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The one false note, for me, is the stained glass so carefully crafted by Wright's client. Even had the architect approved it---and I believe he may have had nice words for the effort, after the fact---the panels don't really belong there, do they. Of course it could be far worse; at least the pattern concocted is based on the equilateral triangle, as is the plan of the building. But the design is forty or fifty years out of date, isn't it ? It is virtually indistinguishable from one or another of the Prairie-period "light screens" that adorned and complemented the houses Wright---or his imitators---designed in the first decade of the century.
As such it can't possibly belong to a post-war Usonian house. Can there be any doubt that, if Mr Wright had designed patterned glazing for the house, it wouldn't resemble these panels at all ? I maintain that they are there only because a beloved client chose to adorn his new house with them. Of course they will be there always; nevertheless I would love to see the house without them.
The Kraus residence is an excellent example of Wright in his final phase, and the house as he designed it speaks beautifully to its era--without extraneous decoration not by Wright and identified with another period altogether ?