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Frank Lloyd Wright (born Frank Lincoln Wright, June 8, 1867 – April 9, 1959) was an American architect, interior designer, writer, and educator, who designed more than 1,000 structures, 532 of which were completed. Wright believed in designing structures that were in harmony with humanity and its environment, a philosophy he called organic architecture. This philosophy was best exemplified by Fallingwater (1935), which has been called "the best all-time work of American architecture". His creative period spanned more than 70 years.
Wright was the pioneer of what came to be called the Prairie School movement of architecture, and he also developed the concept of the Usonian home in Broadacre City, his unique vision for urban planning in the United States. In addition to his houses, Wright designed original and innovative offices, churches, schools, skyscrapers, hotels, museums, and other structures. He often designed interior elements for these buildings, as well, including furniture and stained glass. Wright wrote 20 books and many articles and was a popular lecturer in the United States and Europe. Wright was recognized in 1991 by the American Institute of Architects as "the greatest American architect of all time".
His colorful personal life often made headlines, notably for leaving his first wife, Catherine Lee "Kitty" Tobin for Mamah Borthwick Cheney, the murders at his Taliesin estate in 1914, his tempestuous marriage with second wife Miriam Noel, and his relationship with Olga (Olgivanna) Lazovich Hinzenburg, who became his third wife in 1928.
Frank Lloyd Wright was born Frank Lincoln Wright in the farming town of Richland Center, Wisconsin, United States, in 1867. His father, William Cary Wright (1825–1904), was an orator, music teacher, occasional lawyer, and itinerant minister. Wright's mother, Anna Lloyd Jones (1838/39 – 1923), met William Cary Wright while working as a county school teacher when William was the superintendent of schools for Richland County.
Originally from Massachusetts, William Wright had been a Baptist minister, but he later joined his wife's family in the Unitarian faith. Anna was a member of the well-known Lloyd Jones family who had emigrated from Wales to Spring Green, Wisconsin. One of Anna's brothers was Jenkin Lloyd Jones, an important figure in the spread of the Unitarian faith in the Midwest. Both of Wright's parents were strong-willed individuals with artistic interests that they passed on to him.
According to Wright's autobiography, his mother declared when she was expecting that her first child would grow up to build beautiful buildings. She decorated his nursery with engravings of English cathedrals torn from a periodical to encourage the infant's ambition. In 1870, the family moved to Weymouth, Massachusetts, where William ministered to a small congregation.
In 1876, Anna visited the Centennial Exhibition in Philadelphia, where she saw an exhibit of educational blocks created by Friedrich Wilhelm August Fr¤bel. The blocks, known as Froebel Gifts, were the foundation of his innovative kindergarten curriculum. Anna, a trained teacher, was excited by the program and bought a set with which young Wright spent much time playing. The blocks in the set were geometrically shaped and could be assembled in various combinations to form three-dimensional compositions. In his autobiography, Wright described the influence of these exercises on his approach to design: "For several years, I sat at the little kindergarten table-top… and played… with the cube, the sphere and the triangle—these smooth wooden maple blocks… All are in my fingers to this day… " Many of Wright's buildings are notable for their geometrical clarity.
The Wright family struggled financially in Weymouth and returned to Spring Green, where the supportive Lloyd Jones clan could help William find employment. They settled in Madison, where William taught music lessons and served as the secretary to the newly formed Unitarian society. Although William was a distant parent, he shared his love of music, especially the works of Johann Sebastian Bach, with his children.
Soon after Wright turned 14, his parents separated. Anna had been unhappy for some time with William's inability to provide for his family and asked him to leave. The divorce was finalized in 1885 after William sued Anna for lack of physical affection. William left Wisconsin after the divorce, and Wright claimed he never saw his father again. At this time he changed his middle name from Lincoln to Lloyd in honor of his mother's family, the Lloyd Joneses.
Education (1885–1887)
Wright attended Madison High School, it is unknown if he graduated. In 1886 he was admitted to the University of Wisconsin–Madison as a special student. While there, Wright joined Phi Delta Theta fraternity, took classes part-time for two semesters, and worked with Allan D. Conover, a professor of civil engineering. Wright left the school without taking a degree, although he was granted an honorary doctorate of fine arts from the university in 1955.
Silsbee and other early work experience (1887–1888)
In 1887, Wright arrived in Chicago in search of employment. As a result of the devastating Great Chicago Fire of 1871 and a population boom, new development was plentiful in the city. Wright later recalled that while his first impressions of Chicago were that of grimy neighborhoods, crowded streets, and disappointing architecture, he was determined to find work. Within days, and after interviews with several prominent firms, he was hired as a draftsman with the architectural firm of Joseph Lyman Silsbee. Wright previously collaborated with Silsbee—accredited as the draftsman and the construction supervisor—on the 1886 Unity Chapel for Wright's family in Spring Green. While with the firm, he also worked on two other family projects: All Souls Church in Chicago for his uncle, Jenkin Lloyd Jones, and the Hillside Home School I in Spring Green for two of his aunts. Other draftsmen who worked for Silsbee in 1887 included future architects Cecil Corwin, George W. Maher, and George G. Elmslie. Wright soon befriended Corwin, with whom he lived until he found a permanent home.
Feeling that he was underpaid for the quality of his work for Silsbee (at $8 a week), the young draftsman quit and found work as a designer at the firm of Beers, Clay, and Dutton. However, Wright soon realized that he was not ready to handle building design by himself; he left his new job to return to Joseph Silsbee—this time with a raise in salary. Although Silsbee adhered mainly to Victorian and Revivalist architecture, Wright found his work to be more "gracefully picturesque" than the other "brutalities" of the period. Wright aspired for more progressive work.
Adler & Sullivan (1888–1893)
Wright learned that the Chicago firm of Adler & Sullivan was "looking for someone to make the finished drawings for the interior of the Auditorium Building". Wright demonstrated that he was a competent impressionist of Louis Sullivan's ornamental designs and two short interviews later, was an official apprentice in the firm. Wright did not get along well with Sullivan's other draftsmen; he wrote that several violent altercations occurred between them during the first years of his apprenticeship. For that matter, Sullivan showed very little respect for his employees, as well. In spite of this, "Sullivan took under his wing and gave him great design responsibility." As an act of respect, Wright would later refer to Sullivan as Lieber Meister (German for "Dear Master"). He also formed a bond with office foreman Paul Mueller. Wright later engaged Mueller to build several of his public and commercial buildings between 1903 and 1923.
Wright's home in Oak Park, Illinois (1889)
On June 1, 1889, Wright married his first wife, Catherine Lee "Kitty" Tobin (1871–1959). The two had met around a year earlier during activities at All Souls Church. Sullivan did his part to facilitate the financial success of the young couple by granting Wright a five-year employment contract. Wright made one more request: "Mr. Sullivan, if you want me to work for you as long as five years, couldn't you lend me enough money to build a little house?" With Sullivan's $5,000 loan, Wright purchased a lot at the corner of Chicago and Forest Avenues in the suburb of Oak Park. The existing Gothic Revival house was given to his mother, while a compact shingle style house was built alongside for Wright and Catherine.
By 1890, Wright had an office next to Sullivan's that he shared with friend and draftsman George Elmslie, who had been hired by Sullivan at Wright's request. Wright had risen to head draftsman and handled all residential design work in the office. As a general rule, the firm of Adler & Sullivan did not design or build houses, but would oblige when asked by the clients of their important commercial projects. Wright was occupied by the firm's major commissions during office hours, so house designs were relegated to evening and weekend overtime hours at his home studio. He later claimed total responsibility for the design of these houses, but a careful inspection of their architectural style (and accounts from historian Robert Twombly) suggests that Sullivan dictated the overall form and motifs of the residential works; Wright's design duties were often reduced to detailing the projects from Sullivan's sketches. During this time, Wright worked on Sullivan's bungalow (1890) and the James A. Charnley bungalow (1890) in Ocean Springs, Mississippi, the Berry-MacHarg House, James A. Charnley House (both 1891), and the Louis Sullivan House (1892), all in Chicago.
The Walter Gale House, Oak Park, Illinois (1893). While a Queen Anne in style, it features window bands and a cantilevered porch roof which hint at Wright's developing aesthetics
Despite Sullivan's loan and overtime salary, Wright was constantly short on funds. Wright admitted that his poor finances were likely due to his expensive tastes in wardrobe and vehicles, and the extra luxuries he designed into his house. To supplement his income and repay his debts, Wright accepted independent commissions for at least nine houses. These "bootlegged" houses, as he later called them, were conservatively designed in variations of the fashionable Queen Anne and Colonial Revival styles. Nevertheless, unlike the prevailing architecture of the period, each house emphasized simple geometric massing and contained features such as bands of horizontal windows, occasional cantilevers, and open floor plans, which would become hallmarks of his later work. Eight of these early houses remain today, including the Thomas Gale, Robert Parker, George Blossom, and Walter Gale houses.
As with the residential projects for Adler & Sullivan, he designed his bootleg houses on his own time. Sullivan knew nothing of the independent works until 1893, when he recognized that one of the houses was unmistakably a Frank Lloyd Wright design. This particular house, built for Allison Harlan, was only blocks away from Sullivan's townhouse in the Chicago community of Kenwood. Aside from the location, the geometric purity of the composition and balcony tracery in the same style as the Charnley House likely gave away Wright's involvement. Since Wright's five-year contract forbade any outside work, the incident led to his departure from Sullivan's firm. Several stories recount the break in the relationship between Sullivan and Wright; even Wright later told two different versions of the occurrence. In An Autobiography, Wright claimed that he was unaware that his side ventures were a breach of his contract. When Sullivan learned of them, he was angered and offended; he prohibited any further outside commissions and refused to issue Wright the deed to his Oak Park house until after he completed his five years. Wright could not bear the new hostility from his master and thought the situation was unjust. He "threw down pencil and walked out of the Adler & Sullivan office never to return." Dankmar Adler, who was more sympathetic to Wright's actions, later sent him the deed. However, Wright told his Taliesin apprentices (as recorded by Edgar Tafel) that Sullivan fired him on the spot upon learning of the Harlan House. Tafel also recounted that Wright had Cecil Corwin sign several of the bootleg jobs, indicating that Wright was aware of their illegal nature. Regardless of the correct series of events, Wright and Sullivan did not meet or speak for 12 years.
