Know before you go

The best way to explore Monona Terrace is to book a guided tour. Public tours are available Thursdays, Friday, and Saturdays at 1 p.m. by advance reservation only. Tickets must be purchased by 11 a.m. on the day of the tour. Book your tour here.

Monona Terrace and the Frank Lloyd Wright exhibition is open 8 a.m. to 5 p.m. daily, with the exception of some holidays. Please note the convention center hosts many events throughout the year. Please be respectful of event attendees while visiting.

The rooftop is open 8 a.m. to 10 p.m. Sundays through Thursdays and from 8 a.m. to midnight Fridays and Saturdays. The rooftop will be closed during inclement weather.

The gift shop is open 11 a.m. to 3 p.m. Tuesdays through Saturdays.

Please visit the Monona Terrace website for updated hours.

History of Wright and Monona Terrace

Madison’s urban landscape is a powerful reflection of two influential figures — John Nolen (1869–1937) and Frank Lloyd Wright (1867–1959) whose commitment to public space and civic architecture shaped Madison’s identity.

In the early 20th century, John Nolen championed urban planning that integrated green spaces and public areas to foster social interaction and connect the city with its natural surroundings. His vision for Madison prioritized open spaces that would encourage community engagement and set the stage for future civic projects.

In 1938, Frank Lloyd Wright introduced his own bold plan for a civic center that would unite the shores of Lake Monona with the State Capitol. Wright’s design featured sweeping, curvilinear forms inspired by the Capitol Dome, with expansive public spaces that blended architecture with nature. Wright envisioned Monona Terrace as a multifunctional space, including a civic auditorium, government offices, and even a railroad station—each element integrated into one cohesive design.

Despite its groundbreaking design, Wright’s vision faced nearly six decades of political struggles, financial obstacles, and public debate. Tensions rose between Wright’s artistic focus and practical concerns, leading to years of delays. After Wright’s death in 1959, the project stalled further. However, in the 1980s, the formation of the Monona Terrace Commission and the efforts of a passionate group of citizens, supported by local leaders like Mayor Paul Soglin, revived the project and moved it toward completion.

Completed in 1997, nearly 60 years after Wright's initial proposal, Monona Terrace retained his bold and curvilinear design, with a few adaptations made to meet contemporary needs. The interiors, redesigned by Taliesin architect Tony Puttnam, remain true to Wright’s vision while reflecting modern sensibilities.

Today, Monona Terrace is a vibrant civic space that hosts over 500 events annually. It embodies values that were shared by both Nolen and Wright, merging architecture, nature, and community to create a dynamic space that fosters connection and creativity. Whether attending an event, taking a tour, or enjoying the breathtaking views, Monona Terrace continues to be a place where Madison’s past and future meet.

Know before you go

The best way to experience the Unitarian Meeting House is to take the official tour. Tours are offered after Sunday services and on weekdays from April through November. Tickets may be purchased online here.

Outside of the tour schedule, visitors have limited access to the sanctuary on Tuesdays, Wednesdays and Thursdays between 10 a.m. and 2 p.m.

Please remember the First Unitarian Meeting House is a place of worship. We ask visitors to be respectful ad avoid spaces in use by parishioners.

History of the First Unitarian Meeting House

See historical images and find more information:

The First Unitarian Society Meeting House stands as a testament to the architectural genius of Frank Lloyd Wright. This remarkable building, completed in 1951, is not only a symbol of the Unitarian values it embodies but also a masterstroke in the realm of modern architecture. Wright's innovative design has had a lasting impact on architectural theory and practice.

The Meeting House, a National Historic Landmark and one of Wright’s 17 most important buildings, is widely regarded as one of Wright's most significant works. The building is a tour de force in design, showcasing Wright's ability to push the boundaries of conventional architecture and engineering.

Wright's design challenged traditional notions of what a religious building should look like. By eschewing the conventional church steeple, sanctuary and separate parish hall and adopting an organic form, he set a precedent for future architects to think outside the box and explore new possibilities. The Meeting House has been studied and admired by architects and scholars worldwide, cementing its place as a seminal work in the modernist movement.

