Taliesin West, Cabaret, 12621 North Frank Lloyd Wright Boulevard, Scottsdale

Source document Quoted word for word from HABS AZ-218-B. Not written, edited or summarised by this site.

The Cabaret at Taliesin West is a renowned example of Frank Lloyd Wright s Organic Architectural design style, whereby Wright integrates a sustainable relationship between people, the built environment, and the surrounding natural world. The Taliesin West complex was built during the period between often referred to as Wright s Second Golden Age. The complex is located within the arid, desert foothills of the McDowell Mountains in Scottsdale, Arizona; it served as Wright s winter home and academic campus for his Taliesin Fellowship. The Cabaret is second in a line of three theater buildings at Taliesin West, built after the Kiva and prior to the Music Pavilion.

The Cabaret was designed as a place where the Wrights and the apprentices could enjoy the cultural aspects of the arts, especially music and theater.1 Erected in the fall seasons of the building is considered a masterpiece due to its unique architectural style and utilization of vernacular building materials from the local landscape. The structure was designed partially sunken underground with desert masonry such as boulders and stones to create the ambiance of a cave. Not only does the Cabaret incorporate the surrounding environment into its design, but it represents an extension of the desert itself while displaying many of Wright s signature architectural techniques. Historians: Isabel Howard, Gayla Hillin, and Nina Lazaro; Collaborator Lauran McCormick

Source document Quoted word for word from HABS AZ-218-B. Not written, edited or summarised by this site.

Documentation of the Cabaret at Taliesin West was sponsored by the Frank Lloyd Wright Foundation. Students from the College of Architecture, Construction and Planning of the University of Texas at San Antonio began field documentation during the summer of with Sue Ann Pemberton, FAIA, as the faculty supervisor. Field team members included Christelle C. Arreola, Sergio R. Duran, Nadeesha R. Gammampila, Esther N. Garza, John M. Gonzalez, Isabel I. Howard, Phuoc V. Luu, Veronica V. Rodriguez, and Maria F. Trevino. Documents were 1 Jane Canapini. Taliesin West: Frank Lloyd Wright s Desert. Grownup Travels. March 16, TALIESIN WEST, CABARET HABS No. AZ-218-B (page 2) completed by Nina E. Lazaro, Anthony J. Leblanc, Hanna M. Mathew, Mariana Ramirez, Ryan J. Rodriguez, Sarah E. Trevino, Sydney Y.

Wolfrum, Kelsey Williamson, Laura C. Hernandez, Gayla Hillin, Lauran E. McCormick, Jaime C. Perez, and Isaiah F. Williams. PART 1: HISTORICAL INFORMATION A. Physical History 1. Date of erection: Winter 1948-December 2. Architect: Frank Lloyd Wright Frank Lloyd Wright was born on June 8, in Richland Center, Wisconsin.4 After completing his first year and a half at The University of Wisconsin at Madison, he left university to apprentice under the well-renowned Conover and Silsbee firm before becoming chief assistant to architect Louis Sullivan. In Wright left Sullivan to establish his own practice.

Wright s initial work, from was defined as The Prairie Style in which The typical Wright-designed residence from this period displayed a wide, low roof over continuous window bands that turned corners, defying the conventional boxlike structure of most houses, and the house s main rooms flowed together in an uninterrupted space. 5 After suffering several personal tragedies at Taliesin in Wisconsin, Wright met his third wife, Olgivanna Hinzenberg, in and were married in In Wright and Olgivanna established the Taliesin Fellowship, a community of apprentices and their families who lived, worked and studied with Wright first at Taliesin in Wisconsin and later also at Taliesin West in Arizona.

The program provided a total learning environment integrating all aspects of the apprentices lives with the intent of educating responsible, creative and cultured human beings. 6 In after suffering a near fatal bout with pneumonia, the doctors recommended that Wright spend winters in a warmer, drier climate. Wright discovered the perfect location in Scottsdale, AZ. He bought several hundred acres and founded Taliesin West in as an experimental desert laboratory for architectural materials. Taliesin West became Wright s winter home, office, studio, and the winter location of the Taliesin Fellowship. Wright continued to construct and alter buildings at Taliesin West until his death on April 9, at the age of 91. There, he also completed commissions of 2 Curtis Besinger. Working With Mr.