Transition and experimentation (1893–1900)
After leaving Louis Sullivan's firm, Wright established his own practice on the top floor of the Sullivan-designed Schiller Building on 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. Although Cecil Corwin followed Wright and set up his architecture practice in the same office, the two worked independently and did not consider themselves partners.
In 1896, Wright moved out of the Schiller Building and into the nearby and newly completed Steinway Hall building. The loft space was shared with Robert C. Spencer, Jr., Myron Hunt, and Dwight H. Perkins. These young architects, inspired by the Arts and Crafts Movement and the philosophies of Louis Sullivan, formed what became known as the Prairie School. They were joined by Perkins' apprentice, Marion Mahony, who in 1895 transferred to Wright's team of drafters and took over production of his presentation drawings and watercolor 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.
William H. Winslow House in River Forest, Illinois (1893) Nathan G. Moore House, Oak Park, Illinois (1895) Wright's studio viewed from Chicago Avenue (1898)
Wright's projects during this period followed two basic models. His first independent commission, the 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 style Bagley House (1894), Tudor Revival style Moore House I (1895), and Queen Anne style Charles E. Roberts House (1896). 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.
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 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, was a major proponent of the Beaux Arts movement, thought that Wright was making a foolish mistake. Yet for Wright, the classical education of the École lacked creativity and was altogether at odds with his vision of modern American architecture.
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 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 was a poster for Wright's developing aesthetics, and would become the laboratory from which the next 10 years of architectural creations would emerge.
Prairie houses (1900–1914)
By 1901, Wright had completed about 50 projects, including many houses in Oak Park. As his son John Lloyd Wright wrote:
"William Eugene Drummond, Francis Barry Byrne, Walter Burley Griffin, Albert Chase McArthur, Marion Mahony, Isabel Roberts, and George Willis were the draftsmen. Five men, two women. They wore flowing ties, and smocks suitable to the realm. The men wore their hair like Papa, all except Albert, he didn't have enough hair. They worshiped Papa! Papa liked them! I know that each one of them was then making valuable contributions to the pioneering of the modern American architecture for which my father gets the full glory, headaches, and recognition today!"
Arthur Heurtley House, Oak Park, Illinois (1902) Darwin D. Martin House, Buffalo, New York (1904) Hillside Home School, Taliesin, Spring Green, Wisconsin (1902)
Between 1900 and 1901, Frank Lloyd Wright completed four houses which have since been identified as the onset of the "Prairie style". Two, the Hickox and Bradley Houses, were the last transitional step between Wright's early designs and the Prairie creations. Meanwhile, the Thomas House and Willits House received recognition as the first mature examples of the new style. At the same time, Wright gave his new ideas for the American house widespread awareness through two publications in the Ladies' Home Journal. The articles were in response to an invitation from the president of Curtis Publishing Company, Edward Bok, as part of a project to improve modern house design. "A Home in a Prairie Town" and "A Small House with Lots of Room in it" appeared respectively in the February and July 1901 issues of the journal. Although neither of the affordable house plans was ever constructed, Wright received increased requests for similar designs in following years. Wright came to Buffalo and designed homes for three of the company's executives, including the Darwin D. Martin House in 1904.
Other Wright houses considered to be masterpieces of the Prairie Style are the Frederick Robie House in Chicago and the Avery and Queene Coonley House in Riverside, Illinois. The Robie House, with its soaring, cantilevered roof lines, supported by a 110-foot-long (34-m) channel of steel, is the most dramatic. Its living and dining areas form virtually one uninterrupted space. With this and other buildings, included in the publication of the Wasmuth Portfolio (1910), Wright's work became known to European architects and had a profound influence on them after World War I. It is sometimes called the "cornerstone of modernism".
Wright's residential designs of this era were known as "prairie houses" because the designs complemented the land around Chicago. Prairie-style houses often have a combination of these features: One or two-stories with one-story projections, an open floor plan, low-pitched roofs with broad, overhanging eaves, strong horizontal lines, ribbons of windows (often casements), a prominent central chimney, built-in stylized cabinetry, and a wide use of natural materials—especially stone and wood.
Textile concrete block system
In the early 1920s, Wright designed a "textile" concrete block system reinforced by an internal system of bars. Wright first used his textile block system on the John Storer House in Hollywood, California, in 1923. The house is now used in films, television, and print media to represent the future. Typically Wrightian is the joining of the structure to its site by a series of terraces that reach out into and reorder the landscape, making it an integral part of the architect's vision. With the Ennis House and the Samuel Freeman House (both 1923), Wright had further opportunities to test the limits of the textile block system, including limited use in the Arizona Biltmore Hotel in 1927. Wright's son, Lloyd Wright, supervised construction for the Storer, Freeman and Ennis Houses. Architectural historian Thomas Hines has suggested that Lloyd's contribution to these projects is often overlooked.
Notable public works (1900–1925)
In 1900, Wright designed the house of Cornell's chapter of Alpha Delta Phi literary society. Wright designed the Larkin Administration Building (completed in 1904, demolished in 1950.) Other early notable public buildings include the Hillside Home School, built for his aunts in Spring Green, Wisconsin (1902) and the Unity Temple, home of the Unitarian Universalist congregation in Oak Park. As a lifelong Unitarian and member of Unity Temple, Wright offered his services to the congregation after their church burned down, working on the building from 1905 to 1909. Wright later said that Unity Temple was the edifice in which he ceased to be an architect of structure, and became an architect of space. Many architects consider it the world's first modern building, because of its unique construction of only one material: reinforced concrete.
Wright in 1926 Aerial photo of Taliesin, Spring Green, Wisconsin
Wright also designed the Geneva Inn (Lake Geneva, Wisconsin, 1911), the Midway Gardens (Chicago, Illinois, 1913), the Banff National Park Pavilion (Alberta, Canada, 1914), and the Imperial Hotel (Tokyo, 1922).
Midlife problems
Family abandonment
Local gossips noticed Wright's flirtations, and he developed a reputation in Oak Park as a man-about-town. His family had grown to six children, but Wright was not parental and he relied on his wife Catherine to care for them. In 1903, Wright designed a house for Edwin Cheney, a neighbor in Oak Park, and immediately took a liking to Cheney's wife, Mamah. Mamah Cheney was a modern woman with interests outside the home. She was an early feminist, and Wright viewed her as his intellectual equal. The two fell in love, and they became the talk of the town, as they often could be seen taking rides in Wright's automobile through Oak Park. Wright's wife, Kitty, sure that this attachment would fade as the others had, refused to grant him a divorce. Mamah had to live in Europe for two years to obtain a divorce from Edwin on the grounds of desertion.
In 1909, even before the Robie House was completed, Wright and Mamah Cheney met up in Europe, leaving their spouses and children behind. Wright had begun to reject the upper-middle-class Prairie Style single-family house model, intending to work on more democratic architecture. He was also frustrated by not getting larger commissions for commercial or public buildings.
What drew Wright to Europe was the chance to publish a portfolio of his work with Berlin publisher Ernst Wasmuth. The resulting two volumes, titled Studies and Executed Buildings of Frank Lloyd Wright, were published in 1911 in two editions, creating the first major exposure of Wright's work in Europe. The work contained more than 100 lithographs of Wright's designs, and was commonly known as the Wasmuth Portfolio.
Wright remained in Europe for almost a year and set up home first in Florence, Italy—where he lived with his eldest son Lloyd—and later in Fiesole, Italy, where he lived with Mamah. During this time, Edwin Cheney granted Mamah a divorce, though Kitty still refused to grant one to her husband. After Wright returned to the United States in October 1910, he persuaded his mother to buy land for him in Spring Green, Wisconsin. The land, bought on April 10, 1911, was adjacent to land held by his mother's family, the Lloyd-Joneses. Wright began to build himself a new home, which he called Taliesin, by May 1911. The recurring theme of Taliesin also came from his mother's side: Taliesin in Welsh mythology was a poet, magician, and priest. The family motto, "Y Gwir yn Erbyn y Byd" ("The Truth Against the World"), was taken from the Welsh poet Iolo Morganwg, who also had a son named Taliesin. The motto is still used today as the cry of the druids and chief bard of the Eisteddfod in Wales.
Catastrophe at Taliesin studio
On August 15, 1914, while Wright was working in Chicago, Julian Carlton, a male servant from Barbados, who had been hired several months earlier, set fire to the living quarters of Taliesin and murdered seven people with an axe as the fire burned. The dead included Mamah; her two children, John and Martha Cheney; a gardener (David Lindblom); a draftsman (Emil Brodelle); a workman (Thomas Brunker); and another workman's son (Ernest Weston). Two people survived the mayhem, one of whom, William Weston, helped to put out the fire that almost completely consumed the residential wing of the house. Carlton swallowed hydrochloric acid immediately following the attack in an attempt to kill himself. He was nearly lynched on the spot, but was taken to the Dodgeville jail. Carlton died from starvation seven weeks after the attack, despite medical attention.
Divorce and further troubles
In 1922, Kitty Wright finally granted Wright a divorce. Under the terms of the divorce, Wright was required to wait one year before he could marry his then-mistress, Maude "Miriam" Noel. In 1923, Wright's mother, Anna (Lloyd Jones) Wright, died. Wright wed Miriam Noel in November 1923, but her addiction to morphine led to the failure of the marriage in less than one year. In 1924, after the separation, but while still married, Wright met Olga (Olgivanna) Lazovich Hinzenburg at a Petrograd Ballet performance in Chicago. They moved in together at Taliesin in 1925, and soon Olgivanna was pregnant with their daughter, Iovanna, born on December 2, 1925.
