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AlaModerna

Handrafted by AlaModerna's skilled artisans.

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AlaModerna

Allen House

The Henry J. Allen House, completed in 1919, stands as one of Frank Lloyd Wright’s final Prairie School designs, showcasing a significant development in his architectural style. Located in Wichita's College Hill neighborhood, the house was built for Henry J. Allen, a prominent newspaper editor who went on to serve as Kansas governor and a U.S. senator. The L-shaped design centers around an outdoor terrace with a large reflecting pool, surrounded by a garden house and a tall boundary wall. The house’s architecture emphasizes horizontal lines, deep roof overhangs, and textured brickwork, which are hallmarks of Wright’s Prairie Style, creating a strong connection between the building and its environment.

The interior reflects Wright’s signature style with geometric stained glass windows, built-in woodwork, and a palette that ties the indoors to the outdoors. The design was influenced by Wright’s recent non-residential projects, including Midway Gardens and the Imperial Hotel, with Asian-inspired details incorporated into the decor. While Wright was in Tokyo for much of the construction, the project was managed by Don Buel Schuyler, who oversaw its completion in 1919. The Allens lived in the home until their deaths in 1950, after which the property passed through several owners. Now restored, the Allen House serves as a museum, offering insight into Wright’s mature Prairie Style and his approach to integrating architecture with its surroundings.

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April Showers

In 1927, Frank Lloyd Wright designed a series of 12 monthly covers for Liberty Magazine based on seasonal themes. Unfortunately, the publishers judged them as too radical for the time. The magazine returned Wright’s presentation drawings, which became the basis for later interpretations executed in diverse media. Each cover design exemplifies Wright’s practice of using a T-square, triangle, and compass to create lively geometric designs.

"April Showers" is an abstract representation of spring rain. The dynamic arrangement of angled squares, along with a repeating pattern of circles at their intersections, may have been influenced by Japanese prints he collected. Also in this piece, two of the angled squares resemble cages, each containing an abstract bird figure, which explains the drawing’s alternate title, "The Canary, Bird in the Cage."

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Avery Coonley House

The Coonley House, designed by Frank Lloyd Wright in 1908 for industrialist Avery Coonley and his wife Queene, is one of Wright's most significant residential projects. Located in Riverside, Illinois, the home reflects Wright's Prairie School architectural style, with its low-pitched rooflines, horizontal emphasis, and integration with the surrounding landscape. The Coonleys, who were progressive and artistic, gave Wright creative freedom, resulting in a unique and personalized design that included not only the house but also an adjoining Playhouse and distinctive decorative elements.

The Coonley Playhouse, built in 1912 as an addition to the estate, was designed as a space for educational activities for children. The Playhouse sported vibrant stained glass windows, which feature abstract patterns inspired by balloons, flags, and confetti.

The Tulip design, featured in the Coonley House, is another example of Wright's integration of nature into his decorative work. The tulip windows showcase Wright’s skill in translating natural motifs into stylized, geometric forms, maintaining a balance between ornamentation and simplicity.

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Bradley House

Frank Lloyd Wright's Bradley House, built in 1900 in Kankakee, Illinois, is one of his earliest and most significant Prairie School designs. Commissioned by B. Harley Bradley, the house features a long, low profile with horizontal lines, overhanging eaves, and a strong connection to its natural surroundings, which became defining elements of Wright’s Prairie Style. The home’s interior includes open, interconnected spaces, a central fireplace, and custom-designed stained glass windows that showcase geometric patterns. The Bradley House is considered a key early example of Wright’s innovative approach to residential architecture, influencing many of his later works.

The structure’s basic plan is cruciform, with the living room and kitchen on one access and the dining room and reception on the other. The 90 art glass windows provide nearly panoramic views on both stories exemplify Wright’s desire to blur the separation of the interior and exterior. Since its construction, this large residential building has served as a home, office complex, and even an internationally acclaimed restaurant. Fully restored in 2005 with almost all original art glass windows intact, it was converted into a public museum in 2010.

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Carly Quinn Designs

Carly Quinn graduated from The Art Center Design College in 2007 with a bachelor's degree in Illustration and Fine Arts, and a minor in Graphic Design. She began working in tile design in 2005 under a Tucson, AZ artist while in college. In 2011, Carly turned her side project into a full-time career and started making her own hand-glazed tile murals in her studio & gallery space in downtown Tucson. In late 2022, Carly became a member of the Taliesin West Artisan Collaboration Collection. Her beautiful hand-glazed decorative tiles are a favorite of visitors to The Frank Lloyd Wright Store at Taliesin West.

