hill Foundation with the
purpose of promoting cultural research. The Foundation began to
rehabilitate the house under the direction of Lloyd Wright. Men's and
women's toilet rooms, a utility room, and cellar were added, and a new
kitchen was designed and installed. The residence was then used for a
variety of civic functions and administrative purposes and opened for
limited architectural tours. In 1974 the city began the first major
restoration before opening it as a public house museum on October 15,
1975.

Residence "A" was used for children's art classes between 1927 and 1967.
It was closed in 2000 for the implementation of phase one of the
Barnsdall Park master plan. Presently it is unused, awaiting
restoration.

Historic structure reports for Hollyhock House and several of the other
buildings were made between 1989 and 1992 by the Archiplan Urban Design
Collaborative and Martin Eli Weil. A historic site survey by Levin &
Associates, completed in 1995, was the basis of a master plan for the
rehabilitation of Barnsdall Park. This work took place between 2000 and
2005. During this same period Hollyhock House and the attached garage
were repaired (correcting damage caused by the 1994 Northridge
earthquake) and seismically stabilized.

[Alice Millard House]{.underline}

The house, built for Alice Millard in 1923-24, has not experienced
significant changes. It illustrates a new approach to construction
developed by Wright that was intended to be both economical to build and
earthquake and fire resistant.

Alice Millard (1873-1938), was a widow who collected and sold rare books
and antiques. A former client, she and her husband George had built a
Wright-designed house in 1906 in Highland Park, Illinois. The two had
relocated to Pasadena in 1913. After her husband died, Alice Millard
purchased a lot in the Prospect Park tract before she hired Frank Lloyd
Wright. Her original land purchase was a level lot. At Wright's request
she purchased a ravine lot (fronted by Rosemont Avenue), which was
considered 'unbuildable.'

Wright devised a scheme that would take advantage of the site. The
working drawings were completed by Lloyd Wright, and the plans approved
on March 15, 1923. Millard signed a contract with A. C. Parlee, a
Pasadena contractor, who agreed to build the house for \$9,810, with
completion by October 1. Once work was underway, the contractor soon
encountered difficulties with the experimental textile block system. The
drawings were not very specific and the wood molds had to be constructed
on site. The components of the concrete mixture lacked consistency
causing variation in the color of the blocks. Work soon fell behind
schedule. By December Parlee had received \$8,961.50, but the job was
less than half complete. He resigned on January 1, 1924, and Millard
completed construction herself. In June 1924, Parlee sued Millard,
claiming that many changes had been made to the plans. Wright
countersued on behalf of Millard; Parlee lost the case.

La Miniatura, as Wright called the house, pleased Millard and captured
the imagination of the critics and visitors. In 1925, she asked Wright
to design a gallery adjacent to the house. Eventually she gave that
commission to Lloyd Wright, who designed a building of stuccoed
wood-frame construction that overlooks the pool and connects to the main
house via a bridge. It was dubbed the "Doll's House." Millard also
wanted to enlarge the garage. In 1929, she asked Wright to design
another, larger gallery building that would be located east of the
house. While she did acquire the land, she was not able to raise enough
money to build the structure. The garage was enlarged under Lloyd
Wright's supervision in 1931. She also added an alcove to the Doll's
House that was completed in 1933. Alice Millard died at La Miniatura in
1938.

Since Millard's death the house has had several owners who have kept it
in use as a single-family house.

The Millard House first underwent restoration in the late 1980s. At that
time the walls were opened up and the method of assembly without the
grid of metal rods was confirmed. The two basic types of blocks, each 15
and ½ inches square, are assembled in pairs. The patterned blocks have
flanged edges that embrace plain blocks with semicircular cavities.
Wright called this "knitting together"; hence the textile analogy. The
blocks sans, metal reinforcing rods (which were incorporated into the
later textile-block houses), are laid with expanded metal on a bed of
mortar.

The current owner has completed another restoration campaign, working
with the assistance of Marmol Radziner and Associates of Los Angeles,
California. The roof surfaces have been replaced, exterior concrete has
been repaired, and interior plasterwork has been repaired and replaced.
The wood flooring of the living room balcony has been replaced. Many of
the decorative antique fittings installed by Alice Millard have been
retained.

[Taliesin]{.underline}

The building of Taliesin was a 50 year enterprise of Frank Lloyd Wright.
In the structures of Taliesin, built under his direct supervision, he
tried out construction techniques and design concepts he later used in
buildings for clients.

In 1911, following the break-up of his marriage to Catherine Tobin
Wright and his return from Europe, Wright purchased land in southwestern
Wisconsin, adjacent to the Hillside Home School run by two of his aunts,
and property owned by other family members. Here Wright built Taliesin,
a Welsh word meaning "shining brow," so it would be of, and not on, a
hill. He built on a long ridge that extended from the northwest to the
southeast, descending from the crest of the hill. Essentially a
one-story structure of limestone, glass, wood, and plaster, it included
three main wings: the residential wing for Wright, Mamah Borthwick and
her children, and guests; the office and drafting studio wing where
Wright conducted business when not in Chicago; and the farm wing, with
stalls for cows and horses, and space for milk storage. The limestone
was quarried nearby, and the plaster and mortar contained sand from the
Wisconsin River. Wright constructed the buildings with help of local
masons.

On August 15, 1914, Julian Carlton, one of the servants, set the
residential wing on fire and killed seven people, including Mamah
Borthwick and her two children. Wright who was in Chicago returned to
Taliesin with his son John, and Edwin Cheney, Mamah's divorced husband.
Seeing the devastation, he vowed to rebuild the house, which became
known as Taliesin II. The new house was expanded in plan, and during the
next ten years, the drafting studio was expanded twice, and the
westernmost sections were added, including a second horse stable, a root
cellar, an icehouse, a garage for farm vehicles, chicken coops, a
pigsty, and a granary. The residential section of Taliesin II was again
partially destroyed by fire in April 1925.

Wright began the design of Taliesin III within days of the fire,
incorporating the fire-burned stones of the two earlier buildings. This
is essentially the building that survives today, although Wright
continued to experiment, modify, and change the building until his death
in 1959.

In 1932, Wright and his third wife, Olgivanna, established the Taliesin
Fellowship for the training of young architects. The presence of the
apprentices in the Fellowship resulted in many changes. They were housed
in the farm wing which they redesigned into their own living quarters.
With apprentice labor, Wright expanded the third floor of the
residential wing (1933, 1943), expanded his bedroom twice (1936, 1950),
added onto the hill wing to serve as the first Fellowship dining room
(1930s), and constructed the lower court (1939).

The advent of the Fellowship also led to the expansion and changes to
other earlier buildings on the property. The Hillside Home School was
standing vacant. Wright had built the school for his aunts, Nell and
Jane Lloyd Jones in 1902, on the site of the first school building. The
apprentices were charged with repairing the building and constructing
the drafting studio to the north of the two existing classrooms. The
drafting studio wing also incorporated dormitory wings along the sides.
The original gymnasium was converted into a theater and playroom, and a
kitchen was added below the assembly hall. A foyer was added to the west
of the theater in 1947. The part of the building that contained the
classrooms was destroyed by fire in April 1952. The redesigned space
became a large dining room, and the theater was redesigned. The Romeo
and Juliet windmill, which Wright had built in 1897 to serve the
original Hillside Home School, stood to the north of the school. In
1938, the original cedar shingles were replaced by cypress board and
batten. A speaker box was added to the balcony, so music could be played
over the fields. The fabric of the windmill eventually became so
deteriorated that the windmill was reconstructed in 1992.

Because the apprentices were moving into the original farm buildings,
new farm buildings were needed. Wright expanded the Midway Barns complex
in the 1930s. These included a cow barn and milk tower, apartments
designed in 1947 to house apprentices and a farm manager, and a
sandstone turret with a spire, used for milk storage, built in 1949. A
machine shed and hog houses were also constructed at Midway. Midway was
used to house farming operations until Wright's death.

In the years after World War II, Wright took great interest in the
farming operations and landscaping. Contour plowing was instituted, and
the gardens were expanded. Fences and old sheds were removed and power
and telephone lines placed underground. Roads were graded and slopes
reshaped. Changes were made to the dam and the stone sections rebuilt.
Stone parapets were added to the bridge. Wright also added carports and
made other changes in parking areas to remove their visual impact from
the living quarters.

In 1955, Wright purchased from his nephew, Tan-y-deri, the house he had
designed in 1907 for his sister and brother-in-law, Jane and Andrew
Porter. By this time, apprentices were living on the upper floor. It
still houses visitors and Fellowship members. Substantial preservation
work was carried out on the house in 2000-2001.

Following Wright's death, Taliesin remained in the ownership of the
Frank Lloyd Wright Foundation and has continued to be used between April
and October by the Taliesin Fellowship and the Frank Lloyd Wright School
of Architecture. (Olgivanna Wright died in 1985.)

In 1988, the state of Wisconsin established a blue-ribbon commission to
determine the best way to protect and preserve Taliesin, in keeping with
the national significance of the property. As a result, Taliesin
Preservation Commission (now Taliesin Preservation, Inc., (TPI)) was
founded in 1990 to preserve, restore, and maintain the Taliesin estate
as an eminent example of the vision of Frank Lloyd Wright. Restoration
has focused on the last decade of Wright's life, as it represented the
culmination of Wright's five-decade architectural evolution at this
property.

The following work has been carried out on the main house complex since
the founding of TPI:

-   Conservation Management Plan completed in 1993 by Taliesin
    Architects.

-   Restoration and repair of Mr. Wright's terrace, completed in 1993.

-   Rehabilitation of hill wing apartments, completed in 1994.

-   Restoration and reconstruction of Mr. Wright's office studio terrace
    and lower court. cantilevered pier and slab, completed in 1995.

-   Restoration of Mrs. Wright's bedroom exterior, completed in 1996.

-   Comprehensive restoration of studio office wing following the damage
    caused by the loss of the tea circle oak in 1998, completed in 2000.

-   A 2005 Save America's Treasures grant funded the following projects
    throughout Taliesin: stabilization of the hillside, installation of
    site drainage, foundation underpinning, major roof repairs, and
    rehabilitation of the entry bridge by the waterfall.

Work on the Hillside Home School since the founding of TPI:

-   Comprehensive restoration and rehabilitation of drafting studio west
    residence wing foundations, structure, roofing, and finishes,
    completed in 1996.

-   Comprehensive reconstruction and repair of entry, bridge roofs, and
    stabilization of gallery roofs, completed in 2002.

-   Phase one and two of Hillside sanitary system installation,
    completed in 2005.

-   Major roof repairs to the dining/kitchen area, assembly, foyer, and
    bridge.

A comprehensive restoration and management plan for the main house is
being prepared by Isthmus Architects of Madison, Wisconsin. A draft will
be issued in the spring of 2007.

[Fallingwater]{.underline}

Fallingwater, among the world's best-known private residences, was
designed in 1935 and built between 1936 and 1939 as a weekend residence
for Pittsburgh department store magnate Edgar J. Kaufmann and his wife
Liliane. Almost seventy years later, the house retains its striking
architectural character and integrity.

Initially the property along Bear Run was leased by Kaufmann's
Department Store and became known as Kaufmann's Summer Club, a retreat
that was used by female employees of the department store. In 1921 the
Kaufmann family built a prefabricated weekend cabin on the property near
Route 381 and overlooking the stream. By 1932, the family had acquired
title to the entire property. The Kaufmanns' son, Edgar, Jr., became an
apprentice at Taliesin in the fall of 1934, and Wright invited the
senior Kaufmanns to visit. By the middle of 1935, Wright was working on
both an office for the senior Kaufmann, to be located in the department
store (now owned by the Victoria and Albert Museum) and a new weekend
retreat for the family at Bear Run. Inspired by the site's dramatic
waterfall, Wright designed a house that cantilevered over the waterfall
itself. The house was built into and up the side of the hill above the
stream, using both reinforced concrete and native stone. The main house
was completed in 1937 and a guesthouse was built further up the slope in
1939. The Kaufmanns used the house regularly until their deaths. Liliane
died in 1952 and Edgar, Sr., in 1955. Edgar Kaufmann, Jr. inherited the
house and used it as a weekend retreat until 1963. He then announced
that he would donate the house to the public under the auspices of the
Western Pennsylvania Conservancy of Pittsburgh. The house and 1,543
acres were presented in a ceremony on October 29, 1963, as "The Kaufmann
Conservation on Bear Run, A Memorial to Edgar J. and Liliane S.
Kaufmann." The Conservancy opened the house for tours in 1964. Edgar,
Jr. continued to visit the house and was instrumental in guiding its
transition to a museum and continued to serve as an advisor to the staff
until his death in 1989.

Regarding physical alterations to the structure, the only major change
to Wright's original plan was the addition in 1946 of a 10 by 10 foot
servants' sitting area behind the kitchen, an addition overseen by Edgar
Kaufmann, Jr. after consulting with Wright. Another change occurred in
1954 after debris from a flood damaged the stairs to the stream. Again,
Edgar, Jr., oversaw the rebuilding of the stairs with the addition of
steel T supports tied into the stream's bedrock to strengthen them.

Deflection of the cantilevers plagued Fallingwater since its
construction and ultimately resulted in significant structural repairs.
Edgar Kaufmann, Sr., had the building measured annually beginning in
1938 because he was concerned over the cracks on the master terrace
parapets and deflections on both the first and second floor cantilevers.
In 1950, the cantilevered guest terrace roof failed and had to be
removed and rebuilt. After the senior Kaufmann's death his son
discontinued monitoring the deflection, confident that the cantilevers
had stabilized. He had faith in Wright's claims that the sagging in the
cantilevers was a result of too much unauthorized structural steel
having been added to the main floor cantilever during construction.
However, in 1994, engineering student John Paul Huguley, using newly
available computer technology, undertook an analysis of the master
terrace cantilever and determined that the cantilevers were overstressed
and probably had been so from the beginning. The New York-based
engineering firm Robert Silman Associates was brought in to undertake
additional studies and to address the structural problems. A public
forum was held to review the recommendations and an international panel
of architects, historians, preservationists and structural engineers
endorsed Silman's recommendations for strengthening the first floor
cantilevers through post-tensioning of the reinforced concrete beams and
strengthening of both the master terrace and Edgar Kaufmann, Sr.'s
terrace by carbon fiber reinforcement. This work was completed in 2002.

[Herbert and Katherine Jacobs House]{.underline}

The Jacobs House, although it suffered from decay and neglected
maintenance before it was acquired by the current owner, has not
experienced permanent significant changes since its construction in
1937.

Herbert and Katherine Jacobs, a newly married couple, moved from
Milwaukee to Madison in 1936 when Herbert accepted a position with the
*Capital Times* newspaper. Harold Westcott, a cousin of Katherine,
suggested they contact Wright about the design of a house for a family
of ordinary means. They had purchased a sixty-foot wide lot in the
Westmoreland subdivision, just west of Madison, and had a budget of
\$5,000. The couple traveled to Taliesin to visit Wright. He accepted
the challenge and its special requirements, delivering first preliminary
and then completed working drawings and specifications by Nov 15^th^.
Their lot was too small for the design, so rather than change the design
they bought two lots across the street that would fit the zoning and
offered better orientation and siting.

Construction began the following spring under the direction of
contractor P. Bert Grove. The work proceeded steadily from constructing
the small basement, digging the septic system, to laying and testing
pipes of the experimental heating system. The concrete floor pad with
its enclosed heating pipes was not completed until August. The brick
walls rose slowly, and the Jacobs moved into the still unfinished house
on November 27, 1937. By the end of the year, the house was largely
finished but still unfurnished. Wright designed shelves and cabinets
while chairs were designed and built by a close relative, subject to
Wright's approval. Katherine designed the dropped ceiling light fixtures
above the dining table. Among further additions proposed by Wright was a
reflective ceiling of pine boards and redwood battens which he designed
for the entire house. Herbert and Katherine Jacobs undertook its
installation themselves. The Jacobs family, with their two children,
lived in the house for five years. In 1942 they moved northwest of
Madison to a 52 acre farm. They commissioned another house from Wright
in 1943. Herbert and Katherine Jacobs later chronicled the family's
experiences in *Building with Frank Lloyd Wright: An Illustrated Memoir*
(San Francisco: Chronicle Books, 1978).