On April 20, 1925, another fire destroyed the bungalow at Taliesin. Crossed wires from a newly installed telephone system were deemed to be responsible for the blaze, which destroyed a collection of Japanese prints that Wright estimated to be worth $250,000 to $500,000. Wright rebuilt the living quarters, naming the home "Taliesin III".
In 1926, Olga's ex-husband, Vlademar Hinzenburg, sought custody of his daughter, Svetlana. In October 1926, Wright and Olgivanna were accused of violating the Mann Act and arrested in Tonka Bay, Minnesota. The charges were later dropped.
Wright and Miriam Noel's divorce was finalized in 1927, and once again, Wright was required to wait for one year before remarrying. Wright and Olgivanna married in 1928.
Later career
Taliesin Fellowship
In 1932, Wright and his wife Olgivanna put out a call for students to come to Taliesin to study and work under Wright while they learned architecture and spiritual development. (Olgivanna Wright had been a student of G. I. Gurdjieff). Twenty-three came to live and work that year, as did many more in the years that followed. Considerable controversy existed over the living conditions and education of the fellows; recent books have given conflicting and often unflattering pictures of their treatment. The Fellowship has evolved into what is now the Frank Lloyd Wright School of Architecture, an accredited school. Wright was reputedly a difficult person to work with. One apprentice wrote: "He is devoid of consideration and has a blind spot regarding others' qualities. Yet I believe, that a year in his studio would be worth any sacrifice."
Usonian Houses
Charles Weltzheimer Residence, Oberlin, Ohio (1948)
Wright is responsible for a series of concepts of suburban development united under the term Broadacre City. He proposed the idea in his book The Disappearing City in 1932, and unveiled a 12-square-foot (1.1 m) model of this community of the future, showing it in several venues in the following years. Concurrent with the development of Broadacre City, also referred to as Usonia, Wright conceived a new type of dwelling that came to be known as the Usonian House. Although an early version of the form can be seen in the Malcolm Willey House (1934) in Minneapolis, the Usonian ideal emerged most completely in the Herbert and Katherine Jacobs First House (1937) in Madison, Wisconsin. Designed on a gridded concrete slab that integrated the house's radiant heating system, the house featured new approaches to construction, including sandwich walls that consisted of layers of wood siding, plywood cores and building paper, a significant change from typically framed walls. Usonian houses commonly featured flat roofs and were usually constructed without basements or attics, all features that Wright had been promoting since the early 20th century.
Usonian houses were Wright's response to the transformation of domestic life that occurred in the early 20th century when servants had become less prominent or completely absent from most American households. By developing homes with progressively more open plans, Wright allotted the woman of the house a 'workspace', as he often called the kitchen, where she could keep track of and be available for the children and/or guests in the dining room. As in the Prairie Houses, Usonian living areas had a fireplace as a point of focus. Bedrooms, typically isolated and relatively small, encouraged the family to gather in the main living areas. The conception of spaces instead of rooms was a development of the Prairie ideal. The built-in furnishings related to the Arts and Crafts movement's principles which influenced Wright's early work. Spatially and in terms of their construction, the Usonian houses represented a new model for independent living, and allowed dozens of clients to live in a Wright-designed house at relatively low cost. His Usonian homes set a new style for suburban design that influenced countless postwar developers. Many features of modern American homes date back to Wright: open plans, slab-on-grade foundations, and simplified construction techniques that allowed more mechanization and efficiency in building.
Significant later works
Solomon R. Guggenheim Museum, New York City (1959) Fallingwater, Mill Run, Pennsylvania (1937) Price Tower in Bartlesville, Oklahoma (1956)
Fallingwater, one of Wright's most famous private residences (completed 1937), was built for Mr. and Mrs. Edgar J. Kaufmann, Sr., at Mill Run, Pennsylvania. Constructed over a 30-foot waterfall, it was designed according to Wright's desire to place the occupants close to the natural surroundings. The house was intended to be more of a family getaway, rather than a live-in home. The construction is a series of cantilevered balconies and terraces, using limestone for all verticals and concrete for the horizontals. The house cost $155,000, including the architect's fee of $8,000. It was one of Wright's most expensive pieces. Kaufmann's own engineers argued that the design was not sound. They were overruled by Wright, but the contractor secretly added extra steel to the horizontal concrete elements. In 1994, Robert Silman and Associates examined the building and developed a plan to restore the structure. In the late 1990s, steel supports were added under the lowest cantilever until a detailed structural analysis could be done. In March 2002, post-tensioning of the lowest terrace was completed.
Taliesin West, Wright's winter home and studio complex in Scottsdale, Arizona, was a laboratory for Wright from 1937 to his death in 1959. Now the home of the Frank Lloyd Wright Foundation and archives, it continues today as the site of the Frank Lloyd Wright School of Architecture. Wright turned 80 shortly after World War II ended, yet remained busy. The Solomon R. Guggenheim Museum in New York City occupied Wright for 16 years (1943–1959) and is probably his most recognized masterpiece. The building rises as a warm beige spiral from its site on Fifth Avenue; its interior is similar to the inside of a seashell. Its unique central geometry was meant to allow visitors to easily experience Guggenheim's collection of nonobjective geometric paintings by taking an elevator to the top level and then viewing artworks by walking down the slowly descending, central spiral ramp, the floor of which is embedded with circular shapes and triangular light fixtures to complement the geometric nature of the structure. However, when the museum was completed, a number of details of Wright's design were ignored, such as his desire for the interior to be painted off-white.
The only realized skyscraper designed by Wright is the Price Tower, a 19-story tower in Bartlesville, Oklahoma. It is also one of the two existing vertically oriented Wright structures (the other is the S.C. Johnson Wax Research Tower in Racine, Wisconsin). The Price Tower was commissioned by Harold C. Price of the H. C. Price Company, a local oil pipeline and chemical firm. On March 29, 2007, Price Tower was designated a National Historic Landmark by the United States Department of the Interior, one of only 20 such properties in Oklahoma.
Monona Terrace, originally designed in 1937 as municipal offices for Madison, Wisconsin, was completed in 1997 on the original site, using a variation of Wright's final design for the exterior, with the interior design altered by its new purpose as a convention center. The "as-built" design was carried out by Wright's apprentice Tony Puttnam. Monona Terrace was accompanied by controversy throughout the 60 years between the original design and the completion of the structure.
Florida Southern College, located in Lakeland, Florida, constructed 12 (out of 18 planned) Frank Lloyd Wright buildings between 1941 and 1958 as part of the Child of the Sun project. It is the world's largest single-site collection of Frank Lloyd Wright architecture.
Personal style and concepts
An open office area in Wright's Johnson Wax headquarters complex, Racine, Wisconsin (1939)
His Prairie houses use themed, coordinated design elements (often based on plant forms) that are repeated in windows, carpets, and other fittings. He made innovative use of new building materials such as precast concrete blocks, glass bricks, and zinc cames (instead of the traditional lead) for his leadlight windows, and he famously used Pyrex glass tubing as a major element in the Johnson Wax Headquarters. Wright was also one of the first architects to design and install custom-made electric light fittings, including some of the first electric floor lamps, and his very early use of the then-novel spherical glass lampshade (a design previously not possible due to the physical restrictions of gas lighting). In 1897, Wright received a patent for "Prism Glass Tiles" that were used in storefronts to direct light toward the interior. Wright fully embraced glass in his designs and found that it fit well into his philosophy of organic architecture. According to Wright's organic theory, all components of the building should appear unified, as though they belong together. Nothing should be attached to it without considering the effect on the whole. To unify the house to its site, Wright often used large expanses of glass to blur the boundary between the indoors and outdoors. Glass allowed for interaction and viewing of the outdoors while still protecting from the elements. In 1928, Wright wrote an essay on glass in which he compared it to the mirrors of nature: lakes, rivers and ponds. One of Wright's earliest uses of glass in his works was to string panes of glass along whole walls in an attempt to create light screens to join together solid walls. By using this large amount of glass, Wright sought to achieve a balance between the lightness and airiness of the glass and the solid, hard walls. Arguably, Wright's best-known art glass is that of the Prairie style. The simple geometric shapes that yield to very ornate and intricate windows represent some of the most integral ornamentation of his career.
Wright also designed some of his own clothing. His fashion sense was unique and he usually wore expensive suits, flowing neckties, and capes. He had a fascination with automobiles, purchasing his first car in 1909, a Stoddard-Dayton roadster, and owned many exotic vehicles over the years. During the cash-strapped Depression, Wright drove cheaper vehicles. Some of his last cars in the 1950s included four Volkswagens and a Chevrolet Nomad wagon along with flashier articles such as a Jaguar Mark VII. He owned some 50 cars between 1909 and his death, of which 10 are known to survive.
Influences and collaborations
Wright-designed window in Robie House, Chicago (1906)
Wright strongly believed in individualism and did not affiliate with the American Institute of Architects during his career, going so far as to call the organization "a harbor of refuge for the incompetent," and "a form of refined gangsterism." When an associate referred to him as "an old amateur" Wright confirmed, "I am the oldest." Wright rarely credited any influences on his designs, but most architects, historians and scholars agree he had five major influences:
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
He also routinely claimed the work of architects and architectural designers who were his employees as his own designs, and also claimed that the rest of the Prairie School architects were merely his followers, imitators, and subordinates. 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, 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 McArthur, Marion Mahony Griffin, and Walter Burley Griffin.
The Czech-born architect Antonin Raymond, recognized as the father of modern architecture in Japan, 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. Rudolf Schindler also worked for Wright on the Imperial Hotel. His own work is often credited as influencing Wright's Usonian houses. Schindler's friend Richard Neutra also worked briefly for Wright and became an internationally successful architect.
Later, in the Taliesin days, Wright employed many architects and artists who later become notable, such as Aaron Green, John Lautner, E. Fay Jones, Henry Klumb, and Paolo Soleri.
Frank Lloyd Wright was interested in site and community planning throughout his career. His commissions and theories on urban design began as early as 1900 and continued until his death. He had 41 commissions on the scale of community planning or urban design.
