FLW

Many visitors to Louis Armstrong’s Queens, New York City, home consider the kitchen to be a highlight. With its turquoise cabinets and futuristic built-ins, it is a striking example of 1960s design.

Eileen Gray’s 1920s home in the South of France sits in front of a view of the sea. Gray famously hated that Le Corbusier painted murals throughout the house.

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The house is made of concrete and mahogany, two materials Wright relied on across his work.

Listed for the second time ever, the Weisblat House is set in the Acres, a landmark Michigan community designed by the famed architect.

A table by Willie Willette sits beneath pendants from Design Within Reach in the dining area, where Jeremy designed built-in cabinets in walnut.

As a nod to the textured limestone at Bear Run, Sara and Jeremy chose concrete masonry blocks for both the interior and the exterior of kYodai. The club chairs are from Restoration Hardware and the windows and doors throughout are by Andersen.

Jeremy and Sara Imhoff laid out kYodai in the shape of a Y, which pulls Bear's Run's asymmetrical tetrahedron roofline inside out.

On the neighboring property, kYodai House brings to mind the horizontal lines that were hallmarks of Wright's designs.

A plaque in the garden honors the contributions of Virginia Lovness, who gifted the working drawings for the unbuilt Cottage C to one of Bear Run's owners, and architect David Uppgren, who built the house.

Bear Run's roofline resembles Wright's design for the Seth Peterson Cottage in Wisconsin.

The office occupies a loft space off the entry.

Highly detailed woodwork pairs with limestone in the kitchen and dining area.

Floor-to-ceiling windows and doors connect the primary space downstairs to the outdoors and to the view of the lake beyond.

The owners' dogs, Bear II and Yoshi, in the living room, whose monumental fireplace anchors the house. "That craggy hunk of stone above the fireplace is something you could find at Taliesin,

The limestone blocks on the exterior extend into Bear Run's entrance, which captures Wright's signature use of compression.