Unity

Unity was perhaps the single most important word in Wright's design vocabulary and an idea that was instilled in him from a very early age. As a child, his family often spoke about the interdependence—or “unity of all things”—in reference to having a “oneness” with the world and all forms of life.

Simplicity

In a lecture on modern architecture in 1930, Wright stated that “To think 'in simple' is to deal in simples, and that means with an eye to the altogether.” This quote is especially compelling because it greatly exemplifies how Wright approached design—with simplicity yet considering the totality of a home rather than just the structure itself. He often insisted on being involved in every aspect of the design of a home for his residential clients, creating not just the building and landscape, but the interior look from lighting to furnishings to carpeting and textiles.

Harmony

Throughout his career, Wright insisted on designs that worked in harmony with each other and with nature, rather than ones that competed or contrasted. Harmony was clearly a critical element of his architectural work, and can be seen across all of his design choices.

Integrity

When integrity is referred to in reference to design, most architects use it to indicate sound engineering, successful functioning, and the right application of materials in consideration of the end use. When Wright used the word integrity, it meant much more. During the annual Sir George Watson lectures at the Royal Institute of British Architects of 1939, Wright is quoted as saying, “What we call organic architecture is no mere aesthetic nor cult nor fashion but an actual movement based upon a profound idea of a new integrity of human life, wherein art, religion and science are one: Form and Function seen as One, of such is Democracy.”

Three early influences helped shaped Wright as a young boy, and into being the most prestigious architect of his time. These three influences were: nature, his family, and instructional toys.

Wright once said “I believe in God, only I spell it Nature.” Nature was an integral influence in Wright's designs—he was both deeply respectful of it and was a keen observer in the forms, structures, and patterns created in it. Growing up in southwestern Wisconsin afforded him the opportunity to experience nature in an often rugged circumstance as well.

Wright's family—primarily his parents and grandparents—were instrumental in both shaping his future and providing a framework for life that he translated into his work. As mentioned earlier, unity was a core design philosophy of Wright's and one that he learned from his family. In addition, his mother was insistent from the time he was very young that he would grow up to be an influential architect. She sought to fill his early life with things that would help shape his mind and lead him to do so. Such mind shapers came in the form of instructional toys, given to Wright as a young child by his mother and father to help him build his architectural understanding. Among the best known instructional toys given to Wright were Froebel blocks—essentially a series of wooden building blocks in various shapes. The blocks have a reputation for shaping young minds, including those of notables Buckminster Fuller, Charles Eames, and painter Paul Klee.

Wright had astounding creative prowess that was not limited to a single discipline. Of course, he is most known for his architectural designs, in both residential and commercial architecture. But as was mentioned earlier, he was not interested in solely designing structures and simply handing them off to his clients. Much like a runway designer creates a collection each season, where individual items shown together have a sense of cohesion, Wright envisioned each architectural contract in its totality. This would include the form and function of a building, how it would be used, the requirements of the commissioning client, and other elements of consideration.

As an example, Wright equally envisioned the lighting for each of his projects. Not just the fixed, electrical lighting, but also the use of natural light and how it would be filtered through specifically placed windows or stained glass. While he loved controlling light, his interest in block formations and geometric repeats influenced from Froebel blocks becomes most obvious when looking at his lighting and window designs. Two examples of this are his Butterfly Chandelier, a glass and brass pendant light that appears to have 'wings' much like a butterfly, and his Tree of Life hanging chandelier that geometrically mimics three trees in bloom.

Textiles and carpeting were another area of each environment Wright sought to assert his vision over. Today, many of his geometric patterns are evident on small textile items, such as table runners, placemats, and throw pillows available for purchase through the Frank Lloyd Wright Preservation Trust.

Furniture was a notable area of control for Wright. While he loved building furniture directly into a room, he also had a penchant for slat-back chairs and cantilevered tables...and, of course, his usual interest in geometry is evident, as are his four core principles of unity, simplicity, harmony, and integrity.