His thoughts on suburban design started in 1900 with a proposed subdivision layout for Charles E. Roberts entitled the "Quadruple Block Plan." This design strayed from traditional suburban lot layouts and set houses on small square blocks of four equal-sized lots surrounded on all sides by roads instead of straight rows of houses on parallel streets. The houses, which used the same design as published in "A Home in a Prairie Town" from the Ladies' Home Journal, were set toward the center of the block to maximize the yard space and included private space in the center. This also allowed for far more interesting views from each house. Although this plan was never realized, Wright published the design in the Wasmuth Portfolio in 1910.
The more ambitious designs of entire communities were exemplified by his entry into the City Club of Chicago Land Development Competition in 1913. The contest was for the development of a suburban quarter section. This design expanded on the Quadruple Block Plan and included several social levels. The design shows the placement of the upscale homes in the most desirable areas and the blue collar homes and apartments separated by parks and common spaces. The design also included all the amenities of a small city: schools, museums, markets, etc. This view of decentralization was later reinforced by theoretical Broadacre City design. The philosophy behind his community planning was decentralization. The new development must be away from the cities. In this decentralized America, all services and facilities could coexist "factories side by side with farm and home."
Notable community planning designs:
1900–03 – Quadruple Block Plan, 24 homes in Oak Park, Illinois (unbuilt)
1909 – Como Orchard Summer Colony, town site development for new town in the Bitterroot Valley, Montana
1913 – Chicago Land Development competition, suburban Chicago quarter section
1934–59 – Broadacre City, theoretical decentralized city plan, exhibits of large-scale model
1938 – Suntop Homes, also known as Cloverleaf Quadruple Housing Project – commission from Federal Works Agency, Division of Defense Housing, a low-cost multifamily housing alternative to suburban development
1942 – Cooperative Homesteads, commissioned by a group of auto workers, teachers and other professionals, 160-acre farm co-op was to be the pioneer of rammed earth and earth berm construction (unbuilt)
1945 – Usonia Homes, 47 homes (three designed by Wright) in Pleasantville, New York
1949 – The Acres, also known as Galesburg Country Homes, five homes (four designed by Wright) in Charleston Township, Michigan
1949 – Parkwyn neighborhood, a plat in Kalamazoo, Michigan, developed by Wright containing mostly Usonian homes on circular lots with common spaces in between (since replatted)
Though most famous as an architect, Wright was an active dealer in Japanese art, primarily ukiyo-e woodblock prints. He frequently served as both architect and art dealer to the same clients; he designed a home, then provided the art to fill it. For a time, Wright made more from selling art than from his work as an architect. Wright was also an avid collector of Japanese prints and used them as teaching aids with his apprentices in what were called "print parties".
Wright first traveled to Japan in 1905, where he bought hundreds of prints. The following year, he helped organize the world's first retrospective exhibition of works by Hiroshige, held at the Art Institute of Chicago. For many years, he was a major presence in the Japanese art world, selling a great number of works to prominent collectors such as John Spaulding of Boston, and to prominent museums such as the Metropolitan Museum of Art in New York. He penned a book on Japanese art in 1912.
In 1920, however, rival art dealers began to spread rumors that Wright was selling retouched prints; this, combined with Wright's tendency to live beyond his means, and other factors, led to great financial troubles for the architect. Though he provided his clients with genuine prints as replacements for those he was accused of retouching, this marked the end of the high point of his career as an art dealer. He was forced to sell off much of his art collection in 1927 to pay off outstanding debts; the Bank of Wisconsin claimed his Taliesin home the following year, and sold thousands of his prints, for only one dollar a piece, to collector Edward Burr Van Vleck.
Wright continued to collect and deal in prints until his death in 1959, using prints as collateral for loans, often relying upon his art business to remain financially solvent.
The extent of his dealings in Japanese art went largely unknown, or underestimated, among art historians for decades until, in 1980, Julia Meech, then associate curator of Japanese art at the Metropolitan Museum, began researching the history of the museum's collection of Japanese prints. She discovered "a three-inch-deep 'clump of 400 cards' from 1918, each listing a print bought from the same seller—'F. L. Wright'" and a number of letters exchanged between Wright and the museum's first curator of Far Eastern Art, Sigisbert C. Bosch Reitz, in 1918-22. These discoveries, and subsequent research, led to a renewed understanding of Wright's career as an art dealer.
On April 4, 1959, Wright was hospitalized for abdominal pains and was operated on April 6. He seemed to be recovering, but he died quietly on April 9. After his death, Wright's legacy was plagued with turmoil for years. His third wife Olgivanna's dying wish had been that Wright, she, and her daughter by her first marriage all be cremated and interred together in a memorial garden being built at Taliesin West. According to his own wishes, Wright's body had lain in the Lloyd-Jones cemetery, next to the Unity Chapel, near Taliesin in Wisconsin. Although Olgivanna had taken no legal steps to move Wright's remains and against the wishes of other family members, as well as the Wisconsin legislature, in 1985, Wright's remains were removed from his grave by members of the Taliesin Fellowship, cremated, and sent to Scottsdale, where they were later interred in the memorial garden. The original grave site in Wisconsin, now empty, is still marked with Wright's name.
After Wright's death, most of his archives were stored at the Frank Lloyd Wright Foundation in Taliesin (in Wisconsin), and Taliesin West (in Arizona). These collections included more than 23,000 architectural drawings, about 40 large-scale architectural models, some 44,000 photographs, 600 manuscripts, and more than 300,000 pieces of office and personal correspondence. Most of these models were constructed for MoMA's retrospective of Wright in 1940. In 2012, to guarantee a high level of conservation and access, as well as to transfer the considerable financial burden of maintaining the archive, the Frank Lloyd Wright Foundation partnered with the Museum of Modern Art and the Avery Architectural and Fine Arts Library to move the archive's content to New York. Wright's furniture and art collection remains with the foundation, which will also have a role in monitoring the archive. These three parties established an advisory group to oversee exhibitions, symposiums, events, and publications.
Photographs and other archival materials are held by the Ryerson and Burnham Libraries at the Art Institute of Chicago. The architect's personal archives are located at Taliesin West in Scottsdale, Arizona. The Frank Lloyd Wright archives include photographs of his drawings, indexed correspondence beginning in the 1880s and continuing through Wright's life, and other ephemera. The Getty Research Center, Los Angeles, also has copies of Wright's correspondence and photographs of his drawings in their "Frank Lloyd Wright Special Collection". Wright's correspondence is indexed in An Index to the Taliesin Correspondence, ed. by Professor Anthony Alofsin, which is available at larger libraries.
Destroyed Wright buildings
Wright designed over 400 built structures of which about 300 survive as of 2005. Four have been lost to forces of nature: the waterfront house for W. L. Fuller in Pass Christian, Mississippi, destroyed by Hurricane Camille in August 1969; the Louis Sullivan Bungalow of Ocean Springs, Mississippi, M destroyed by Hurricane Katrina in 2005; and the Arinobu Fukuhara House (1918) in Hakone, Japan, destroyed in the 1923 Great Kanto earthquake. In January 2006, the Wilbur Wynant House in Gary, Indiana was destroyed by fire.
Imperial Hotel, Tokyo (1923)
Notable Wright buildings intentionally demolished: Midway Gardens (built 1913, demolished 1929), the Larkin Administration Building (built 1903, demolished 1950), the Francis Apartments and Francisco Terrace Apartments (Chicago, built 1895, demolished 1971 and 1974, respectively), the Geneva Inn (Lake Geneva, Wisconsin, built 1911, demolished 1970), and the Banff National Park Pavilion (built 1914, demolished 1934). The Imperial Hotel (built 1923) survived the 1923 Great Kanto earthquake, but was demolished in 1968 due to urban developmental pressures.
1966 U.S. postage stamp honoring Frank Lloyd Wright
Later in his life (and after his death in 1959), Wright was accorded much honorary recognition for his lifetime achievements. He received a Gold Medal award from The Royal Institute of British Architects in 1941. The American Institute of Architects awarded him the AIA Gold Medal in 1949. That medal was a symbolic "burying the hatchet" between Wright and the AIA. In a radio interview, he commented, "Well, the AIA I never joined, and they know why. When they gave me the gold medal in Houston, I told them frankly why. Feeling that the architecture profession is all that's the matter with architecture, why should I join them?" He was awarded the Franklin Institute's Frank P. Brown Medal in 1953. He received honorary degrees from several universities (including his alma mater, the University of Wisconsin), and several nations named him as an honorary board member to their national academies of art and/or architecture. In 2000, Fallingwater was named "The Building of the 20th century" in an unscientific "Top-Ten" poll taken by members attending the AIA annual convention in Philadelphia. On that list, Wright was listed along with many of the USA's other greatest architects including Eero Saarinen, I.M. Pei, Louis Kahn, Philip Johnson, and Ludwig Mies van der Rohe; he was the only architect who had more than one building on the list. The other three buildings were the Guggenheim Museum, the Frederick C. Robie House, and the Johnson Wax Building.
In 1992, the Madison Opera in Madison, Wisconsin, commissioned and premiered the opera Shining Brow, by composer Daron Hagen and librettist Paul Muldoon based on events early in Wright's life. The work has since received numerous revivals, including a June 2013 revival at Fallingwater, in Bull Run, Pennsylvania, by Opera Theater of Pittsburgh. In 2000, Work Song: Three Views of Frank Lloyd Wright, a play based on the relationship between the personal and working aspects of Wright's life, debuted at the Milwaukee Repertory Theater.
In 1966, the United States Postal Service honored Wright with a Prominent Americans series 2¢ postage stamp. Several of Wright's buildings have been proposed by the United States to be UNESCO World Heritage sites.
"So Long, Frank Lloyd Wright" is a song written by Paul Simon. Art Garfunkel has stated that the origin of the song came from his request that Simon write a song about the famous architect Frank Lloyd Wright. Simon himself stated that he knew nothing about Wright, but proceeded to write the song anyway.
In 1957, Arizona made plans to construct a new capitol building. Believing that the submitted plans for the new capitol were tombs to the past, Frank Lloyd Wright offered Oasis as an alternative to the people of Arizona. In 2004, one of the spires included in his design was erected in Scottsdale.
