ហ្វ្រេង្ស ផ្លយរ៉ាយស៍: រចនាប័ទ្មសរីរាង្គចាស់ទុំ

រចនាប័ទ្មសរីរាង្គចាស់ទុំ 
During the later 1920s and 1930s Wright's Organic style had fully matured with the design of Graycliff, Fallingwater and Taliesin West.

Graycliff, located just south of Buffalo, NY is an important mid-career (1926–1931) design by Wright; it is a summer estate designed for his long-time patrons, Isabelle and Darwin D. Martin. Created in Wright's high Organic style, Wright wrote in a letter to the Martins that "Coming in the house would be something like putting on your hat and going outdoors."State University of New York at Buffalo Archives http://ubdigit.buffalo.edu/collections/lib/lib-ua/lib-ua001_DDMartin.php  Graycliff consists of three buildings set within 8.5 acres of landscape, also designed by Wright. Its site, high on a bluff overlooking Lake Erie, inspired Wright to create a home that was transparent, with views through the building to the lake beyond. Terraces and cantilevered balconies also encourage lake views, and water features throughout the landscape were designed by Wright to echo the lake as well.
រូបភាពតូច|Fallingwater, Mill Run, Pennsylvania (1937)
One of Wright's most famous private residences was built from 1934 to 1937—Fallingwater—for Mr. and Mrs. Edgar J. Kaufmann Sr., at Mill Run, Pennsylvania, near Pittsburgh. It was designed according to Wright's desire to place the occupants close to the natural surroundings, with a stream and waterfall running under part of the building. Wright wanted the new residents to live with the waterfalls, to make them part of their everyday lives. He didn't want them to just look at them every now and again. Constructed over a 30-foot waterfall, the house may look very big on the outside but on the inside it is quite small, which surprises some visitors. It was made with three bedrooms, a massive living room and a dining room. The house was more of a design for a family getaway, not for a live-in family.Twombly, Robert (1979).  The construction is a series of cantilevered balconies and terraces, using limestone for all verticals and concrete for the horizontals. The house cost $155,000, including the architect's fee of $8,000. It was one of Wright's most expensive pieces.Twombly, Robert (1979).  Kaufmann's own engineers argued that the design was not sound. They were overruled by Wright, but the contractor secretly added extra steel to the horizontal concrete elements. In 1994, Robert Silman and Associates examined the building and developed a plan to restore the structure. In the late 1990s, steel supports were added under the lowest cantilever until a detailed structural analysis could be done. In March 2002, post-tensioning of the lowest terrace was completed.

Taliesin West, Wright's winter home and studio complex in Scottsdale, Arizona, was a laboratory for Wright from 1937 to his death in 1959. Now the home of the Frank Lloyd Wright Foundation and archives, it continues today as the site of the Frank Lloyd Wright School of Architecture.

Wright is responsible for a series of concepts of suburban development united under the term Broadacre City. He proposed the idea in his book The Disappearing City in 1932, and unveiled a  model of this community of the future, showing it in several venues in the following years. He continued developing the idea until his death.

 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.

 Personal style and concepts 
រូបភាពតូច|An open office area in Wright's Johnson Wax headquarters complex
Some of the built-in furniture remains, while other restorations have included replacement pieces created using his plans. His Prairie houses use themed, coordinated design elements (often based on plant forms) that are repeated in windows, carpets and other fittings. He made innovative use of new building materials such as precast concrete blocks, glass bricks and zinc cames (instead of the traditional lead) for his leadlight windows, and he famously used Pyrex glass tubing as a major element in the Johnson Wax Headquarters. Wright was also one of the first architects to design and install custom-made electric light fittings, including some of the very first electric floor lamps, and his very early use of the then-novel spherical glass lampshade (a design previously not possible due to the physical restrictions of gas lighting).

As Wright's career progressed, so did the mechanization of the glass industry. Wright fully embraced glass in his designs and found that it fit well into his philosophy of organic architecture. Glass allowed for interaction and viewing of the outdoors while still protecting from the elements. In 1928, Wright wrote an essay on glass in which he compared it to the mirrors of nature: lakes, rivers and ponds.Frank Lloyd Wright.  One of Wright's earliest uses of glass in his works was to string panes of glass along whole walls in an attempt to create light screens to join together solid walls. By utilizing this large amount of glass, Wright sought to achieve a balance between the lightness and airiness of the glass and the solid, hard walls. Arguably, Wright's best-known art glass is that of the Prairie style. The simple geometric shapes that yield to very ornate and intricate windows represent some of the most integral ornamentation of his career. 
Wright responded to the transformation of domestic life that occurred at the turn of the 20th century, when servants became less prominent or completely absent from most American households, by developing homes with progressively more open plans. This allowed the woman of the house to work in her 'workspace', as he often called the kitchen, yet keep track of and be available for the children and/or guests in the dining room. Much of modern architecture, including the early work of Mies van der Rohe, can be traced back to Wright's innovative work.

Wright also designed some of his own clothing. His fashion sense was unique and he usually wore expensive suits, flowing neckties, and capes. He had a fascination with automobiles, purchasing his first car in 1909, a Stoddard-Dayton roadster, and owned many exotic vehicles over the years. During the cash-strapped Depression, Wright drove cheaper vehicles. Some of his last cars in the 1950s included four Volkswagens and a Chevrolet Nomad wagon along with flashier articles such as a Jaguar Mark VII. He owned some 50 cars between 1909 and his death, of which ten are known to be extant.

Wright strongly believed in individualism and did not affiliate with the American Institute of Architects during his career, going so far as to call the organization "a harbor of refuge for the incompetent," and "a form of refined gangsterism." When an associate referred to him as "an old amateur" Wright confirmed, "I am the oldest."

 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