Wright: What it Was Like (New York: Cambridge University Press, 3 Edgar Kaufmann, Frank Lloyd Wright: American Architect, Britannica, accessed June 28, 4 Edgar Kaufmann, Frank Lloyd Wright: American Architect. 5 Edgar Kaufmann, Frank Lloyd Wright: American Architect. 6 The Taliesin Fellowship. Frank Lloyd Wright Foundation. June 1, taliesin-fellowship/ TALIESIN WEST, CABARET HABS No. AZ-218-B (page 3) other architectural designs.7 After his death, Wright s legacy was continued by Olgivanna and the Frank Lloyd Wright Foundation. 3.

Original and subsequent owners, occupants, uses: The Cabaret replaced the Kiva as a space for indoor social functions such as movies and parties.8 It was intended to seat about 100 people.9 Curtis Besinger, member of the Fellowship and head apprentice on the project, noted that in Fall Wright named the unbuilt structure The Cabaret. Throughout the and the space was used for musical and theatrical performances. The Cabaret is now included in public tours given by the Frank Lloyd Wright Foundation and is still used as a theater for formal events. 4. Builder, contractors, suppliers: Taliesin West was built by Wright with most of the work done by his apprentices. Curtis Besinger, an apprentice, noted as of Fall I was in charge of the crew working on the project when he [Wright] wasn t around.

10 Besinger listed other workers during Winter as Mark Mills, Charles Montooth, Ling Po, Verne Rouillard, Paolo Soleri, and Richard Salter.11 The apprentices acted as builders and contractors; they also served as suppliers when sand and boulders were collected by hand from desert washes.12 Apprentices began initial excavations using hand tools; however, the caliche proved too hard even for the young and eager apprentices, and a bulldozer operator from Phoenix was hired to do the initial excavations in A later account by apprentice Kamal Amin notes Entz White as a building material store in Phoenix, from which materials such as cement, nails, canvas, and wood for casting concrete forms might have been bought.14 Every part of Taliesin West bears Frank Lloyd Wright s personal touch.

Upon every return after a summer in Wisconsin, Wright would grab a hammer and immediately make his way through the complex. He would walk through each room, make changes, or shout orders to apprentices closely following with wheelbarrows and tools. 15 5. Original plans and constructions: According to apprentice Curtis Besinger, the only drawing for the theater was a floor plan that Wright had initially drawn.16 Besinger later drew some quick sections based on floor elevations that Wright had put on the plan. For reference, he added, the datum for the floor levels as the square court area at the East side of the office. The bulldozer hired from Phoenix excavated the 7 Edgar Kaufmann, Frank Lloyd Wright: American Architect.

8 William Allin Storrer, The Architecture of Frank Lloyd Wright: A Complete Catalog, Updated Third Edition, (Chicago: The University of Chicago Press, 9 Curtis Besinger, Working With Mr. Wright, 10 Curtis Besinger, Working With Mr. Wright, 11 Curtis Besinger, Working With Mr. Wright, 12 Kamal Amin, Reflections from the Shining Brow: My Years with Frank Lloyd Wright and Olgivanna Lazovich, (McKinleyville, CA: Daniel and Daniel, 13 Curtis Besinger, Working With Mr. Wright, 14 Kamal Amin, Reflections from the Shining Brow, 15 Frank Lloyd Wright Taliesin West Atlas of Places. Accessed June 26, 16 Curtis Besinger, Working With Mr. Wright, TALIESIN WEST, CABARET HABS No.

