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ហ្វ្រេង្ស ផ្លយរ៉ាយស៍: ការសិក្សា និង ការងារ (1885–1888){{Anchor| Education and first Chicago years}}

ការសិក្សា និង ការងារ (1885–1888) 
Wright attended Madison High School, but there is no evidence he ever graduated.Frank Lloyd Wright: A Biography, by Meryle Secrest, University of Chicago Press, 1992, p.72 He was admitted to the University of Wisconsin–Madison as a special student in 1886. There he joined Phi Delta Theta fraternity,Phi Delta Theta list of Famous Phis, accessed on May 26. 2008 took classes part-time for two semesters, and worked with a professor of civil engineering, Allan D. Conover.Frank Lloyd Wright: A Biography, by Meryle Secrest, p. 82
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In 1887, Wright left the school without taking a degree (although he was granted an honorary Doctorate of Fine Arts from the University in 1955) and arrived in Chicago in search of employment. As a result of the devastating Great Chicago Fire of 1871 and recent population boom, new development was plentiful in the city. He later recalled that his first impressions of Chicago were that of grimy neighborhoods, crowded streets, and disappointing architecture, yet he was determined to find work. Within days, and after interviews with several prominent firms, he was hired as a draftsman with the architectural firm of Joseph Lyman Silsbee.Wright, Frank Lloyd (2005).  Wright previously collaborated with Silsbee—accredited as the draftsman and the construction supervisor—on the 1886 Unity Chapel for Wright's family in Spring Green, Wisconsin."A brief Biography". 
While with the firm, he also worked on two other family projects: All Souls Church in Chicago for his uncle, Jenkin Lloyd Jones, and the Hillside Home School I in Spring Green for two of his aunts.O'Gorman, Thomas J. (2004).  Other draftsmen who worked for Silsbee in 1887 included future architects Cecil Corwin, George W. Maher, and George G. Elmslie. Wright soon befriended Corwin, with whom he lived until he found a permanent home.

In his autobiography, Wright recounts that he also had a short stint in another Chicago architecture office. Feeling that he was underpaid for the quality of his work for Silsbee (at $8 a week), the young draftsman quit and found work as a designer at the firm of Beers, Clay, and Dutton. However, Wright soon realized that he was not ready to handle building design by himself; he left his new job to return to Joseph Silsbee—this time with a raise in salary.

Although Silsbee adhered mainly to Victorian and revivalist architecture, Wright found his work to be more "gracefully picturesque" than the other "brutalities" of the period. Still, Wright aspired for more progressive work. After less than a year had passed in Silsbee's office, Wright learned that the Chicago firm of Adler & Sullivan was "looking for someone to make the finish drawings for the interior of the Auditorium Building". Wright demonstrated that he was a competent impressionist of Louis Sullivan's ornamental designs and two short interviews later, was an official apprentice in the firm.
ហ្វ្រេង្ស ផ្លយរ៉ាយស៍: ការបោះបង់ចោលគ្រួសារ{{Anchor| Europe and personal troubles}}

ការបោះបង់ចោលគ្រួសារ 
រូបភាពតូច|Aerial photo of Taliesin, Spring Green, Wisconsin
Local gossips noticed Wright's flirtations, and he developed a reputation in Oak Park as a man-about-town. His family had grown to six children, but Wright was not paternal and he relied on his wife Catherine to care for them. In 1903, Wright designed a house for Edwin Cheney, a neighbor in Oak Park, and immediately took a liking to Cheney's wife, Mamah Borthwick Cheney. Mamah Cheney was a modern woman with interests outside the home. She was an early feminist and Wright viewed her as his intellectual equal. The two fell in love, and they became the talk of the town, as they often could be seen taking rides in Wright's automobile through Oak Park. Wright's wife, Kitty, sure that this attachment would fade as the others had, refused to grant him a divorce. Mamah had to live in Europe for two years in order to obtain a divorce from Edwin on the grounds of desertion.

In 1909, even before the Robie House was completed, Wright and Mamah Cheney went together to Europe, leaving their own spouses and children behind. By this point Wright "rejected" the Prairie Style single-family house model of the upper-middle class, and hoped to work on more democratic architecture. He was not getting larger commissions for commercial or public buildings, which frustrated him.