Following the departure of the Jacobses, the house passed through a
series of owners and renters. It has been owned by James Dennis, a now
retired University of Wisconsin faculty member, since 1982. Assisted by
Chicago restoration architect John Eifler, Dennis and his sons have
undertaken extensive restoration and maintenance work during his years
of ownership.

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

Samuel Curtis Johnson came to Racine in 1882 and founded a company to
sell parquet wood floors in 1886. In response to customer requests the
company began to develop floor waxes and other products to treat the
floors that were sold. By the end of World War I, floor care products
had totally replaced wood flooring as the source of company business.
Samuel's grandson, Herbert F. Johnson, Jr., became president of the
company in 1928. In the midst of the Depression, the company developed a
new self-polishing floor wax that was so successful the company needed
to expand. In 1936, a local Racine architect was hired to design a new
company administration building, but Johnson was advised to consult with
Frank Lloyd Wright. Johnson wanted a building that was air conditioned,
artistic, and uplifting and to provide an inspiring working environment.
After several meetings at Taliesin, Johnson gave Wright the commission
for the new administration building. The Taliesin Fellowship began to
prepare working drawings at the end of August 1936.

Wright proposed that the Administration Building be organized around the
great workroom overlooked by a mezzanine balcony and with corporate
offices in third-story penthouses. This interior arrangement recalled
his design for the Larkin Company in Buffalo, New York designed some
thirty years earlier. Wright also proposed an unconventional
construction system that consists of rows of dendriform columns that
support cantilevered floor slabs and skylights. To persuade local
building officials to issue the permit, Wright was required to erect
test columns and demonstrate that they could carry at least five times
(60 tons) the required floor load. The permit was granted in 1937, and
the building opened over three days, April 22-24, 1939. *Life Magazine*
compared it to the New York World's Fair, which opened at the same time:
"Future historians may well decide that a truer glimpse of the shape of
things to come was given last week by a single structure, built strictly
for business---the Administration Building of S. C. Johnson & Son, Inc.,
Racine, Wisconsin."

As the company continued to prosper, Johnson decided another building
was needed to house the research facilities of the company. Wright was
given the commission to design the Research Tower in 1944, but
construction was delayed due to World War II and did not begin until
1947. Like the Administration Building, the Research Rower incorporates
an unusual structural system. Each of the 14 floors is cantilevered out
from a central core, and the walls are wrapped in bands of red brick
alternating with glass tubing. The completed tower was dedicated on
November 17, 1950.

Since the completion of the Research Tower, some changes have been made
to the building. In 1957, the ground-floor wings of the carport were
converted to laboratory space. In 1961, a two-story addition was built
over the east wing of the tower carport. The design was done by Taliesin
Associated Architects, Wright's successor firm, and was based on plans
Wright had suggested in the early 1950s.

Shortly after installation, the skylight tubes of Pyrex glass began to
leak badly. The skylight system was replaced with Plexiglass that
retained the profile and appearance of the tubes and sloped glass hoods
(unseen from the inside) were added above. The Pyrex tubing in many
other locations has been maintained and is still intact.

The company continued to expand in the 1960s. Because of the constraints
of its urban site it decided to erect a new campus west of Racine.
However, the Administration Building has remained the company's
international corporate headquarters.

In 1977, the company purchased a nearby hospital building and converted
it to a new research facility. An underground tunnel connects the
facility to the original complex. This move was necessitated by changing
technology and stricter fire codes as the tower only has one staircase
for egress from the building. As a result, the upper floors of the tower
have stood vacant for many years, although the lower floors are still
used as corporate offices. Nonetheless, the company continues to
maintain the outer envelope of the tower to a high standard.

Heating, air conditioning and other systems in the Administration
Building and Research Tower are in the process of being upgraded for
greater energy efficiency. New air handling equipment has been added to
the roof and is largely concealed behind parapets. Some of the radiant
heating pipes are now used for wiring and cabling. Some of the office
spaces have been modified and the floor of the great workroom has been
carpeted. The theater space on the mezzanine balcony has been converted
to a conference room.

[Taliesin West]{.underline}

The building of Taliesin West was a complementary enterprise to the
building of Taliesin that occupied the last 20 years of Frank Lloyd
Wright's life. In the structures of Taliesin West, built under his
direct supervision, he tried out construction techniques and design
concepts and experimented with new materials, specific to the desert
context that he later used in buildings for clients.

Wright had first encountered the Arizona desert in the 1920s, when he
was consulted on the design for the Arizona Biltmore Hotel in Phoenix
and was given the commission (never executed) for the Chandler resort
(San Marcos-in-the-Desert). After recovering from a serious bout of
pneumonia in 1936, Wright was advised that he should spend winters away
from the cold, damp climate of Wisconsin.

During the winter of 1937-1938, the Taliesin Fellowship established a
camp on land the Wrights had purchased in the desert, several miles from
what has become the booming city of Scottsdale. The following year,
Wright and the apprentices began to construct more permanent structures.
They built wood forms and placed local rock along with rough concrete to
form the desert masonry walls. Laminated wood beams were erected from
the walls to form frames for canvas roofs. This work occurred between
1938 and 1942. A lawn was planted, a pool installed, and boulders with
native petroglyphs were moved to strategic locations.

After World War II work was carried out to give the property a more
permanent character and additional buildings were constructed. A new
cinema was completed in 1951; the original cinema became a library,
apprentice lounge, and conference room. The Sun Cottage, the original
site of the Wright family quarters, was rebuilt in 1946-47 as a
residence. When power transmission lines were installed down the slope
from the property, Wright reoriented the view from the original living
room and expanded it into what is now called the garden room. To house
an expanded program of music, dance, and drama, the Pavilion was built
between 1955 and 1957. Translucent, glass fiber roofs replaced the
original fabric roofs.

When Wright died in 1959, he left a conceptual master plan for Taliesin
West. Ongoing work was carried out under the direction of Olgivanna
Lloyd Wright, including infrastructure improvements to make the complex
usable year round. The apprentice lounge near the shop area was
completed in 1979 and the archives' building was begun in 1985 shortly
before Mrs. Wright's death.

Wright had conceived Taliesin West as a bold new architectural concept
for desert living. Taliesin West remains a testament to Wright as his
main design laboratory. Here he tried new forms, tested materials and
concepts, and refined his ideas about training future architects.

Taliesin West now houses the offices of the Frank Lloyd Wright
Foundation, the owner of the property; the Frank Lloyd Wright Archives,
the Taliesin Fellowship; the resident staff and apprentices who live and
work at Taliesin and Taliesin West; and the Frank Lloyd Wright School of
Architecture, the education program for the Taliesin apprentices.

[The Price Tower]{.underline}

The Price Tower, Frank Lloyd Wright's only freestanding skyscraper, has
not experienced significant changes since it was completed in 1956.
Commissioned by Harold C. Price, Sr., it served as the corporate
headquarters for an oil pipeline and chemical coatings company while
offering leased spaces for smaller firms and luxury apartments for
individuals or small families.

Harold Price commissioned Wright in 1952 following a visit to Taliesin
and construction began on November 10, 1953. The history of the
commission was chronicled in Wright's *The Story of the Tower: The Tree
That Escaped the Crowded Forest*, published the year of the tower's
opening. The book is richly illustrated by photographs taken by Joe
Price, the client's younger son. The building was dedicated during a
public celebration and open house during the second weekend of February
1956 and over 12,500 of Bartlesville's nearly 19,000 citizens visited
the tower. Wright attended the dedication and boldly proclaimed: "This
is an assertion of the American sense of itself. This upraised hand on
the prairie is a symbol of American independence. Now the skyscraper
comes into its own on the rolling plains of Oklahoma."

Though it was designed with rentable offices and apartments, Price Tower
was most successful as a commercial leasing venture. Two of the longest
standing tenants were the Public Services of Oklahoma, which rented the
two-story wing for nearly twenty years, and architect Bruce Goff who not
only rented office space on the 10^th^ floor, but also occupied a duplex
apartment on the ninth and 10^th^ floors. Largely due to their high
rent, most of the apartments remained vacant and were slowly converted
into additional office space for the Price Company and various other
commercial tenants.

The Price Company sold the building to the Phillips Petroleum Company in
1981 when it relocated its offices to Dallas, Texas. Phillips Petroleum
retained ownership, but never fully occupied the tower. After am 18
month renovation of the building's exterior and interior, ownership of
the Price Tower was transferred to the Price Tower Arts Center, a local
art museum located within the two-story wing. In 2002, architect Wendy
Evans Joseph was commissioned by Price Tower Arts Center to renovate 18
offices and three apartments into a high-design hotel, the Inn at Price
Tower, and its restaurant, Copper, which opened in 2003. Renovations
made by her firm were overseen by Ambler Architects, Bartlesville, and
entailed no permanent alterations to Wright's original structure.

[Solomon R. Guggenheim Museum]{.underline}

While the Guggenheim has undergone some modifications to further its
program, it nonetheless remains an internationally recognized icon of
modern architecture that follows Wright's design as it was completed in
1959.

Solomon R. Guggenheim was a member of a Swiss émigré family that
achieved great wealth through mining interests. He married Irene
Rothschild, and the two became art patrons and collectors. After meeting
an encouraging Hilla Rebay, a young German painter who had come to New
York, they began to collect modern "non-objective" art with Rebay's
advice. As the Guggenheims' collection grew, Rebay encouraged them to
think of building a permanent building to house it. In 1937 Guggenheim
established the Solomon R. Guggenheim Foundation for the "promotion and
encouragement of art and education in art and the enlightenment of the
public." Rebay began the search for an appropriate architect to design
the new Museum of Non-Objective Painting. Inspired by his theoretical
writings and concepts of organic architecture, Rebay chose Frank Lloyd
Wright in 1943. He began working on a ziggurat-like design that was
finally made public in 1945. Guggenheim purchased a lot at 5^th^ Avenue
and 89^th^ Street in 1944, but once World War II ended, high costs led
Guggenheim to postpone construction. Another lot was purchased in 1948,
enabling Wright to design a building with a larger footprint. Solomon
Guggenheim died in 1949, to be succeeded by his nephew Harry.

Harry Guggenheim vowed to proceed with the construction of the proposed
new museum, which was to be named the Solomon R. Guggenheim Museum in
his uncle's memory. Wright continued to modify the design to create
forms of interpenetrating geometric shapes. Construction plans were
presented to the New York Buildings Department in 1952. After a
protracted period of back and forth revisions, a building permit was
finally issued in 1956.

It was then necessary to find a builder who could handle the project. At
the recommendation of Edgar Tafel, a former Taliesin fellow, George N.
Cohen was given the job. Ultimately Cohen's work was so successful that
Cohen's name was added to the building next to Wright's. Construction
began in October 1956. The opening was held in October 1959, several
months after Wright's death. During the entire construction period, the
museum had gained major attention from the press and public. During the
first nine months, 750,000 people visited the museum.

The museum has undergone a number of changes to accommodate the
expanding collection and programs. The Thannhauser Gallery was created
in the second story monitor space and opened in 1965. A four story annex
was added at the northeast corner of the lot on East 89th Street between
1966 and 1968. The design and placement were based on original
unexecuted Wright plans. When the museum proposed to rebuild and enlarge
the annex in the 1980s, the idea was much more controversial. Eventually
a 10 story building, designed by Gwathmey Siegel and Associates, set on
the same footprint as the original, was approved. The work began in 1988
and was completed in 1992. At the same time, extensive restoration work
was completed on the interior, including the refurbishing of the
original skylights over the dome and repainting the gallery walls in the
ivory color that Wright wanted. The theater space was restored in 1996
and the equipment upgraded. More space was added below ground, under the
surrounding sidewalks, to accommodate educational programs. This work is
largely concealed from street level.

Beginning in 2005, the museum began the restoration of the building's
exterior in an effort to understand what has caused surface cracks
almost since the building opened. The exterior concrete of the curved
walls made of shotcrete (a sprayed concrete) was originally finished
with a buff-colored vinyl plastic coating. Twelve layers of paint have
been removed from the exterior concrete and monitors have been installed
all around the building to measure subtle movements.

The ongoing restoration work is being carried out under the direction of
Wank Adams Slavin Associates (WASA), preservation architects, and Robert
Silman Associates, structural engineer. All work is being carried out
with approved permits from the New York City Landmarks Preservation
Commission and according to the *Secretary of the Interior's Standards
for the Treatment of Historic Properties*.

[Marin County Civic Center]{.underline}

The Civic Center was designed by Frank Lloyd Wright in 1957-1958 and
built in two stages: the Administration Building in 1960-1962, and the
Hall of Justice in 1966-1969. The Civic Center has not experienced
significant changes since completion.

Marin County, located north of San Francisco on a peninsula and linked
to the city by the Golden Gate Bridge, began to grow dramatically in the
years after World War II. The county population increased from 41,648 in
1930 to 85,619 in 1950 and increased the demand for county services,
which were spread among thirteen buildings.

In 1952, the Marin County Planning Commission sponsored a study on the
county's space needs. The following year, the Board of Supervisors
recommended the construction of a government center to consolidate the
county offices in one location and appointed a site selection committee
for a new building and county fairgrounds. After three years, the 140
acre Scettrini family ranch was purchased, and a civic center committee
was appointed to select an architect. Twenty six architects were
interviewed, but Vera Schultz, one of the County Commissioners, and Mary
Summers, the Planning Director, wanted Frank Lloyd Wright, to produce a
building that reflected the character of Marin County. Aaron Green was
approached about Wright's potential interest. Green arranged for four of
the County Commissioners and the civic center committee to meet Wright
when he came to Berkeley to deliver the Bernard Maybeck Lectures on
April 26, 1957. On July 26, the Board of Supervisors voted to offer the
commission to Wright.

Wright came to San Rafael to accept the commission and spoke to more
than 500 people at San Rafael High School on July 29, stating: "We will
never have a culture of our own until we have an architecture of our
own. An architecture of our own does not mean something that we have
knowledge concerning. We will have it only when we know what constitutes
a good building and when we know that a good building is not one that
hurts the landscape, but is one that makes the landscape more beautiful
than it was before the building was built. In Marin County you have one
of the most beautiful landscapes I have seen, and I am proud to make the
buildings of the county characteristic of the beauty of the county." The
contract was signed the same day.

Wright presented his preliminary plans to the Board of Supervisors on
March 25, 1958, then the next day spoke to the public at San Rafael High
School with over 700 people in attendance. He expounded on the drawings:
"The scheme provides a complete synthesis of ground and building, which
is what organic architecture ought to be. . . The overall result will be
a cornerstone in the culture of the nation, and all the structures will
melt into the sunburnt hills. . . Instead of slicing the hills away with
bulldozers, the buildings will bridge the knolls with graceful arches."
The Board of Supervisors voted to accept Wright's plans on April 28,
1958. Work began on the construction drawings at Taliesin West under
Wright's supervision, while Aaron Green acted as a liaison with the
county and the local technical consultants.

The post office site was leased to the Federal government in March 1959,
at which time Wright was given the commission to design the building.

Frank Lloyd Wright died on April 9, 1959. A week later the board voted
to continue the contract for the construction of the first phase of the
Civic Center, the Administration Building, with the Frank Lloyd Wright
Foundation and Aaron Green as associated architect. The blueprints were
approved in November and the construction contract awarded in December.
Groundbreaking took place on February 15, 1960.

After the county board election in June 1960, dissident board members
gained the upper hand. On January 10, 1961, the board voted to stop work
on the building. After a public relations campaign and an extra-legal
election with ballots published in the *Marin Independent Journal*,
public support for the building proved to be overwhelming. Work resumed,
and the Administration Building was dedicated on October 13, 1962.