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Carson Bilger

Born in the Midwest and moving to Arizona as an adult, Carson is inspired by his travels in the western United States. His paintings use planar analysis to depict landscapes as complex puzzles of interlocking shapes and color. Through his vintage Polaroid 600 camera, Bilger captures iconic American landscapes and uses these nostalgic images to create large-scale paintings with acrylic on canvas or board.

"My aim is to retain the sublime feel of the original location while visually exploring the geometry of spatial relationships."

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Couloir Art

Masha, a contemporary artist from Ukraine, has found her creative haven in the heart of Arizona for nearly a decade. As the visionary founder of Couloir Art, she pioneers the design and hand-printing of bespoke merchandise, all while maintaining a commitment to sustainability and environmental consciousness by promoting reusable drinkware.

The "Taliesin West" series draws inspiration from Frank Lloyd Wright's architecture dance with Arizona’s desert mountains. Through earthy hues, iconic reds, and an artistic sketch-like touch, we've captured the essence of this landmark fusion.

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December Gifts

In 1927, Frank Lloyd Wright designed a series of 12 monthly covers for Liberty Magazine based on seasonal themes. Unfortunately, the publishers judged them as too radical for the time. The magazine returned Wright’s presentation drawings, which became the basis for later interpretations executed in diverse media. Each cover design exemplifies Wright’s practice of using a T-square, triangle, and compass to create lively geometric designs.

The concentric squares in the drawing’s center represent an abstract aerial perspective of a Christmas tree. The geometric shapes with lines connecting to the tree represent ornaments while the remaining shapes are colorfully wrapped gifts.

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Ennis House

The Ennis House, designed by Frank Lloyd Wright in 1923 for Charles and Mabel Ennis, is one of Wright's most distinctive residential projects. Located in Los Angeles, California, the house is part of Wright’s “textile block” series, where concrete blocks were used to create the structure’s striking façade. Inspired by ancient Mayan architecture, the Ennis House used experimental techniques aimed at uniting structure and ornamentation.

Over time, the Ennis House has become a Hollywood icon, appearing in numerous films and television shows due to its unique and futuristic aesthetic. Unfortunately, the house has faced preservation challenges due to its exposure to the elements and seismic activity.

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Frank Lloyd Wright Kids' Books Collection

Grow the creative and inventive mind of your future architect through Frank Lloyd Wright-inspired children's books.

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Frank Lloyd Wright Kids' Books Collection

Frozen Spheres

In 1927, Frank Lloyd Wright designed a series of 12 monthly covers for Liberty Magazine based on seasonal themes. Unfortunately, the publishers judged them as too radical for the time. The magazine returned Wright’s presentation drawings, which became the basis for later interpretations executed in diverse media. Each cover design exemplifies Wright’s practice of using a T-square, triangle, and compass to create lively geometric designs.

Frank Lloyd Wright's Frozen Spheres is a striking geometric abstraction that captures the essence of winter. The interplay of the circular shapes suggests a dynamic rhythm, reminiscent of snowflakes swirling in the wind or the crystalline structure of ice, embodying the quiet elegance of the season. This abstract representation invites viewers to appreciate the complexities of winter, transforming a typically harsh environment into one of serene beauty, and reinforcing Wright's belief in the harmony between art and nature.

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Heloise Crista

Heloise Crista joined the Taliesin Fellowship in 1949, not to become an architect, but rather to be in “the atmosphere of such ideas and such people as Mr. and Mrs. Wright and the community of apprentices.” While at Taliesin, Heloise studied dance under Olgivanna and Frank Lloyd Wright’s daughter, Iovanna, and was a respected and extremely talented performer. In addition to dance, Heloise specialized in making highly-decorated, intricate costumes and sets for the performances, known then as “movement performances.” Her performances and creations were influenced by her study of the philosophy of Russian mystic George Gurdjieff, which she continued throughout her life.

Over time, however, Heloise became known for her sculpture, an interest sparked at Taliesin. Her first major work was a bronze bust of Wright, in 1956, which remains on display in the Garden Room at Taliesin West. Her sculptures have been incorporated throughout the campus at Taliesin West—where they continue to inspire visitors—and throughout structures designed by the Taliesin Associated Architects, the architecture firm created by apprentices of Wright, following his passing.

