Editing Frank Lloyd Wright (section)

===Influences and collaborations===
[[File:RobieHouseWindows ChicagoIL.jpg|thumb|Wright-designed window in [[Robie House]], Chicago (1906)]]
[[File:Marin Civic Center interior.jpg|thumb|Interior from the [[Marin County Civic Center]]. Designed toward the end of Wright's life, the expansive public project was built posthumously in the 1960s.]]
Wright, an individualist, did not affiliate with the [[American Institute of Architects]] during his career; he called the organization "a harbor of refuge for the incompetent" and "a form of refined gangsterism".<ref>{{Cite book |last=Wright |first=Frank Lloyd |url=https://www.worldcat.org/oclc/10825185 |title=The master architect : conversations with Frank Lloyd Wright |date=1984 |publisher=Wiley |others=Patrick Joseph Meehan |isbn=0-471-80025-2 |location=New York |oclc=10825185}}</ref> When an associate referred to him as "an old amateur" Wright confirmed, "I am the oldest."<ref name="archive">{{cite web|title=Biography in Sound: Frank Lloyd Wright|url=https://archive.org/details/Biography_in_Sound|work=Old Time Radio|access-date=September 9, 2012}}</ref> Wright rarely credited any influences on his designs, but most architects, historians and scholars agree he had five major influences:{{Citation needed|date=January 2022}}
# [[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]]<ref>{{Cite journal|last=Rubin|first=Jeanne S.|date=March 1, 1989|title=The Froebel-Wright Kindergarten Connection: A New Perspective|journal=Journal of the Society of Architectural Historians|volume=48|issue=1|pages=24–37|doi=10.2307/990404|issn=0037-9808|jstor=990404}}</ref>

Wright was given a set of Froebel gifts at about age nine, and in his autobiography he cited them indirectly in explaining that he learned the geometry of architecture in kindergarten play: {{blockquote|text=For several years I sat at the little kindergarten table-top ruled by lines about four inches apart each way making four-inch squares; and, among other things, played upon these 'unit-lines' with the square (cube), the circle (sphere) and the triangle (tetrahedron or tripod)—these were smooth maple-wood blocks. All are in my fingers to this day.<ref name="Alofsin">{{cite book| title=Frank Lloyd Wright—the Lost Years, 1910–1922: A Study of Influence| last=Alofsin| first=Anthony| publisher=[[University of Chicago Press]]| year=1993| isbn=0-226-01366-9}}</ref>{{rp|359}}}} Wright later wrote, "The virtue of all this lay in the awakening of the child-mind to rhythmic structures in Nature… I soon became susceptible to constructive pattern evolving in everything I saw."<ref name="Lange">{{cite book |last1=Lange |first1=Alexandra |title=The design of childhood : how the material world shapes independent kids|date=2018|publisher=Bloomsbury |isbn=978-1632866356}}</ref>{{rp|25}}<ref name="Hersey">{{cite book| title=Architecture and Geometry in the Age of the Baroque| last=Hersey| first=George| publisher=[[University of Chicago Press]]| year=2000| isbn=0-226-32783-3}}</ref>{{rp|205}}

He routinely claimed the work of architects and architectural designers who were his employees as his own designs, and believed that the rest of the Prairie School architects were merely his followers, imitators, and subordinates.<ref>Griffin, Marion Mahony, ''The Magic of America'', typescript, 1947</ref> As with any architect, though, 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 (architecture)|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 Chase McArthur|Albert McArthur]], [[Marion Mahony Griffin]], and [[Walter Burley Griffin]]. The Czech-born architect [[Antonin Raymond]] 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. [[Rudolph Schindler (architect)|Rudolf Schindler]] also worked for Wright on the Imperial Hotel and his own work is often credited as influencing Wright's Usonian houses. Schindler's friend [[Richard Neutra]] also worked briefly for Wright. In the [[Taliesin (studio)|Taliesin]] days, Wright employed many architects and artists who later become notable, such as [[Aaron Green (architect)|Aaron Green]], [[John Lautner]], [[E. Fay Jones]], [[Henry Klumb]], [[William Bernoudy]], and [[Paolo Soleri]].