By Patrick R. Cannon, photographs by James Caulfield; 2009; 80 pp.
Pomegranate Communications, Inc.; Hardcover

Frank Lloyd Wright is justly celebrated for his geometric leaded-glass windows, which he called “light screens,” referring to the Japanese shoji screens which served as his inspiration to “bring the outside world into the house.” The Martin House complex (1904-5) in Buffalo, New York, with nearly 400 pieces of art glass, is one of the largest and best documented of Wright’s Prairie-style structures. Published on the 10th anniversary of a major touring exhibition of Martin House windows, Jackson-Forsberg’s book kicks off the process of returning the interiors of the house to their original state—part of a comprehensive restoration which has stabilized the structures, added a new visitor center, and brought many of the original windows back home. Wright’s concept of the complex as a “domestic symphony” is well conveyed through original source material—drawings, floor plans, and correspondence—as well as 45 detailed color photographs which present the major window patterns and variations. Cannon’s volume of photographs of Unity Temple (1906-9, Oak Park, Illinois) is also an excellent demonstration of Wright’s use of light, exploring, among other details, how the massive poured-concrete building is transformed into a spiritual, light-filled space by clerestory windows and skylights. An appendix provides the text of the original brochure detailing the theory behind the structure.