Union Jack

     English Wordplay ~ Listen and Enjoy


I was in a hurry to be able to use the energy that I felt 
boiling up inside of me, trying to get out and come into 

An American architect, interior designer, writer and educator, who designed more than 1,000 projects, which resulted in more than 500 completed works.


He promoted organic architecture (exemplified by Fallingwater), was a leader of the Prairie School movement of architecture (exemplified by the Robie House and the Westcott House), and developed the Usonian home (exemplified by the Rosenbaum House).

He also designed many of the interior elements of his buildings, such as the furniture and stained glass.

Frank Lloyd Wright on What's My Line

He wrote 20 books and was a popular lecturer.  His colourful personal life often made headlines, most notably for the 1914 fire and murders at his Taliesin studio.

PETER: What did your Welsh connections mean to you?
WRIGHT: A wistfulness.  The island of Great Britain is a magical place that allows one to be connected to the flow of the Earth.  My Welsh roots gave me the feeling that the flow of energy could be converted from the outside to the inside.  From this built-in ability I derived the principles that created the flow of my buildings, that designed my windows connecting the various energies in a particular place, and that turned the buildings into homey, comfortable surroundings.
PETER: Where did your desire to be an architect come from?
WRIGHT: I had been a builder, a constructor, in a number of my past lives. Sometimes it was building a physical building, and sometimes it was building a person - in other words, teaching, letting them know what abilities they had.  The building blocks that I had as a child kept drawing me to put into application everything that I had done before, but in a new way.
PETER: You used geometrical designs and pre-cast concrete blocks and things that had designs on them.
WRIGHT: I could feel the energy of the symbols.  It has now been recognized that Feng Shui has a terrific impact on the physical body.  The designs that I used were used in architecture in the world going back to the pyramids.  +I just modified them to be appealing and appeasing to the eye and the senses.
PETER: Your pace was breathtaking.  In 1889 you built a home outside Chicago, for yourself and your bride, Kitty Tobin.  Within the next 12 years you had designed some 50 homes.  What do you feel you achieved in domestic architecture?
WRIGHT: The important thing to me was the flow of the living space, and within that flow, how the geometries that people interacted with impacted each individual's energy.  I proved that you could take what people considered just brick and mortar and plaster and make it a living, breathing extension of the human beings who lived inside of it.
PETER: The three-legged chairs you originally designed were unstable.  You were asked to try one out and fell off it.
WRIGHT: (LAUGHS) I would get these visions when I was designing something; they were very appealing to the eye and had an energy that was fantastic, but sometimes they were a little bit before their time.  We didn't have the capability of putting the energies that I was downloading into physical shape - and I say "downloading" because some of my designs had assistance from non-physical architects whom I asked to help get the energy flows right.
PETER: If you found furniture was not in the place, where you had put it, and you went around putting it back in its "rightful" place.
WRIGHT: (LAUGHS) I would know if there was anything impeding the flow of energy or air through that space.  Ninety-eight percent of the population was not as sensitive as I was to that.  They went merely with their eye or what was convenient for them, whereas everything I did was placed with the idea of the flow of energy.

Toni: He's showing me a wind tunnel, where they test cars and bike riders, and use smoke so you can see how the wind ruffles over them - indicating that he was his own barometer of how the energy or air was flowing.

PETER: In 1914, personal tragedy struck when your servant, Julian Carlton, set fire to your house, "Taliesin" and butchered seven occupants, including your mistress, Mamah and her two children.  How do you feel about this tragedy looking back from where you are now?
WRIGHT: I know now that contracts had been made between the various souls involved to experience things.  I also was involved in those contracts, because, though my life had had ups and downs, it had been fairly smooth.  I had never experienced a true sense of having my gut ripped out of me, as happened with that one act.  This was my wake-up call.
PETER: One of your most successful Organic Style houses was "Fallingwater" at Bear Run, Pennsylvania. (see picture above)
WRIGHT: At "Fallingwater" I could feel the flow of water within every board and tyle.  To be able to extend the energy of the outside and incorporate it into the whole sense of the energy of the house was my crowning glory.  It showed that the planet is a living, breathing thing, and when you work with it, you create something that is unique, something that incorporates the living matter of a human into synchronization with the living matter of the planet.
PETER: One of your projects abroad was the Imperial Hotel, Tokyo.  It was completed in 1923, the year of the 7.9 magnitude Great Kanto earthquake, which it survived. H ow do you view the current state of the world's preparedness for such disasters?
WRIGHT: The world society, as a whole, is unaware of and cannot feel the energy of the Earth.  The earth is showing them that their arrogance is their downfall, because while they claim to have scientific evidence that what they are constructing will withstand the shaking of the Earth, they are not taking into consideration the fact that the planet not only shakes but undulates.  They think of it as a solid mass. They don't see it as a living, breathing thing.

The change in weather patterns, the melting of the poles, the increase in seismic activity based upon pressure put on the various plates of the Earth have all begun and will continue.

Toni comments: Whether we were discussing his extreme accomplishments or his scandals, it was all matter-of-fact.  The only time he became somewhat energetic was in talking about the interaction between the soul having a physical experience and the physicality of the planet.  He gave me some visual pictures when we were talking about his different designs and how they affected energy - that was also quite interesting.

Peter comments: There were three aspects that were particularly interesting to me:

  1. The ephemeral asceticism of his early period, with his use of terms like Energy and Feng Shui.
  2. Once in his heart he had come to terms with the murder of his mistress and her children, his life appears to have returned to equilibrium.
  3. The third element, mention of coming planetary disturbances, is explored in greater depth in my dialogue with George Orwell.

Talking with Twentieth Century Men
The foregoing are excerpts from Talking with Twentieth Century Men.
If you wish to purchase this book please go to the Celestial Voices website.
If you wish to learn more please go to these websites Messages from the Masters and The Masters' Blog.

Return to Talking with Twentieth Century Men

Home Page