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Heloise Crista Sculptures

Heloise Crista joined the Taliesin Fellowship in 1949, not to become an architect, but rather to be in “the atmosphere of such ideas and such people as Mr. and Mrs. Wright and the community of apprentices.” 

Heloise became known for her sculpture, an interest sparked at Taliesin. Her first major work was a bronze bust of Wright, in 1956, which remains on display in the Garden Room at Taliesin West. Her sculptures have been incorporated throughout the campus at Taliesin West—where they continue to inspire visitors—and throughout structures designed by the Taliesin Associated Architects, the architecture firm created by apprentices of Wright, following his passing.

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Heloise Crista Sculptures

Hoffman House

In 1954, Max Hoffman, an Austrian-born automobile importer, commissioned Frank Lloyd Wright to create the Hoffman Auto Showroom for his Jaguar dealership located at 430 Park Avenue in New York City. The following year, Wright designed an expansive single-story L-shaped home for the Hoffmans overlooking Long Island Sound.

The carpet design proposed for the living room of the Hoffman home featured floating, intersecting circles with square accents. Although the rug was not executed for that home, it was woven for Wright's own living room at Taliesin in Spring Green, Wisconsin.

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Hollyhock House

Variously described as Mayan, Aztec, Asian, Egyptian, and as a "California Romanza" by the architect himself, the Hollyhock House was a transitional structure for Wright. The building bridges the Prairie style of the preceding decades and his textile block structures of the 1920s. Wright’s client, Aline Barnsdall, was the heir of one of the largest independent oil producers in the United States. A fiercely independent feminist who was immersed in the world of experimental theater, Aline flouted convention, first approaching Wright at the height of his personal scandals. Though Barnsdall initially envisioned an elaborate complex of residences, theaters, and shops to serve an avant-garde theater community, financial and artistic differences meant that the Hollyhock House and two secondary residences were the only buildings constructed.

Barnsdall's request for a residence that was half house and half garden inspired the numerous terraces, colonnades and pergolas that join the Hollyhock House's interior and exterior spaces. A series of rooftop terraces takes advantage of the temperate climate, providing magnificent views of the Los Angeles basin and the Hollywood Hills. Stylized hollyhocks, Barnsdall’s favorite flower, appear on roof finials, furniture, art glass windows, and the ornamental bands of cast-concrete on the structure's exterior. With seventeen rooms and seven bathrooms, the massive residence was ultimately not what Barnsdall wanted. Indeed, her dislike of the Hollyhock House was such that she decided not to complete the artists' colony. In 1923, she offered the Hollyhock House and 11 acres of her property to Los Angeles to serve as a public library and park. The city initially rejected her offer, but in 1927 changed its mind and accepted the land and its buildings for an art park dedicated to the memory of Aline's father, Theodore Barnsdall.

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Imperial Hotel

Frank Lloyd Wright’s Imperial Hotel, built between 1917 and 1923 in Tokyo, reflected his deep appreciation for Japanese art and culture. Wright described it as neither purely American nor Japanese, but as a tribute to Japan that maintained its own individuality. The H-shaped, 250-room hotel was designed around a large courtyard and reflecting pool, with wings containing guest rooms extending toward the rear. Engineered with a floating foundation and reinforced steel, it was built to withstand Japan's frequent earthquakes.

The hotel’s exterior was clad in golden brick and pale Oya stone, with intricate ornamentation including cast concrete patterns, terracotta panels, murals, and custom furniture designed by Wright to harmonize with the building. Despite delays, the hotel opened on September 1, 1923—the day the Great Kanto Earthquake struck Tokyo. Though much of the city was destroyed, the hotel remarkably survived, as confirmed by a telegram from Baron Okura praising Wright’s genius.

Wright never returned to Japan after completing the project, although he continued collecting Japanese prints. The Imperial Hotel was demolished in 1968, but parts of it were preserved and reconstructed at the Meiji-mura open-air architecture museum in Japan.

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Lake Geneva Hotel

The tulip glass windows installed in Wisconsin's Lake Geneva Hotel were designed by Frank Lloyd Wright in 1911. Characterized by abstracted tulip forms rendered in vibrant stained glass, the windows allowed light to filter in while casting colorful reflections throughout the interior. The stylized tulip motif not only echoed the organic beauty of the surrounding landscape but also aligned with Wright's Prairie School aesthetic, emphasizing a harmonious blend of art and nature.