In 1963, the Board of Supervisors authorized the construction of the
second phase of the plan, the Hall of Justice. Final plans which had
been drawn by the Frank Lloyd Wright Foundation/Taliesin Associated
Architects were accepted in 1965. The cornerstone was laid on May 25,
1966, with Governor Edmund D. Brown and Olgivanna Lloyd Wright in
attendance. The Hall of Justice was completed in December 1969.

During the next 25 years, the Board of Supervisors authorized the
construction of additional county buildings on the larger site. While
two were designed by Taliesin Associated Architects, neither followed
Wright's original master plan. More controversial was the construction
of a new county jail, as jail space in the Hall of Justice became
overcrowded. After six years of discussion, it was decided to construct
the new jail in the side of the hill at the north end of the Hall of
Justice, following Aaron Green's recommendation. The new jail was built
between 1992 and 1994. The old jail cells in the Hall of Justice were
finally vacated in 2005-2006, and the space is being converted to office
use.

More recent work on the Civic Center includes the restoration of the
tower in 2003 and the seismic retrofitting of the building in 2003-2005,
although the building successfully survived the October 1989 earthquake
of 7.1 magnitude without damage.

**2.c. Boundary Selection**

**Propose a boundary for the property and explain why you chose it.**

[Unity Temple]{.underline}

The boundary conforms to the legal property description as recorded in
Cook County, Illinois: Lot 3 in Scoville's Subdivision of Lot 17 in
Kettlestrings' Subdivision of lands in the southeast corner of the
Northwest quarter of Section 7, Township 39N, Range 13E, of the third
principal meridian of Cook County. It is the same boundary that is
associated with the National Historic Landmark designation.

[Frederick C. Robie House]{.underline}

The boundary conforms to the legal property description as recorded in
Cook County, Illinois: Lot 16 and the south 10 feet of lot 17, Block 71
of Gray and Gaylord's subdivision of Block 71 and west half of block 62
of Hopkin's Addition of Hyde Park. It is the same boundary that is
associated with the National Historic Landmark designation.

[Hollyhock House]{.underline}

Hollyhock House is situated in the northwest quadrant of the superblock
bounded by Hollywood Boulevard on the north, Vermont Avenue on the east,
Sunset Boulevard on the south, and Edgemont Street on the west. It is
the same boundary that is associated with the National Historic Landmark
designation.

[Alice Millard House]{.underline}

The proposed boundary is that legally associated with the property in
the Prospect Park tract of Pasadena, California. It consists of the lot
(lot 10) originally purchased by Millard in 1923, as well as additional
lots to the east (lot 10A) and north (lot 11) which are undeveloped.

[Taliesin]{.underline}

The boundary selected correlates with the boundary associated with the
National Historic Landmark designation.

[Fallingwater]{.underline}

The boundary is that legally associated with the site. It consists of a
portion of the property donated to the Western Pennsylvania Conservancy
by Edgar J. Kaufmann, Jr., and it coincides with the National Historic
Landmark boundary.

[Herbert and Katherine Jacobs House]{.underline}

The boundary conforms to the legal property description as recorded in
Dane County: Westmoreland Subdivision, Block 3, Lots 7 and 8. The
proposed boundary is the historic boundary of the property and is the
same as the National Historic Landmark designated boundary.

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

The boundary encompasses the historic S. C. Johnson & Son, Inc.
Administration Building and Research Tower and coincides with the
National Historic Landmark boundary.

[Taliesin West]{.underline}

The boundary encompasses the property that is owned by the Frank Lloyd
Wright Foundation and is largely contiguous with the National Historic
Landmark boundary.

[The Price Tower]{.underline}

The boundary encompasses lots 4 and 5 of city block 47 (Bartlesville,
Oklahoma). The boundary coincides with the National Historic Landmark
boundary.

[Solomon R. Guggenheim Museum]{.underline}

The boundary encompasses Borough of Manhattan Tax Map Block 1500, Lot 1.
The museum extends one block along 5th Avenue, between 88^th^ and 89^th^
Streets.

[Marin County Civic Center]{.underline}

The boundary is the same boundary that is associated with the National
Historic Landmark designation.

**Are all the elements and features that are related to the site's
significance included inside the proposed boundaries?**

[Unity Temple]{.underline}

Yes. The proposed boundaries encompass the building and the associated
landscaping.

[Frederick C. Robie House]{.underline}

Yes. The proposed boundaries encompass the building and the associated
landscaping.

[Hollyhock House]{.underline}

Yes. The proposed boundaries are drawn to the full extent of the acreage
stipulated by Aline Barnsdall's original gift in 1927 to the City of Los
Angeles and incorporate the buildings and associated landscape features
designed by Frank Lloyd Wright.

[Alice Millard House]{.underline}

Yes. All of the elements and features related to the site's significance
are included within the proposed boundaries. The boundaries coincide
with the original boundaries for the site.

[Taliesin]{.underline}

Yes. The proposed boundaries incorporate the major buildings designed by
Frank Lloyd Wright and the associated landscape features and setting.

[Fallingwater]{.underline}

Yes. The proposed boundaries include more buildings than the main house,
but as per the trust agreement, they are well removed from the house and
not visible from the house.

[Herbert and Katherine Jacobs House]{.underline}

Yes. All of the elements and features related to the site's significance
are included within the proposed boundaries. The boundaries coincide
with the original boundaries for the site.

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

Yes. Other buildings that are part of the company complex are located
outside of the proposed boundaries.

[Taliesin West]{.underline}

Yes. All of the proposed elements and features are included inside the
proposed boundaries.

[The Price Tower]{.underline}

Yes. Price Tower and its two-story base are within the proposed
boundaries.

[Solomon R. Guggenheim Museum]{.underline}

Yes;. The proposed boundaries are the original property boundaries.

[Marin County Civic Center]{.underline}

Yes. The boundaries encompass the internationally significant buildings,
the lagoon, and the associated landscaping. These boundaries were chosen
because it represents the construction site for the Civic Center during
the period between 1956 and 1970.

**Are there any enclaves or inholdings within the property and, if so,
do they contain uses or potential uses contrary to the conservation or
preservation of the site as a whole?**

[Unity Temple]{.underline}

No.

[Frederick C. Robie House]{.underline}

No.

[Hollyhock House]{.underline}

No.

[Alice Millard House]{.underline}

No.

[Taliesin]{.underline}

No.

[Fallingwater]{.underline}

No.

[Herbert and Katherine Jacobs House]{.underline}

No.

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

No.

[Taliesin West]{.underline}

No.

[The Price Tower]{.underline}

No.

[Solomon R. Guggenheim Museum]{.underline}

No.

[Marin County Civic Center]{.underline}

No.

**3. JUSTIFICATION FOR INSCRIPTION IN THE WORLD HERITAGE LIST**

**3.a. Criteria under which inscription is proposed**

From the World Heritage criteria listed below, identify each criterion
that you believe applies to your property and briefly state why you
believe each criterion you have selected is applicable.

**Criterion i: Represents a masterpiece of human creative genius**

The work of Frank Lloyd Wright represents an outstanding creative
contribution not only to the world of twentieth-century architecture but
to the history of architecture as a whole. Each of the properties
proposed for nomination represents his genius in the creation of an
architecture of dynamic interior space designed around the physical,
emotional, and psychological needs of the individual and with the goal
of integrating the building with nature and its setting. Each also
represents a reconceptualization of programmatic requirements in modern
terms and a unique expression of the relationship between form and
function. Each example is given a powerful symbolic form directly
expressive of the institution it houses: be it the family, the
workplace, the place of worship or of cultural or civic activity.

Wright was also masterful in his technological innovations, particularly
in the use of concrete, whether it formed the enclosing wall planes of
Unity Temple, was daringly cantilevered in Fallingwater, the Price
Tower, or the Guggenheim Museum, or supported heavy loads in
unprecedented forms as at the S. C. Johnson & Son, Inc. Administration
Building. The use of the cantilever to create dramatic spatial effects
was unprecedented, resulting in the dramatic imagery of the Robie House,
Fallingwater, the Guggenheim Museum, and the Marin County Civic Center.
His experiments with materials of the site and the seamless flow between
exterior and interior found expression in Hollyhock House, Taliesin, and
Taliesin West, as well as Fallingwater and the more modest Usonian house
for Herbert and Katherine Jacobs. All these technological and material
innovations, however, were never important in and of themselves. They
were always deployed in order to create environments in which the
human---individually and in community---could experience the fullest
that life has to offer.

The properties proposed have been acclaimed as masterworks by
architects, scholars, and critics virtually from the time of
construction. These experts have praised the formal brilliance of the
designs, the innovative building techniques, the sensitive use of
materials, the intimate relationship between buildings and nature, and
the profound expression of institutional and cultural meanings.

**Criterion ii: Exhibit an important interchange of human values, over a
span of time or within a cultural area of the world, on developments in
architecture or technology, monumental arts, town planning or landscape
design.**

The work of Frank Lloyd Wright has made outstanding contributions to the
development of modern architecture through his treatment of space, his
development of an abstract geometry of form, and his expression of the
ideals of an organic architecture. Wright's work became widely known
through publications and exhibitions, influenced several generations of
architects in the United States, Europe, and Asia, and still exerts its
fascination because of his masterful integration of form, materials, and
setting. Of the properties proposed for this serial nomination, Robie
House and Unity Temple are widely cited as his two most influential
early works. The Hollyhock House, Taliesin and Taliesin West are
particularly noted for their spatial qualities and their approaches to
exterior and interior space. The Jacobs House, which was the first
Usonian house, articulated a new way of living for middle-class families
that was widely adopted. The S. C. Johnson & Son Administration Building
and Research Tower and the Price Tower presented new concepts for the
workplace and the skyscraper. Fallingwater and the Guggenheim Museum
continue to capture the imagination because of their daring forms,
construction, and settings. The Marin County Civic Center represented a
new approach to the design of a multi-purpose government building that
fit function into setting and accommodated the automobile and the
highway.

**3.b. Proposed statement of outstanding universal value**

Frank Lloyd Wright (1867-1959) is arguably the most celebrated American
architect and undoubtedly one of the most widely recognized architects
in the world. The buildings presented in this nomination are
architectural masterpieces and illustrate the evolution of "organic
architecture," the key architectural concept of Frank Lloyd Wright's
work. Throughout his career Wright expressed this concept in the way he
integrated buildings with nature and melded form with space to create
spatial drama. Inspired by nature and technology, he used the materials
and structure of buildings, often in new and innovative ways; their
settings; and all aspects of design to reinforce this concept. In date
the buildings proposed span almost sixty years, ranging from Unity
Temple (designed 1905, completed 1908) to the Marin County Civic Center
(designed 1957-58, completed 1969 posthumously). Much published and
visited, these buildings have been widely praised by architects and
scholars internationally and have influenced architects globally in
their use of materials and spatial expressions.

The selected buildings represent his creation of new forms to fit modern
functions, his innovations and experiments with building materials, and
his continuing quest to integrate his buildings into nature and the
landscape. Further enhancing Wright's articulation of organic
architecture is the experience of moving through space. In many of these
properties, exterior and interior seamlessly flow together to provide a
dramatic sense of spatial continuity that has come to be seen as
quintessentially modern in its qualities of openness and freedom.

**3.c. Comparison of proposed property to similar or related properties
(including state of preservation of similar properties)**

The literature dealing with the life, career, and works of Frank Lloyd
Wright is vast. Not only has much been written about Wright, but he was
also a prolific writer and lecturer. Although much of the literature
looks at Wright in an American context, his work was considered by many
Europeans from the 1910s on as critical to the development of modern
architecture internationally.

The first phase of Wright's career is associated with the Prairie
School, so called because the horizontal lines of the buildings evoked
the flat prairie landscape. A group of friends and colleagues in the
Midwest used similar forms in their architectural work, but Wright was
the most innovative in his use of materials, the articulation of form
and plan, and the creation of what he called organic architecture.
Wright first became known to his European contemporaries through the
visits and writings of C. R. Ashbee, the British architect who was an
exponent of the Arts and Crafts movement. Wright went to Berlin in 1909
to supervise the publication of the Wasmuth portfolio (*Ausgeführte
Bauten und Entwürfe von Frank Lloyd Wright*)*,* a sumptuous collection
of 100 lithographically reproduced drawings, and a related book of plans
and photographs of buildings (*Frank Lloyd Wright: Ausgeführte Bauten*).
Both the Robie House and Unity Temple were prominently featured in the
German publications. The importance of these books for younger European
architects was attested to by the German architect Ludwig Mies van der
Rohe, who later recalled that "the encounter \[with Wright's work\] was
destined to prove of great significance to the development of
architecture in Europe. The work of this great master revealed an
architectural world of unexpected force and clarity of language. Here
finally was a master-builder drawing upon the veritable fountainhead of
architecture, who with true originality lifted his architectural
creations into the light. Here again, at last, genuine organic
architecture flowered." "The dynamic impulse emanating from his work,"
he concluded, "invigorated a whole generation" ("1940: Frank Lloyd
Wright," in *The Show to End All Shows: Frank Lloyd Wright and the
Museum of Modern Art, 1940*, ed. Peter Reed and William Kaizen \[New
York, 2004\], 169).

Following a trip to the United States in 1911 where he visited Wright's
buildings, the leading Dutch architect H. P. Berlage lectured and wrote
passionately about works such as Unity Temple, praising its "great
originality" and stating that the American architect's work had "no
equal in Europe" ("The New American Architecture," 1912; in Don Gifford,
ed., *The Literature of Architecture: The Evolution of Architectural
Theory and Practice in Nineteenth-Century America \[New York, 1966\],
614-15)*. Berlage's praise of Wright influenced a wide range of younger
Dutch architects including Robert van't Hoff, Jan Wils, J.J.P. Oud, and
H. Th. Wijdeveld. The publication of Wright's work in the Dutch journal
*Wendingen* in 1925 furthered the interest in Wright's work throughout
Europe and introduced some of his more recent designs, including most
notably Taliesin and the Hollyhock House. This publication was almost
immediately supplemented by Heinrich de Fries's *Frank Lloyd Wright: Aus
dem Lebenswerk eines Architekten* (1926), which included the
concrete-block Millard House that the historian and critic Henry-Russell
Hitchcock was soon to compare with Le Corbusier's early Citrohan House
project.

With the arrival of the Great Depression at the end of 1929, Wright
found himself with very few commissions, so he embarked on a campaign to
publicize his work and his ideas. A traveling exhibition of his work
that first opened at Princeton University in 1930, subsequently moved on
to New York and Chicago as well as several cities in the United States
before being seen in Europe, in Amsterdam, Berlin, Stuttgart, Antwerp,
and Brussels. For the exhibition, Wright redrew such icons of the
Prairie School as the Robie House and Unity Temple in a bold streamlined
style that emphasized their modernism. In 1932, his works were given
pride of place, alongside that of the younger Mies van der Rohe, J.J.P.
Oud, Le Corbusier, and Walter Gropius in the famous Museum of Modern Art
show "Modern Architecture: International Exhibition," organized by
architect Philip Johnson and Henry-Russell Hitchcock. Intended to
document the evolution of modern architecture since 1922, the show
featured Wright's work both as an originary source as well as a
continuing element of that evolution.

