A quarter-century ago, Chicago and the Midwest were startled by the appearance, here and there amid the contemporary melange of Victorian residences, of an occasional long, low rectilinear structure with severe walls of stone or stucco, and wide, overhanging roof casting deep horizontal bands of shadow on the walls. Such houses looked simple to build, serene and solid, but their blocky squareness, their squatness, aroused comment more hostile than surprised. People with established fortunes and homes suspected that only the ''newly rich" would employ so queer an architect. In the East,...
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