What drew Wright to Europe was the chance to publish a portfolio of his work with Berlin publisher Ernst Wasmuth.Frank Lloyd Wright: A Biography, by Meryle Secrest, Alfred A. Knopf, 1993, p. 202 The resulting two volumes, titled Studies and Executed Buildings of Frank Lloyd Wright, were published in 1911 in two editions, creating the first major exposure of Wright's work in Europe. The work contained more than 100 lithographs of Wright's designs and was commonly known as the Wasmuth Portfolio.

Wright remained in Europe for almost a year and set up home first in Florence, Italy — where he lived with his eldest son Lloyd — and later in Fiesole, Italy where he lived with Mamah. During this time, Edwin Cheney granted Mamah a divorce, though Kitty still refused to grant one to her husband. After Wright returned to the United States in October 1910, he persuaded his mother to buy land for him in Spring Green, Wisconsin. The land, bought on April 10, 1911, was adjacent to land held by his mother's family, the Lloyd-Joneses. Wright began to build himself a new home, which he called Taliesin, by May 1911. The recurring theme of Taliesin also came from his mother's side: Taliesin in Welsh mythology was a poet, magician, and priest. The family motto was Y Gwir yn Erbyn y Byd which means "The Truth Against the World"; it was created by Iolo Morgannwg who also had a son called Taliesin, and the motto is still used today as the cry of the druids and chief bard of the Eisteddfod in Wales.
ហ្វ្រេង្ស ផ្លយរ៉ាយស៍: Catastrophe at Taliesin studio

Catastrophe at Taliesin studio 
On August 15, 1914, while Wright was working in Chicago, Julian Carlton, a male servant from Barbados who had been hired several months earlier, set fire to the living quarters of Taliesin and murdered seven people with an axe as the fire burned. The dead included Mamah; her two children, John and Martha; a gardener; a draftsman named Emil Brodelle; a workman; and another workman's son. Two people survived the mayhem, one of whom, William Weston, helped to put out the fire that almost completely consumed the residential wing of the house. Carlton swallowed hydrochloric acid immediately following the attack in an attempt to kill himself. He was nearly lynched on the spot, but was taken to the Dodgeville jail."Mystery of the murders at Taliesin".  Carlton died from starvation seven weeks after the attack, despite medical attention.
ហ្វ្រេង្ស ផ្លយរ៉ាយស៍: Divorce and further troubles

Divorce and further troubles 
In 1922, Kitty Wright finally granted Wright a divorce. Under the terms of the divorce, Wright was required to wait one year before he could marry his then-partner, Maude "Miriam" Noel. In 1923, Wright's mother, Anna (Lloyd Jones) Wright, died. Wright wed Miriam Noel in November 1923, but her addiction to morphine led to the failure of the marriage in less than one year. In 1924, after the separation but while still married, Wright met Olga (Olgivanna) Lazovich Hinzenburg at a Petrograd Ballet performance in Chicago. They moved in together at Taliesin in 1925, and soon Olgivanna was pregnant with their daughter, Iovanna, born on December 2, 1925.

On April 20, 1925, another fire destroyed the bungalow at Taliesin. Crossed wires from a newly installed telephone system were deemed to be responsible for the blaze, which destroyed a collection of Japanese prints that Wright estimated to be worth $250,000 to $500,000.Frank Lloyd Wright: A Biography, by Meryle Secrest, p. 315–317. "$500,000 Fire in Bungalow,"The New York Times, April 22, 1925 Wright rebuilt the living quarters, naming the home "Taliesin III".

In 1926, Olga's ex-husband, Vlademar Hinzenburg, sought custody of his daughter, Svetlana. In October 1926, Wright and Olgivanna were accused of violating the Mann Act and arrested in Tonka Bay, Minnesota.Minnesota Historical Society, Collections Up Close, "Frank Lloyd Wright Arrested in Minnesota " The charges were later dropped. During this period, Wright designed Graycliff (1926–31), the summer estate of Isabelle and Darwin D. Martin.