AZ-218-B (page 4) hard caliche; however, due to Wright s objection to hiring the bulldozer a second time, apprentices carried out subsequent excavations by hand.17 After pouring the foundation, the apprentices then poured the piers. Nine piers support the roof along the West side of the gallery. The following spring, in mid-April the apprentices began the formation of the roof slab. The unconventional desert masonry roof, which Wright considered an experiment, made by filling wood formworks with local rocks of different colors, meticulously selected and positioned, and then pouring a very dry mix of Portland cement, sand and little water, 18 posed the greatest problem in the construction.

According to Curtis Besinger, the apprentices set the reinforcing in place and poured the slab just before departing for Wisconsin. The original roof slab was only to be about six inches thick. Wright insisted upon the use of large stones, because he believed that the roof slab should have large stones to give it continuity of appearance with the walls. 19 Wes Peters, another apprentice, had designed the reinforcement with bars of conventional sizes and spacing. It became clear that traditional reinforcing and spacing would not allow for large stones in the roof. Wright then replaced the traditional reinforcing with two large bars, about one inch square which formed an X in each bay. Each bar was then bent at the end to be parallel with the side wall and to create anchorage at the ends.

Inspired by caves in Europe, the Cabaret is partially underground and offers 95% acoustic perfection. 20 Sloping concrete floors and desert masonry walls meet at varying angles. The floors and walls form a hexagonal shape which, along with the hard surfaces, allows the sound to bounce around the room. The performance stage is an elevated wooden floor that acts as a sounding board. The concrete floors in the theater area and the elevated wood stage are covered with Cherokee Red carpet. Carved into the desert masonry wall in the stage area is an alcove for the piano which uses the stones above as the ceiling of the piano alcove.

These unique features contribute to the acoustics of the building making it possible to hear a whisper from the stage while located at the very back of the seating area.21 A projection room was added to the north end of the building with the projection screen located on the south end of the stage. 6. Alterations and additions: Due to the harsh desert sun, the canvas roofs required yearly replacement; after almost thirty years of experimentation with canvas, the 17 Curtis Besinger, Working With Mr. Wright, 18 Riccardo Bianchini, Frank Lloyd Wright s Taliesin West | Scottsdale, Arizona, Inexhibit, Nov. 29, 19 Curtis Besinger, Working With Mr.

Wright, 20 Cabaret (Issue Clarity Advantage, Accessed June 29, issue-671/ 21 Acoustics Activity, Frank Lloyd Wright Foundation, April 1, activity/ TALIESIN WEST, CABARET HABS No. AZ-218-B (page 5) material was finally abandoned for the relatively simple maintenance of fiberglass and eventually acrylic. In the mid-1960s, the canvas roof in the corridor was replaced with fiberglass panels when similar modifications were made to the Drafting Studio and other buildings. The fiberglass was then replaced by acrylic in the Wright s interest in using white canvas was reflected in most buildings at Taliesin West. According to the Preservation Master Plan, Wright was fascinated by the way sunlight was diffused through the canvas.

23 In Wright s autobiography, he expresses his appreciation of the luminous quality of the canvas that he found enjoyable and sympathetic to the desert. 24 Originally the covering on the skylight was identical to the white canvas (raised and lowered with a system of ropes and pulleys) used in Wright s office and Drafting Studio.25 In alternating bench rows were removed to allow for more space for chairs and tables.26 The original counters built into the north side of each bench have been removed to provide additional space. The porthole in the projection room was partially enclosed to create a semi-circular window. Regarding additions, when the Music Pavilion was added on the northeast side in a larger serving kitchen was included to connect the two buildings.

The serving kitchen is connected to, but not considered the same building as the Cabaret. In the mid-1960s, miniature hanging lights were draped across the ceiling per Olgivanna s request. The main entry doors were replaced in and due to deterioration, the decorative panels were placed in vaults for preservation.27 B. Historical Context The Cabaret is unique to Frank Lloyd Wright s style and to Taliesin West; it is unlike any building in the world. Wright is considered one of the greatest names in American modern architecture; scholars also widely agree that Wright s architectural vision stands apart from all others.

