As the long list of names that follow indicates, many people proved invaluable in researching and writing this book. As always, I relied upon a matrix of architecturally inclined friends, near and far, to offer counsel as this book took shape over the years. Among those whose thoughts and guidance proved valuable were Susan Anderson; Bruce Boucher; the late Don Carpentier; Christina Corsiglia and Michael Koortbojian, Princeton pals; Heather Dean; James Dixon; Edward Douglas; Charles Duell (whose father published numerous Wright books and who himself was acquainted with Philip Johnson); Joe Grills; Kinney Frelinghuysen at the Frelinghuysen Morris House and Studio; Jerry Grant; Marilyn Kaplan; Sharon Koomler; Erin Kuykendall; Travis McDonald; John I Mesick and Jeff Baker at the firm of Mesick Cohen Wilson Baker; Ron Miller; Richard Moe; Brian Pfeiffer; Abraham Thomas; Marc Truant of Marc Truant & Associates; Catherine Truman; Richard Guy Wilson; and Kathy Woodrell at the Library of Congress. My special thanks to photographer and friend Roger Straus III, my frequent collaborator, who seems always to see aspects of a building my eyes do not (evidence of that is apparent indeed in the several images of Roger’s that grace this book’s color insert). My appreciation, as well, to John Dolan for his two stunning black-and-white shots of the aging Philip Johnson. And to Donald Gellert for his photograph of the Tugendhat House in Brno.
The words of numerous old Wright acquaintances from earlier projects still inform my thinking; I acknowledge my debt, then, to Taliesin Fellows Bruce Brooks Pfeiffer, Cornelia Brierly, Tom Casey, Susan Jacobs Lockhart, and Frances Nemtin, as well as Donald Hallmark and John O’Hern. My apologies to the other helpful friends and acquaintances whom I’ve forgotten to cite but whose insights are reflected in these pages.
As for the business of publishing, my thanks first to George Gibson, publishing director at Bloomsbury USA, who brought both high enthusiasm and his fine editorial eye to Architecture’s Odd Couple. My appreciation, too, to Peter Ginna, who was present at conception, and to Callie Garnett, for her resourcefulness and enthusiasm as we went about selecting the pictures for this book and for tending to a thousand details along the way. My thanks as well to Gleni Bartels, production editor, for her good labors in preparing this book for the press; to copyeditor Steven Henry Boldt, whose careful attentions saved me from numerous missteps; to Katya Mezhibovskaya for her clever conflation in designing the jacket; and to Sara Mercurio for her invaluable efforts to let the world know this book exists. As always, my heartfelt thanks to Gail Hochman—invaluable friend and sage adviser.
I spent many, many hours in more archives and libraries than I can list. My thanks, then, to Marisa Bourgoin and Richard Manoogian at the Archives of American Art; Karen Bucky at the Sterling & Francine Clark Art Institute; Jason Escalante and Nicole Richard at Avery Drawings & Archives, Columbia University, and Erica Fugger and Andrea Dixon at Columbia’s Oral History Project; Linda Waggoner at Fallingwater; Sally McKay at the Getty Research Institute; Irene Allen at the Glass House; Sarah Haug at the Solomon R. Guggenheim Museum; Megan Schwenke at the Harvard Art Museums Archives; Houghton Library; the staff members who helped me on my many visits to MoMA, among them archivists Naomi Kuromiya, Michelle Harvey, and Elisabeth Thomas, as well as Jennifer Tobias, librarian, and Paul Galloway and Pamela Popeson, both of the Department of Architecture and Design. My appreciation to Jenn Milani at the New Canaan Historical Society; old friend Susan K. Anderson, the Martha Hamilton Morris Archivist, Philadelphia Museum of Art; the staff at Rare Books and Special Collections, Firestone Library, and at the Seeley G. Mudd Manuscript Library, Princeton University; and Christopher Wilk and Stephanie Wood at the Victoria and Albert Museum. At my most essential resource destination, Williams College, I thank Wayne G. Hammond at Chapin Library; alumnus Robert Penn Fordyce ’56, donor of the library’s considerable collection of Wright-related materials; and David Pilachowski, Rebecca Ohm, Kurt Kimball, Christine Ménard, Alison Roe O’Grady, Linda McGraw, and Jean Caprari. I’ve asked pestering questions and found valuable materials at many other libraries, including those at the New-York Historical Society Library, the University of Virginia Alderman Library, and the Chatham (New York) Public Library. I have regularly drawn upon the collective resources of both the Mid-Hudson Library System and C/W MARS, the central and western Massachusetts library system. My library of last resort, one that rarely fails me even when all the others have, is the New York Public Library.