Editing Frank Lloyd Wright (section)

===Transition and experimentation (1893–1900)===
[[File:William H. Winslow House Front Facade.jpg|thumb|[[William H. Winslow House]] in [[River Forest, Illinois]] (1893)]]
[[File:Nathan G. Moore house (1895), Oak Park, IL, rear.JPG|thumb|[[Nathan G. Moore House]] in [[Oak Park, Illinois]] (1895)]] 
[[File:Frank LLoyd Wright Studio Chicago Frontage.jpg|thumb|[[Frank Lloyd Wright Home and Studio|Wright's studio]] viewed from [[Chicago Avenue]] (1898)]]
After leaving Adler & Sullivan, Wright established his own practice on the top floor of the Sullivan-designed [[Schiller Building]] on [[Randolph Street (Chicago)|Randolph Street]] in Chicago. Wright chose to locate his office in the building because the tower location reminded him of the office of Adler & Sullivan. Cecil Corwin followed Wright and set up his architecture practice in the same office, but the two worked independently and did not consider themselves partners.

In 1896, Wright moved from the Schiller Building to the nearby and newly completed [[Steinway Hall (Chicago)|Steinway Hall]] building. The loft space was shared with Robert C. Spencer Jr., [[Myron Hunt]], and [[Dwight H. Perkins (architect)|Dwight H. Perkins]].<ref>{{harvnb|Wright|2005|p=119}}.</ref> These young architects, inspired by the [[Arts and Crafts Movement]] and the philosophies of Louis Sullivan, formed what became known as the Prairie School.<ref name=Brooks /> They were joined by Perkins' apprentice [[Marion Mahony Griffin|Marion Mahony]], who in 1895 transferred to Wright's team of drafters and took over production of his [[Architectural drawing#Presentation drawings|presentation drawings]] and watercolor [[Architectural rendering|renderings]]. Mahony, the third woman to be licensed as an architect in Illinois and one of the first licensed female architects in the U.S., also designed furniture, leaded glass windows, and light fixtures, among other features, for Wright's houses. Between 1894 and the early 1910s, several other leading Prairie School architects and many of Wright's future employees launched their careers in the offices of Steinway Hall.<ref name=Cassidy /><ref name=MIT />

Wright's projects during this period followed two basic models. His first independent commission, the [[Winslow House (River Forest, Illinois)|Winslow House]], combined Sullivanesque ornamentation with the emphasis on simple geometry and horizontal lines. The Francis Apartments (1895, demolished 1971), [[Heller House]] (1896), [[Rollin Furbeck House]] (1897) and Husser House (1899, demolished 1926) were designed in the same mode. For his more conservative clients, Wright designed more traditional dwellings. These included the [[Dutch Colonial Revival architecture|Dutch Colonial Revival]] style Bagley House (1894), [[Tudor Revival architecture|Tudor Revival]] style [[Nathan G. Moore House|Moore House I]] (1895), and [[Queen Anne Style architecture (United States)|Queen Anne]] style [[Charles E. Roberts]] House (1896).<ref>{{harvnb|O'Gorman|2004|pp=56–109}}.</ref> While Wright could not afford to turn down clients over disagreements in taste, even his most conservative designs retained simplified massing and occasional Sullivan-inspired details.<ref>{{harvnb|Wright|2005|p=116}}.</ref>

Soon after the completion of the Winslow House in 1894, Edward Waller, a friend and former client, invited Wright to meet Chicago architect and planner [[Daniel Burnham]]. Burnham had been impressed by the Winslow House and other examples of Wright's work; he offered to finance a four-year education at the {{lang|fr|[[École nationale supérieure des Beaux-Arts|École des Beaux-Arts]]}} and two years in Rome. To top it off, Wright would have a position in Burnham's firm upon his return. In spite of guaranteed success and support of his family, Wright declined the offer. Burnham, who had directed the classical design of the [[World's Columbian Exposition]] and was a major proponent of the [[Beaux-Arts architecture|Beaux Arts movement]], thought that Wright was making a foolish mistake.<ref>{{Cite journal |last=Pulos |first=Arthur J. |date=April 22, 2021 |title=From Beaux-Arts to Arts and Crafts |url=https://mitp-arch.mitpress.mit.edu/pub/jid80yut/release/1 |journal=MIT Press Open Architecture and Urban Studies |language=en}}</ref><ref>{{Cite web |last=Becker |first=Lynn |date=July 16, 2009 |title=An Odd Way to Honor Daniel Burnham |url=http://chicagoreader.com/news-politics/an-odd-way-to-honor-daniel-burnham/ |access-date=July 22, 2024 |website=Chicago Reader |language=en-US}}</ref> Yet for Wright, the classical education of the {{lang|fr|École}} lacked creativity and was altogether at odds with his vision of modern American architecture.<ref>{{harvnb|Wright|2005|pp=114–116}}.</ref><ref name=Goldberger />

Wright relocated his practice to his home in 1898 to bring his work and family lives closer. This move made further sense as the majority of the architect's projects at that time were in Oak Park or neighboring River Forest. The birth of three more children prompted Wright to sacrifice his original home studio space for additional bedrooms and necessitated his design and construction of an expansive [[Frank Lloyd Wright Home and Studio|studio addition]] to the north of the main house. The space, which included a hanging [[balcony]] within the two-story drafting room, was one of Wright's first experiments with innovative structure. The studio embodied Wright's developing aesthetics and would become the laboratory from which his next 10&nbsp;years of architectural creations would emerge.<ref>Frank Lloyd Wright Preservation Trust 2001, pp. 6–9.</ref>