Evergreen

In the opening minutes of season four, episode five of The Bear—titled “Replicants”—Jeremy Allen White’s character Carmen “Carmy” Berzatto trades the frenetic clang of the kitchen for the hush of an architectural icon. Instead of stalking through a restaurant in crisis, he’s quietly driving west, out of Chicago’s city limits, to Oak Park. His destination: the Frank Lloyd Wright Home and Studio at 951 Chicago Avenue.

For a few unhurried minutes, Carmy drifts through Wright’s restored rooms, running his hand along woodwork, pausing under the barrel-vaulted playroom ceiling, and studying the warm glow of stained-glass skylights. He even lingers on the antique stove—appropriate for a chef—taking it in with the same reverence he reserves for a perfectly plated dish. Similar to Carmy, Wright’s perfectionism drove his art forward, but it also made life difficult for the people around him.

In recent years, architecture has taken on a starring role in prestige television, with production designers positioning culturally significant homes as more than just backdrops—they become characters in their own right. Apple TV+’s The Studio turned a trio of John Lautner’s wild, futuristic L.A. houses into scene-stealers, and plenty of Wright’s own designs—from the Ennis House in Los Angeles to the Seth Peterson Cottage in Wisconsin—have popped up in films and TV over the years. But this is the first time we’ve seen his Oak Park home and studio take center stage, playing almost like another character in the story.

Christine Trevino, digital communications manager for the Frank Lloyd Wright Trust—and Carmy’s on-screen tour guide—remembers the production’s care for the property. “You could tell the people involved had a familiarity with the Home & Studio,” she told Block Club Chicago. “Based on that, we knew they would respect everything as a historic site.”

Filmed in a single morning with a small crew, the episode balances cinematic beauty with a palpable respect for Wright’s legacy. “I think it was very impactful to see how one man and his vision could shape a community,” Trevino added.

Below, we’ll dig into Wright’s Chicago years, why Oak Park was such a crucial part of his career, and the two other landmark houses that got the star treatment in The Bear season four.

Frank Lloyd Wright and Chicago

Wright moved to Chicago in 1887 and later settled in Oak Park in 1889.

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Wright’s career—and the Prairie School movement—were born in Chicago. Arriving in 1887 from Wisconsin, the young architect apprenticed under Louis Sullivan, whose “form follows function” credo shaped Wright’s thinking.

In 1889, at just 22, Wright borrowed $5,000 from Sullivan to purchase land in Oak Park, a then-semi-rural village. His first home there became both family residence and design laboratory, evolving over two decades as he refined his approach to space, light, and integration with the surrounding landscape.

By the time he left Oak Park in 1909, Wright had produced more than a third of his life’s work, much of it in Chicago and its suburbs. Today, Oak Park is home to the world’s largest concentration of Wright-designed structures.

The Frank Lloyd Wright Home & Studio

The Frank Lloyd Wright Home & Studio was featured in The Bear season four.

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Wright’s first Oak Park home was a bold statement of independence. Built in 1889 in the Shingle style, it quickly became a living experiment in domestic architecture. Gone were the stiff Victorian interiors—Wright favored open central spaces that encouraged family interaction.

In 1895, he added a dining room and the now-famous barrel-vaulted playroom: child-sized yet architecturally grand, a masterclass in proportion and openness. Three years later, he added a studio, anchored by a soaring octagonal drafting room where he and 14 associates shaped early Prairie Style masterpieces.

After Wright left, the home was split into apartments, then rescued and restored by the Frank Lloyd Wright Trust in 1974. Today, it’s one of Chicago’s most visited historic homes.

In The Bear, viewers get a rare peek into spaces usually reserved for tour-goers—or off-limits entirely. White touched original furniture, lingered on the drafting room balcony, and spent time in the kitchen.

The Arthur and Grace Heurtley House

The Arthur and Grace Heurtley House in Oak Park.

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Completed in 1902, the Heurtley House is a pure early Prairie Style gem. Its low, horizontal form is emphasized by brick walls with contrasting mortar: vertical joints dyed to match the brick, horizontal joints left natural. A hipped roof with deep overhangs frames a ribbon of art glass windows along the upper level.

Wright turned the traditional floor plan upside down, placing living and dining areas upstairs to maximize light and views. No basement, no attic—just simplified, efficient design. Wright’s sister Jane Porter lived here from 1920 to 1946, and in 1997, the house received a meticulous, museum-grade restoration.

The Nathan G. Moore House

The Nathan G. Moore House is also known as the Moore-Dugal Residence.

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Originally built in 1895 for attorney Nathan Moore, this Tudor Revival residence—with its steep roof and half-timbered upper stories—was a stylistic detour for Wright, who usually avoided historical pastiche.

A 1922 fire destroyed the upper floors, but Wright returned with a daring redesign, fusing Gothic and Mayan elements into one of his most unconventional works. The 1923 version stands apart from his Prairie Style projects, showing Wright’s flexibility in meeting client demands while still pushing the boundaries of architecture.

Authors

Abby Montanez

Abigail Montanez is a staff writer at Robb Report. She has worked in both print and digital publishing for over half a decade, covering everything from real estate, entertainment, dining, travel to…

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