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Luxfer Prism

Early in his career, Frank Lloyd Wright experimented with organic designs while working with the Luxfer Prism Company in 1897. The company, known for its prismatic glass tiles, aimed to enhance natural light in buildings where electricity was scarce and sunlight was obstructed. Wright designed around 40 decorative glass patterns, though only his "flower" design was widely used. While these designs provided aesthetic appeal, they did not significantly enhance lighting.

The royalties from his patented design helped fund Wright’s Oak Park studio, where he later developed iconic works like the Unity Temple and Robie House. Although his Luxfer tile designs were not extensively adopted, Wright’s involvement with the company marked an early step in his architectural evolution, influencing his later "light screen" windows inspired by nature. His tiles became sought-after collector's items, and some remain in historical buildings around Chicago.

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March Balloons

Frank Lloyd Wright created this abstract design as one of a series of twelve covers based on monthly themes for Liberty Magazine in 1927. The finished designs were never published because the magazine thought they were too abstract and radical.

Frank Lloyd Wright's March Balloons is a vibrant celebration of spring. The design features a series of colorful, balloon-like shapes that float across the composition, symbolizing the joy and renewal associated with the arrival of spring.

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May Basket

In 1927, Frank Lloyd Wright designed a series of 12 monthly covers for Liberty Magazine based on seasonal themes. Unfortunately, the publishers judged them as too radical for the time. The magazine returned Wright’s presentation drawings, which became the basis for later interpretations executed in diverse media. Each cover design exemplifies Wright’s practice of using a T-square, triangle, and compass to create lively geometric designs.

For the May issue, Wright's celebration of springtime comes to life in May Basket with its striking use of color, geometric precision, and abstraction, while maintaining a clear theme of spring renewal and natural beauty.

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Mountain Sculpture Studios

The Lockes are voracious creators. Melding their passion for the mountains with a deep love and fascination of stone, they throw nature up in your face and keep you asking "How did this happen?" Nature and art come together in an amazing blending of color, texture, line, and contrast, churning out a series of breathless landscapes that beg to be touched. What were once just lumps of stone harvested from the earth are now creations like a fist in the air saying, "Look at what the earth has given us... Look what can be done." Jerry, Terrie, and Marshall have done something quite remarkable in the collection, shaping, and combining earthen treasure to create "Mountainscapes" that become a sort of magic all their own.

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Mountainscapes

Mountainscapes

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Mountainscapes

Rain Chains

Rain Chains, handmade in Arizona by Taliesin West Artisan Collaborator, Teri Welsch of When Life Gives U Rocks.

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Rain Chains

Robie House

As the first uniquely American architectural style, the Robie House responds to the expansive American plains by emphasizing the horizontal over the vertical. A dramatic twenty-foot cantilevered roof shades ribbons of art-glass windows below creates privacy and seamlessly connects the interior and exterior. Inside, the typical warren of rooms is discarded for a light-filled open plan, centered around a main hearth. Wright responded not only to the openness of the American landscape, but also to the more informal quality of the modern American lifestyle. The Robie House's influence on American architecture was immediate and undeniable.

The meticulously coordinated design of the Robie House has made it the "measuring stick" against which all other Prairie School buildings are compared. In contrast to the home's architectural staying power, Robie's tenure in his home was short-lived. As a result of financial problems incurred by both the death of his father and the deterioration of his marriage, Robie was forced to sell the house after merely fourteen months. Robie's financial troubles may explain why the plan to furnish the entire house with Wright-designed furniture was never completed. Threatened to be demolished in 1957, Wright returned to champion the Robie House as a "cornerstone in American Architecture." The Robie House was preserved and continues to prove Wright's keenness regarding the direction of residential architecture in the U.S.

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Saguaro Forms and Cactus Flowers

In 1927, Frank Lloyd Wright designed a series of 12 monthly covers for Liberty Magazine based on seasonal themes. Unfortunately, the publishers judged them as too radical for the time. The magazine returned Wright’s presentation drawings, which became the basis for later interpretations executed in diverse media. Each cover design exemplifies Wright’s practice of using a T-square, triangle, and compass to create lively geometric designs.

In this design, Wright celebrated "The noble, ancient Sahuaro blossoms at the very top of its digitfied columns." Wright used it on the cover of an anthology of lectures he gave at Princeton in 1930 entitled “Modern Architecture.” In 1973, the Arizona Biltmore Resort experienced a devastating fire. During reconstruction, the design was adapted by Taliesin Architects for an art glass window installed in the entrance to the resort where it can still be seen today.