Every aspect of the Meeting House is imbued with symbolism. The triangular shapes that dominate the design are a recurring motif, representing aspiration and the human spirit's reach toward the divine. Wright's use of natural light is also symbolic, with the large windows and skylights allowing sunlight to pour into the space, creating an ever-changing play of light and shadow that enhances the spiritual atmosphere.

Wright's design philosophy was deeply rooted in the concept of organic architecture, which emphasizes harmony between human habitation and the natural world. Wright envisioned a structure that would not dominate its environment but rather blend seamlessly into it, creating a sanctuary that felt integral to the landscape. His unique vision was to craft a spiritual space that encouraged contemplation, community, and a profound connection to its environment.

The First Unitarian Society of Madison was established in 1879, but it wasn't until the mid-20th century that the congregation sought to create a new place of worship that would reflect their progressive values and growing community outside the city center. Enter Frank Lloyd Wright, a name synonymous with groundbreaking designs and organic architecture. Wright, who was a member of the congregation, was tasked with designing a space that would not only serve as a functional and spiritual space for worship and community building but would encapsulate the spirit of Unitarianism—freedom, reason, and tolerance.

The Neuroseum

See Wright's designs and learn more:

The nearby Neuroseum, designed by Wright for Dr. Edward Roemer's Wisconsin Neurological Foundation, aimed to establish a state-of-the-art rehabilitation center for neurological patients.

Wright's innovative design featured a circular, hemicycle layout that integrated medical and social services in a holistic, therapeutic environment. The building was organized in concentric arcs and circles, with patient rooms, therapy spaces, clinics, and research areas. Wright also infused symbolic meanings into the design, with the circle representing the "knowledge of medicine" and the "rehabilitation" process.

Despite praise for its design, Roemer faced significant challenges in realizing the Neuroseum project. After the 1956 announcement, the University of Wisconsin sought acquire the 22-acre site, and while Roemer secured federal funding, private fundraising proved difficult. Tensions with the university's new dean and a decline in patient numbers compounded the issues. By 1962, Roemer closed the East Washington Avenue facility and opted to remodel an existing hospital. The state later acquired the remodeled facility, ending Roemer's vision for the Neuroseum.

Overall, the Neuroseum reflected a progressive approach to medical care, combining therapeutic treatment with a thoughtful, comfortable environment.

Know before you go

The Capitol is open to the public daily during business hours. Guided tours are free and offered daily on the hour. Reservations are required for groups of 10 or more people.

Make your group reservation here.

History of Wright and the Wisconsin State Capitol

See historic photos and learn more here:

One of the most significant events during Frank Lloyd Wright's time at Madison High School occurred in 1883, when he was 16 years old. He was among the crowd that gathered after the collapse of the Capitol building in Madison. Firemen rushed to the scene, and frantic rescue efforts filled the air. As the rubble was cleared, the body of a worker was found trapped beneath the debris. Wright stood horrified, unable to look away as the tragedy unfolded before him.

For hours, he clung to an iron fence, too shaken to leave. The image of the wreckage and the lives lost that day haunted him, causing sleepless nights that lasted for years.

The collapse had been caused by a failure in the Capitol's construction. The interior columns, supported by large concrete piers, had crumbled after being improperly filled with broken bricks and stones, which weakened their structure. The architect, John Jones, was later convicted of manslaughter. His original design for the piers was meant to ensure stability, but the contractor’s poor execution led to disaster.

Witnessing the aftermath and the responsibility placed on the architect profoundly impacted Wright's views on architecture.

Years after the Capitol’s collapse and reconstruction, Wright was driving with apprentice Dick Carney toward Madison. As they approached the Capitol, Wright pointed to its iconic dome and expressed his disdain for its design. He described the dome as structurally flawed and architecturally dishonest, calling it an "impossibility."

Wright argued that the dome, inspired by Michelangelo’s St. Peter’s in Rome, was based on an arch without the necessary counteracting forces to support it. The only thing holding the dome up was an artificial chain, an engineering trick that, in Wright's view, made it a poor example of architecture. He emphasized that a dome should be designed with careful attention to structural balance and that, without proper support, it was destined to fail.