Contemporaries such as Mies van der Rohe, Walter Gropius, and Le Corbusier, each considered forefront innovators to modern architecture, differ from Wright, who waved away the stark minimalism of the era. Wright developed his own idea of minimalism: the idea of Organic Architecture. In his mind, any building could be both adapted to its site and built using the materials available naturally in the area. The detail would come from the texture of the materials themselves; therefore, minimalism was inherent in the design of Organic Architecture. Taliesin West is a masterpiece of Organic Architecture. Each building is oriented to the site to benefit from breezes, shade, and cross-ventilation.

Desert masonry construction melds the colors 22 Gunny Harboe, Preservation Master Plan, (Chicago: Harboe Architects 23 Gunny Harboe, Preservation Master Plan, 11. 24 Gunny Harboe, Preservation Master Plan, 12. 25 Gunny Harboe, Preservation Master Plan, 35. 26 Gunny Harboe, Preservation Master Plan, 73. 27 Gunny Harboe, Preservation Master Plan, 73. TALIESIN WEST, CABARET HABS No. AZ-218-B (page 6) and textures with the desert landscape. Cherokee-Red paint, Wright s signature color, echoes the color of the desert floor. At Taliesin West, Wright developed a cultural environment for the Taliesin Fellowship that was as unique as the master architect himself.

It was at Wright s insistence that a well-rounded experience for his students included musical performances in the evenings and on weekends. Wright expected students to work in the fields, tend the garden, mix the concrete, weave rugs, and cook meals. Each task taught valuable skills that could be transferred to the practice of architecture.28 The community activities truly set the Taliesin Fellowship apart from other schools of architecture. The Fellowship was a critical part of the design and education community that sought to contribute to making a better environment for all to inhabit. Wright s love of culture and art was enhanced by his companion and later third wife Olgivanna.

Both lovers of art in all its forms, Wright and Olgivanna met by chance in Chicago in when they were seated in the same box at a ballet.29 One could say that their partnership was a meeting of two artists. When Olgivanna came to Arizona with the group for the first winter at Taliesin West, she managed many of the cultural activities and continued to do so until her death in According to a member of the Fellowship, Indira Berndston, She and Wright nurtured their intellect, talents, and appreciation for beauty. Berndston stated that, Music was an integral part of their lives, as was entertaining friends and relatives.

30 When the Kiva, the original building used as a theater, became too cramped to accommodate the growing postwar Fellowship, Wright instructed his apprentice Curtis Besinger on the plans for what would become the Cabaret. At the Cabaret s completion, Wright was quite proud of [the theater], Besinger recalls.31 A laboratory, workshop, and cultural space, Taliesin West has no parallel in American or international architecture. Wright was keenly aware of the unique desert camp he had created. Taliesin West is as original as the Maya, he wrote to a friend in The desert compound continues to fascinate historians and visitors today. PART II. ARCHITECTURAL INFORMATION A. General Statement 1.

Architectural Character: The buildings of Frank Lloyd Wright are unique within Modern Architecture, and the Cabaret is no exception. Built a full decade after construction on Taliesin West began, the Cabaret is a long desert masonry and concrete structure sunken into the ground with irregular walls, floor, and ceiling. The Cabaret deviates from the cleaner lines of the surrounding buildings. Most interior walls are sloped, and the roof s height is irregular in many places. One could say that 28 Cornelia Brierly, Tales of Taliesin, (San Francisco: Pomegranate, 43. 29 Indira Berndston, Olgivanna Lloyd Wright A Vivid Inspiration, Frank Lloyd Wright Quarterly, 23 No. 2, (Spring 5. 30 Indira Berndston, Olgivanna Lloyd Wright, 7. 31 Curtis Besinger, Working With Mr.