Frank Lloyd Wright was married three times, fathering four sons and three daughters. He also adopted Svetlana Milanoff, the daughter of his third wife, Olgivanna Lloyd Wright.
His wives were:
Catherine "Kitty" (Tobin) Wright (1871–1959); social worker, socialite (married in June 1889; divorced November 1922)
Maude "Miriam" (Noel) Wright (1869–1930), artist (married in November 1923; divorced August 1927)
Olga Ivanovna "Olgivanna" (Lazovich Milanoff) Lloyd Wright (1897–1985), dancer and writer (married in August 1928)
His children with Catherine were:
Frank Lloyd Wright, Jr., known as Lloyd Wright (1890-1978), became a notable architect in Los Angeles. Lloyd Wright's son (and Wright's grandson), Eric Lloyd Wright, is currently an architect in Malibu, California, where he has a practice of mostly residences, but also civic and commercial buildings.
John Lloyd Wright (d. 1972), invented Lincoln Logs in 1918, and practiced architecture extensively in the San Diego area. John's daughter, Elizabeth Wright Ingraham (d. 2013), was an architect in Colorado Springs, Colorado. She was the mother of Christine, an interior designer in Connecticut, and Catherine, an architecture professor at the Pratt Institute.
Catherine Wright Baxter (1894-1979) was a homemaker and the mother of Oscar-winning actress Anne Baxter.
David Samuel Wright (1895-1997) was a building-products representative for whom Wright designed the David & Gladys Wright House, which was rescued from demolition and given to the Frank Lloyd Wright School of Architecture.
Frances Wright Caroe (1898-1959) was an arts administrator.
Robert Llwellyn Wright (1903-1986) was an attorney for whom Wright designed a house in Bethesda, Maryland.
His children with Olgivanna were:
Svetlana Peters (1917-1946, adopted daughter of Olgivanna) was a musician who died in an automobile accident with her son Daniel. After Svetlana's death her other son, Brandoch Peters (1942- ), was raised by Frank and Olgivanna. Svetlana's widower, William Wesley Peters, was later briefly married to Svetlana Alliluyeva, the youngest child and only daughter of Joseph Stalin. Peters served as chairman of the Frank Lloyd Wright Foundation from 1985 to 1991.
Iovanna Lloyd Wright (1925-2015) was an artist and musician.
The Robie House on the University of Chicago campus (1909) Frank W. Thomas House, Oak Park, Illinois (1901) Taliesin West panorama, Scottsdale, Arizona (1937) Gammage Auditorium, Arizona State University, Tempe, Arizona (1967) Beth Sholom Synagogue, Wright's only synagogue design, Elkins Park, Pennsylvania (1954)
Annunciation Greek Orthodox Church, Wauwatosa, Wisconsin, 1956–1961
Beth Sholom Synagogue, Elkins Park, Pennsylvania, 1954
Child of the Sun, Florida Southern College, Lakeland, Florida, 1941–1958, site of the largest collection of the architect's work
Dana-Thomas House, Springfield, Illinois, 1902
Darwin D. Martin House, Buffalo, New York, 1903–1905
Dr. G.C. Stockman House, Mason City, Iowa, 1908
Edward E. Boynton House, Rochester, New York, 1908
Ennis House, Los Angeles, 1923
Fallingwater (Edgar J. Kaufmann Sr. Residence), Bear Run, Pennsylvania, 1935–1937
First Unitarian Society of Madison, Shorewood Hills, Wisconsin, 1947
Frank Lloyd Wright Home and Studio, Oak Park, Illinois, 1889–1909
Frank Thomas House, Oak Park, Illinois, 1901
Gammage Auditorium, Tempe, Arizona, 1959–1964
Graycliff, Derby, New York, 1926
First Jacobs House, Madison, Wisconsin, 1936–1937
Herbert F. Johnson Residence ("Wingspread"), Wind Point, Wisconsin, 1937
Hollyhock House (Aline Barnsdall Residence), Los Angeles, 1919–1921
Imperial Hotel, Tokyo, Japan, 1923 (demolished, 1968; entrance hall reconstructed at Meiji Mura near Nagoya, Japan, 1976)
Johnson Wax Headquarters, Racine, Wisconsin, 1936
Kenneth Laurent House, Rockford, Illinois, only home Wright designed to be handicapped accessible, 1951
Kentuck Knob, Ohiopyle, Pennsylvania, 1956
Patrick and Margaret Kinney House, Lancaster, Wisconsin, 1951-1953
Larkin Administration Building, Buffalo, New York, 1903 (demolished, 1950)
Marin County Civic Center, San Rafael, California, 1957–1966
Marshall Erdman Prefab Houses, various locations, 1956–1960
Midway Gardens, Chicago, Illinois, 1913 (demolished, 1929)
Clubhouse at the Nakoma Golf Resort, Plumas County, California, designed in 1923; opened in 2000
Park Inn Hotel, the last standing Wright designed hotel, Mason City, Iowa, 1910
Price Tower, Bartlesville, Oklahoma, 1952–1956
Frederick C. Robie Residence, Chicago, Illinois, 1909
R.W. Lindholm Service Station, Cloquet, Minnesota, 1958
Solomon R. Guggenheim Museum, New York City, 1956–1959
Taliesin, Spring Green, Wisconsin, 1911 & 1925
Taliesin West, Scottsdale, Arizona, 1937
The Illinois, mile-high tower in Chicago, 1956 (unbuilt)
Unity Temple, Oak Park, Illinois, 1904
Usonian homes, various locations, 1930s–1950s
V. C. Morris Gift Shop, San Francisco, 1948
Westhope (Richard Lloyd Jones Residence, Tulsa, Oklahoma, 1929
William H. Winslow House, River Forest, Illinois, 1894
Ward Winfield Willits Residence, and Gardener's Cottage and Stables, Highland Park, Illinois, 1901


My daughter has 2 kids, one is 18 mo.-other is 4 yrs old. The 18 month old wont let his mother out of his sight, and he will pitch a fit until she picks him up. If she goes out side to smoke a cigarette, same thing, but he can see her through the window. When he talks he yells.
My daughter had the same separation issues. What I didn't realize is that she has a condition called auditory defensiveness this is when the brain misinterprets a sound giving the child a feeling of FLIGHT or FIGHT. Because ordinary sounds terrified my daughter she was completely dependent on me, needing to see me to feel safe.
She could not trust her environment, her brain told her to panic that she was in danger yet no one else seemed bothered so I became her safety barometer. Can you imagine not being able to trust your own eyes or ears? Now can you imagine being that small and not being able to express yourself?
Also too, don't rule out the anxiety over the separation it might have been enough to make the child anxious. If the baby truly has SPD he can't help it. You have to remember that a child only wants to make his family happy and for them to be proud of him and he doesn't understand any more than you do his own behavior. I'm sure if he could make you happy he would but this condition makes what should be simple things, very, very difficult and frustrating for everyone...especially him.


Discover and watch the world's best hand-picked and award-winning documentaries from around the globe. New must-see movies every day. We look for documentaries with the aim of turning anyone into a lover of the genre. We have only one essential requirement: to offer great documentaries made by professionals that know how to tell stories.
At GuideDoc we are a team of documentary lovers that take the selection process of our films very seriously. We hand pick our docs with love.
However, apart from loving documentaries, we love technology. We make a big effort every day to create the perfect app and website with the intent that our documentaries will be seen alongside an excellent user experience. GuideDoc is currently investing in technology for documentaries like no other company has done before.
Victor, our founder, is a journalist. In 2007 he founded a production company which has created numerous radio and television programs. In 2013 he produced a documentary movie that received an excellent international reception. During that time, travelling around the world from festival to festival, he realized something that you probably already know: Every year the filmmakers from this planet produce a lot of precious cinematographic jewels, amazing documentaries with great stories that will never reach their final audience. The reason for this is that in the documentary world there's a major distribution problem. And this is exactly what GuideDoc is trying to solve. You can find further information, vídeos, images and logos in our press folder.
· We like documentaries that help create a better world.
· We don't go crazy with premiers; it's the same to us if it's an old film. Our only condition is that it should be a good documentary that has a good story.
· We don't like exclusives. We want good documentaries to be seen by the largest amount of genre lovers possible and, therefore, we always recommend that filmmakers try to distribute their work on all possible platforms.
· We don't force anyone into anything. We're flexible and we adapt to the needs of each filmmaker, producer or distributor. This is the agreement that we usually reach with them.
· We don't pay commissions to anyone. Instead, we use a revenue share system. The higher the number of users and the higher the amount of views for each movie, the more money we distribute amongst the creators.
· 50% of all the money that we receive from users goes directly to the filmmakers. With the other 50% we cover the rest: equipment, development, technology, servers, marketing and all other expenses.
· We're a really young project; we were born on September 2016, and these are some of the numbers that we've achieved so far.
· We have optimized expenses as best as we could so that the filmmakers always get the maximum amount of money. As such, we never pay for conversions from strange formats, tapes that are sent on transoceanic planes or other tasks that may have made sense in another time.
· We don't have a phone number. We're a really small team and to be more productive we manage the whole project solely by email.
· We are working every day nonstop to make GuideDoc known to the largest amount of genre lovers possible and by doing so, distribute the maximum amount of money possible among the filmmakers so they can continue to create great films.
· GuideDoc is a completely self-financed project. We don't have external investors. It's not easy, but we're happier. But we do have some help.
· What we do every day is what we would do if it were the last.
Everywhere. GuideDoc is formed by an offshore team, we live in London, Barcelona, Ahmedabad, Maracaibo, Lleida, San Felipe and our headquarters are located in Sant Cugat (Barcelona).
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Welcome to the 311th episode of Our Hen House, featuring Jon Bockman and Michael Harren. As always, the award-winning, weekly Our Hen House podcast is hosted by us — Jasmin Singer and Mariann Sullivan.
On today's episode, we squawk about the reasons why The Nutcracker is problematic when it comes to animal rights, and we debunk the claim that lettuce is worse for the environment than bacon.