Wright and Miriam Noel's divorce was finalized in 1927, and once again, Wright was required to wait for one year before remarrying. Wright and Olgivanna married in 1928.
ហ្វ្រេង្ស ផ្លយរ៉ាយស៍: California and the textile block houses

California and the textile block houses 
In the 1920s, Wright designed a number of houses in California using precast "textile" concrete blocks reinforced by an internal system of bars. Wright first used his textile block system on the John Storer House in Hollywood, California, in 1923. The house is now used in films, television, and print media to represent the future.American Treasures of the Library of Congress.  Typically Wrightian is the joining of the structure to its site by a series of terraces that reach out into and reorder the landscape, making it an integral part of the architect's vision.American Treasures of the Library of Congress.  According to Wright's organic theory, all components of the building should appear unified, as though they belong together. Nothing should be attached to it without considering the effect on the whole. To unify the house to its site, Wright often used large expanses of glass to blur the boundary between the indoors and outdoors.
ស្តាំ|រូបភាពតូច|328x328ភីកសែល|Wright in 1926
With the Ennis House and the Samuel Freeman House (both 1923), Wright had further opportunities to test the limits of the textile block system. He also designed a textile block house for Aline Barnsdall, the Community Playhouse ("Little Dipper"), which was never constructed. Wright's son, Lloyd Wright, supervised construction for the Storer, Freeman and Ennis Houses. Architectural historian Thomas Hines has suggested that Lloyd's contribution to these projects is often overlooked.
ហ្វ្រេង្ស ផ្លយរ៉ាយស៍: Usonian Houses

Usonian Houses 
រូបភាពតូច|Charles Weltzheimer Residence (1948) in Oberlin, Ohio
Concurrent with the development of Broadacre City, also referred to as Usonia, Wright conceived a new type of dwelling that came to be known as the Usonian House. An early version of the form can be seen in the Malcolm Willey House (1934) in Minneapolis; but the Usonian ideal emerged most completely in the Herbert and Katherine Jacobs First House (1937) in Madison, Wisconsin. Designed on a gridded concrete slab that integrated the house's radiant heating system, the house featured new approaches to construction, including sandwich walls that consisted of layers of wood siding, plywood cores and building paper, a significant change from typically framed walls. Usonian houses most commonly featured flat roofs and were mostly constructed without basements, completing the excision of attics and basements from houses, a feat Wright had been attempting since the early 20th century. The Jacobses also commissioned the "Solar Hemicycle" by Wright in 1944, a seminal project in the solar house movement.Denzer, Anthony (2013). 

Intended to be highly practical houses for middle-class clients, and designed to be run without servants, Usonian houses often featured small kitchens — called "workspaces" by Wright — that adjoined the dining spaces. These spaces in turn flowed into the main living areas, which also were characteristically outfitted with built-in seating and tables. As in the Prairie Houses, Usonian living areas focused on the fireplace. Bedrooms were typically isolated and relatively small, encouraging the family to gather in the main living areas. The conception of spaces instead of rooms was a development of the Prairie ideal; as the built-in furnishings related to the Arts and Crafts principles from which Wright's early works grew. Spatially and in terms of their construction, the Usonian houses represented a new model for independent living, and allowed dozens of clients to live in a Wright-designed house at relatively low cost. The diversity of the Usonian ideal can be seen in houses such as the Gregor S. and Elizabeth B. Affleck House (1941) in Bloomfield Hills, Michigan, which projects over a ravine; and the Hanna-Honeycomb House (1937) in Palo Alto, California, which features a honeycomb planning grid. Gordon House, completed in 1963, was Wright's last Usonian design. Fewer than 60 of Wright's Usonian houses were built.

His Usonian homes set a new style for suburban design that was a feature of countless developers. Many features of modern American homes date back to Wright, including open plans, slab-on-grade foundations, and simplified construction techniques that allowed more mechanization and efficiency in building.
ហ្វ្រេង្ស ផ្លយរ៉ាយស៍: Significant later works

Significant later works 
រូបភាពតូច|Solomon R. Guggenheim Museum, New York City (1959)
Wright turned 80 shortly after WWII ended, yet remained busy as ever. The Solomon R. Guggenheim Museum in New York City occupied Wright for 16 years (1943–1959)Guggenheim Museum — History and is probably his most recognized masterpiece. The building rises as a warm beige spiral from its site on Fifth Avenue; its interior is similar to the inside of a seashell. Its unique central geometry was meant to allow visitors to easily experience Guggenheim's collection of nonobjective geometric paintings by taking an elevator to the top level and then viewing artworks by walking down the slowly descending, central spiral ramp, the floor of which is embedded with circular shapes and triangular light fixtures to complement the geometric nature of the structure. However, when the museum was completed, a number of details of Wright's design were ignored, such as his desire for the interior to be painted off-white. Further, the Museum currently designs exhibits to be viewed by walking up the curved walkway rather than walking down from the top level.
ស្តាំ|រូបភាពតូច|Wright's Price Tower in Bartlesville, Oklahoma
The only realized skyscraper designed by Wright is the Price Tower, a 19-story tower in Bartlesville, Oklahoma. It is also one of the two existing vertically oriented Wright structures (the other is the S.C. Johnson Wax Research Tower in Racine, Wisconsin). The Price Tower was commissioned by Harold C. Price of the H. C. Price Company, a local oil pipeline and chemical firm. It opened to the public in February 1956. On March 29, 2007, Price Tower was designated a National Historic Landmark by the United States Department of the Interior, one of only 20 such properties in the state of Oklahoma.National Park Service — National Historic Landmarks Designated, April 13, 2007
ហ្វ្រេង្ស ផ្លយរ៉ាយស៍: Notable community planning designs