In the same year as the International Style show, Wright established the
Taliesin Fellowship, an architectural school and studio housed at
Taliesin that would attract students from around the world during the
remaining 27 years of the architect's life. Taliesin, and later Taliesin
West, also became an important site for visits from contemporary
architects, critics, historians, as well as clients, who thereby
experienced this most personally conceived work firsthand. Sigfried
Giedion, the renowned Swiss historian and critic, made the pilgrimage in
1939 during the time he was delivering the Norton Lectures at Harvard
University. Published two years later, Giedion's seminal book *Space,
Time and Architecture: The Growth of a New Tradition* described Taliesin
as the culmination of Wright's "organic perception of the world" and
Wright himself as "without doubt the most farsighted" architect of his
generation, "a genius of inexplicably rich and continuing vitality."
With the apprentices of the Taliesin Fellowship, Wright constructed a
model of Broadacre City that illustrated his ideas for a new type of
urbanism, conceived in terms of the automobile and contemporary means of
electronic communication and at the scale of the nation as a whole. The
exhibition of the model of Broadacre City at New York's Rockefeller
Center in 1935 followed by the completion of Fallingwater and its
one-building exhibition at the Museum of Modern Art in 1938 solidified
Wright's renewed position at the forefront of modern architecture.
*Architectural Forum* devoted its entire January 1938 issue to his work,
focusing on Taliesin, Fallingwater, the Johnson Wax Administration
Building, and the Jacobs House, the first Usonian house. Two years
later, in 1940-41, the Museum of Modern Art gave a major retrospective
to Wright covering his entire career. It included nine of the properties
that are part of this serial nomination. The year after the exhibition
closed Henry-Russell Hitchcock published his seminal monograph, *In the
Nature of Materials: The Buildings of Frank Lloyd Wright, 1887-1941*
(New York, 1942), the most comprehensive study and critical assessment
of Wright's work up until that time.

Noted European modernists, including Walter Gropius, Mies van der Rohe,
Marcel Breuer, and Erich Mendelsohn, began to practice in the United
States in the late 1930s and early 1940s. A number of them corresponded
and visited with Wright. In tribute to Wright (written in 1940 on the
occasion of the MoMA exhibition) Mies van der Rohe acknowledged that the
influence of Wright on himself and his contemporaries extended beyond
the early work and right up to the present. "After this first encounter"
in 1910, he said, "we followed the development of this rare man with
eager hearts. We watched with astonishment the exuberant unfolding of
the gifts of one who had been endowed by nature with the most splendid
talents. In his undiminishing power he resembles a giant tree in a wide
landscape, which, year after year, ever attains a more noble crown."
Hitchcock published a study of "Wright's Influence Abroad" in the
journal *Parnassus* in 1940 and architectural historian Vincent Scully
published a more detailed analysis of the influence of Wright's work on
Mies van der Rohe and others in his book *Frank Lloyd Wright* (New York,
1960).

The last decade of Wright's life continued to bring him international
fame and recognition, as well as international commissions. He had
already received numerous honorary awards and citations including the
Gold Medal of the Royal Institute of British Architects (1941) and the
Gold Medal of the American Institute of Architects (1949). "Frank Lloyd
Wright: 60 Years of Living Architecture," organized by Oskar Stonorov,
the émigré German architect and former partner of Louis Kahn, traveled
nationally and internationally to widespread acclaim between 1951 and
1954. It was shown in 1953 on the site of the Guggenheim Museum along
5^th^ Avenue, generating increased publicity for the proposed new museum
and its unprecedented design.

Wright's residential designs, based on the Usonian prototype of the
Jacobs House, were featured widely in popular shelter magazines such as
*House Beautiful*, leading to an enormous number of commissions
throughout the United States that helped to establish modernism's place
in the field of contemporary domestic design. The commissions for the
Price Tower and the Marin County Civic Center were due in part to the
increasing publicity surrounding his work. With the Price Tower (1956),
Wright was finally able to realize his St. Marks-in-the-Bouwerie
skyscraper design, although he had used some of the structural
methods---a vertical concrete core with cantilevered floors---in the S.
C. Johnson & Son Research Tower (1944).

In 1960, the year after Wright's death, architectural critic Peter Blake
published *The Master Builders* (New York: Knopf) that extolled Wright
along with Mies van der Rohe and Le Corbusier. A major symposium held in
1961 at Columbia University was published in 1963 under the title of
*Four Great Makers of Modern Architecture* (New York: Columbia
University Press) that added Walter Gropius to the Wright-Mies-Le
Corbusier trio of modern "form-givers." Scully's' *Frank Lloyd Wright*
not only looked at Wright's influence on Mies and the de Stijl movement
in the Netherlands, but also explored Wright's relationship to the
International Style in Fallingwater. Scully saw the suburban Usonian
houses, such as the Jacobs House, as Wright's answer to Le Corbusier's
urban Citrohan house. He also explored the deep and meaningful
resonances between Wright's Guggenheim Museum, Taliesin West, and the
Johnson Wax headquarters and ancient Mediterranean and Amerindian
architectures.

The opening of the Frank Lloyd Wright Archives at Taliesin West in the
1980s helped to generate a burst of Frank Lloyd Wright scholarship as
material was catalogued, published, and otherwise made available. Of
particular interest are the works of architectural historians Anthony
Alofsin, Neil Levine, and David DeLong, all who have dealt with Wright
in contexts beyond the boundaries of the United States.

Alofsin had begun this examination in *Frank Lloyd Wright: The Lost
Years, 1910-1922: A Study of Influence* (University of Chicago Press,
1993). He was also the editor of a collection of essays, *Frank Lloyd
Wright: Europe and Beyond*, that was an outgrowth of a Museum of Modern
Art symposium, held in conjunction with a major exhibition of Frank
Lloyd Wright's work in 1994. The essays look at Wright's influences on
and relationships to architecture in Japan, Holland, Italy, Russia,
France, Great Britain, South America, Mexico, and Iraq. Many also
explore the tension between Wright and Le Corbusier and the acceptance
or rejection of the works of the two architects in these countries.

As Neil Levine explains in the introduction to *The Architecture of
Frank Lloyd Wright* (Princeton University Press, 1996), he had intended
to write a short book dealing with Wright's late architecture, modeled
after Scully's 1960 book. Instead, he produced what he called the first
one-volume *oeuvre complete* since Hitchcock's 1942 book. While covering
the full extent of Wright's career, Levine puts the work into a larger
contextual discussion. He concludes with a chapter discussing Wright's
influence on modern architecture after 1945 among American and European
architects, including Carlo Scarpa, Paul Rudolph, Philip Johnson, James
Stirling, and Louis Kahn.

David DeLong edited a collection of essays titled Frank Lloyd Wright and
the "Living City" (Milan: Skira, 1998), published in conjunction with an
exhibition of the same name, held at the Vitra Design Museum at Weil am
Rhein, Germany, that subsequently traveled elsewhere in Europe. DeLong's
introductory essay lays the groundwork for Wright and international
influences. Of particular interest are Jean-Louis Cohen's article,
"Wright's Ideas of Twentieth-Century Urbanism and Their European
Echoes," and David A. Hanks's article, "The Decorative Designs of Frank
Lloyd Wright and His European Contemporaries."

**3.d. Integrity and/or Authenticity**

**Cultural property**

**[Authenticity]{.underline}: Does the property retain its original
design, materials, workmanship and setting?**

[Unity Temple]{.underline}

Unity Temple retains authenticity through its original design,
materials, workmanship, and setting. The building has remained in its
original use by its original client (the church), which has aided in the
preservation of its historic character.

[Frederick C. Robie House]{.underline}

Robie House retains its original design, materials, workmanship, and
immediate setting. Even though the building fabric deteriorated due to
neglected or inappropriate maintenance, the ongoing restoration work is
addressing these problems.

[Hollyhock House]{.underline}

The feeling still conveyed by Hollyhock House is that of an idyllic
oasis. The illusion of a secluded sanctuary created by Wright still
pervades the atmosphere and the setting, including the western viewshed,
which is still intact. Hollyhock House retains its original design,
materials, workmanship, and enough of its immediate setting to have
authenticity. The curvilinear service road and some of the trees and
other plantings are part of the original Wright design. These features
contribute to a setting that retains its historic context.

[Alice Millard House]{.underline}

The Millard House retains its original design, materials, workmanship,
and setting. Recent restoration work has preserved the design,
materials, and workmanship. The ravine setting has been preserved and
the water features in the landscape have been restored.

[Taliesin]{.underline}

Taliesin retains its original design, materials, workmanship, and
setting. However, these qualities reflect a continuum of changes that
express Wright's experiments in design and construction through his long
career.

[Fallingwater]{.underline}

Fallingwater retains its historic design, materials, workmanship and
setting, giving the property exceptional authenticity. Modern materials
have been introduced only to structurally stabilize or protect the
buildings from further deflections and do not affect the design,
concept, or form of the architecture. Past repairs that have been deemed
inappropriate have been reversed.

[Herbert and Katherine Jacobs House]{.underline}

The Jacobs House retains its original design, materials, workmanship,
and setting, as the surrounding neighborhood has evolved with more
conventional suburban houses. Even though certain aspects of the
building fabric, primarily the roof surface layers, including the ends
of various stacked two-by-four joists, plus the entire carport, had
deteriorated due to neglect and inappropriate maintenance, the current
owner has addressed these problems through complete reconstruction and
restoration of the affected areas, through strengthening structural
members under the guidance of a restoration architect, and through the
employment of improved up-to-date techniques.

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

The S.C. Johnson & Son, Inc. Administration Building and Research Tower
retains its original design, materials, workmanship and setting. Even
though the buildings are part of the larger S. C. Johnson & Son, Inc.
campus, the Administration Building and Research Tower continue to stand
apart from their environment.

[Taliesin West]{.underline}

Taliesin West retains its original design, materials, workmanship, and
setting. However, these reflect a continuum of changes that resulted
from Wright's constant experiments in design and construction techniques
during the last twenty years of his career.

[The Price Tower]{.underline}

The Price Tower retains its original design, materials, workmanship, and
much of its original setting. Interior design changes to convert the
building to new uses have been compatible with the original character of
the building and are reversible.

[Solomon R. Guggenheim Museum]{.underline}

The Guggenheim retains its original design (with some minor
modifications), materials, workmanship, and setting. The design
modifications were made to accommodate the programs and expanded
collections of the museum and are subordinate to the architectural
character of the original building.

[Marin County Civic Center]{.underline}

The Civic Center retains authenticity through its original design,
materials, workmanship, and setting. Changes made to improve the
infrastructure systems and seismically retrofit the buildings have
generally been inconspicuous and in keeping with the building's overall
character.

**[Integrity]{.underline}: Do the authentic material and spatial
evidence inside the proposed boundaries remain in sufficient quantity to
convey the full significance of the site? To tell the full story of why
the site is outstanding? Is the integrity weakened by the intrusion of
discordant and/or abundant elements or buildings that are unrelated to
the significance and detract from the visual unity of the place?**

[Unity Temple]{.underline}

Unity Temple retains its integrity of materials and setting. Recent and
proposed rehabilitation work is being done in accordance with the
*Secretary of Interior's Standards for the Treatment of Historic
Properties*.

[Frederick C. Robie House]{.underline}

The Robie House retains its integrity of materials and setting. The
ongoing restoration work has followed the *Secretary of Interior's
Standards for the Treatment of Historic Properties*. Every effort has
been made to preserve and reuse original building materials and fabric.

[Hollyhock House]{.underline}

Hollyhock House retains a high degree of physical integrity of its
materials. Although it has required extensive repairs, the repairs have
been done in a manner that has preserved the character-defining features
and decorative ornamentation to a high degree. The character-defining
features of the garage, animal cages, Residence "A", and the Spring
House are in various states of preservation but still retain their
integrity of materials and ornamentation that visibly communicates their
significance and historical identity.

[Alice Millard House]{.underline}

The Millard House retains its integrity of materials and setting. The
restoration work has followed the *Secretary of Interior's Standards for
the Treatment of Historic Properties*. Every effort has been made to
preserve and reuse original building materials and fabric.

[Taliesin]{.underline}

Taliesin retains a high degree of integrity as the structures, spanning
the 50 year involvement of Wright with the property, remain in situ.

[Fallingwater]{.underline}

Fallingwater retains its integrity of materials and setting. The
property exemplifies Frank Lloyd Wright's concept of organic
architecture where architecture, furnishings, and surroundings are all
part of a unified, interrelated composition. All components of this
composition have been preserved with great care and accuracy throughout
Fallingwater's history. Support buildings, such as the visitor's center
pavilion and gatehouse, were extremely well integrated into the historic
environment and do not weaken the site's integrity.

[Herbert and Katherine Jacobs House]{.underline}

The Jacobs House retains its integrity of materials and setting. The
work to restore and maintain the house has followed the *Secretary of
Interior's Standards for the Treatment of Historic Properties*. Efforts
have been made to preserve and reuse original building materials and
fabric when feasible.

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

The S.C. Johnson & Son, Inc. Administration Building and Research Tower
retain their integrity of materials and setting. The buildings have been
maintained in accordance with the *Secretary of Interior's Standards for
the Treatment of Historic Properties*. Original building materials and
fabrics have been largely maintained.

[Taliesin West]{.underline}

Taliesin West retains its integrity of materials and setting as they
span the twenty-year involvement of Wright with the property.

[The Price Tower]{.underline}

The Price Tower is the owner of the entire city block, and with the
exception of a one-story annex storage building, is the only structure
on the block. It retains its integrity of materials and setting and
appears very much as it did when it opened to the public in 1956.
Original building materials and fabric have been maintained, and new
work has used traditional materials wherever possible. Rehabilitation
work has closely followed *The Secretary of Interior's Standards for the
Treatment of Historic Properties* and a complete set of Wright's
drawings pertaining to the building and grounds are reviewed prior to
work being done to the property. Photographs and film footage taken by
Joe Price of the building documented the history of Price Tower from
ground-breaking to opening weekend, and include images of completed
interiors, furnishings, and decorative details.

[Solomon R. Guggenheim Museum]{.underline}

The Guggenheim retains its integrity of materials and setting. The
ongoing restoration work has followed the *Secretary of Interior's
Standards for the Treatment of Historic Properties*. Original building
materials and fabric have been maintained, and new work has used
traditional materials.

[Marin County Civic Center]{.underline}

The Civic Center retains its integrity of materials and setting. Later
buildings added to the site, because of the site's topography, the
buildings' utilitarian designs, and substantial distances away, are not
highly visible in relation to the historic Civic Center buildings. The
recently constructed jail, although close in proximity to the Hall of
Justice, was purposely integrated into the hillside to be predominately
concealed from view.

**How do authenticity and integrity compare for this property?**

[Unity Temple]{.underline}

Both authenticity and integrity remain high because of the careful
rehabilitation program that is being followed.

[Frederick C. Robie House]{.underline}

Both authenticity and integrity remain high because of the careful
restoration program that is being followed.

[Hollyhock House]{.underline}

In general, both authenticity and integrity remain high because of the
careful rehabilitation program that is being followed.

[Alice Millard House]{.underline}

In general, both authenticity and integrity remain high because of the
careful restoration program that has been followed.

[Taliesin]{.underline}

Authenticity and integrity remain high as the Frank Lloyd Wright
Foundation and Taliesin Preservation Inc. have sought to repair and
maintain Taliesin and the other buildings within the estate.

[Fallingwater]{.underline}

Both authenticity and integrity are high because of the careful
restoration program that is being followed.

[Herbert and Katherine Jacobs House]{.underline}

Both authenticity and integrity remain high because of the careful
restoration and maintenance work that has been done.

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

Both authenticity and integrity are high because of the careful
maintenance given to the buildings over the years.

[Taliesin West]{.underline}

Both authenticity and integrity are high. Construction and conservation
work has been carried out with the intention of preserving the original
architectural character of the buildings.

[The Price Tower]{.underline}

Both authenticity and integrity are high because of the careful
rehabilitation program that was followed. Restoration efforts during the
summer of 2006 focused on returning the upper three floors to their 1956
appearance, and efforts are continuing to restore the original finish to
the pigmented concrete floors, to replicate exterior signage according
to Wright's specifications, and to protect and preserve the exterior
finish of the building. As part of Price Tower Arts Center's mission to
protect The Price Tower as a significant historical building, a series
of standards and guidelines were established and are used by maintenance
crews and contractors while repairing or renovating any part of the
tower.

[Solomon R. Guggenheim Museum]{.underline}

Both the authenticity and integrity remain high because of the careful
restoration program that is being followed. All renovations, additions,
and rehabilitation work have been carried out with the aim of retaining
the building's historic character and integrity as an icon of modern
architecture.

[Marin County Civic Center]{.underline}

Both authenticity and integrity remain high due to the care and
maintenance that Marin County has provided to the buildings and setting.