Today we will be speaking with Jon Bockman, the Executive Director of Animal Charity Evaluators. Jon will give us a glimpse into the world of using statistical research to change the world for animals, and will engage with us in a multifaceted dialogue with us about various viewpoints on "effective altruism" as it relates to animal rights.
Then, we'll check in with vegan musician Michael Harren, who will give us an update on his artist-in-residency at Tamerlaine Farm Sanctuary (check out his first update on Episode 305 of the podcast!).
All that, vegan banter, and of course, "Rising Anxieties," too, so hold onto your seitan!


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Using our tools of the trade including a smart comprehensive software system that 'matches' potential tenants, online marketing through property portals such as Rightmove and The House Shop and local media advertising we ensure your property receives the maximum exposure!
We accompany all potential viewers and ensure that they receive all the information they require to make a decision.
We offer free no obligation property valuations and a free 'for let' board to attract even more potential tenants!


text:
In China, Taishan 1 nuclear reactor dome installed
It is the outcome of large-scale work, which lasted more than two years and mobilized more than 2,000 persons to carry out the civil work on the reactor building
Paris, October 24, 2011 — The dome installation on the reactor building of unit 1 of the EPR nuclear power plant of Taishan in China was realized with success yesterday.
This operation, coordinated by the project manager Taishan Nuclear Power Joint Venture Co. — joint venture owned at 70 percent by CGNPC and at 30 percent by EDF — was carried out a little more than two years after the first concrete pouring of the reactor building raft.
This success constitutes a major milestone for the construction of the EPR provided by Areva in China. It is the outcome of large-scale work, which lasted more than two years and mobilized more than 2,000 persons to carry out the civil work on the reactor building.
The vast operation to maneuver it into place lasted half a day and mobilized one of the most powerful cranes in the world. After being hoisted 70 meters above ground, the 240-ton steel dome was lowered onto the 44-meter high structure, entirely covering the inner part of the reactor building. The next step will be to seal the dome by welding it around the circumference and covering it with 7,000 tons of concrete.
This operation associated major Chinese civil work and electromechanical contractors, including Huaxing and The 23rd Co., as well as French companies in charge of engineering and equipment manufacturing, such as Areva and Sofinel, with their Chinese partners.
EDF, investor in the construction of the EPR in China, has brought to CGNPC all the necessary technical support and assistance during the construction. About 40 EDF engineers are currently seconded on the Taishan site within TNPJVC.

redpajama_set_name: RedPajamaCommonCrawl


The Rubric Scoring Worksheet (RSW) and the Dashboard for Rubric Scoring (DRS) are online tools designed to assist schools and school review teams as they self-assess school performance using the NSBECS benchmark rubrics. Both worksheets are downloadable in Microsoft Excel format for easy entry, sharing, and saving; they are also easily printed in 8 ½ x 11 format.
The Rubric Scoring Worksheet (RSW) is designed to guide local school review teams as they score school performance using the NSBECS benchmark rubrics.
The Dashboard for Rubric Scoring (DRS) provides school-level worksheets that can be used to track the progress of the complete self-study process – by benchmark, by standard, and by domain.


Buljow This is a caribbean favourite, made with salt cod and onions. Dominica preparation is quite different: Salt Cod is cooked in coconut milk with with onions, hot peppers, spring onions, tomatoes and green fig. You'll find it in the villages and the Rastas huts. Rasatas have their own vegetarian cuisine or 'Ital'.
Bakes a fritter stuffed with cod, tuna, and cheese. Its sold on many a street corner and is a staple food of many.
Rôti A sort of wrap filled with curried chicken, meat, shrimp or vegetables.
Callaloo soup This looks a little like spinach soup. These are leaves from the dasheen plant.
Pumpkin soup This is the Creole version of winter squash. Often served in local restaurants as an entrée.
Mountain chicken A more appealing name for frog's legs. They do taste like chicken and server fried or Creole.
Chicken Buy it at the Roseau market on Saturday mornings from 8:00 a.m. and 10:00 a.m.
Fish: The local fish is excellent; marlin, sea bream, tuna, crayfish and lobster, buy them in the fishing villages.
The Fort Young Hotel, Dominica's premier hotel, is located at the edge of a cliff overlooking the Caribbean Sea, cradled in the beauty of Dominica's mountainous landscape. On the outskirts of Roseau, the capital, the Fort Young Hotel was built around the walls of the old 18th-century fort, many of the original features have been retained in the public areas of the property.	It is a perfect home-away-from-home for business travelers as well as those looking for relaxation, fine-dining, luxury, and comfort, with great opportunities to discover the beauty of Dominica.


text:
Protect our right to light
Correction 26 April 2019
Skyscrapers in cities rob people of sunlight and put human health, well-being and sustainability at risk, warn Karolina M. Zielinska-Dabkowska and Kyra Xavia.
Karolina M. Zielinska-Dabkowska0 &
Kyra Xavia1
Karolina M. Zielinska-Dabkowska
Karolina M. Zielinska-Dabkowska is a chartered architect and practising lighting designer, an assistant professor at the Faculty of Architecture, Gdansk University of Technology (GUT), Poland, and co-founder of GUT Lightlab.
Kyra Xavia
Kyra Xavia is a journalist and researcher at the Light and Lighting Research Consortium (LLRC) and a delegate of the International Dark-Sky Association.
You have full access to this article via your institution.
High-rise buildings cast shade for much of the day on public spaces in Hong Kong, one of the most densely populated cities on Earth.Credit: Ian Teh/Panos
"The struggle for light" is how the Swiss architect Le Corbusier described the history of architecture in 1935. Today, with the skies crowded out by buildings in modern cities, those words should ring in the ears of policymakers and planners.
Skyscraper construction is booming. China is the leader, last year completing 88 of the 143 buildings around the world that are taller than 200 metres (see 'Vertical growth'). As the nation's urban populations swell, by 2025 it will need to build 10 cities the size of New York, or 5 million buildings, to house people migrating from the countryside1. Most of the buildings will be tightly packed towers of flats. These 'vertical cities' will look a lot like Hong Kong, one of the world's densest urban areas, which has 26,000 people packed into each square kilometre.
Beyond Asia, even historic European cities such as Frankfurt, Amsterdam and London are now embracing skyscrapers. London's skyline is set to be transformed by 510 tall structures over the next decade. Middle Eastern cities such as Dubai and Doha are competing to erect ever more showy palaces in the air.
But dense, vertical development comes at a huge price. Placing tall buildings close together slashes levels of natural light in and around them. In Asia and Australia, solar ultraviolet radiation can be reduced by up to 90% in shaded 'urban canyons'2. Evidence is emerging of the widespread health effects of chronic low exposure to natural light, from vitamin D deficiency3 to short-sightedness. And dense, dark cities will be energy-hungry and unsustainable.
Source: Council on Tall Buildings and Urban Habitat
The problem of stolen light is not new. The United Kingdom and Japan have long had planning laws that enshrine the right to light. In the United States, San Francisco in California protects the illumination of its parks and plazas with a Sunlight Ordinance; in Switzerland, Zurich restricts the length of time a high-rise addition to residential areas can cast shadows on a surface, limiting it to less than 2 hours a day during winter. Last month, Germany became the first country to adopt the new European Standard on daylight in buildings (EN 17037).
Elsewhere, protective measures are missing. Many towers are constructed without planning restrictions or height limits. And the scale of development demands a rethink before unhealthy conditions are cemented in.
Surprisingly, access to natural light is not mentioned in the World Health Organization (WHO) Healthy Cities concept4, nor in any of the 17 United Nations Sustainable Development Goals. Light accessibility needs to be part of global discussions about sustainable living, health and well-being.
Research gaps need to be filled, including the impacts of urban light loss on people, animals and plants, and on sustainability and energy. Standards for natural lighting are essential to guide architects and city planners.
Living in shadow
Daylight is vital for our physical health and mental well-being. Natural light drives basic biological processes, from circadian rhythms to sleep and mood. Most artificial lighting disturbs those processes, and the blue-rich white light from LEDs might even be harmful (especially at night)5.
Before the Industrial Revolution in the eighteenth century, the majority of city dwellers spent most of their day in the open air, although residential buildings generally had small windows to conserve heat and because glass tended to be inordinately expensive and impractical.
Later on, the design of industrial buildings shifted to include larger windows and skylights to give people enough daylight to go about their business. After incandescent lamps became commercially available, artificial illumination extended the day into the evening. Modern society is now so dependent on electric lights that we seem to have forgotten that access to natural light is crucial.
The results are plain to see. Europeans and North Americans now spend 90% of their time indoors, on average. People sit in offices under artificial lighting from early in the morning until late at night. Children spend more time indoors, too, and when they do go out, the courtyards, playgrounds and parks they play in are often overshadowed by buildings.
Alarming health consequences are emerging. For example, a global rise in short-sightedness (myopia) since the 1960s has been linked to low exposure to daylight6. Today, around 70–80% of young adults living in Taiwan, Japan, Hong Kong, Singapore and other parts of eastern Asia are short-sighted7; by contrast, in 1950s China, only 10–20% of the population was affected. By 2050, half of the world's population could be myopic. Yet myopia might be prevented by spending just 2 hours a day outdoors in bright sunlight8. Researchers are trying to pin down the particular biological mechanisms involved.
Similarly, around one billion people globally are deficient in or have insufficient levels of vitamin D9. Some health professionals have noted an increase in conditions related to this insufficiency that weakens bones, such as rickets and solar osteomalacia. Most of the vitamin D in our bodies comes from exposing the skin to UVB radiation: 80–100%, according to the WHO. The sunlight-derived form of this vitamin is stored in the body for twice as long as that absorbed through supplements, and it has no risk of toxicity.
A lack of outdoor natural light during winter has been linked to seasonal affective disorder (SAD) and depression. Up to 10% of the world's population is thought to have SAD. Exposure to outdoor daylight can reduce symptoms.
