That said, when he was really on his game, his work was profound. I've long been a fan of his more modest efforts, which intentionally tackled affordability, accesibility and function, for families of modest means. These were the so-called Usonian houses.
I nearly bought a Wright inspired Usonian design ten years ago, designed by a student of his as the first home for himself, his wife and young children. Deep eaves, one story, low slung, built in a “U” shape to the rear. Cantelevered carport on the back, sliding glass wall to a large screened porch, quarried stone galore, radiant floor heat fed by a boiler that still worked perfectly. I loved that place, it was so well proportioned that there really wasn't a bad angle anywhere in it or on it. It was a labor of love and very personal, and it shone right through.
Hate that I didn't go through with it, but there were a few matters that needed attention, on top of the price that was already at the top of my range, so I reluctantly passed. Whoever bought it painted the gorgeous natural cypress board and batten exterior, in a very wrong Tuscan mustard looking color, they either didn't know or didn't care what they had bought. I shudder to think at the interior remuddling that may have occurred. At the time of sale, it still had original cork flooring, weathered down to looking like dark saddle leather. I thought it was beautiful. But, Tuscany it ain't.
His Usonians are my favorites of all his work -- particularly those built in the early fifties when plate glass had finally come into its own.