Although Wright’s opinion about the Capitol remained firm, it shaped his approach to future projects. When Carney asked whether Wright would feel differently about a dome made from reinforced concrete, Wright bluntly dismissed the question. Yet, not long after, he put his beliefs into practice. He designed a house in Arizona with a reinforced concrete dome and later incorporated similar ideas into the design of a Greek Orthodox Church in Milwaukee. These projects demonstrated how structural integrity and innovation could blend seamlessly.

This early exposure to the catastrophic consequences of poor material choices and the responsibility an architect holds in ensuring structural integrity had a lasting influence on Wright's approach to design, prompting him to think intentionally about materials from the outset of his projects and pursue responsible innovation that emphasized both safety and aesthetic innovation.

Know before you go

The UW-Madison campus is open to the public and is home to several architectural marvels.

History of Wright and the University of Wisconsin-Madison

Frank Lloyd Wright’s relationship with the University of Wisconsin-Madison was unique and often misunderstood. Though he is now regarded as one of the university’s most famous alumni, his time there was brief and unconventional.

Before his university years, Wright attended Madison High School (later Central High School until it was demolished in 1986) in the mid-1880s, when Madison’s skyline was just beginning to take shape. Despite a mind brimming with creative ideas, Wright’s academic performance was inconsistent, with both strong and poor grades in subjects like physics and botany, and he even had to repeat algebra.

In 1886, Wright was admitted to the University of Wisconsin as a "special student" without a high school diploma. There, he began studying civil engineering and architecture, setting the stage for a career that would redefine the field of architecture, despite his early academic struggles. Wright entered the university in January 1886 at age 18, attending for just two terms—the spring and fall of that year. He completed only two courses, descriptive geometry and drawing, both of which earned average marks.

Despite his limited academic experience, Wright later portrayed his time at UW as more significant, claiming he was a "Freshman, Sophomore, Junior, and part-time Senior," and suggesting he left just before graduation to pursue architecture in Chicago. However, university records show he never graduated, attended only two terms, and was never part of a formal degree program.

During his time in Madison, Wright worked as an assistant to Allan Conover, a UW civil engineering professor involved in the construction of Science Hall at the Former Dane County Courthouse. Wright credited Conover with providing his real architectural education, emphasizing that he learned more through hands-on experience—a preference for learning that became a lifelong principle and one he later passed on to his apprentices.

Know Before You Go

Jacobs House I is a private residence. You may enjoy the building's exterior, however, the interior is not accessible to the public. Please be respectful of residents and neighbors while visiting this location.

History of Jacobs House I

Frank Lloyd Wright’s Jacobs House I, widely considered the first Usonian home, is not only a milestone in American architecture but also a reflection of Madison’s growth and the evolving suburban ideal. Designed for Herbert and Katherine Jacobs, the house embodies Wright’s vision of decentralized living: affordable, functional homes that integrate with their natural surroundings. As Madison expanded, Wright’s design offered a template for suburban living that remained connected to the environment, countering the isolating sprawl often associated with suburbanization.

Wright championed the democratization of architecture, emphasizing that the house of moderate cost was America’s most pressing architectural challenge. Jacobs House I addressed this challenge with groundbreaking solutions: a compact, efficient layout, radiant floor heating, and an innovative carport. Built using natural materials such as brick and cypress wood, the home emphasizes harmony with the landscape while embracing simplicity and sustainability. The open floor plan and flat roof created a modern aesthetic that was both practical and timeless.

At a cost of just $5,500, the Jacobs House demonstrated that beauty and affordability could coexist, challenging conventional suburban designs. Its emphasis on integrating nature with human habitation resonated with Madison’s vision of growth as a city embracing its natural surroundings. Today, Jacobs House I is recognized as a National Historic Landmark and part of a UNESCO World Heritage Site.

Know before you go

The Fluno Center hosts many events all year long. Please be respectful of event attendees while visiting.

Click here to book your stay.