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State Forty Eight x Frank Lloyd Wright

The Frank Lloyd Wright Foundation's 2022 Graphic Design Fellow, Brie Flewelling, and our Licensing Team's Industrial Designer Seyla Muise collaborated with State Forty Eight to create this one-of-a-kind interpretation of the Taliesin West Drafting Studio. The elements, symbols, and colors are inspired by designs from artist and designer Eugene Beyer Masselink, one of Wright's earliest apprentice's at the Taliesin Fellowship.

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State Forty Eight x Frank Lloyd Wright

Taliesin West Artisan Collaboration Collection

Our new Artisan Collaboration Collection includes home décor and lifestyle products designed and crafted by local and international artisans exclusively for the Frank Lloyd Wright Store, as part of a continued effort to preserve the Wright’s legacy and propel his work and ideas into today’s homes.

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Taliesin West Artisan Collaboration Collection

Taliesin West Desert Security Team

David Kaul's Desert Security Team design was inspired by some of the more dramatic flora and fauna we see on our Taliesin West campus: mountain lions, rattlesnakes, scorpions, and the saguaro. David combines a background in graphic design, screen printing, and large scale mural painting to create a world of repetitive monikers, colorful pop art, and visual discovery.

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Taliesin West Desert Security Team

The Levinsohn Textile Collection

The Levinsohn Textile Collection draws inspiration from four archives: Masselink, Imperial Hotel, Textile Blocks, and The House Beautiful.

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The Levinsohn Textile Collection

The May Basket Collection

In 1927, Frank Lloyd Wright designed a series of twelve monthly covers based on seasonal themes for Liberty magazine. While they were never published on the magazines, the designs endure as a lasting part of the Wright legacy.

May Basket, one of the Liberty magazine designs, is a colorful abstraction of a basket of overflowing grapes and other seasonal fruits in springtime.

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The May Basket Collection

The Oxide Studio

Graphic representations of Arizona's unique plant life were the inspiration for Daniel Moore's botanical themed panels at The Oxide Studio. His photographic background influenced the choice to "frame" each design within the confines of a rectangle, producing a contemporary, somewhat formal presentation that contrasts well with the colors and organic forms in its environment.

The botanical panels have a natural oxidized finish, unique to each piece, that will evolve over time. Each panel is individually signed by artist Daniel Moore and ready to hang indoors or outdoors.

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Tree of Life

Frank Lloyd Wright's Tree of Life is a striking stained glass window design that exemplifies his philosophy of organic architecture. Wright designed the windows for the reception room and second-floor bedrooms of the Darwin D. Martin House in Buffalo, New York, and are among the most iconic motifs in his body of work. While there is no evidence that Wright or the Martin family referred to the design by this popular name, it aptly captures the geometric pattern of diagonal "branches" that culminate in colorful "leaves." These elements radiate from a central trunk-like structure, which is anchored by a square base, reminiscent of a "pot," at the bottom. Each of the more than sixty "Tree of Life" windows in the Darwin D. Martin House features over seven hundred pieces of primarily clear glass. This extensive use of glass is integral to the complex's sixteen distinct patterns of art glass, collectively contributing to one of Wright's most sophisticated and elaborate compositions.

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Waterlilies

Frank Lloyd Wright's Waterlilies is thought to be designed for an art glass screen around 1893-1895, but was never produced.

The window features an intricate pattern of abstracted lily pads and flowers rendered in a cool color palette of blues, whites, and pops of yellows. The organic forms and repeating motifs of this early design reflect Wright's commitment to integrating nature into his architectural work. Waterlilies remains a celebrated example of Wright's innovative approach to design, symbolizing his enduring legacy in the world of architecture.

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When Life Gives U Rocks

These rain chains are handmade with love by Teri Welsch of When Life Gives U Rocks, located in Arizona. Teri has created a version of her work for The Frank Lloyd Wright Store, using rocks that are similar to those found at Taliesin West. The glass used for each rain chain is known as Dalle de Verre, a thick stained glass used in most church windows. Each piece has been cut, chipped to create facets, lightly tumbled, and wire wrapped by Teri. These chains also feature a 100% Arizona copper Whirling Arrow fin attached the to the bottom of the chain.

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Whirling Arrow

Frank Lloyd Wright discovered several large petroglyphs originating from the O'odham peoples on the land he purchased to build Taliesin West. Inspired by a spiral design resembling two hands joined in friendship, Wright adopted this symbol for the Taliesin Fellowship, calling it the "whirling arrow". Today, it remains the logo of Taliesin West, Wright's winter home and studio.

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