n 1899, Griffin graduated with
a B. S. in Architecture. He returned to Chicago where he quickly
found a job as a draftsman working with Chicago's most progressive
architects.
hey called themselves
"The 18" and they worked out of the 11th and 12th floors
of Steinway Hall. Among
the group were Dwight Perkins, Myron Hunt, Robert Spencer, and
Webster Tomlinson. Frank Lloyd Wright, who had left the group
in 1898 to start his own design studio in Oak Park, Illinois,
remained an irregular member. By accident or design, Griffin
became exposed to the most progressive design philosophy in America.
"The 18" took their inspiration from Louis Sullivan
who argued that all designs should be free from historical precedents.
hile at Steinway
Hall, Griffin moved from board to board, listening to the discussions
of his employers. But it was not until June 9, 1900 that he heard
Louis Sullivan speak of the future of architecture. That night
Griffin listened as Sullivan gave a talk entitled The Young Man in Architecture. Sullivan told
the audience "if
anyone tells you that is it impossible within a lifetime to develop
and perfect a complete individuality of expression, a well-ripened
and perfected personal style, tell him that you know better and
that you will prove it by your lives."
Griffin would recall Sullivan's words for the rest of his life.
n 1901, Griffin passed Illinois'
architectural certification exam with high marks. At the same
time he was working for Frank Lloyd Wright's partner, Webster
Tomlinson. In fact Tomlinson would be the only architectural
partner of Wright's career. Through Tomlinson, Griffin was offered
a position in Wright's studio located in suburban Oak Park.
or Griffin, his
new post was a step up. He saw himself playing the role of junior
partner to Wright who was 10 years his senior.
riffin was a strong
addition to Wright's design practice because he not only had
a university degree but also two years of drafting experience,
a license to practice architecture, and extensive experience
in landscape architecture. Since much of Wright's work at this
time involved domestic suburban housing, these landscaping skills
proved to be an asset.
right allowed all
of his employees to take on outside projects, as long as it didn't
interfere with studio work. Griffin took advantage of this policy
and, in 1901, he received his first independent commission to design
a house. W.H. Emery, a Griffin family friend, retained the young
architect to design his house in Elmhurst, Illinois. Griffin's
first home design clearly displayed his individual talent. Here
he used large corner piers that seem to hold the weight of the
house. This element would become a hallmark of much of Griffin's
future work.
t was in Wright's studio that
Griffin met the woman who would be his first love, Maginel Wright,
his employer's sister. Griffin was extremely shy and socially
awkward. So despite his attraction to the pretty woman who was
his same age, Griffin attempted to keep his love for Maginel
private. She, of course, had no clue of his affection for her.
Then one day, Griffin proposed to her. Maginel was totally shocked.
She didn't really even know him that well and she refused him.
She was married shortly thereafter to someone else. Griffin took
the rejection very hard, and signed off on the idea of women
and love evermore.
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