Time spent in sunlight might also improve other conditions. For example, about 1.7 billion people, or 23% of the world's population, are thought to have a latent tuberculosis infection. Again, vitamin D has been linked to its prevention. Even in high-income countries such as the United Kingdom, winter dips in sunshine correlate with peaks in the incidence of tuberculosis six months later. The burden on hospitals and health-care systems could also be reduced, because research suggests that patients experience less stress, require less medication and recover faster in sunny rooms10.
Studies in the field of photobiology and the effects of ultraviolet, visible and infrared radiation on living organisms should be re-examined. Health fears about sun exposure — mainly concerns over skin cancer and premature ageing — might need to be reconsidered. For decades, people have been encouraged to shy away from direct sun and to cover up to avoid damaging the skin and eyes. Researchers need to develop balanced recommendations for sun exposure that promote vitamin D while avoiding burning, and should examine the impacts of sunscreens.
By ignoring the benefits of sunlight, cities will also miss goals for sustainability, including reducing carbon emissions and energy use. Sunshine is free, and a building designed to capitalize on that can have 20–60% lower energy costs for lighting11 and heating. High-rise office buildings are often more energy hungry than are low-rises. Offices that are higher than 20 storeys use nearly 2.5 times as much electricity per square metre of floor area as do those with fewer than 7 storeys. More research is needed to understand why, but greater exposure to wind and direct sun on high floors might increase the need for heating and cooling.
Yet architects continue to prioritize form over function. Overshadowing by tall buildings reduces the amount of solar radiation falling on photovoltaic solar panels on roofs by 30–40%, limiting the amount of clean electricity that can be generated. The orientations of buildings relative to the path of the Sun are often not considered; north-facing flats are now common in northern Europe. Legislation on window size (in the United Kingdom, Germany, Japan, Australia and the United States, for example) is of little use if an adjacent building blocks light.
Sunshine also promotes the growth of urban trees and vegetation that absorb carbon dioxide and air pollution, thus cleaning the air and lowering greenhouse-gas emissions. Without enough light to photosynthesize, trees suffer stress and grow poorly12. The benefits of planting trees in cities to reduce heat-island effects fall as urban density increases. More research is needed into urban planting and lighting to understand the details.
Light on laws
Inadequate legislation has a lot to answer for. In many countries, a land owner has exclusive rights to develop the spaces above and below their plot. The owner of an old 3-storey building, for example, can profit by allowing a 35-storey skyscraper to be built in its place. In New York City, rights to build in the air can be traded, allowing the upper floors of a high-rise to extend over the footprints of lower adjacent buildings and land.
This laxity is accelerating dense growth, threatening treasured public spaces. For instance, 7 towers are planned or being built on the south side of Central Park in New York City, with the tallest projected to cast a shadow as long as 1.6 kilometres — equivalent to almost 6 Manhattan-standard blocks. The public is often not consulted, and there is no legal requirement in the United States to share information on the scale of a building or its shadow. Public uproar about access to light is growing (see, for example, go.nature.com/2gkoyqg).
The United Kingdom, by contrast, has some of the firmest laws on the right to light. The Prescription Act of 1832 states that if a building has enjoyed continuous sunlight through its windows for 20 years, the owner has the right to such undisturbed sunshine forever. Surveyors and the justice system uphold people's right to light, although developers still try to flout it, for example by paying residents compensation that seems generous but is a fraction of the profit they stand to make over decades. Legal guidance informing city residents of their rights should become standard in all cities.
Brighter future
Direction is needed on a global level. Targets and actions for protecting access to daylight and sunshine should be included in the UN 2030 Agenda for Sustainable Development and the WHO's 'health for all' policy (HEALTH21). National and regional governments should pass comprehensive legislation on the right to light.
On a local level, city authorities, urban planners and policymakers must prioritize good 'daylighting' — sufficient access to natural light to improve public health and quality of life. Access to natural light must be integrated into the early stages of urban planning. All applications should supply a thorough analysis of the shadows that will be cast by proposed buildings. Moreover, businesses and schools could encourage employees and children to take longer lunch breaks outside.
More research is needed to understand the relationships between natural light and circadian rhythms, and their effects on health and well-being. Many societies are ageing, so the links between a lack of sunlight, dementia and Alzheimer's disease should be explored. Another potential research question is whether there is any relation between daylight exposure and increased chronic inflammatory and autoimmune diseases. Impacts on the environment need to be better understood; there have been few studies on shadowing and vegetation in cities, for example, or on the development of moulds inside buildings, which might affect health.
Cities should establish interdisciplinary technical committees to provide advice, with leading experts and professionals from fields such as daylighting and urban planning, sustainability, architecture, engineering, medicine, neuroscience and chronobiology.
Architects should integrate courtyards, internal gardens and skylights to let in as much daylight as possible. Codes and standards for natural lighting must be updated. Better access to outdoor spaces should be provided for children, elderly people, nursing-home residents and people with disabilities. More research is needed to develop alternative models for urban expansion that don't diminish the many benefits of natural light.
The public should be consulted on all planning applications and be made aware of legal pathways to defend their right to daylight. The upholding of recent lawsuits against developers to maintain these rights in the United Kingdom and China, and rejections of tall buildings by planning authorities in the United States, lights the way.
doi: https://doi.org/10.1038/d41586-019-01238-y
Updates & Corrections
Correction 26 April 2019: An earlier version of this article did not accurately describe Taiwan and Hong Kong.
Al-Kodmany, K. Buildings 8, 175 (2018).
Wai, K.-M., Yu, P. K. N. & Lam, K.-S. PLoS ONE 10, e0135562 (2015).
Boubekri, M. J. Human Environ. Syst. 7, 51–56 (2004).
Duhl, L. J. & Sanchez, A. K. Healthy Cities and the City Planning Process (WHO, 1999).
Zielinska-Dabkowska, K. M. Nature 533, 274–276 (2018).
Lagrèze, W. A. & Schaeffel, F. Dtsch Arzebl Int. 114, 575–580 (2017).
Lam, C. S.-Y., Lam, C.-H., Cheng, S. C.-K. & Chan, L. Y.-L. Ophthalmic Physiol. Opt. 32, 17–24 (2012).
Rose, K. A. et al. Ophthalmology 115, 1279–1285 (2008).
Naeem, Z. Int. J. Health Sci. 4, V–VI (2010).
Walch, J. M. et al. Psychosom. Med. 67, 156–163 (2005).
Galasiu, A. D., Newsham, G. R., Suvagau, C. & Sander, D. M. Leukos 4, 7–29 (2007).
Kjelgren, R. K. & Clark, J. R. Int. J. Biometeorol. 36, 165–171 (1992).
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The year finale is merely days away. Some people will spend the next few days finishing 2017 with a bang and others will be preparing resolutions for the early days of 2018. At Xanderlyn Salon in Scottsdale, we are prepping to beautify our clients for however they choose to ring in the New Year. Trust us, they will all look cute AF.
Sky High Pony Tails – It's all about hair fixed very high on the nape wrapped with the strand of tresses, or with some statement ribbon. Such looks are fantastic for several reasons. First, you look young, flirty and ready for some adventure. Secondly, such height and tension totally reveal your facial features, so freely accent eyes and lips. Thirdly, they can be replicated at home!
1920's Inspired Hair Jewels – Any shiny and glittery band or clip will take your style up a notch. Fashion always re-interprets past decades, that's why headband hairstyles with a vintage feel will always be popular. After all, the 20's were ever so fashionable.
Sleek Topknot – Holy chicness! Apply a lightweight gel to damp hair and slick into a high pony. Then split the length of your hair into two sections, twist them together, and wrap into a bun. Secure with bobby pins. Voilla!
At Touch of Velvet – A classic velvet ribbon is a super cute accessory that's easy to add to any hairstyle. It's also the perfect grown-up way to wear a bow so you don't feel like you're seven.
We can't wait to see your NYE selfies!
Until next time, have a beautiful ending to 2017!
At XanderLyn Salon in Scottsdale, seasonal soirees are our specialty. Our owners, Michael and Gaby, throw the best holiday parties! This year, we celebrated Studio 54 style with our team, their spouses and some amazing friends! From hors d'oeuvres to cocktails, dinner, DJ, dancing and our annual awards show – the XanderLyn team surely takes the dreaded stress away from the holidays!
Below are some of our favorite photos!
At XanderLyn Salon in Scottsdale, we like to keep things merry and bright through the holidays (and always)! We know the season is sometimes associated with stress (let's face it – all the cheer can get overwhelming!), so we found some ultra- easy tips to combat this holiday blues!
Keep it on the Rocks. Our team of Scottsdale hairstylists, aka the "The Xamily" would never tell you to skip the holiday cocktails! But the smartest advice we've heard is to use melted ice to dilute your cocktail and create more liquid. So order your drink on the rocks and try to avoid a quick buzz—and sip longer before your refill. Use soda water as a mixer for liquor (a cocktail with liquor and club soda is only about 100 calories), and don't be ashamed to add ice cubes to bubbly. In France, it's called a piscine. Très chic.
Have a Party Food Plan. To make healthy holiday eating easier, eat a small (healthier) snack before heading to a seasonal gathering—going hungry will only make you more likely to overeat later. At the event, scope out the entire menu before deciding what you'll have. Then opt for the simplest snacks, such as boiled shrimp, veggies and hummus, and fruit, which will probably be the healthiest items available.
Re-Gift Calories! Bring the Christmas cookies, boxes of chocolate, and other high-calorie gifts that you receive to the office to share with co-workers. Healthy holiday eating will be easier if you don't have these temptations at home. If you're scared your gift of calories will create frenemies at work, check with your local hospital, police department, or fire department about whether it would accept a donation of holiday treats. The team at XanderLyn is also collecting beauty products and food donations this holiday season, so you can even bring us your re-gifts and we will distribute them with a purpose!