**[Repairs:]{.underline} If repairs have been made, were they carried
out using traditional materials and methods? If yes, please discuss. If
not, please explain the methods used and why.**

[Unity Temple]{.underline}

The roofing surfaces of the flat roofs have been repaired and replaced
several times to solve the problem of leaks. Leakage also led to
cracking of the exterior concrete surfaces and interior plasterwork.
Both have been replaced with similar materials, and proper treatments
continue to be addressed in the long-term restoration plans.

[Frederick C. Robie House]{.underline}

The ongoing restoration program has called for major repairs to the
roofs, the brickwork, and the art-glass windows. Because of decay,
portions of the roof decking and rafters were repaired or replaced.
Epoxy was used to retain as much original material as possible. New clay
tiles, whose form and color were based on original fragmentary samples
of tiles found on site, were installed on the surface. Roof gutters were
relined with new copper linings, replacing linings installed in 1960.
The copper gutter cornices were conserved. The soffits under the roof
cantilevers were replastered in their original color and texture. The
exterior brickwork was cleaned with poultices, repaired, and repointed
with lime putty mortar. Once installed the mortar joints were raked to
emphasize the horizontal lines of the building matching the original. As
art glass windows are conserved and repaired, they are reinstalled in
the original conserved wood frames.

[Hollyhock House]{.underline}

Materials used in the original construction have, in some instances,
deteriorated irreparably. Replacement has been completed with like
materials. All exterior ornamentation was preserved during the 1974 and
2000 restorations. Interior materials have been repaired when at all
possible or replaced in-kind if the materials were so deteriorated that
they could not be restored. This work has been done in accordance with
the *Secretary of Interior's Standards for the Treatment of Historic
Properties*.

[Alice Millard House]{.underline}

Repairs to the concrete, plaster, and woodwork have used traditional
techniques and methods.

[Taliesin]{.underline}

When repairs have been made, traditional materials and methods have been
used unless substantial structural repairs have been needed requiring
the inclusion of steel and the incorporation of new drainage systems to
reduce the impact of water infiltration.

[Fallingwater]{.underline}

Materials used in the original construction have, in some instances,
deteriorated and required replacement. The majority of repairs have been
completed with like materials using appropriate craftsmanship. Certain
situations, however, required the introduction of modern or
nontraditional materials to adequately protect the integrity of the
architecture.

In 1978, a tree branch fell on the trellis over the living room's east
terrace. The trellis was rebuilt under the direction of Taliesin
Associates.

Leaks have been a perpetual problem at Fallingwater. Terraces are
surfaced with the original large, irregularly shaped stones quarried on
the site and vary in thickness from ½ inch to 1 and ½ inches. The
original terrace substrate was ¾ inch redwood decking. A three-ply built
up roof of hot asphalt and building felts was laid over the wood, or on
terraces that are not cantilevered such as the herb terrace, directly
onto the concrete slab. The servants' quarters terrace was rebuilt in
the late 1950s. The east living room terrace, west living room terrace,
and master bedroom terrace were lifted and reassembled in 1987. Edgar
Kaufmann, Sr.'s terrace was redone in 1988.

Originally, the roofs were built up with asphalt-impregnated felts over
one-inch insulation board. Wright wanted the flat roofs to blend with
the concrete, so beige-colored gravel was broadcast over the final coat
of asphalt. A 1981 roofing campaign used four-plies of fiberglass
reinforced felts (with hot asphalt in between) laid over ½ inch thick
insulation board. These roofs were replaced in 1987-88 with a single ply
rubberized membrane. Leaks continued, and from 2001-2004 Wank Adams
Slavin Associates, New York, oversaw the re-roofing and waterproofing of
all roofs and terraces. An inverted-roofing-membrane assembly system was
used on the terraces and a modified-bitumen-roofing system on all the
flat gravel roofs.

The sagging of the cantilevers was a serious structural concern and was
addressed with modern technologies. In 2001-2002, Robert Silman
Associates installed steel post-tensioning cables on the cantilever
beams of the living room terrace to prevent further deflection and
possible failure. To stabilize the master bedroom terrace, a steel
channel was installed on the interior of the parapet wall and window
mullions on the south end of Fallingwater's living room were
strengthened to help load transfer; carbon fiber rods were installed to
"stitch" together the historic cracks. Epoxying carbon fiber laminate to
the tops of the concrete beams and joists strengthened Edgar Kaufmann,
Sr.'s terrace.

The cantilevers deflection over time also resulted in the breaking and
cracking of the original window glass. The original glass was replaced
with UV-filtered Saflex glass in 1987-1988. This glass provided UV
protection for the interior objects; however, the layers of the glass
are delaminating and will need to be replaced. All window glass will be
returned to the original single pane ¼ inch plate glass and UV film will
be installed on the interior of the glass.

Paint adherence to the exterior concrete and stucco has been an issue
since Fallingwater's completion. A variety of different paints were
tried with limited success. In 1978, the house was sandblasted to remove
the failing layers of paint and a cement based coating called Thoroseal
was applied. Since colors had shifted over the years due to the use of
numerous paints, conservator Frank Welsh was employed in 1990 to analyze
samples taken from the exterior and interior of Fallingwater. He
determined the original colors and compositions of the paint on the
masonry walls and metal surfaces. Since then, the light ocher for the
walls and Cherokee red for the metal have been restored and maintained.
In 1995-1996, paint was once again removed, this time with a chemical
stripper. Surfaces were painted with a silicone emulsion water-based
paint over a water repellent. This coating system worked well for
vertical surfaces, but it delaminated on horizontal surfaces and
parapets. PPG Industries developed a paint system that was applied in
2006.

Other repairs using modern materials include the reconstruction of the
concrete stairs descending to the stream from the living room. The
concrete stairs to the stream were constructed using flat-steel straps
embedded in the treads. Occasionally submerged by the stream, these
steel straps corroded and caused the concrete to break apart. Wank Adams
Slavin Associates recommended the existing steps be reconstructed using
stainless-steel straps. Furthermore, the existing steps were from the
mid 1950s, reconstructed after the original steps were severely damaged
by a flood. In 2003-2004, the steps were rebuilt.

[Herbert and Katherine Jacobs House]{.underline}

Repairs have been made to the roof, the siding, the carport, and the
concrete floor slab in the living room. Because of deterioration, the
roof deck and surface materials required replacement. The exterior
siding was covered with creosote, which has been carefully removed to
reveal the original wood surfaces. The carport, including its brick pier
support, had been badly damaged and were entirely rebuilt. Due to a
failed pump relay during a severe winter, the floor pipes froze and
severely damaged part of the concrete floor slab. It was removed, new
pipes were installed, and a new concrete floor was poured to match the
original design and coloring.

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

Repairs have generally focused on the roof surfaces, which are flat and
have needed periodic replacement. The replacement of the original Pyrex
glass tubing with molded Plexiglass some 50 years ago was a reasonable
solution to what had been installed as an experimental lighting
treatment. The exterior brickwork and stone detail have held up very
well. Mortar joints have been appropriately repointed as needed.

[Taliesin West]{.underline}

Recent and ongoing repairs have conserved original materials of wood,
stone, and concrete, or replaced materials in kind. As some experimental
materials have failed, they have been replaced by new materials, most
notably the translucent roof coverings.

[The Price Tower]{.underline}

The original concrete structure has remained in very good condition,
though a sealant was applied to the exterior in the late 1990s as a
means of protecting the concrete from moisture. Metallic reflective film
was applied to the interior surfaces of all windows in the late 1990s as
a means of conserving energy; it has been fully removed on the southeast
quadrant, thus restoring the original effect of the gold/peach-tinted
glass on the apartment quadrant. Minor repairs have been made to the
patinated embossed copper fins and louvers and the surfaces of the
sixteenth-floor exterior dining terraces have been repaired and replaced
as necessary.

Interior modifications include the addition of clear glass panels to the
parapets in the lobby and the two-story wing to meet current building
and accessibility codes. Temporary walls for exhibition purposes have
been added within the two-story wing, and a wheelchair-accessible toilet
room was added on the ground floor in 2001. Renovations to the offices
for use as hotel rooms include the addition of radiant heating systems
in bathroom floors, and the addition of a shower to the already existing
lavatory (in some cases taking over an adjacent closet to do so).
Renovations to the apartments for use as hotel rooms include the removal
of the built-in kitchen cabinetry and gas-burning fireplaces (these
items are in the permanent collection of Price Tower Arts Center). The
dedicated apartment elevator has been dismantled and its shaft used for
data, plumbing, gas, and electrical systems.

[Solomon R. Guggenheim Museum]{.underline}

The ongoing exterior restoration and building enhancement addresses
deteriorating conditions on the building's exterior walls, glazed
enclosures, windows, doors and isolated structural elements. Cracks on
the exterior walls will be repaired and the surfaces will be coated with
new materials with some similar properties to the original. Concealed
interior steel tie rods will be replaced. Exterior walls at ramp 6 with
discontinuous steel will be reinforced from the inside. The connection
between the bottom of the ramp 6 walls and the apron slab will be
strengthened. Corroding steel will be treated and protected from further
decay. Original skylights and selected window and door systems, which
afford very poor air, moisture and thermal performance, will be replaced
by new thermally improved glazing systems with the same appearance of
the original. Moisture migration through the walls and condensation on
interior surfaces will be controlled. All the work is done with the
objective of preserving as many significant historical features of the
building as possible, while accomplishing necessary repairs, including
repairs to selected mechanical, electrical and plumbing systems, to
ensure a suitable environment for the building's continued use as a
museum.

[Marin County Civic Center]{.underline}

Repairs to building materials and features have been made in-kind. This
includes repairs to concrete, terrazzo floors as needed, and decorative
metalwork.

**4. STATE OF PRESERVATION AND FACTORS AFFECTING THE PROPERTY**

**4.a. Present state of preservation of the property**

**Cultural property**

**What is the present state of preservation of the property (including
its physical condition and preservation measures in place)?**

[Unity Temple]{.underline}

The property is generally in a good state of preservation. Ongoing
maintenance and repair have been carried out during the past thirty
years to ensure the long-term future of the building. Recent work
includes: replacement of the roof surfaces; restoration of the soffits
and fascias of the six overhanging roofs; paint analysis and repainting
in historic colors of the interior spaces; repair and restoration of the
art glass windows and skylights below the rooftop skylights; restoration
of the fireplace and hearth area in the meeting room.

[Frederick C. Robie House]{.underline}

The Robie House has been undergoing an extensive restoration to put the
building into a good state of preservation after many years of neglected
maintenance. The main goals of the restoration are to stabilize the
building, repair the damage caused over time, and return the building to
its original appearance in 1910 when construction was completed.

Prior to beginning restoration, a master plan was developed after
extensive research and an analysis of existing conditions of all
building materials and components. The work on the property is being
carried out in several phases which began with exterior work in 2002
which was completed in 2003. The roof has been repaired and stabilized,
brickwork and stone masonry have been repaired and repointed, interior
wood framing members have been treated for termite damage, and the
automobile court walls have been rebuilt to their original eight-foot
height. On the interior, the mechanical systems have been repaired,
upgraded or replaced, including a fire-suppression system. Non-original
partitions have been removed. All interior surfaces including wall,
ceiling, and woodwork have been analyzed and are being restored to their
original condition as funding is raised. Original furnishings will also
be conserved, restored, reinstalled or reproduced to complete the
interior. Art glass windows have been conserved and repaired.

[Hollyhock House]{.underline}

Hollyhock House has withstood four major earthquakes. It has been the
subject of an extensive conservation and stabilization program in the
aftermath of the 1994 Northridge earthquake and is now in a good state
of preservation.

[Alice Millard House]{.underline}

The house is in a good state of preservation. The homeowner has spent a
considerable amount of money and time completing an extensive
restoration campaign.

[Taliesin]{.underline}

The buildings are in a good state of preservation. Buildings within the
Taliesin estate have suffered from varying levels of deferred
maintenance. During the past ten years, a systematic program has been
put in place to ensure the long-term preservation of the property.

[Fallingwater]{.underline}

Fallingwater is in an excellent state of preservation because of a
recent major restoration and an ongoing conservation program.

[Herbert and Katherine Jacobs House]{.underline}

The house is in an excellent state of preservation. The current owner
has spent the past twenty-five years systematically maintaining and
restoring the house. The roof surface was most recently replaced in
2006.

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

The Administration Building is in an excellent state of preservation.
Although the upper floors of the Research Tower are no longer in use,
the lower floors are still used as office space. The tower has also been
maintained to a high standard.

Succeeding generations of carpenters have passed down the processes to
construct and finish the Wright-designed furniture thus allowing new
furniture to blend seamlessly into the existing office setting.

[Taliesin West]{.underline}

The property is generally in a good state of preservation. Taliesin West
has implemented a conservation and preservation program to address
building problems on the site, caused by the experimental nature of much
of the construction.

[The Price Tower]{.underline}

The property is in a very good state of preservation following upgrading
of the infrastructure by the Phillips Petroleum Company and the
conversion of the building to the Price Tower Arts Center and the Inn at
Price Tower. Current preservation is guided by *The Secretary of
Interior's Standards for the Treatment of Historic Properties* and an
internal document developed for use by the curatorial staff of Price
Tower Arts Center.

[Solomon R. Guggenheim Museum]{.underline}

The building is in a good state of preservation. The building underwent
infrastructure improvements and interior conservation in 1988-1992.

[Marin County Civic Center]{.underline}

Marin County has maintained and preserved the buildings to a very high
standard. Much of the work is carried out by the in-house engineering
and maintenance departments.

**Are there any recent or forthcoming planned major repair projects? Are
there any major repairs needed to buildings or structures that have not
been planned or financed?**

## 

[Unity Temple]{.underline}

Major work is planned to repair and/or replace the cracked surfaces of
the exterior concrete, as well as secure the long-term future of the
exterior building envelope. Heating and cooling systems are being
replaced and significantly upgraded. The interior plasterwork will be
systematically restored and repainted in accordance with an accurate
analysis of paint colors and finishes.

[Frederick C. Robie House]{.underline}

After completion of the interior conservation/restoration, the exterior
conservation will be completed. This work will include the improving of
drainage and lighting around the site, the reproduction of steel gates,
installation of missing pavers, limestone conservation, and landscaping
including the planting of elm trees along the sidewalk and the planting
of the balcony flower boxes.

[Hollyhock House]{.underline}

Work is continuing on the restoration of the buildings and landscape as
part of the overall Barnsdall Park Master Plan. Funding is needed to
prepare a Historic Structure Report and restoration plan for Residence
"A".

[Alice Millard House]{.underline}

No new projects are planned.

[Taliesin]{.underline}

Infrastructure improvements are planned in accordance with a master plan
and with the recommendations of the forthcoming restoration and
management plan.

Ongoing work on the landscape is being carried out in accordance with
recommendations for landscape treatment in management in the Taliesin
Historic Landscape Report (1999).

[Fallingwater]{.underline}

Because of dangerous sagging in the cantilevered slabs, an extensive
campaign was undertaken to stabilize the structure. There are no planned
major repair projects at this time.

[Herbert and Katherine Jacobs House]{.underline}

There are no major repair projects planned at this time.

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

S.C. Johnson & Son, Inc. is implementing a phased plan to maintain the
exterior building envelope of both buildings. Upgrades to the mechanical
and technological systems are also being completed throughout the
buildings and are being carefully implemented so the original design
features are maintained.

[Taliesin West]{.underline}

A program in underway to stabilize the foundations in the area of the
drafting studio.

A search for a full-time executive to direct all facilities management
and historic preservation has been launched. The successful candidate
will have the responsibility to create detailed historic master plans
for all properties at Taliesin West and also Taliesin, Wisconsin,
identifying areas of greatest need and potential failure and connecting
this information to capital programs for restoration, stabilization and
rehabilitation.

[The Price Tower]{.underline}

No major repair projects planned at this time.