Wright's impact on The Fluno Center

The Fluno Center on the UW-Madison campus is a conference center, hotel and restaurant inspired by Frank Lloyd Wright's legendary Prairie Style. The space uses "harmonious furnishings" to create an atmosphere focused on "creative, collaborative learning." On the first floor, you will find authentic German lithographs of Frank Lloyd Wright designs.

Wright's Prairie Style was his attempt to create "indigenous American architecture." Structures with this design mimicked the long, low horizontal look of American prairies, featuring low-pitched roofs, deep overhangs, no attics or basements and long rows of windows.

The Fluno Center is an example of Wright's enduring legacy in Madison. Wright died 41 years prior to the center's opening, yet his vision continued to inspire designers and solidified the fingerprint he left on the city, and the UW-Madison campus.

Take your visit one further by booking a stay at The Fluno Center during your visit to Madison to feel completely immersed in Wright inspiration.

Know before you go

The Phi Gamma Delta Fraternity House is home to Phi Gamma Delta members. Please be respectful of the residents and observe from the outside of the building. The building's interior is not connected to Frank Lloyd Wright.

History of Wright and the Phi Gamma Delta Fraternity House

See Wright's original designs: https://www.visitmadison.com/

In 1912, the University of Wisconsin’s Phi Gamma Delta fraternity sought to build a new house that would embody their ideals of brotherhood and community. Frank Lloyd Wright, an alumnus of the university and a rising star in architecture, was invited to submit a design. His proposal was bold and visionary, emphasizing the ways architecture could strengthen connections among its occupants.

Wright envisioned the building on a picturesque site along Lake Mendota, taking advantage of the natural setting to create harmony between the building and its environment. His design featured horizontal lines, wide terraces, and an open interior layout, deliberately fostering interaction and shared experiences. Communal spaces like a large living room with expansive views of the lake were central to his plan, reinforcing the fraternity’s sense of unity.

Wright described the concept as “a fraternity temple,” a space where architecture elevated the bonds of fellowship and intellectual collaboration. Despite its innovative approach, Wright’s design was never realized. Concerns over cost and Wright’s unorthodox style led the fraternity to choose a more traditional design by a local architect. Still, the unbuilt project remains a significant part of Wright’s Madison legacy, showcasing his belief that architecture could be a powerful tool for fostering connection and community, even in social and academic settings.

Know before you go

This site is now home to an apartment building. Please be respectful of the building's tenants and only observe the site from the outside. The building's interior holds no connection to Frank Lloyd Wright.

History of Wright and the Mendota Boathouse site

See photos of the Mendota Boathouse here:

The Mendota Boathouse became Wright’s first public architectural commission. Built in 1893 at the foot of North Carroll Street, the structure combined practical boat storage with aesthetic appeal. Horizontal lines emphasized its connection to Lake Mendota, while upper level viewing areas framed natural vistas. This design hinted at the Prairie Style Wright would later perfect, while prioritizing integration with the environment.

Despite its demolition in 1926, the Mendota Boathouse marked a turning point in Wright’s career. His work in Madison represented his first venture into designing for a city and its people—a formative experience that laid the groundwork for his later transformative impact on major urban centers, most notably Chicago.

How fitting, then, that this initial commission was set on the lake, not hidden away in some obscure corner, but expansive and open, reflecting the possibilities ahead? It was the perfect introduction to a career that would shape the very fabric of cityscapes to come.

Know before you go

Law Park is a public green space with a boat launch and access to fishing in Lake Monona. The park hosts the Mad-City Ski Team's free water shows every Sunday from Memorial Day through Labor Day.

While in the area, explore Madison's oldest neighborhood. King Street, known as the First Settlement District, was once home to the city's first grocery store and fast-food restaurant. It's now one of downtown Madison's hottest spots for nightlife, dining and live entertainment.

History of Wright at the Monona Boathouse Design Site

See Wright's original sketches:

The Mendota and Monona boathouses were two of Frank Lloyd Wright’s earliest public architectural commissions, designed for the Madison Park and Pleasure Drive Association in 1893. This unbuilt design for a boathouse at the foot of King Street marked an early exploration of circular forms by Frank Lloyd Wright.

