ហ្វ្រេង្ស ផ្លយរ៉ាយស៍: Transition and experimentation (1893–1900)

Transition and experimentation (1893–1900) 
After leaving Louis Sullivan's firm, Wright established his own practice on the top floor of the Sullivan designed Schiller Building (1892, demolished 1961) on Randolph Street in Chicago. Wright chose to locate his office in the building because the tower location reminded him of the office of Adler & Sullivan. Although Cecil Corwin followed Wright and set up his architecture practice in the same office, the two worked independently and did not consider themselves partners. Within a year, Corwin decided that he did not enjoy architecture and journeyed east to find a new profession.

With Corwin gone, Wright moved out of the Schiller Building and into the nearby and newly completed Steinway Hall Building. The loft space was shared with Robert C. Spencer, Jr., Myron Hunt, and Dwight H. Perkins. These young architects, inspired by the Arts and Crafts Movement and the philosophies of Louis Sullivan, formed what would become known as the Prairie School.Brooks, H. Allen (2005).  They were joined by Perkins apprentice, Marion Mahony, who in 1895 transferred to Wright's team of drafters and took over production of his presentation drawings and watercolor renderings. Mahony, the third woman to be licensed as an architect in Illinois and one of the first licensed female architects in the U.S., also designed furniture, leaded glass windows, and light fixtures, among other features, for Wright's houses.Cassidy, Victor M. (October 21, 2005). "Marion Mahony Griffin (1871–1962)".  Between 1894 and the early 1910s, several other leading Prairie School architects and many of Wright's future employees launched their careers in the offices of Steinway Hall.
រូបភាពតូច|William H. Winslow House (1893) in River Forest, Illinois
Wright's projects during this period followed two basic models. On one hand, there was his first independent commission, the Winslow House, which combined Sullivanesque ornamentation with the emphasis on simple geometry and horizontal lines that is typical in Wright houses. The Francis Apartments (1895, demolished 1971), Heller House (1896), Rollin Furbeck House (1897), and Husser House (1899, demolished 1926) were designed in the same mode. For more conservative clients, Wright conceded to design more traditional dwellings. These included the Dutch Colonial Revival style Bagley House (1894), Tudor Revival style Moore House I (1895), and Queen Anne style Charles E. Roberts House (1896). As an emerging architect, Wright could not afford to turn down clients over disagreements in taste, but even his most conservative designs retained simplified massing and occasional Sullivan inspired details.

Soon after the completion of the Winslow House in 1894, Edward Waller, a friend and former client, invited Wright to meet Chicago architect and planner Daniel Burnham. Burnham had been impressed by the Winslow House and other examples of Wright's work; he offered to finance a four-year education at the École des Beaux-Arts and two years in Rome. To top it off, Wright would have a position in Burnham's firm upon his return. In spite of guaranteed success and support of his family, Wright declined the offer. Burnham, who had directed the classical design of the World's Columbian Exposition was a major proponent of the Beaux Arts movement, thought that Wright was making a foolish mistake. Yet for Wright, the classical education of the École lacked creativity and was altogether at odds with his vision of modern American architecture.Goldberger, Paul (March 9, 2009). 
រូបភាពតូច|Wright's studio (1898) viewed from Chicago Avenue
រូបភាពតូច|Nathan G. Moore House (1895), Oak Park, Illinois
Wright relocated his practice to his home in 1898 in order to bring his work and family lives closer. This move made further sense as the majority of the architect's projects at that time were in Oak Park or neighboring River Forest. The past five years had seen the birth of three more children — Catherine in 1894, David in 1895, and Frances in 1898 — prompting Wright to sacrifice his original home studio space for additional bedrooms. Thus, moving his work space necessitated his design and construction of an expansive studio addition to the north of the main house. The space, which included a hanging balcony within the two story drafting room, was one of Wright's first experiments with innovative structure. The studio was a poster for Wright's developing aesthetics and would become the laboratory from which the next ten years of architectural creations would emerge.Frank Lloyd Wright Preservation Trust 2001, pp. 6–9. The renovation included a playroom with high vaulted ceilings for his children. The fireplace takes up the majority of one wall of the playroom. A skylight at the top of the arc runs almost the length of the room. Made of Roman brick, the fireplace lies below a mural from the story "The Fisherman and the Genie" from Arabian Nights created by the artist Charles Corwin. Wright believed that the fireplace was an integral architectural feature within the home, often calling the hearth the heart of the home.