Charles E. Roberts Stable. Design and construction To accommodate the needs of the congregation, Wright divided the community space from the temple space through a low, middle loggia that could be approached from either side. This was an efficient use of space and kept down on noise between the two main gathering areas: those coming for religious services would be separated via the loggia from those coming for community events. The plan of Wright's design looks back to the bipartite design of his own studio built several blocks away in 1898: with two portions of the building similar in composition and separated by a lower passageway, and one section being larger than the other (the Guggenheim Museum in New York City is another bipartite design). Also for the Temple's architecture, Wright borrowed several attributes from his previous creation, the Larkin Administration Building. Key features derived were use of stained glass windows as well as geometric figure. But, unlike the Larkin Building, the Temple's plan produced a perfect square, as opposed to the double-square rectangle of the Larkin. To reduce noise from the street, Wright eliminated street level windows in the temple. Instead, natural light comes from stained glass windows in the roof and clerestories along the upper walls. Because the members of the parish would not be able to look outside, Unity Temple's stained glass was designed with green, yellow, and brown tones in order to evoke the colors of nature. The main floor of the temple rises a few steps above the main level of the building (which has seating space), and the room also has two balconies for the seating of the congregation. These varying seating levels allowed the architect to design a building to fit the size of the congregation, but efficiently: no one person in the congregation is more than 40 feet from the pulpit. Wright also designed the building with very good acoustics. The design of Unity Temple represents a leap forward in design for Wright. In recounting his experiences with Unity Temple, he stated that this design was the first time he ever realized that the real heart of a building is its space, not its walls. Indeed, architectural historians have commented on Wright's genius in creating and manipulating space in his designs; in his book The Master Builders, Peter Blake entitled the section on Wright "The Mastery of Space." In addition to being