[Solomon R. Guggenheim Museum]{.underline}

The exterior is undergoing an extensive restoration and conservation
campaign in 2005-2007. In 2005, twelve layers of paint applied over the
exterior concrete were removed. This has allowed for close analysis of
the building's surface. Based on monitoring of selected cracks, which
has determined that most of the cracking is due to thermal expansion,
and laser surveys, a methodology of repair and repainting is being
developed. The work is expected to be completed by the end of 2007.

[Marin County Civic Center]{.underline}

No major repair projects are planned at this time.

**4b. Factors affecting the property**

**(i) Development Pressures**

[Unity Temple]{.underline}

The site is not facing development pressures at this time.

[Frederick C. Robie House]{.underline}

The site is not facing development pressures at this time.

[Hollyhock House]{.underline}

Olive Hill, upon which Hollyhock House is located, has remained a
dominate feature of the region. Although the area surrounding Olive Hill
has been heavily developed, the topography of the site allows the house
and its surrounding landscape to retain its sense of tranquility.

[Alice Millard House]{.underline}

The Millard House is located in a neighborhood that is zoned
single-family and is not pressured by other development.

[Taliesin]{.underline}

There are no development pressures affecting the property.

The estate\'s northeastern boundary is an area of the Wisconsin River
that was designated as part of the Lower Wisconsin State Riverway. The
Lower Wisconsin State Riverway Board \"administers a system of
\'performance standards\' which are designed to protect the aesthetic
integrity of the Riverway.\" The viewshed beyond the river extends
approximately 4 miles and ends at a hill ridge that belongs to the
Spring Green Preserve, a 260-acre state-designated natural area
maintained by the Wisconsin Department of Natural Resources.

Taliesin Preservation, Inc. owns the land that abuts the estate\'s
eastern boundary.

The estate\'s southeastern boundary is a ridge of hills. This ridge
forms the viewshed from Frank Lloyd Wright\'s personal living quarters
at Taliesin, his Midway Farm, and the Hillside Living Room in his 1902
Hillside Home School structure.

The majority of the estate\'s northwestern boundary was purchased by the
Frank Lloyd Wright Foundation in order to protect the viewshed and
maintain a barrier against developmental encroachment.

The parcel of land northwest of the Taliesin Estate not owned by the
Frank Lloyd Wright Foundation begins on the other side of a ridge that
is over 700 feet from the most western portion of the Taliesin
residence.

Two areas of potential development in close proximity to the Taliesin
Estate are south and southwest of the estate\'s boundaries. At this
time, there is no development pressure in these areas. Additionally,
Iowa County\'s governing ordinances prohibit new construction of
single-dwelling residences on less than 40 acres of land, and prohibits
the construction of driveways at a grade steeper than 10%.

Lastly, Wisconsin Highway 23 bisects the estate north to south and can
be seen from the Taliesin residence. \"Wisconsin law prohibits the
placement of signs on any rural or urban portion of the state highway
system right of way.\"

[Fallingwater]{.underline}

The property does not face development pressures. Western Pennsylvania
Conservancy owns nearly 5,000 acres surrounding Fallingwater. Its goal
is to protect the entire watershed. In addition, a nearly 19,000-acre
state park is located south of Fallingwater.

[Herbert and Katherine Jacobs House]{.underline}

No. The zoning of the area has been, and continues to be, for
single-family houses.

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

No. The buildings are located within a larger parcel of land owned by
S.C. Johnson & Son, Inc. The company has committed itself to retaining
the buildings as their corporate headquarters. Nearby buildings have
been retrofitted for the company's use so that the historic context of
the area remains intact.

[Taliesin West]{.underline}

Scottsdale has experienced substantial growth since Wright established a
camp for the Taliesin Fellowship during the 1937-1938 winter. Although
the site is surrounded by suburban development, the vast acreage owned
by the Foundation, coupled with the McDowell Sonoran Preserve and land
left open by the Bureau of Land Management (for a drainage basin) has
allowed Taliesin West to remain buffered from the surrounding
development.

[The Price Tower]{.underline}

The property does not face development pressures. The Price Tower Arts
Center owns the entire block.

[Solomon R. Guggenheim Museum]{.underline}

The property does not face development pressures. The museum is included
within the boundaries of a locally designated historic district, which
reviews building height and bulk in relation to the zoning code as well
as changes to the surrounding buildings and properties.

[Marin County Civic Center]{.underline}

The county government may be faced with creating adequate space,
structures and parking to serve an expanding population.

**(ii) Environmental pressures**

**Are there major sources of environmental deterioration currently
affecting the property?**

[Unity Temple]{.underline}

No.

[Frederick C. Robie House]{.underline}

No.

[Hollyhock House]{.underline}

No.

[Alice Millard House]{.underline}

No.

[Taliesin]{.underline}

No. The Foundation owns significant acreage on all sides of the estate
including land extending to the river to the north and east and over
bluffs to the south. Additionally, the farmland within the estate is
leased to a local farmer and under the supervision of the Foundation.

[Fallingwater]{.underline}

No.

[Herbert and Katherine Jacobs House]{.underline}

No.

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

No.

[Taliesin West]{.underline}

No.

[The Price Tower]{.underline}

No.

[Solomon R. Guggenheim Museum]{.underline}

No.

[Marin County Civic Center]{.underline}

No.

**(iii) Natural disasters and risk preparedness**

**Are natural disasters likely to present a foreseeable threat to the
property? If so, are there available background data (e.g., for a
property in a seismic zone, give details of past seismic activity, or
the precise location of the property in relation to the seismic zone,
etc.)**

[Unity Temple]{.underline}

Unity Temple is located in an area that is occasionally affected by
tornadoes. The reinforced concrete structure should be capable of
sustaining high winds. The building is fireproof.

[Frederick C. Robie House]{.underline}

The Robie House is located in an area that is occasionally affected by
tornadoes. Reinforcement of the roof structure addressed potential high
wind conditions. Up-to-date fire safety systems have been installed as
part of the restoration program.

[Hollyhock House]{.underline}

Los Angeles/Hollyhock House is located in a major earthquake zone. The
1994 Northridge earthquake damaged the property. The ongoing restoration
program has reinforced the structures to forestall future earthquake
damage.

[Alice Millard House]{.underline}

Pasadena is located in a major earthquake zone. The house has sustained
minor earthquake damage in the past. Fire is also a potential concern.

[Taliesin]{.underline}

Taliesin is located in an area that experiences tornadoes, but the
likelihood of the estate being destroyed by a tornado is extremely
slight. It is possible that the northern part of the property could be
flooded by the Wisconsin River; however, the buildings are elevated well
above flood stage. Fire on the property is a possible threat.

[Fallingwater]{.underline}

Flooding is a potential concern.

[Herbert and Katherine Jacobs House]{.underline}

The Jacobs House is located in an area that experiences occasional
tornadoes. If a tornado were to strike, it is possible that the house
could be seriously damaged. As with any structure, fire is also a
potential concern.

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

The Administration Building and Research Tower are located in an area
that is occasionally affected by tornadoes.

[Taliesin West]{.underline}

Fire is potentially the greatest danger to the property.

[The Price Tower]{.underline}

Bartlesville, Oklahoma, is in a location that is prone to tornadoes.
While a tornado could damage the building, the underlying structural
form would ensure its integrity. The building has advanced fire and
security systems in keeping with its museum use.

[Solomon R. Guggenheim Museum]{.underline}

New York City is sometimes subject to hurricanes which could potentially
damage the building. The building is completely fireproof and has
advanced fire suppression systems in keeping with its museum use.

[Marin County Civic Center]{.underline}

The building and site are in a major earthquake zone. The building has
been seismically retrofitted and strengthened. The work was completed in
2003. It involved the construction of additional bracing and walls in
some locations to tie the building into the hillside, as well as the
introduction of low-visibility cross-ties in three of the interior
atriums.

**Are there contingency plans for dealing with disasters, whether by
physical protection measures or staff training?**

[Unity Temple]{.underline}

Staff has been trained in emergency procedures.

[Frederick C. Robie House]{.underline}

Emergency response training for core property staff takes place on a
regular basis. All procedures are in written form as well and are
updated regularly. The Chicago Fire Department inspects the building
annually.

[Hollyhock House]{.underline}

Hollyhock House was built as a fireproof structure. The staff has been
trained in emergency preparedness procedures and a disaster preparedness
plan is in place.

[Alice Millard House]{.underline}

As the house is a privately owned, single-family residence, there is no
formal contingency plan. The owner has installed smoke detectors.

[Taliesin]{.underline}

Because of previous experiences with fire, Taliesin is very conscious of
the need for fire prevention. In 2005 a dry stack system was installed.
In the event of an emergency, this system will drain water from the pond
and transport it to the top of the hill thus generating an adequate
supply of water for fighting a fire. Staff has been trained in emergency
procedures.

[Fallingwater]{.underline}

Flooding has occurred at Fallingwater on three occasions. However,
damage only occurred in 1954 and was limited to the stairs to the
stream, which were subsequently reinforced. 24-hour monitoring, moisture
meters and quick action to prevent logs accumulating at the stairs have
prevented damage during subsequent floods. Fallingwater has a written
Emergency Response Plan (updated May 2005) that addresses response to
flood, fire, high wind and earthquakes, as well as terrorist threats and
medical emergencies. Reviewed by the senior staff, the plan provides
clear direction for protecting people, buildings and collections.
Supporting this document is a shorter Staff Emergency Quick Guide that
is located throughout the site for easy access.

[Herbert and Katherine Jacobs House]{.underline}

As the house is a privately owned, single-family residence, there is no
formal contingency plan. The owner has installed smoke detectors and
fire extinguishers.

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

The building has a very strict fire-safety program. The building is
fireproof and has not suffered any significant damage from minor fires.
Staff has been trained in emergency procedures.

[Taliesin West]{.underline}

Strict fire prevention measures are in place. Staff has been trained in
emergency procedures.

[The Price Tower]{.underline}

The staff has been trained in emergency procedures and the Price Tower
Arts Center is currently developing comprehensive disaster preparedness
procedures that will protect not only the museum's collections, but also
the building and its occupants and tenants.

[Solomon R. Guggenheim Museum]{.underline}

The museum staff has been trained in emergency procedures.

[Marin County Civic Center]{.underline}

The staff has received training in emergency evacuation and
preparedness.

**(iv) Visitor/tourism pressures**

[Unity Temple]{.underline}

The property is open every day for visitors. Being a public building it
would be able to sustain increased visitor traffic without adverse
effects.

[Frederick C. Robie House]{.underline}

The property is open every day for visitors. To date, it has been able
to sustain visitor traffic without adverse effects. The Robie House has
been restored to meet code as a public assembly building. Tour
procedures, including public tours being guided and in limited numbers,
are developed to balance public access and protection of the building.
Management regularly focuses on this balance.

[Hollyhock House]{.underline}

The property is open on a regular schedule for tours. The numbers and
access are controlled to minimize any detrimental impact that could be
caused to the site.

[Alice Millard House]{.underline}

The house is privately owned; it does not experience many pressures from
visitors. The homeowner has occasionally opened the house to tour
groups.

[Taliesin]{.underline}

The property is open to visitors for tours during six months of the
year. Numbers are controlled by the easement and limitations of staff
and site constraints. Historically, the number of annual visitors has
not come close to reaching the capacity for the site so an increase in
visitation can be absorbed by the site without significant adverse
effects.

[Fallingwater]{.underline}

The property is open to visitors on a regular schedule. The numbers are
controlled to avoid adverse effects.

[Herbert and Katherine Jacobs House]{.underline}

The property has not experienced any adverse effects from visitors or
tourists. The house is only open on special tours or by other special
arrangements.

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

The administration building is open to visitors on a regular schedule
and the numbers are controlled. The research tower is open only by
special arrangements.

[Taliesin West]{.underline}

The property is open for visitors on guided tours seven days a week. The
impact of increased visitation and its stress on the infrastructure
needs to be addressed.

[The Price Tower]{.underline}

At present, the Price Tower is visited by approximately 30,000 tourists
annually. The property can absorb an increased number of visitors
without significant adverse effects.

[Solomon R. Guggenheim Museum]{.underline}

The building is one of the most visited tourist sites in New York City.
Every year almost one million persons from all over the world visit the
museum. The building could absorb an increased number of visitors
without significant adverse effects.

[Marin County Civic Center]{.underline}

The major challenge of increased visitors would be the provision of
adequate public parking.

**(v) Other**

**Are there any other risks or threats that could jeopardize the
property's Outstanding Universal Values?**

[Unity Temple]{.underline}

No.

[Frederick C. Robie House]{.underline}

No.

[Hollyhock House]{.underline}

No.

[Alice Millard House]{.underline}

No.

[Taliesin]{.underline}

No.

[Fallingwater]{.underline}

No.

[Herbert and Katherine Jacobs House]{.underline}

No.

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

No.

[Taliesin West]{.underline}

No.

[The Price Tower]{.underline}

No.

[Solomon R. Guggenheim Museum]{.underline}

No.

[Marin County Civic Center]{.underline}

No.

**5. PROTECTION AND MANAGEMENT**

**If any of these owners are corporations or other nongovernmental
entities, identify which are public and which private. Identify any
traditional or customary owners.**

[Unity Temple]{.underline}

N/A

[Frederick C. Robie House]{.underline}

N/A

[Hollyhock House]{.underline}

N/A

[Alice Millard House]{.underline}

N/A

[Taliesin]{.underline}

N/A

[Fallingwater]{.underline}

N/A

[Herbert and Katherine Jacobs House]{.underline}

N/A

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

S. C. Johnson & Son, Inc. is a private, family owned corporation.

[Taliesin West]{.underline}

N/A

[The Price Tower]{.underline}

N/A

[Solomon R. Guggenheim Museum]{.underline}

N/A

[Marin County Civic Center]{.underline}

N/A

**If there are any other authorities with legal responsibility for
managing the property, provide their names and addresses:**

[Unity Temple]{.underline}

Unity Temple Restoration Foundation

875 Lake Street\
Oak Park, IL 60301

Landmarks Illinois

53 W Jackson Boulevard, Suite 1315

Chicago IL 60604

[Frederick C. Robie House]{.underline}

Frank Lloyd Wright Preservation Trust

Joan B. Mercuri, President and CEO

931 Chicago Avenue

Oak Park IL 60302

The National Trust has no responsibility for managing the property. All
obligations are with the FLLW Preservation Trust as sub-lessee.

[Hollyhock House]{.underline}

N/A

[Alice Millard House]{.underline}

N/A

[Taliesin]{.underline}

Taliesin Preservation, Inc.

5607 County Road C

Spring Green WI 53588-0399

[Fallingwater]{.underline}

N/A

[Herbert and Katherine Jacobs House]{.underline}

N/A

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

N/A

[Taliesin West]{.underline}

N/A

[The Price Tower]{.underline}

N/A

[Solomon R. Guggenheim Museum]{.underline}

N/A

[Marin County Civic Center]{.underline}

N/A

**For properties having multiple owners, is there any representative
body or agent which speaks for all owners? If so, does that
representative body or agent have authority to act on behalf of all the
owners? If so, provide the name and address of that representative body
or agent:**

[Unity Temple]{.underline}

N/A

[Frederick C. Robie House]{.underline}

N/A

[Hollyhock House]{.underline}

City of Los Angeles

Department of Cultural Affairs

201 N Figueroa Street, Suite 1400

Los Angeles CA 90012

[Alice Millard House]{.underline}

N/A

[Taliesin]{.underline}

N/A

[Fallingwater]{.underline}

N/A

[Herbert and Katherine Jacobs House]{.underline}

N/A

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

N/A

[Taliesin West]{.underline}

N/A

[The Price Tower]{.underline}

N/A

[Solomon R. Guggenheim Museum]{.underline}

N/A

[Marin County Civic Center]{.underline}

N/A

**Are there any restrictions on public access to the property?**

[Unity Temple]{.underline}

The property is available for public access during regularly scheduled
visiting hours. It can be viewed from the street at any time.

[Frederick C. Robie House]{.underline}

The property is an architectural house museum and offers regularly
scheduled public tours and events. It can be viewed from the street at
any time.