Wright, 32 Bruce Brooks Pfeiffer, Frank Lloyd Wright: Taliesin West, (Tokyo: A.D.A. Edita Tokyo, 42. TALIESIN WEST, CABARET HABS No. AZ-218-B (page 7) the Cabaret evokes a feeling of Architecture Without Architects and is a true example of Frank Lloyd Wright s Organic Architecture. 2. Condition of the fabric: The current condition of the Cabaret is fair. Two factors that influence the condition are the building s role as a tourist site and the simple design. As a tourist site, the building is included in year-round public tours therefore receives needed attention by the Frank Lloyd Wright Foundation staff. The simple design includes concrete floor, desert masonry walls and roof which require minimal routine maintenance though the roof is regularly monitored for cracks.

The Cabaret is routinely assessed for potential repairs by the Frank Lloyd Wright Foundation s preservation department and Gunny Harboe, FAIA led the team at Harboe Architects, Chicago to create the Preservation Master Plan for Taliesin West in B. Description of Exterior 1. Overall dimensions: The Cabaret is a one-story structure, measuring approximately 111 x 27 that is connected to one larger adjacent building by a doorway and one smaller adjacent building by exterior walls. The overall shape of the building appears to be rectangular but is actually an irregular hexagonal shape. 2. Foundations: The foundation is concrete on hard caliche. 3.

Walls: The walls are a mixture of sand, Portland cement, and large, flat, stone, often surrounded with small stones that Wright referred to as goose eggs collected from the surrounding desert. 4. Structural system, framing: The structural system consists of load bearing desert masonry walls, interior load-bearing concrete piers, and a desert masonry ceiling with reinforcement. Nine steel 8 gutters span the corridor at intervals to hold the acrylic panels. Two smaller steel ribs fit between the gutters at each bay. 5. Garden: Drought-tolerant, landscaped vegetation exists outside of the Cabaret. On the south side, a concrete court provides access to the main entrance. An approximately four-foot-tall desert masonry retaining wall borders the concrete court on the east side of the building.

6. Chimney: A desert masonry chimney is located in the northeast corner of the building but does not project above the roof. 7. Openings: a. Doorways and doors: The Cabaret has three exterior doors. A pair of flat slab doors measuring approximately 3 x 6 8 located at the main entryway on the 33 Henry Grabar, The Quests to Save the Campus and Community of Taliesin West, Architect, accessed June 28, TALIESIN WEST, CABARET HABS No. AZ-218-B (page 8) south side of the building have brass oriental themed door plates and pulls. A solid core slab measuring approximately 3 x 6 to the right of the fireplace leads to the service kitchen addition and would have served as an original exterior door.

A trapezoidal exterior door approximately 6 -5 tall on the west side to the left of the women s restroom is built of plywood and was custom- designed to fit the irregularly shaped desert masonry door frame. b. Windows: No traditional windows. Glass fits around the main exterior entrance on both sides of the door. A circular porthole in the original kitchen provides light and a semi-circular porthole in the projection room provides a minimal amount of light. The acrylic panels in the ceiling of the corridor along the east wall serve as a skylight. Plywood panels on the east side of the corridor can be lifted to provide natural light. 8. Roof: a. Shape and covering: The roof slab has large stones in it to be consistent with the appearance of the exterior walls.

To support the roof, Wright used conventional reinforcements with only two large bars, constructed in a X- shaped formwork per bay. Each bar is bent at the end to be parallel with the side wall and to create anchorage at the ends. b. Eaves/exterior decorative features and trim: Most exterior walls are desert masonry without eaves. Along the east side, where the corridor runs north- south along the length of the building, steel ribs hold the skylight panels in place. C. Description of the Interior 1. Floor Plans: The Cabaret is a one-story structure with an entry foyer, coat closet, men s and women s restrooms, serving kitchen, corridor, movie screen area, orchestra pit, piano alcove, seating area, fireplace, and projector room. 2.

Flooring: The foyer, corridor, and seating area of the Cabaret is concrete flooring. The concrete at the north end of the building and the aisle running along the benches is painted while the concrete floors in the seating area is covered with carpet. The orchestra pit is a sunken concrete covered with plywood deck carpeted in Wright s signature Cherokee Red. The floor area in front of the fireplace is desert masonry. 3. Wall and Ceiling Finish: The walls are desert masonry (concrete with local found stones and rubble). Triangular cement features on the piers are painted metallic gold, blue, and red on the north and south side of each pier. An angled, recessed, underground built-in alcove is located on the west wall of the orchestra pit. TALIESIN WEST, CABARET HABS No.

