A comprehensive study of the sacred buildings built and designed by Frank Lloyd Wright, this book offers scholarly discussion with analytical drawings and photographs. These projects represent different periods of Wright's career (from 1886 to 1958), new building technologies, and application of his design concepts as demonstrated in his sacred architecture. This unique contribution will be useful to all those interested in Wright's architecture and theory as well as in sacred architecture.

This book examines the design, construction, and reception of Beth Sholom Synagogue, and its place in relation to Frank Lloyd Wright's other religious architecture.

Unity Temple: Frank Lloyd Wright and Architecture for Liberal Religion is the first in-depth study of one of the seminal works of America's most renowned twentieth-century architect. Joseph Siry examines Unity Temple in light of Wright's earlier religious architecture, his methods of design, and his innovative construction techniques. Unity Temple is treated as a work of art that embodies both Wright's theory of architecture and liberal religious ideals.

Mid-20th century sacred architecture in America sought to bridge modernism with religion by abstracting cultural and faith traditions and pushing the envelope in the design of houses of worship. Modern architects embraced the challenges of creating sacred spaces that incorporated liturgical changes, evolving congregations, modern architecture, and innovations in building technology. The book describes the unique context and design aspects of the departure from historicism, and the renewal of heritage and traditions with ground-breaking structural features, deliberate optical effects and modern aesthetics. The contributions, from a pre-eminent group of scholars and practitioners from the US, Australia, and Europe are based on original archival research, historical documents, and field visits to the buildings discussed. Investigating how the authority of the divine was communicated through new forms of architectural design, these examinations map the materiality of liturgical change and communal worship during the mid-20th century.

Presents a pictorial look at the history, structure, and restoration of Frank Lloyd Wright's Fallingwater.

Frank Lloyd Wright's spiritual formation influenced by Welsh Unitarianism and his lifelong interest in spirituality were far more dynamic than has been previously appreciated. This dissertation examines how Wright's spirituality caused him to interpret not only religious architecture, such as churches and synagogues, but also the genres of residential, commercial, and civic architecture as holding the potential for becoming sacred spaces. Sacrality, in the context of creating of sacred spaces, depended on a proper understanding of the relationship between God, nature, and organic architecture for Wright. Wright's spirituality provided a framework for exploring hierotopy, or the creation of sacred space, across divergent genres of architecture and stylistic changes throughout his architectural career.

Wright Panorama amplifies the artistry of Frank Lloyd Wright's architecture with expanse. In the more than 140 Tom Schiff panoramic photographs contained in Wright Panorama, Schiff reveals nearly eighty extant buildings in Wright's oeuvre from a unique perspective. Wright Panorama exhibits the great architect's prolific, varied, and iconic body of work, pulling from it a new shape and offering it renewed appeal. Eric Lloyd Wright's compelling foreword to Wright Panorama introduces Tom Schiff and four noteworthy Frank Lloyd Wright scholarsCara Armstrong, Scott W. Perkins, Margo Stipe, and Marta Wojcik. Since Wright's architecture embraced his strong belief in and respect for Nature, these scholars draw from this and contribute essays from a new nature-centric perspective. They further our understanding of the ways each of the natural elementsearth, air, fire, and water influences Wright's life and work. In addition, these four essays utilize Schiff 's images to more fully illustrate the involvement of the natural elements on Wright's organic architecture. In his preface to Wright Panorama, Schiff conveys his desire to acknowledge the "true" as well as extend our framework of seeing, of vision. Schiff likes that his panoramic photography is "true to the landscape as seen by the naked eye" and is both "expansive" and "challenging." He sees the resulting panoramic image in Wright Panorama as "a unique way to see Frank Lloyd Wright's interiors and exteriors, from all vantage points, in one image." Wright Panorama is a continual discovery: A new way of viewing, a new way of discovering the architecture of Frank Lloyd Wright.