Notable community planning designs 
 1900–03 – Quadruple Block Plan, 24 homes in Oak Park, Illinois (unbuilt)
 1909 – Como Orchard Summer Colony, town site development for new town in the Bitterroot Valley, Montana
 1913 – Chicago Land Development competition, suburban Chicago quarter section
 1934–59 – Broadacre City, theoretical decentralized city plan, exhibits of large-scale model
 1938 – Suntop Homes, also known as Cloverleaf Quadruple Housing Project – commission from Federal Works Agency, Division of Defense Housing, a low-cost multifamily housing alternative to suburban development
 1942 – Cooperative Homesteads, commissioned by a group of auto workers, teachers and other professionals, 160-acre farm co-op was to be the pioneer of rammed earth and earth berm constructionTreasures of Taliesin: Seventy Seven Unbuilt Designs, Bruce Brooks Pfeiffer, Director of the Frank Lloyd Wright Archive (unbuilt)
 1945 – Usonia Homes, A47 homes (three designed by Wright) in Pleasantville, New York
 1949 – The Acres, also known as Galesburg Country Homes, five homes (four designed by Wright) in Charleston Township, Michigan
 1949 – Parkwyn neighborhood, a plat in Kalamazoo, Michigan developed by Wright containing mostly Usonian homes on circular lots with common spaces in between (since replatted)
ហ្វ្រេង្ស ផ្លយរ៉ាយស៍: សិល្បៈជប៉ុន

សិល្បៈជប៉ុន 
Though most famous as an architect, Wright was an active dealer in Japanese art, primarily ukiyo-e woodblock prints. He frequently served as both architect and art dealer to the same clients; he designed a home, then provided the art to fill it. For a time, Wright made more from selling art than from his work as an architect. Wright was also an avid collector of Japanese prints and used them as teaching aids with his apprentices in what were called "print parties".Julia Meech. 

Wright first traveled to Japan in 1905, where he bought hundreds of prints. The following year, he helped organize the world's first retrospective exhibition of works by Hiroshige, held at the Art Institute of Chicago. For many years, he was a major presence in the Japanese art world, selling a great number of works to prominent collectors such as John Spaulding of Boston, and to prominent museums such as the Metropolitan Museum of Art in New York. He penned a book on Japanese art in 1912.

In 1920, however, rival art dealers began to spread rumors that Wright was selling retouched prints; this combined with Wright's tendency to live beyond his means, and other factors, led to great financial troubles for the architect. Though he provided his clients with genuine prints as replacements for those he was accused of retouching, this marked the end of the high point of his career as an art dealer. He was forced to sell off much of his art collection in 1927 to pay off outstanding debts; the Bank of Wisconsin claimed his Taliesin home the following year, and sold thousands of his prints, for only one dollar a piece, to collector Edward Burr Van Vleck.

Wright continued to collect and deal in prints until his death in 1959, using prints as collateral for loans, often relying upon his art business to remain financially solvent.

The extent of his dealings in Japanese art went largely unknown, or underestimated, among art historians for decades until, in 1980, Julia Meech, then associate curator of Japanese art at the Metropolitan Museum, began researching the history of the museum's collection of Japanese prints. She discovered "a three-inch-deep 'clump of 400 cards' from 1918, each listing a print bought from the same seller—'F. L. Wright'" and a number of letters exchanged between Wright and the museum's first curator of Far Eastern Art, Sigisbert C. Bosch Reitz, in 1918-22. These discoveries, and subsequent research, led to a renewed understanding of Wright's career as an art dealer.
ហ្វ្រេង្ស ផ្លយរ៉ាយស៍: Colleagues and influences