The bold, conical roof and open, truss-supported interior created a modern and expansive structure. Though never constructed due to funding challenges during the 1893 economic downturn, the Monona Boathouse showcased Wright's experimental approach and his willingness to break from traditional architectural norms.

The Monona Boathouse also exemplifies the lasting influence of Wright’s innovative ideas on modern design. Sasaki’s recent lakefront revitalization design plan drew inspiration from Wright's original vision, merging his timeless principles with contemporary needs. By prioritizing community input, Sasaki ensured that the project honored Wright’s design while also reflecting the needs of those who use the space, allowing Wright's work to remain relevant and inspire the creation of spaces that are both timeless and adaptable to modern contexts.

Know before you go

The site of the former Second Ward School is now home to Lincoln Apartments. We ask visitors to please be respectful of building's tenants and observe only from the outside. The building's interior is not related to Frank Lloyd Wright.

While in the area, visit nearby James Madison Park for fantastic views of Lake Mendota. East Johnson Street is a favorite for local eats, craft cocktails and vintage shopping.

History of Wright and the Second Ward School

See photos of the original school building:

In 1880, at age 13, Wright moved from Richland Center, the town of his birth, to urban Madison with his family. Their home near Lake Mendota became the backdrop for his adolescence, and just a block away stood the Second Ward School, where Wright completed his 7th and 8th grade education.

Built in 1867, the school reflected the traditional public education system of the time. Wright’s time at the Second Ward School, though brief, was pivotal in shaping his early intellectual and social experiences. Here, he forged a close friendship with Robie Lamp, during a challenging period marked by his parents' separation and divorce. The two spent considerable time together, and Wright regarded this friendship as one of the most important of his early life.

In adulthood, Wright would go on to design two buildings for Robie Lamp: a summer cottage called Rocky Roost on a small island on Lake Mendota (1893) and the Lamp House (1902). While the school’s structured urban environment contrasted with the progressive and nature-focused teachings at his aunts' coeducational Hillside Home School in Spring Green, both experiences left lasting impressions on Wright.

Though the Second Ward School no longer stands, these contrasts—rural versus urban, traditional versus innovative education—helped shape his architectural and educational philosophies, emphasizing harmony with nature and the value of experiential learning. These philosophies are most visible at Taliesin, Hillside, and the Wyoming Valley School, in Spring Green.

Know before you go

The Nakoma Golf Club is a private, membership-based country club. The club's current building is not a Frank Lloyd Wright Design. Please be respectful of members while visiting and observe from the outside.

History of Wright and Nakoma Golf Club

See images of Wright's design:

In 1923, Wright was commissioned by the Nakoma Country Club (later Nakoma Golf Club) to design a clubhouse reflecting the growing popularity of golf and the club’s emphasis on community and leisure. His vision combined modern amenities with open, communal spaces that encouraged social interaction and connection to the natural surroundings.

Central to his design was a hearth symbolizing unity, surrounded by large gathering areas for dining and relaxation. Wright planned to use Wisconsin limestone and his signature textile block system, blending local materials with innovative design. A 24-vehicle carport underscored his attention to modern transportation needs.

Wright’s design incorporated geometric patterns and forms, such as pyramidal shapes and interlocking squares, which he associated with Native American architecture. Despite initial excitement, Wright’s design was never realized. Rising costs, shifts in leadership, and his declining reputation led the Nakoma Country Club to abandon the project. A different architect was later commissioned, and a new clubhouse was completed in 1929.

Nakoma Memorial Gateway

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The nearby Nakoma Memorial Gateway, designed Wright in 1924, was intended as a monumental entryway to the Nakoma neighborhood. The developers of the then-suburb sought to emphasize the area's historical ties to the region's Indigenous heritage, and Wright’s design aimed to symbolize this connection.

His concept featured two towering sculptures: a 16-foot-high female figure named "Nakoma", and an 18-foot-high male warrior named "Nakomis," each positioned beside large reflecting pools. These figures were part of Wright’s rare foray into monumental sculpture, blending symbolic Native American themes with his signature geometric abstraction.