[Hollyhock House]{.underline}

The grounds are regularly accessible as part of a public park. Access to
the buildings is controlled by the tour program.

[Alice Millard House]{.underline}

The property is a privately owned, single-family residence and is only
open to the public by special arrangement. The house is partially
visible from Prospect Crescent and Rosemont Avenue.

[Taliesin]{.underline}

Public access is controlled through the tour program during six months
of the year. During other times, the property is visible from the
boundaries but accessible only by special permission.

[Fallingwater]{.underline}

Public access to Fallingwater is through the tour program or by special
arrangements. Some other buildings on the property are accessible by
casual visitors.

[Herbert and Katherine Jacobs House]{.underline}

The property is a privately owned, single-family residence. The owner
does open the house to the public upon request and occasionally
participates in house tours sponsored by non-profit organizations. It is
visible from public streets.

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

The buildings are visible from the public streets. Interior access is
through the tour program or by special arrangements.

[Taliesin West]{.underline}

The public can enter the property from a public road; however, it may
only enter the buildings while on tour or by special arrangement.

[The Price Tower]{.underline}

The building can be viewed by the public from the city streets without
restriction. Access to the museum areas is controlled by museum
admission policies and certain historic floors and rooms are only
accessible through docent-guided tours. Inn at Price Tower and Copper
Restaurant and Bar are open for business year-round and their floors and
rooms are open to the public during business hours and by security card
after business hours. Access to the main lobby is open to the public
from 8:00am to 9:00 pm daily.

[Solomon R. Guggenheim Museum]{.underline}

The building can be viewed by the public from the city streets. Interior
access is controlled by museum admission policies.

[Marin County Civic Center]{.underline}

As a government building, the property is extraordinarily open to
members of the public. In addition, public tours are given of the
building.

**5.b. Protective designations**

**What are the principal existing (and pending) legal measures of
protection that apply to the property?**

[Unity Temple]{.underline}

Oak Park local landmark (interior and exterior); National Historic
Landmark conservation right

[Frederick C. Robie House]{.underline}

Chicago landmark; State of Illinois landmark (interior and exterior);
National Historic Landmark

[Hollyhock House]{.underline}

Los Angeles landmark; National Historic Landmark

[Alice Millard House]{.underline}

Pasadena landmark; National Register of Historic Places

[Taliesin]{.underline}

National Historic Landmark; Agreement with the Wisconsin Housing and
Economic Development Authority, Covenant with the Wisconsin Historical
Society

[Fallingwater]{.underline}

National Historic Landmark; preservation easement; Deed of Trust
agreement between Edgar Kaufmann Jr. et al and Western Pennsylvania
Conservancy

[Herbert and Katherine Jacobs House]{.underline}

Madison landmark; National Historic Landmark

The owner is currently discussing a donation of an easement with
Wisconsin State Historic Preservation Office.

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

Racine landmark; National Historic Landmark

[Taliesin West]{.underline}

Scottsdale landmark; National Historic Landmark, covenant with Arizona
State Parks, preservation easement with City of Scottsdale, preservation
easement through Save America's Treasures grant

[The Price Tower]{.underline}

National Historic Landmark

[Solomon R. Guggenheim Museum]{.underline}

New York City landmark (individual landmark-interior and exterior , and
historic district with height restrictions); National Historic Landmark
(nomination pending)

[Marin County Civic Center]{.underline}

State of California landmark, National Historic Landmark

**Give the title and date of legal instruments and briefly summarize
their main provisions. Provide the year of designation and the
legislative act(s) under which the status is provided.**

[Unity Temple]{.underline}

National Historic Landmark (1970)

Unity Temple was designated a local landmark (interior and exterior) in
1996. The Oak Park Historic Preservation Commission has the authority to
review and approve all alterations, including demolition, of the
property.

A conservation right between Unitarian Universalist Church in Oak Park
and Landmarks Preservation Council of Illinois (now known as Landmarks
Illinois), was entered into on January 3, 1987. The conservation right
requires the building to be properly maintained and prohibits the
building's demolition. All alterations to the facade of the building
must be reviewed and approved by Landmarks Illinois. Alterations to the
interior public spaces are required to be reviewed and approved by
Landmarks Illinois and must comply with the *Secretary of the Interior's
Standards for Historic Preservation Projects* and the *Historic
Structures Report*. Alterations to interior private spaces would also be
reviewed (reversible changes such as installation of carpeting or
painting of plaster surfaces are allowed).

[Frederick C. Robie House]{.underline}

State of Illinois Landmark (1980); National Historic Landmark (1963)

The Robie House was designated a city of Chicago landmark in 1971. As a
Chicago landmark, all alterations proposed to the Robie House must be
reviewed and approved by the Commission on Chicago Landmarks.

[Hollyhock House]{.underline}

National Historic Landmark (2006)

Hollyhock House was designated a Los Angeles landmark in 1963. Los
Angeles' Cultural Heritage Ordinance was enacted by the City Council in
1962. Historic-Cultural Monument (HCM) designation protects
HCM-designated properties from arbitrary alteration or demolition. Any
proposal to alter or demolish an HCM requires the review and approval of
the Cultural Heritage Commission (CHC). The CHC has the legal authority
to prevent alteration or demolition pending a proscribed review process
(even for non-designated properties).

[Alice Millard House]{.underline}

The house was designated a Pasadena landmark in 1976. The Pasadena
Historic Preservation Commission controls demolition and alterations to
landmark properties and new construction on landmark sites.

[Taliesin]{.underline}

National Historic Landmark (1976)

In 1993 the Frank Lloyd Wright Foundation and Taliesin Preservation,
Inc. signed an agreement with the Wisconsin Housing and Economic
Development Authority (WHEDA). The agreement expires in 2017. The
agreement states that neither party may make improvements to the
buildings or landscape on any part of the Taliesin property without
prior written authorization from WHEDA.

The Wisconsin Historical Society holds a fifty year covenant (2006) on
the residence and the immediately surrounding viewshed. All alterations
to the property must be reviewed and approved by the Wisconsin
Historical Society.

The Lower Wisconsin Riverway -- an arm of the Wisconsin Department of
Natural Resources prohibits any obstruction of landscape that affect the
viewshed from the river  - the estate lies within their jurisdiction.

[Fallingwater]{.underline}

National Historic Landmark (1976)

The Deed of Trust was executed on October 14^th^, 1963 between Edgar
Kaufmann Jr., Oliver Kaufmann, Frank Denton, Ralph Demmler, and Mellon
National Bank, as trustees of the Edgar J. Kaufmann Charitable
Foundation and the Western Pennsylvania Conservancy. The trust is
governed by the laws of the Commonwealth of Pennsylvania and is subject
to enforcement by the Attorney General of Pennsylvania. The trust
transferred the buildings and property to the Western Pennsylvania
Conservancy provided certain conditions were met in perpetuity. These
conditions are: that the building be preserved and maintained as an
architectural monument and be used for educational purposes; the land be
used for recreational purposes; and that the Conservancy use the net
proceeds of funds provided by the foundation as an endowment to aid in
the preservation and maintenance of the property. Should the conditions
not be met by the Conservancy or any successor or transferee of the
Conservancy, a party may petition the Orphans' Court of Allegheny County
to enforce the trust by transferring the property and the endowment to
another charitable corporation.

[Herbert and Katherine Jacobs House]{.underline}

National Historic Landmark (2003)

The Jacobs House was designated a Madison landmark in (1974). The
Madison Landmarks Commission has the authority to review and approve
exterior changes to local landmarks, as well as the power to deny
demolitions.

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

National Historic Landmark (1976)

The administration building and research tower were designated Racine
landmarks in 1975. The City of Racine strengthened its local landmark
ordinance in 2006. However the buildings already landmarked were
grandfathered in under the old ordinance which does not include any
review authority by the Racine Landmark Preservation Commission. During
2007 the City will be contacting all property owners of landmarks
designated prior to 2006 to see if they would re-landmark their
properties under the new stronger ordinance.

[Taliesin West]{.underline}

National Historic Landmark (1982)

The Taliesin West estate was designated a Scottsdale landmark in 2006.
The local designation requires all exterior alterations (including
demolition) to be reviewed and approved by the Scottsdale Historic
Preservation Commission prior to work commencing.

A twenty year easement on the drafting studio with the Arizona State
Parks Department was signed in 1996 (however the start date was
retroactive and correlates to the start date of the original 1992
Participation Agreement). The easement prohibits visual or structural
alterations to the building without prior written permission from the
Arizona State Parks Board.

In 2003, the Foundation entered into an easement with the City of
Scottsdale protecting five acres of land northeast of Taliesin West,
adjacent to the McDowell Sonoran Preserve. The easement states the
parcel shall be preserved in its natural condition. Construction,
excavation, or any other development activity is prohibited.

In 2006 the Foundation entered into a conservation easement with the
Arizona State Parks Board as a condition of accepting a Save America's
Treasures grant. The purpose of the easement is to assure that the
architectural, historic, and cultural features of the "Taliesin West
Historic Core"\* (Core) will be retained, maintained, and enhanced
consistent with the *Secretary of Interior's Standards*, and to prevent
any use or change in the Core that will significantly impair or
interfere with the qualities that made the Core eligible for listing in
the National Register of Historic Places.

\* Historic core includes the following buildings: the office, drafting
studio, kitchen, dining room, garden room and the Wright's living
quarters, apprentice court, conference room (kiva), cabaret theater,
shop, visitor center and bookstore).

[The Price Tower]{.underline}

National Historic Landmark (2006)

[Solomon R. Guggenheim Museum]{.underline}

The Guggenheim Museum was designated a New York City landmark, interior
and exterior, on August 14, 1990. As a New York City landmark, the
Guggenheim must obtain prior approval from the New York City Landmarks
Preservation Commission before any work is completed on the building as
well as abide by all permits and other conditions required by the
Commission. The Guggenheim must also maintain its building in good
repair to ensure that the outside portions of the building and the
designated interior spaces do not become deteriorated or dilapidated.

[Marin County Civic Center]{.underline}

National Historic Landmark (1991)

The Civic Center was designated a California landmark in 1991.
California landmarks are required to conform with the California
Environmental Quality Act (CEQA). This statute requires state and local
agencies to identify the significant environmental impacts of their
actions and to avoid or mitigate those impacts, if possible. Such
impacts include a substantial adverse change in the significance of a
historical resource, including, but not limited to, demolition and
alteration of the resource or its immediate surroundings such that the
significance of a historical resource would be materially impaired.

**Are the protections in perpetuity or are there potential gaps in the
protection?**

[Unity Temple]{.underline}

The conservation right allows for protection in perpetuity.

[Frederick C. Robie House]{.underline}

State of Illinois landmark designation is in perpetuity. The Frank Lloyd
Wright Preservation Trust has an agreement with The University of
Chicago to restore, preserve, operate, and administer the Robie House
for the benefit, enjoyment, education and inspiration of the public as a
National Trust Historic Site. The current term runs through January 31,
2043, followed by automatic 36 year extensions.

[Hollyhock House]{.underline}

Currently the designations are not in perpetuity.

[Alice Millard House]{.underline}

Currently the protections are not in perpetuity.

[Taliesin]{.underline}

The easement on the residence is for 50 years and will expire in 2056.

The Foundation is in the process of significantly strengthening
covenants against the sale of land, buildings or archive materials.
Expected date for resolution of these issues is by the end of 2007.

[Fallingwater]{.underline}

Yes, the deed of trust protecting the property is in perpetuity.

[Herbert and Katherine Jacobs House]{.underline}

Once the easement is granted, the Wisconsin Historic Preservation Office
will monitor the property in perpetuity.

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

Currently the designations are not in perpetuity.

[Taliesin West]{.underline}

The easement on the drafting studio is for 20 years. As it began in
1992, it will expire in 2012.

The easement on the five acres of land is in perpetuity.

The SAT easement on the historic core of buildings is for 50 years
(expires in 2055).

[The Price Tower]{.underline}

There currently are no protections in perpetuity.

[Solomon R. Guggenheim Museum]{.underline}

There currently are no protections in perpetuity.

[Marin County Civic Center]{.underline}

There currently are no protections in perpetuity.

**Are there any traditional ways in which custom safeguards the
property?**

[Unity Temple]{.underline}

The Unity Temple Restoration Foundation was founded in 1973 with the
mission to completely restore Unity Temple.

[Frederick C. Robie House]{.underline}

The mission of the Frank Lloyd Wright Preservation Trust includes
restoring and maintaining the Robie House.

[Hollyhock House]{.underline}

No.

[Alice Millard House]{.underline}

No.

[Taliesin]{.underline}

Historically, the property has maintained some level of protection by
being a residential community.

[Fallingwater]{.underline}

No.

[Herbert and Katherine Jacobs House]{.underline}

No.

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

S.C. Johnson & Son, Inc. has continued to maintain the buildings as its
corporate headquarters although the company has expanded its operations
worldwide. The company sees the buildings as a sign of corporate pride
and imagery.

[Taliesin West]{.underline}

Historically, the property has maintained some level of protection by
being a residential community.

[The Price Tower]{.underline}

The preservation and maintenance of the Price Tower is a significant
part of the mission of the Price Tower Arts Center, with committees
dedicated to the preservation and maintenance of the building and its
grounds. Full-time maintenance and housekeeping staffs ensure that
routine inspections of the building and its facilities are maintained
with additional periodic inspections by fire prevention and security
agencies.

[Solomon R. Guggenheim Museum]{.underline}

The design of the building has become intangibly linked to the identity
of the museum.

[Marin County Civic Center]{.underline}

The County views the buildings as a sign of local pride and imagery; an
outline of one of the buildings is used as the County's logo.

**5.c. Means of implementing protective measures**

**Will the owner(s) be responsible for ensuring that the nominated
property will be protected in perpetuity, whether by traditional and/or
statutory agencies? If no, identify who will be responsible.**

[Unity Temple]{.underline}

Yes. The property is already protected in perpetuity.

[Frederick C. Robie House]{.underline}

Frank Lloyd Wright Preservation Trust

[Hollyhock House]{.underline}

Yes.

[Alice Millard House]{.underline}

Yes.

[Taliesin]{.underline}

Yes.

[Fallingwater]{.underline}

Yes, the Western Pennsylvania Conservancy and its appointed Fallingwater
Advisory Committee, which includes such noted preservationists as David
DeLong (University of Pennsylvania), Dennis McFadden (Wellesley
College), and Mario de Valmarana (University of Virginia and Villa
Capra), is committed to the long term preservation of the buildings and
their setting. Should any party feel the Western Pennsylvania
Conservancy is not preserving or maintaining Fallingwater as required by
the Deed of Trust they may petition the Orphans' Court of Allegheny
County to enforce the trust.

[Herbert and Katherine Jacobs House]{.underline}

Yes.

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

Yes.

[Taliesin West]{.underline}

Yes.

[The Price Tower]{.underline}

Yes.

[Solomon R. Guggenheim Museum]{.underline}

Yes.

[Marin County Civic Center]{.underline}

Yes.

**What is the adequacy of resources available for this purpose? Please
briefly explain your reasoning.**

[Unity Temple]{.underline}

The Unity Temple Restoration Foundation (UTRF) has assumed
responsibility for fundraising and assuring the long-term maintenance of
the property. Funds are placed in an endowment which is actively
increasing. To date, it has acted in a responsible manner in keeping
with best preservation practices.

[Frederick C. Robie House]{.underline}

The Frank Lloyd Wright Preservation Trust has been existence since 1974,
has a solid financial base, and continues to raise funds to ensure the
complete restoration and future as a public architectural museum.

[Hollyhock House]{.underline}

The City of Los Angeles has expended considerable municipal funds since
1927 to stabilize and restore the property. It is prepared to continue
that commitment as evidenced by the resolution passed by the City
Council in support of the World Heritage List application.

[Alice Millard House]{.underline}

The owner of the property has adequate financial resources to maintain
the property.

[Taliesin]{.underline}

The Frank Lloyd Wright Foundation and Taliesin Preservation Inc. have
devoted considerable resources to protecting and restoring the property.
They have been successful in raising private and public funding to
assist in this process.

