Garden view

 View toward southwest exterior

Garden view toward main house

Studio, view north toward balcony

Fireplace alcove

Entrance hall

這是在很多Alice Millard（經營珍本古書的書店老闆和Wright兩棟房子的業主：１９０６年建於伊利諾州的Highland Pard的Prairie　House和位在加州的Pasadena的混凝土房子La Miniatura）透過Wright爸爸委託給Wright建造機會當中的一個。在１９２６年Millard又請Wright為他的收藏品設計一個獨立的畫廊，之後把它稱做Doll’s House或Little Museum。三個月之後得到的回覆是，她委託Wright在他父親允許做最後設計的情況下完成。Wright設計了一個適度的、矩形的、用灰泥粉飾的建築，位在鄰近水池用走廊覆蓋連接到La Miniatura客廳平台的地方。他使用混凝土方塊圖樣在門口和窗戶來解決工作室樸素的造形使房子的設計一致。

One of many opportunities that came to Wright through his father was a commission for Alice Millard, an antiquarian bookseller and client of two Frank Lloyd Wright houses: a Prairie house (1906) in Highland Park, Illinois; and La Miniatura (1923), a concrete block house in Pasadena, California. In 1926 Millard returned to Frank Lloyd Wright to design a separate gallery for her collections, later called the Doll’s House or Little Museum. After waiting three months for a response, she gave the commission to Lloyd on the condition that his father approve the final design, which he did. Wright designed a modest, rectangular stucco building that was sited adjacent to the pool and connected by a covered passageway to La Miniatura’s living-room terrace. He used patterned concrete block around the doorway and windows to alleviate the studio’s severe form and to harmonize with the design of the house.

Derby House的結構做法同時存在著。兩棟建築物Wright使用穿孔方塊來裝飾表面，用灰泥粉飾木構架結構──結構較不複雜因而較便宜，甚至比他父親用混凝土方塊建造來得便宜。一個兩個樓層的空間，用混凝土樓板、混凝土方塊細部來完成畫廊的內部。一端是廚房，有一個壁爐位在那裡，位在一個小浴室和陽台的上方。

Construction of the Derby house was proceeding simultaneously; for both buildings Wright used perforated block as exterior screens for stuccoed wood-frame construction—a less complicated, and thereby less expensive, way to build than his father’s concrete-block structures. A two-story space, finished with a concrete floor and concrete-block details, dominates the gallery interior. At one end are a kitchenette and sitting area with fireplace; above are a small bathroom and balcony area. Wright made minoralterations to the gallery in 1932.

前面兩張草圖表現了Millard豐富的資產並非是在世界因為漂亮而有名的方塊形房子。很明顯的可以從下一張草圖上可以看出中間的部分是設計給Millard太太的。他放棄設計給Miss Barnsdall住宅A和B相似基礎和樣式的方案，突然以新概念一起表現出來：加州織物般的塊體於是產生。值得注意的是單單在這一張紙上包含了平面圖、立面圖、局部圖、局部平面圖、建造細部圖和被使用的混凝土塊體系統。除了這些想法之外，在這單張紙上，建立了在Los Angeles蓋給Millard, storer, Storer, Freeman和Ennis漂亮而有名的住宅。這個想法的草圖在圖１１０這張上是所有收集到畫得最好的一張。它很明確地表現出他在建築上完整的新想法。在這張表現上，它專業的表現法，同時還有一同表現在立面圖上的可愛桉屬樹，設計的想法絲毫不差地全部表現出來，這是多麼美麗的表現和令人吃驚的富於想像力的藝術表現工作。

進一步地分析可以看出他使用了單元系統－－在開始著手設計時就已經將方格紙的線條放在紙上－－讓全部的每一部分保持這樣的關係。混凝土方塊的建築樣式，如此的單元系統不僅用在設計上，在繪圖上也常常被運用到立面圖和局部圖。從這個觀點上，單元系統的整個工作標註和尺寸線都變得很有規律。類似音樂一樣，在他的建築上強烈地表達出來。他愛音樂僅次於建築，他注意好的建築得要像貝多芬交響樂的聲音一樣有組織。

The first two sketches here present a design for the Millard ravine property that is not the famous block house known around the world for its great beauty. It appears that in the middle of making the design for Mrs. Millard, as is evident on the next drawing, he abandoned the scheme that was similar in grammar and style to the Residence A and Residence B for Miss Barnsdall, and suddenly a new concept emerged altogether: the California textile block was born. On this remarkable single sheet of paper are contained plan, elevation, section, plot plan, details for construction and for the concrete block system to be used. Out of these ideas, on this single sheet of paper, were developed the beautiful and famous houses built in and around Los Angeles for Millard, Storer, Freeman and Ennis. This concept sketch on Plate 110 is one of the finest drawings in the entire collection. It shows his explicit thinking about a totally new idea in architecture. In this sense it is a very technical drawing, yet at the same time the rendering of the elevation with its lovely eucalyptus trees, and the quality of the design throughout is so precise, so beautifully expressed and so imaginative that it becomes a breathtaking work of art.

Further studies show how his use of the unit system—the grid lines put down first on the sheet of paper before any design work commences—keeps all the parts related to the whole. In concrete block construction, such a unit system is essential not only in design but in working drawings and is often employed in the elevations and sections as well. From this point on, in all his work the unit system became for him what the staff and the measure lines are to the musician. The analogy to music, in his architecture, is a strong one. He loved music second only to architecture, and regarded fine building comparable to a symphony of Beethoven an edifice of sound.