Colleagues and influences 
រូបភាពតូច|Wright-designed window in Robie House, Chicago (1906)
Wright rarely credited any influences on his designs, but most architects, historians and scholars agree he had five major influences:
 Louis Sullivan, whom he considered to be his Lieber Meister (dear master),
 Nature, particularly shapes/forms and colors/patterns of plant life,
 Music (his favorite composer was Ludwig van Beethoven),
 Japanese art, prints and buildings,
 Froebel Gifts 
He also routinely claimed the architects and architectural designers who were his employees' work as his own design and claimed that the rest of the Prairie School architects were merely his followers, imitators and subordinates."The Magic of America", Marion Mahony Griffin But, as with any architect, Wright worked in a collaborative process and drew his ideas from the work of others. In his earlier days, Wright worked with some of the top architects of the Chicago School, including Sullivan. In his Prairie School days, Wright's office was populated by many talented architects including William Eugene Drummond, John Van Bergen, Isabel Roberts, Francis Barry Byrne, Albert McArthur, Marion Mahony Griffin and Walter Burley Griffin.

The Czech-born architect Antonin Raymond, recognized as the father of modern architecture in Japan, worked for Wright at Taliesin and led the construction of the Imperial Hotel in Tokyo. He subsequently stayed in Japan and opened his own practice. Rudolf Schindler also worked for Wright on the Imperial hotel. His own work is often credited as influencing Wright's Usonian houses. Schindler's friend Richard Neutra also worked briefly for Wright and became an internationally successful architect.

Later in the Taliesin days, Wright employed many architects and artists who later become notable, such as Aaron Green, John Lautner, E. Fay Jones, Henry Klumb and Paolo Soleri in architecture and Santiago Martinez Delgado in the arts. As a young man, actor Anthony Quinn applied to study with Wright at Taliesin. However, Wright suggested that he first take voice lessons to help overcome a speech impediment.

Bruce Goff never worked for Wright but maintained correspondence with him. Their works can be seen to parallel each other.

Simon & Garfunkel recorded So Long, Frank Lloyd Wright as a tribute to Wright.
ហ្វ្រេង្ស ផ្លយរ៉ាយស៍: គ្រួសារ

គ្រួសារ 
Frank Lloyd Wright was married three times and fathered seven children, four sons and three daughters. He also adopted Svetlana Milanoff, the daughter of his third wife, Olgivanna Lloyd Wright.

His wives were:
 Catherine "Kitty" (Tobin) Wright (1871–1959); social worker, socialite (married in June 1889; divorced November 1922)
 Maude "Miriam" (Noel) Wright (1869–1930), artist (married in November 1923; divorced August 1927)
 Olga Ivanovna "Olgivanna" (Lazovich Milanoff) Lloyd Wright (1897–1985), dancer and writer (married in August 1928)
One of Wright's sons, Frank Lloyd Wright, Jr., known as Lloyd Wright, was also a notable architect in Los Angeles. Lloyd Wright's son (and Wright's grandson), Eric Lloyd Wright, is currently an architect in Malibu, California where he has a practice of mostly residences, but also civic and commercial buildings.

Another son and architect, John Lloyd Wright, invented Lincoln Logs in 1918, and practiced extensively in the San Diego area. John's daughter, Elizabeth Wright Ingraham, was an architect in Colorado Springs, Colorado, and died September 15, 2013, of congestive heart failure. She is the mother of Christine, an interior designer in Connecticut, and Catherine, an architecture professor at the Pratt Institute.

Wright designed a house for David Samuel Wright, his son by his first marriage to Catherine, and David's wife, Gladys.

The Oscar-winning actress Anne Baxter was Wright's granddaughter. Baxter was the daughter of Catherine Baxter, a child born of Wright's first marriage. Baxter's daughter, Melissa Galt, currently lives and works in Atlanta as an interior designer.

His step-daughter Svetlana (daughter of Olgivanna) and her son Daniel died in an automobile accident in 1946. Her widower, William Wesley Peters, was later briefly married to Svetlana Alliluyeva, the youngest child and only daughter of Joseph Stalin. They divorced after she could not adjust to the communal lifestyle of the Wright communities, which she compared to life in the Soviet Union under her father, and because of the constant interference of Wright's widow. Peters served as Chairman of the Frank Lloyd Wright Foundation from 1985 to 1991.

A great-grandson of Wright, S. Lloyd Natof, currently lives and works in Chicago as a master woodworker who specializes in the design and creation of custom wood furniture.