AZ-218-B (page 9) Panels: Nine Cherokee Red painted plywood panels line the west side of the corridor. The panels are attached to the masonry on either side with hinges and rest parallel against the slight angle of the desert masonry wall. Nine Cherokee Red painted plywood panels also line the east side of the corridor wall and separate the interior from the exterior instead of canvas or glass. The panels are held in place by hardware screwed into the steel support frames separating each panel. These panels can be raised to cover the skylight ceiling above the corridor and are held horizontally under the acrylic by additional hardware screwed into the steel gutters.

Screens: Wood screens made of vertical pickets in a pattern of one Cherokee red and 5 stained, are built in to four spaces around the Cabaret: the first is in the foyer west of the Buddha statue; the second is on the west side at the southern end of the corridor; the third is at the east side of the northern end of the corridor, and the fourth is on the west side of the movie screen and hides the HVAC equipment. Ceiling: Over the main portion of the Cabaret, the roof and ceiling material are desert masonry. The ceiling of the corridor is a series of clear acrylic skylights. 4. Fireplace: A desert masonry fireplace in the Taliesin West style measuring approximately 8 -6 x 6 -6 is located in the northeast corner of the building. 5.

Projector Screen: The projector screen has an extendable side screen to enhance the viewing experience and show the visual display of the soundtrack alongside the image.34 6. Buddha Head: Upon entry into the foyer, to the west of the corridor, is a trapezoidal shaped desert masonry wall that has a circular opening in the upper half of the trapezoid. Inside the opening is an iron Buddha head statue balanced on wooden blocks. 7. Hardware: Original hardware would have managed the system of pulleys for canvas flaps. Currently, thin iron hardware on the east wall keeps the plywood attached to the wall while small iron hanging hooks hold the plywood onto the ceiling. Hinges connect the plywood to the masonry on both east and west sides of the corridor. 8. Mechanical Equipment: a.

Heating, air conditioning, ventilation: The desert masonry materials absorb heat from the sun during the day and radiate heat at night creating a passive heating and cooling system. The air conditioning unit in the serving kitchen releases cold air through a wooden screen to the left of the movie screen. Air conditioning was introduced in the mid-1960s when the canvas panels were replaced with fiberglass. The plywood panels on the east side of the corridor open to allow cross-ventilation from prevailing winds. 34 Gunny Harboe, Preservation Master Plan, 34. TALIESIN WEST, CABARET HABS No. AZ-218-B (page 10) b.

Lighting: Lighting includes nine custom sconces on the west wall inside the seating area, a custom sconce on the east wall of the front foyer, and one chandelier made of two vertically enlarged sconces above the fireplace at the north end of the building. Each bench contains a built-in light fixture set in the concrete on the aisle side for a total of five light fixtures. At the steps to the serving kitchen, a protruding lightbulb is covered by a square acrylic and wood box similar to the triangular coverings along the aisle. Two recessed lights provide illumination in the transitional area between the serving kitchen and aisle. Six triangular shaped floor lights located in the desert masonry along the east side of the aisle are fitted with lightbulbs and illuminate the pathway.

To diffuse light, the lightbulbs are covered with an unattached acrylic in wooden triangular frames. The east side of the corridor contains eight hollow triangular floor lights but unlike the triangular floor lights along the aisle, these do not have coverings. c. Plumbing: The presence of an original men s and women s restroom, still in use, as well as the serving kitchen suggests original plumbing was adequate for Fellowship residents and visitors. 9. Original furniture: Originally, the seating area of the theater consisted of ten concrete benches with narrow built-in counters facing the stage oriented in a south-north direction along the natural slope of the floor.