Use the Weekend to Catch Some Extra ZZZZ's. Most of us have sleep debt: the difference between the number of hours we need every night (which varies per person) and how many we get. If you feel best after seven hours a night and you get five for three nights in a row during a busy week, you have a sleep debt of six hours (two missing hours for three nights). Erasing that debt requires you to get six extra hours over the course of a few days, but they don't have to be consecutive, says Epstein. David F. Dinges, Ph.D., the chief of the division of sleep and chronobiology at the University of Pennsylvania School of Medicine, conducted a study in which participants were restricted to about four hours of sleep for five consecutive nights, then allowed to sleep for 10 hours or more on the sixth night. The researchers found that after the recovery night, participants regained some of their previous levels of alertness and ability to concentrate. So while you should focus on eliminating your sleep debt completely, just one good snooze (a few hours more than you normally need) can give you a fresher start.
Give Yourself a Break From the Gym. According to a Gallup poll, the percentage of people who exercise regularly is lower in December than at any other time of the year. So don't beat yourself up—you're not the only one who's too busy for yoga class. However, the goal is to try to stay active in other ways. Speed-walking with shopping bags counts definitely burns extra calories! Add some toning by tightening your core muscles as you vacuum or reach for scattered toys (imagine trying to get your belly button to touch your spine). And most important: Get back into your regular exercise routine once the holidays end. Until next time, have a beautiful day!


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The Most Prevalent Issues With The Ears
by Goldie
There are numerous issues with the ears. Some might cause hearing loss, while others can induce infection and balance issues.
As a result, it's always a good idea to have your ears and hearing checked by a specialist as frequently as possible.
They can discover problems, investigate them, and ideally provide you with a clear solution.
So, to provide more information, let's look at the four most typical problems.
Tinnitus is distinguished by a buzzing or hissing sound in one or both ears. These buzzing sounds might be heard intermittently or continuously.
However, it is most noticeable when there is silence. Tinnitus can be loud when there are no other sounds to focus on.
Tinnitus is classified into two types: subjective tinnitus and objective tinnitus. The sufferer only perceives tinnitus as subjective tinnitus.
The physician may occasionally detect objective tinnitus. There is currently no treatment for tinnitus. Some remedies, however, can help to ease the symptoms.
Ear Wax Removal Hastings
It is estimated that around 80% of those with tinnitus are also deaf, even if they are unaware of it! That is why many persons with tinnitus get a hearing test.
However, you can hear clearly and still have tinnitus. Although tinnitus is frequently associated with hearing loss, it is not a disease.
Tinnitus is a symptom of various conditions and can sometimes occur for no apparent reason.
Tinnitus can significantly impact and cause tension, worry, irritability, and even insomnia.
Going to an ENT specialist to find a method of treatment that helps you. is the first step toward feeling better.
Hyperacusis and presbycusis (age-related hearing loss)
Presbycusis is a progressive age-related hearing loss disorder. It commonly appears after the age of 50 and is related to tinnitus.
Hyperacusis is a particularly debilitating illness characterised by an enhanced perception of sound loudness.
Hyperacusis is frequently coupled with headaches or pain caused by a relatively low sound tolerance threshold.
Hearing fatigue is becoming more common and severe. Individuals who are affected are also sensitive to strident and impulsive sounds.
This risk profile is predisposed to sonic damage and hyperacusis development.
The cochlea shows sequelae after one or more hearing injuries.
The inner ear structures have been effectively damaged.
Pathological auditory hyperacusis is a condition that varies in severity depending on the number of lesions and the fragility of the patient's cochlea.
It sounds that were formerly tolerable have suddenly become a cause of aggravation. This may necessitate the use of a hearing aid.
Meniere's syndrome
Meniere's disease is an inner ear disorder characterised by dizziness, tinnitus, and hearing loss. The disease's origins are unknown.
It usually happens unexpectedly and lasts between two and 24 hours. Medication is used to treat Meniere's illness.
If difficulties arise, surgery may be contemplated.
Meniere's disease can be caused by various reasons, including trauma, infection, ischemia, autoimmune, and genetics.
These factors point to a multifaceted cause and persistent confusion about the disease's origin.
While Meniere's disease is uncommon, there is still much information available.
Chronic ear infections
Otitis media is a relatively common infectious condition affecting newborns and young children.
It causes two to three million doctor visits annually and necessitates early and adequate treatment to avert further complications.
Various forms of ear infections affect various areas of the ear.
Indicators of a middle ear infection and how can you treat it?
An acute middle ear infection is an infection of the small bone cavity known as the middle ear.
It is usually caused by a bacterium, although viruses are another potential trigger, especially after nasopharyngitis.
Because of the way their immune systems function, children are typically especially vulnerable to it.
They will quickly grow out of this stage. People of all ages, however, can be affected.
Brought To You By Ear Wax Removal Hastings
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How big is anime in Japan?
Is Brian Baumgartner a good golfer?
In real life, he is. The most avid golfer from "The Office," Baumgartner will bring his 9.5-handicap game to the Drew Brees Celebrity Championship on Friday through Sunday at the La Costa Resort and Spa. … "He has such a great heart," Baumgartner said of Brees.
Also, Is Brian in love with Pam?
Brian was a part of the crew since before the first episode. Pam reveals in Season 9 Episode 18 ("Promos") that he has observed them for 10 years. … It is subtly hinted that Brian has developed a crush on Pam, similar to how Jim fell in love with Pam while working close to her for several years (Junior Salesman).
in the same way, What is Brian Baumgartner golf handicap?
B. Baumgartner
Rating/Slope
83 70.3/120
likewise, Where does Brian Baumgardner live? Brian Baumgartner, best known as the hilariously offensive accountant Kevin Malone on "The Office," has relisted his unassuming home on a quiet street in the celebrity-approved Oaks neighborhood of L.A.'s Los Feliz, with an asking price just shy of $2.85 million.
How tall is Kevin from the office?
Aside from his character's comical (and relatable) sidebar reactions, Krasinski's place in the hit NBC sitcom was clearly as "resident tall guy." Most shows have one, and at 6'3″ Krasinski filled the spot with ease.
Does Pam have a baby?
In this episode, Pam starts having contractions but insists on waiting till midnight to go to the hospital in order to get an extra night at the hospital, irritating Jim. … She eventually goes to the hospital and gives birth to a daughter, Cecelia Marie Halpert.
Why was Cathy hitting on Jim?
She also mentions her belief that Jim and Pam's relationship has fallen apart. Upon arriving in Florida, Cathy sticks close to Jim, flirting with him (though Jim does not seem to notice, and doesn't reciprocate) and trying to establish a closer relationship with him.
Does Pam get pregnant in the office?
At the beginning of Season 8, Pam is revealed to be pregnant with her and Jim's second child, Philip Halpert. She begins her maternity leave after "Gettysburg", and eventually returns when she and Jim bring Cece and Phillip into the office.
Has anyone from The Office died?
Mark York, an actor best known for playing a character on the NBC sitcom "The Office" who, like him, was a paraplegic, died on May 19 in Dayton, Ohio. He was 55. His death, in a hospital, was confirmed by the Montgomery County coroner's office.
How much money does Brian Baumgartner make on Cameo?
$1 million: That's at least how much money The Office actor Brian Baumgartner will make from the app Cameo this year, making him the platform's top earner in 2020, the Cameo CEO said on The New York Times podcast Sway.
How much did Brian Baumgartner make per episode?
Baumgartner charges $195 per Cameo, which would mean the comedian has recorded over 5,128 videos this year. That's far from a relaxing day at the beach and would equate to doing 14 videos every day of the year, on average.
Does Kevin Malone get married?
Brian Baumgartner played the iconic role of Kevin Malone. He really came into his own throughout the series and became one of the best parts of the show. In 2014, he married his girlfriend Celeste Ackelson in a lavish wedding in his backyard in Los Angeles, and adorably, his Office co-stars were in attendance.
Does Pam cheat on Jim?
A popular fan theory insists that the documentary crew helped Jim cover up his cheating because the producers wanted to focus only on the storyline that involved his swoon-worthy relationship with Pam. According to the fan theory, Jim admitted he cheated on Pam during the last episode of The Office titled 'Finale.'
Does Brian Baumgartner own a bar?
By the end of the series, Kevin no longer worked at Dunder Mifflin. Instead, he became the owner of a local bar. Brian Baumgartner, who played the famed chili spiller on The Office, finally revealed how Kevin acquired that bar in the end.
Is Cece Pam's real daughter?
Fischer and Kirk were married in 2010 in a ceremony in Malibu, according to People. … Total Love, Jenna Fischer & Lee Kirk!" The couple have two children together, though the baby who played Cece Halpert was not, in fact, their real child.
Does Jim cheat on Pam?
Is Philip Angela's real son?
Parents. Phillip Schrute (born Phillip Halsted Lipton) is the son of Dwight Schrute and Angela Martin. He was named after Angela's cat, Phillip.
Is Karen's Baby Jim's?
Season 5. In season five, it is revealed that Karen is pregnant, which shocks both Jim and Pam. Michael asks if Jim is the father, but she tells them she is married to a man named Dan.
Does Jim ever cheat on Pam?
Was Cathy trying to sleep with Jim?
Broad played Cathy, the maternity leave replacement of Pam Beesley (Jenna Fischer) on The Office in season 8. In her character arc, Cathy attempted to seduce Jim Halpert (John Krasinski) during the Dunder Mifflin crew's business trip to Florida, despite his marriage to Pam.
Is Cece really Pam's daughter?
Jim and Pam's daughter, Cecilia "Cece" Halpert, was named after Jenna Fischer's niece.
Who is the richest from The Office?
Steve Carell — Net Worth: $80 Million.
Is Marcus York really in a wheelchair?
Marcus A. York, an actor known for playing property manager Billy Merchant on The Office, died May 19 at Miami Valley Hospital in Dayton, Ohio. … York, who had been a paraplegic since 1988, was born in Arcanum.
Did Pam and Jim get divorced?
Pam has spoken: She and Jim are still happily together. During an appearance on Watch What Happens Live with Andy Cohen on Thursday, Jenna Fischer was asked for her reaction to Chrissy Teigen's recent theory that 10 years after their wedding on The Office, the beloved TV couple divorced.
Authors: 13 – Contributors: 8 – Latest update:5 days ago.
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