Though often seen as part of a unified vision, the Memorial Gateway and Wright’s Nakoma Country Club design were actually separate projects commissioned by different clients. The Nakoma Country Club, a private entity, requested the clubhouse design, while the Madison Realty Company, the developer of the Nakoma neighborhood, commissioned the sculptural figures.

The distinction between these projects was often blurred due to overlapping clients and the shared Indigenous theme, which the real estate company highlighted in promotional materials, even including the clubhouse design in maps intended for the public. This confusion was further compounded by the involvement of key individuals in both projects, such as realtor Paul E. Stark and UW landscape architecture professor Franz Aust, who assisted Wright in integrating the sculptures into the landscape.

Wright’s Memorial Gateway was envisioned for the intersection of Nakoma Road and Manitou Way, on the outskirts of the suburb. He designed two distinct plans for the pools, one hexagonal and one round, though the latter was chosen for construction. The gateway and sculptures, while never realized at their intended site, were part of a larger vision to create a harmonious entry to Nakoma, combining architecture, landscape and symbolic art. Despite the project's abandonment due to budget constraints, the Nakoma figures later resurfaced in smaller models and, eventually, larger granite versions installed at the Johnson Wax Company in Racine, WI.

Though distinct from the golf course project, Wright’s work on Nakoma illustrates his ability to fuse art, architecture, and nature, reflecting his unique holistic vision for the neighborhood.

Know before you go

This site is located on the route between the Wisconsin State Capitol and Monona Terrace where Wisconsin Mortgage Bankers currently resides.

History of Wright and the Madison Hotel and Kehl Dance Academy design site

See Wright's original sketches:

The proposed design for the Madison Hotel featured a bold, angular tower made of reinforced concrete, a cutting-edge material at the time. The façade showcased broad windows and vertical piers, emphasizing light, air, and a sleek, modern aesthetic.

At 12 stories, the hotel would have been one of Madison's tallest buildings, standing as a striking symbol of modernity against the Capitol skyline. Wright envisioned the hotel as a hub for both visitors and locals, with plans for a ground-floor café, retail spaces and a grand lobby. The upper floors were designed for guest rooms and suites, offering stunning views of the Capitol and surrounding lakes. Crowning the structure was a rooftop garden, intended as a vibrant social space that harmonized the building with the natural beauty of the isthmus.

Despite its ambitious vision, the Madison Hotel project succumbed to financial challenges and local skepticism about its unconventional design. Though never built, it leaves us to imagine how this architectural masterpiece might have transformed Madison’s downtown landscape.

In 1914, Wright designed a striking new building for Frederick W. Kehl, Madison’s leading dance instructor. Known for his elegant style and weekly teaching circuit to surrounding towns, Kehl often visited the Hillside Home School near Spring Green, where he was acquainted with Frank Lloyd Wright, whose children attended the school and who maintained a continuous connection to it from its founding in 1887. This connection eventually led Kehl to ask Wright to design a building for him in Madison around the middle of the second decade of the 20th century.

The plan envisioned a bold, symmetrical structure measuring 65 by 130 feet, filling nearly the entire lot. The facade featured intricately layered geometric designs, projecting and receding planes, and decorative pylons reminiscent of Wright’s Midway Gardens. Distinctive hollyhock-style light poles flanked the entrance, enhancing the building’s modern appeal. Inside, Wright’s design included four distinct levels with two main halls, each featuring dance floors nearly 40 by 70 feet. High windows provided natural light, while recessed walls created a sense of openness. Mezzanines with balconies overlooked the halls, and two kitchens served dining areas on opposite sides.

At the center of the building, a skylit court illuminated the interiors, with wide staircases connecting the levels. Wright even designed a private apartment for Kehl’s family, featuring three bedrooms, continuous windows and a spacious living area. The design also included practical amenities such as shops with separate entrances, a ticket booth and fire escape towers. Despite the detailed plans, the building was never constructed, likely due to World War I disruptions, anti-German sentiment and the tragic events in Wright’s life that year. Though unrealized, the project represents a fascinating intersection of architectural innovation and Madison’s cultural history.