[Fallingwater]{.underline}

In recent years Western Pennsylvania Conservancy has raised in excess of
\$11,500,000 to restore Fallingwater. The original Fallingwater
endowment was \$1,500,000 and since 1963 it has grown to \$7,800,000.
This is a restricted endowment in place for the preservation and
maintenance of Fallingwater. Fallingwater's recently adopted Long Range
Plan calls for increasing the endowment to \$13,000,000.

[Herbert and Katherine Jacobs House]{.underline}

As this is a privately owned home, the property owner carefully
schedules maintenance projects to guarantee the projects are completed
properly.

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

S.C. Johnson & Son, Inc. has proven to be a conscientious steward and
has devoted considerable resources to maintaining the historical and
architectural integrity of the property.

[Taliesin West]{.underline}

The Frank Lloyd Wright Foundation has devoted considerable resources to
protecting and restoring the property. It has been successful in raising
private and public funding to assist in this process.

[The Price Tower]{.underline}

A significant amount of work, mostly in regard to the exterior, was
executed prior to possession by the Price Tower Arts Center.
Preservation of the building is ongoing and funded through private
individuals and foundations and through state and local funding
opportunities. Community support of the history and legacy of Price
Tower is extremely strong, and its long-term security as a historic
landmark remains firm within the local interest.

[Solomon R. Guggenheim Museum]{.underline}

The Guggenheim Foundation has been successful in raising funds to ensure
the long-term preservation of the building. As a cultural institution in
the city of New York, it has and will continue to receive funds from the
New York City Department of Cultural Affairs and the New York City
Council.

[Marin County Civic Center]{.underline}

The Marin County government has devoted considerable financial resources
to maintaining and preserving the property. It views the buildings with
great pride and is committed to its long-term protection.

In 1990 Marin County established the Frank Lloyd Wright Civic Center
Conservancy. The Conservancy's responsibilities include raising funds to
preserve and restore the Administration Building and Hall of Justice
complex and its landscaped grounds. The Conservancy advises the Board of
Supervisors regarding the maintenance of the Civic Center complex so its
historic integrity is maintained. The Conservancy also reviews and
comments upon projects which would affect the appearance of the Civic
Center.

**5.d. Existing plans related to municipality and region in which the
proposed property is located (e.g., regional or local plan, conservation
plan, tourism development plan)**

[Unity Temple]{.underline}

The Village of Oak Park maintains an active tourist and visitors program
that emphasizes the architecture of Frank Lloyd Wright. The village also
includes three local historic districts: The Frank Lloyd Wright &
Prairie School Historic District, which includes Unity Temple, the
Ridgeland Historic District, and the Gunderson Historic District.

[Frederick C. Robie House]{.underline}

No other plans were identified.

[Hollyhock House]{.underline}

No plans were identified.

[Alice Millard House]{.underline}

No other plans were identified.

[Taliesin]{.underline}

No other plans were identified.

[Fallingwater]{.underline}

The Fayette County Comprehensive Plan addresses tourism in general as a
goal for the county. There are no other governmental plans for the area.

[Herbert and Katherine Jacobs House]{.underline}

No other plans were identified.

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

No other plans were identified.

[Taliesin West]{.underline}

The property is currently zoned for single-family use. The local
government is reviewing a zoning application submitted by the Frank
Lloyd Wright Foundation to change the entire campus to a special campus
zoning classification. If approved, this campus zoning classification
would help keep the property from being developed for any use that
doesn't support the Foundation's mission.

[The Price Tower]{.underline}

No other plans were identified.

[Solomon R. Guggenheim Museum]{.underline}

No other plans were identified.

[Marin County Civic Center]{.underline}

In 1992, Marin County approved the Marin County Civic Center Open Space
ordinance. The ordinance preserves the aesthetic quality of the Frank
Lloyd Wright Civic Center buildings and grounds by preventing the
construction of any permanent building that exceeds 250 square feet at
the grounds without prior approval by a majority vote of the county
electorate.

**5.e. Property management plan or other management system**

**Is there a formal management plan or other management system for the
property? If yes, when was it last updated? If not, is one in
preparation and when will it be completed?**

[Unity Temple]{.underline}

Since its establishment, UTRF has commissioned several studies and
historic structures reports for the property. It has commissioned a
restoration master plan and long-term preservation management plan from
the McClier Preservation Group. The draft was issued in the fall of 2006
but has not yet received final approval.

[Frederick C. Robie House]{.underline}

The Frank Lloyd Wright Preservation Trust has produced a master plan for
the restoration and adaptive use of the Frederick C. Robie House. The
Preservation Trust has a full-time professional staff who oversees
preventative maintenance, emergency preparedness, and regular management
of the Robie House.

[Hollyhock House]{.underline}

Various Historic Structure Reports and the Barnsdall Park Historic Site
Survey (1995) were the origin of the Barnsdall Park Master Plan. This
plan has been the basis for the management of the property.

[Alice Millard House]{.underline}

At present there is no property management plan.

[Taliesin]{.underline}

A formal Maintenance Agreement, drafted in 1990 and revised in 1997, is
in place as well as an internal zoning policy drafted in mid-1990. A
Historic Landscape Report was completed in 1997 as well as Historic
Structure Reports for some of the individual buildings on the property.
A Master Plan for the restoration of Taliesin is in progress and
Taliesin Preservation Inc. will be producing a Taliesin Estate Plan in
the next year.

[Fallingwater]{.underline}

Because of the ongoing restoration program, a historic buildings and
site management plan has been developed (updated 2007) and is being
implemented. A conservation assessment of the collections including
interior wood and furnishings is undertaken annually and a cyclical
maintenance plan is in effect (updated 2007). There is also a
Conservation Management Plan (adopted in 2006) for the Bear Run Reserve
in which Fallingwater is located.

[Herbert and Katherine Jacobs House]{.underline}

There is no formal management plan.

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

The firm of Wiss, Janney and Elsner has prepared an external assessment
of the two buildings. It recommended a ten-year plan for property
management and maintenance. This plan is being effectively implemented.
See also 4a.

[Taliesin West]{.underline}

The Foundation is in the process of developing a more comprehensive
property management plan to ensure the long-term future of the site.

[The Price Tower]{.underline}

A management plan was implemented in conjunction with the tower
conversion. The Price Tower Arts Center's Board of Trustees has a
dedicated Management Committee that oversees all aspects of Price
Tower's operations and a Building and Grounds Committee dedicated to
preserving the condition of the property.

[Solomon R. Guggenheim Museum]{.underline}

A property management plan has been implemented in conjunction with the
ongoing preservation plan.

[Marin County Civic Center]{.underline}

In 2004 the county hired Royston Hanamoto Alley & Abey, landscape
architects and environmental planners, to develop a new master plan for
the Marin Center campus. Mark Cavagnero Associates provided the
architectural analysis and recommendations. The *Marin County Civic
Center Master Design Guidelines* report was issued in December 2005.

In early 2006 Marin County adopted the Master Design Guidelines for its
Civic Center campus. The guidelines ensure that future projects will
meet the *Secretary of the Interior Standards for the Treatment of
Historic Properties* and will build on the design principles set out by
Frank Lloyd Wright. These guidelines also suggest that all future
development be designed sustainably in accordance with green building
practices.

**Is this management plan or other management system being effectively
implemented?**

[Unity Temple]{.underline}

Yes.

[Frederick C. Robie House]{.underline}

Yes.

[Hollyhock House]{.underline}

Yes.

[Alice Millard House]{.underline}

N/A

[Taliesin]{.underline}

Yes.

[Fallingwater]{.underline}

Yes.

[Herbert and Katherine Jacobs House]{.underline}

N/A

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

Yes.

[Taliesin West]{.underline}

Plan is in development.

[The Price Tower]{.underline}

Yes.

[Solomon R. Guggenheim Museum]{.underline}

Yes.

[Marin County Civic Center]{.underline}

Yes.

**6. MONITORING**

*Because monitoring the condition of a property is not essential to a
decision as to whether a property meets the basic qualifications for
nomination to the World Heritage List, no information about the
property's monitoring program is being requested at this time. If the
property is subsequently added to the U.S. Tentative List, a set of key
indicators for assessing the property's condition, the arrangements for
monitoring it, and information on the results of past monitoring
exercises will be required to complete the l nomination of the property
for inscription on the World Heritage List.*

**7. DOCUMENTATION**

**7.a Photographs, slides, and other audiovisual materials**

*Please see Documentation -- Photographs folder on CD*

[Unity Temple]{.underline}

*Photos courtesy of Unity Temple Restoration Fund unless otherwise
noted.*

1\. View of Unity Temple from Kenilworth Avenue.

2\. Detail of ornament and cantilevers.

3\. Courtyard in front of entrance foyer. Photo: Marjorie Pearson.

4\. View towards altar and organ.

5\. Detail of lighting in auditorium.

6\. Detail of skylights in Unity House. Photo: Marjorie Pearson.

[Frederick C. Robie House]{.underline}

*Photographs Courtesy Frank Lloyd Wright Preservation Trust.*

1\. Exterior from southeast. Photo: Jon Miller/Hedrich Blessing.

2\. Playroom art glass doors. Photo: Hedrich Blessing.

3\. Art glass south balcony. Photo: Hedrich Blessing.

4\. Living room. Photo: Tim Long.

5\. Living room light fixture. Photo: Tim Long.

6\. Exterior southwest corner. Photo: Tim Long.

[Hollyhock House]{.underline}

*Black and white photographs courtesy of Los Angeles Department of
Cultural Affairs; submitted with National Historic Landmark nomination*

*Color photographs by Marjorie Pearson for the Frank Lloyd Wright
Building Conservancy*

1\. Aerial view of Olive Hill in 1923.

2\. West façade with terrace. Photo: Thomas Koester.

3\. East façade with fountain and terrace. Photo: Thomas Koester.

4\. Entrance court.

5\. Inner courtyard.

6\. Roof terraces. Photo: Thomas Koester.

7\. View of auto court with chauffeur's residence and animal cages.
Photo: Thomas Koester.

8\. Dining room.

9\. Living room looking towards inner courtyard.

10\. Residence "A."

11\. Spring House.

[Millard House]{.underline}

*All photographs by Marjorie Pearson for the Frank Lloyd Wright Building
Conservancy*

1\. View of east facade from Prospect Crescent.

2\. Entrance court to house.

3\. Main entrance from Prospect Crescent.

4\. View of garage (left) and house from northwest.

5\. View of terrace and dining room.

6\. Steps to entrance court from garden terrace.

7\. View of living room with mezzanine balcony.

8\. View towards terrace from mezzanine balcony.

9\. Detail of textile block

10\. Detail of textile block with glass inserts.

[Taliesin]{.underline}

*All photos courtesy of Taliesin Preservation, Inc.*

1\. View of the main complex looking up the hill.

2\. Steps leading to the entrance of the main house.

3\. Entrance terrace.

4\. Courtyard garden.

5\. View to the upper level of the main complex.

6\. Upper terrace.

7\. View of landscape from main house.

8\. Dining area in Wright's studio.

9\. Sitting area in Wright's studio.

10\. Another view of Wright's studio.

11\. Hillside School with drafting studio wing to right.

12\. Hillside School from the north.

13\. Drafting studio in Hillside School.

14\. Music pavilion in Hillside School.

15\. Midway Farms complex.

16\. Romeo and Juliet windmill tower.

17\. Tan-y-deri.

[Fallingwater]{.underline}

*All photos courtesy of the Western Pennsylvania Conservancy.*

1\. View of house over the waterfall.

2\. View through woods from the east.

3\. Driveway and pergola by the entrance to the house.

4\. Living room view to fireplace and dining area.

5\. Living room looking to terrace.

6\. Exterior view of bedrooms by chimney stack.

7\. Master bedroom.

8\. West terrace with staircase to third floor.

9\. Covered canopy leading up the hill to guest quarters.

[Herbert and Katherine Jacobs House]{.underline}

*Photos by Marjorie Pearson for the Frank Lloyd Wright Building
Conservancy*

1\. View of house from Toepfer Avenue.

2\. Living room wing on the east side facing garden.

3\. Dining room bay on east side.

4\. Detail of bedroom wing facing garden.

5\. View of living room looking south.

[S.C. Johnson & Son, Inc. Administration Building and Research
Tower]{.underline}

*All photos are by Marjorie Pearson for the Frank Lloyd Wright Building
Conservancy, unless otherwise noted.*

1\. Aerial view of the site, courtesy of S. C. Johnson & Son, Inc.

2\. Administration Building by the porte-cochere.

3\. Gates into the porte-cochere.

4\. Porte-cochere entrance by the Administration Building.

5\. Research Tower from the roof of the Administration Building.

6\. Reception area by the Great Workroom.

7\. Great Workroom ground floor level.

8\. Great Workroom from mezzanine level.

9\. Mezzanine over the reception area.

10\. Glass tube walls by reception area.

11\. Glass bridge.

[Taliesin West]{.underline}

*All photos by Marjorie Pearson for the Frank Lloyd Wright Building
Conservancy*

1\. Entrance tower and logo.

2\. Entrance court by office.

3\. Entrance wing to office.

4\. Petroglyph in entrance court.

5\. Courtyard in office with music pavilion in background.

6\. View towards the apartment by Sunset Terrace.

7\. View of lawn looking towards Sunset Terrace.

8\. Passageway from Sunset Terrace to the dining room.

9\. Detail of Wright-designed furniture in Garden Room.

10\. Entrance into Garden Room.

11\. Sitting room in Wright's private apartment.

12\. Tower by kitchen.

13\. View towards Garden Court.

14\. Pergola and Drafting Studio.

15\. Pool by office.

16\. Exterior view of Cabaret (foreground) and Music Pavilion.

[The Price Tower]{.underline}

*All photographs courtesy of the Price Tower Arts Center, unless
otherwise noted. Black and white photos have been submitted with the
National Historic Landmark nomination.*

1\. Exterior view of tower.

2\. Detail of copper louvers and parapets on tower.

3\. Detail of copper work and tower from 16th-floor terrace.

4\. Detail of column support for carport.

5\. View of entrance lobby.

6\. Logo on floor by elevators. Photo: Marjorie Pearson.

7\. Living room of Price family apartment on 17th floor.

8\. Harold Price's office on the 19th floor.

[Guggenheim Museum]{.underline}

*Photos are courtesy of the Guggenheim Museum, except for current
restoration work.*

1\. View south on Fifth Avenue.

2\. View of rotunda from ground floor.

3\. View of rotunda from top of ramp.

4\. Exterior entrance during restoration. Photo: Marjorie Pearson.

5\. Exterior from Fifth Avenue during restoration. Photo: Marjorie
Pearson.

[Marin County Civic Center]{.underline}

*Photos by Marjorie Pearson for the Frank Lloyd Wright Building
Conservancy*

1\. View of Administration Building bridging the main drive.

2\. Administration Building and driveway.

3\. View of Hall of Justice set in hillside.

4\. Tower and dome by terrace.

5\. Terrace outside of cafeteria.

6\. Second floor level of Administration Building.

7\. Third floor level of Administration Building.

8\. Skylights over atrium in Administration Building.

9\. Hallway outside of courtrooms in Hall of Justice.

10\. Post office.

**8. CONTACT INFORMATION**

**8a. Preparer/Responsible Party for Contact:**

**Name: Audra Dye, M.U.P.**

**Title: Senior Director, Advocacy and Preservation Services, Frank
Lloyd Wright Building**

**Conservancy**

**Address: 53 W Jackson Boulevard, Suite 1120**

**City, State/Territory, Zip Code: Chicago, IL 60604**

**Telephone: 312.663.5500**

**Cellular phone:**

**Preferred Days/Hours for Contact: Monday through Friday, 9:00 a.m. --
5:00 p.m. CT**

**Fax: 312.663.5505**

**E-mail and/or website: Email: <adye@savewright.org>;
<preservation@savewright.org> Website:
[www.savewright.org](http://www.savewright.org/)**

**\* \* END OF DOCUMENT \* \***