After the office was removed from public view to make way for the museum’s new educational spaces, many visitors — and not just American ones — came looking for it, he said.

“When we reopen, this will be the only Frank Lloyd Wright interior on public view outside the United States,” Mr. Wilk said. He noted that while many museums have period rooms and interiors, “they’re very often not quite what they seem: They’re not complete.”

“This room is very unique, in that everything in it is original: the floors, the walls, the ceilings, the upholstery,” he said.

The Kaufmann Office’s biggest selling point, of course, is that it was designed by Wright, “the most famous, or infamous, of all architects, who had what one might charitably call a colorful private life,” Mr. Wilk said. “But all of that is entirely separate from his remarkable work as an architect. He was one of the most prolific, but also one of the most multifaceted, of all architects.”

The other remarkable aspect of the piece is that it marked a turning point in Wright’s career, coming as it did after a decade-long dry period that extended roughly from the mid-1920s — before the Wall Street crash and the Great Depression — to the mid-1930s. During that time, “Wright built almost nothing,” Mr. Wilk said, because “he wasn’t really in fashion, and he had a reputation as a difficult man.” He used the opportunity to publish his autobiography, taught, lectured and became regarded as an older architect whose glory days were behind him.

Yet Wright’s very autobiography would be the catalyst for a turnaround. It was read by Mr. Kaufmann’s artistically inclined son, who was living in Europe at the time. The book had such a profound impact on the younger Mr. Kaufmann that he headed straight back to the United States to introduce his father to Wright. He was convinced that they would get along because they were both “thrusting, ambitious men — alpha males,” Mr. Wilk explained.