Every other bench has been removed to make space for tables and temporary seating; now there are five permanent benches remaining. Each bench begins at the west wall at a 76-degree angle to the wall and ends at the aisle. The benches are covered in a removable red cushion on the backrest and seat. Each row originally included a built-in counter for meals to be eaten during screenings. These counters have been removed to allow extra space for visitor seating. All the furniture was designed by Wright and built by his apprentices. D. Site 1. Historic Landscape design: The entire complex of Taliesin West was designed with a precise configuration that Wright meticulously followed as each building was constructed.

Bruce Brooks Pfeiffer recounts, Taliesin West was [ ] planned [ ] as one opus set on concrete terraces and surrounded by massive low masonry walls. Wright cared very much that the site and its relation to the mountain range to the north dictated the orientation of the plan. In Mr. Pfeiffer s words, No building, if Mr. Wright could help it, was ever placed on a direct north-south axis. 35 2. Outbuildings: No original outbuildings. The Cabaret is currently attached to the Music Pavilion by a shared service kitchen at the east side. The door at the northeast corner immediately preceding the fireplace leads into the food preparation area. As mentioned previously, the Cabaret shares an exterior wall on the southwest side with 35 Pfeiffer, Frank Lloyd Wright: Taliesin West, 12.

TALIESIN WEST, CABARET HABS No. AZ-218-B (page 11) Wright s office; however, the Cabaret was constructed a decade later than Wright s office and is considered a separate building. PART III. SOURCES OF INFORMATION A.

Source document Quoted word for word from HABS AZ-218-B. Not written, edited or summarised by this site.

Acoustics Activity. Frank Lloyd Wright Foundation. April 1, Amin, Kamal. Reflections from The Shining Brow: My Years with Frank Lloyd Wright and Olgivanna Lazovich. McKinleyville, CA: Daniel and Daniel, Berndston, Indira. Olgivanna Lloyd Wright A Vivid Inspiration. Frank Lloyd Wright Quarterly, 23 No. 2, (Spring Besinger, Curtis. Working With Mr. Wright: What It Was Like. New York: Cambridge University Press, Betsky, Aaron. Learning Wright: The Frank Lloyd Wright School of Architecture. Frank Llyod Wright Quarterly, 28 No. 1, (Winter Bianchini, Riccardo. Frank Lloyd Wright s Taliesin West | Scottsdale, Arizona. Inexhibit, Nov. 29, Brierly, Cornelia. Tales of Taliesin. San Francisco: Pomegranate, Cabaret (Issue Clarity Advantage. Accessed June 29, Canapini, Jane.

Taliesin West: Frank Lloyd Wright s Desert. Grownup Travels. March 16, Frank Lloyd Wright Taliesin West Atlas of Places. Accessed June 26, Grabar, Henry. The Quests to Save the Campus and Community of Taliesin West. Architect: The Journal of the American Institute of Architects. Accessed June 28, taliesin-west_o Graff, Stuart. Organic Architecture and the Sustaining Ecosystem. Frank Lloyd Wright Quarterly, 29 No. 1, (Winter TALIESIN WEST, CABARET HABS No. AZ-218-B (page 12) Harboe, Gunny. Preservation Master Plan. Chicago: Harboe Architects, Kaufmann, Edgar. Frank Lloyd Wright: American Architect. Encyclopedia Britannica online. Accessed June 28, Pfeiffer, Bruce Brooks. Frank Lloyd Wright: Taliesin West. Edited by Yukio Futagawa. Tokyo: A.D.A. Edita Tokyo Co, Storrer, William Allin.

The Architecture of Frank Lloyd Wright: A Complete Catalog. Updated Third Edition. Chicago: The University of Chicago Press, The Taliesin Fellowship. Frank Lloyd Wright Foundation. June 1, B. Likely Sources Not Yet Investigated: Additional accounts from apprentices could provide relevant information regarding details of construction, building supply information, or more detailed timelines of changes to the Cabaret. Fellowship member Indira Berndston, Administrator of Historic Studies, Collections and Exhibition, has conducted numerous oral interviews with former apprentices over the last 30 years. Additional research into her files could yield supplemental information.