ហ្វ្រេង្ស ផ្លយរ៉ាយស៍: Adler & Sullivan (1888–1893){{Anchor| Adler & Sullivan}}

Adler & Sullivan (1888–1893) 
Wright did not get along well with Sullivan's other draftsmen; he wrote that several violent altercations occurred between them during the first years of his apprenticeship. For that matter, Sullivan showed very little respect for his employees as well. In spite of this, "Sullivan took [Wright] under his wing and gave him great design responsibility." As an act of respect, Wright would later refer to Sullivan as Lieber Meister (German for "Dear Master").Tafel, Edgar (1985).  He also formed a bond with office foreman Paul Mueller. Wright would later engage Mueller to build several of his public and commercial buildings between 1903 and 1923.Saint, Andrew (May 2004). 
រូបភាពតូច|Wright's home in Oak Park, Illinois
On June 1, 1889, Wright married his first wife, Catherine Lee "Kitty" Tobin (1871–1959). The two had met around a year earlier during activities at All Souls Church. Sullivan did his part to facilitate the financial success of the young couple by granting Wright a five-year employment contract. Wright made one more request: "Mr. Sullivan, if you want me to work for you as long as five years, couldn't you lend me enough money to build a little house?" With Sullivan's $5,000 loan, Wright purchased a lot at the corner of Chicago and Forest Avenues in the suburb of Oak Park. The existing Gothic Revival house was given to his mother, while a compact Shingle style house was built alongside for Wright and Catherine.Frank Lloyd Wright Preservation Trust (2001).  

According to an 1890 diagram of the firm's new, 17th floor space atop the Auditorium Building, Wright soon earned a private office next to Sullivan's own.Saint, Andrew (May 2004).  However, that office was actually shared with friend and draftsman George Elmslie, who was hired by Sullivan at Wright's request.Gebhard, David; Patricia Gebhard (2006).  Wright had risen to head draftsman and handled all residential design work in the office. As a general rule, Adler & Sullivan did not design or build houses, but they obliged when asked by the clients of their important commercial projects. Wright was occupied by the firm's major commissions during office hours, so house designs were relegated to evening and weekend overtime hours at his home studio. He would later claim total responsibility for the design of these houses, but careful inspection of their architectural style and accounts from historian Robert Twombly suggest that it was Sullivan who dictated the overall form and motifs of the residential works; Wright's design duties were often reduced to detailing the projects from Sullivan's sketches.Gebhard, David; Patricia Gebhard (2006).  During this time, Wright worked on Sullivan's bungalow (1890) and the James A. Charnley bungalow (1890) both in Ocean Springs, Mississippi, the Berry-MacHarg House (1891) and Louis Sullivan's House (1892) both in Chicago, and the most noted 1891 James A. Charnley House also in Chicago. Of the five collaborations, only the two commissions for the Charnley family still stand.Lind, Carla (1996). 
រូបភាពតូច|The Walter Gale House (1893) is Queen Anne in style yet features window bands and a cantilevered porch roof which hint at Wright's developing aesthetics
Despite Sullivan's loan and overtime salary, Wright was constantly short on funds. Wright admitted that his poor finances were likely due to his expensive tastes in wardrobe and vehicles, and the extra luxuries he designed into his house. To supplement his income and repay his debts, Wright accepted independent commissions for at least nine houses. These "bootlegged" houses, as he later called them, were conservatively designed in variations of the fashionable Queen Anne and Colonial Revival styles. Nevertheless, unlike the prevailing architecture of the period, each house emphasized simple geometric massing and contained features such as bands of horizontal windows, occasional cantilevers, and open floor plans which would become hallmarks of his later work. Eight of these early houses remain today including the Thomas Gale, Robert P. Parker House, George Blossom, and Walter Gale houses.

As with the residential projects for Adler & Sullivan, he designed his bootleg houses on his own time. Sullivan knew nothing of the independent works until 1893, when he recognized that one of the houses was unmistakably a Frank Lloyd Wright design. This particular house, built for Allison Harlan, was only blocks away from Sullivan's townhouse in the Chicago community of Kenwood. Aside from the location, the geometric purity of the composition and balcony tracery in the same style as the Charnley House likely gave away Wright's involvement. Since Wright's five-year contract forbade any outside work, the incident led to his departure from Sullivan's firm.Lind, Carla (1996).  A variety of stories recount the break in the relationship between Sullivan and Wright; even Wright later told two different versions of the occurrence. In An Autobiography, Wright claimed that he was unaware that his side ventures were a breach of his contract. When Sullivan learned of them, he was angered and offended; he prohibited any further outside commissions and refused to issue Wright the deed to his Oak Park house until after he completed his five years. Wright could not bear the new hostility from his master and thought the situation was unjust. He "threw down [his] pencil and walked out of the Adler and Sullivan office never to return." Dankmar Adler, who was more sympathetic to Wright's actions, later sent him the deed. On the other hand, Wright told his Taliesin apprentices (as recorded by Edgar Tafel) that Sullivan fired him on the spot upon learning of the Harlan House. Tafel also accounted that Wright had Cecil Corwin sign several of the bootleg jobs, indicating that Wright was aware of their illegal nature.Lind, Carla (1996).  Regardless of the correct series of events, Wright and Sullivan did not meet or speak for twelve years.