Analysis Of Frank Lloyd Wright's Fifty Views Of Japan

Architecture, from the beginning of human civilization through the present day, sustains itself by intertwining various cultures. Therefore it is a natural process that architectural movements are affected by each other. Since the 16th century, there changed countless ideas about design, it started with the colonialism era there pullulate national styles with interaction relation between colonies. Additionally there comes assimilation and combination of cultures and decisively, with the globalization, the modernism era appeared with its rejection of the past. First it was thought of as something that was not under the influence of the existing cultures, nevertheless it was actually a collaboration of all cultures within a harmony that would
Therefore the trip induced him to published a photo album which is named Frank Lloyd Wright’s Fifty views of Japan. Through fifty of these pictures -- published together here for the first time – it can be understood how the buildings, scenery, and heritage of Japan became the base for many of Wright's design. Influences of the Japanese style occured with The Robie House,-which is the most famous expression of Wright’s Prairie House style- . Mirroring the flat landscape of USA's midwest, the Robie House in Chicago's Hyde Park was the minimalist sensibility of Japan with its horizontal lines (The Economist, 2012, n.p). Wright’s free-flowing style was influenced by Japanese domestic architecture, having created one long space partitioned with dividers and screens.Since Japanese art eliminates all but essential element of any design, this inspired his life and thoughts (Architect studio 3s, n.d., para1). Following the second visit in 1913, he opened an office in Japan in 1915 and lived there for a few years .He mentioned “At last I had found one country on earth where simplicity, as nature, is supreme,” (Wright, 1915, n.p). Then, his friends would recommend him as architect to the committee that wanted to build a new Imperial Hotel in Tokyo. At that time Tokyo was looking for a new design to show modern world Japan for this hotel. Wright created impressive spaces to emphasize the exclusive nature of the hotel. This project was
Mies started to read some Japanese philosophers and strengthened himself through the conscious of Japan. Blaser mentioned about Mies and Japanese philosophy by stating that, the heroic Zen-master Daisetz Teitaro Suzuki, and the documents of the Japanese deep thinkers assisted to Mies to raising awareness (1996, p. 108). The indistinct relation between inner space and outer space, the significance of the landscape, where would become an inseparable part of the house, and the sacredness of nature are the most remarkable trace of Japan on sensibilities of Mies van der Rohe. To start with the connection between inside and outside, Mies’ products have the same susceptibility as Japans’ mind of being inside but still feeling the outside. The main reason of the undivided interior and exterior is feeling the earth with its unspoiled nature. In 2010, Unwin stated that from inside of Farnsworth house, river can be seen like a screen with trees. That logic also seen on Mies’ other plans and illustration like the Hubbe House. That idea creates a mid district between landscape and the house. That suggests a connection between Japanese architecture, the arbitrated ‘engawa’ which means veranda in Japanese. This feature puts the inhabitant neither inward nor outward yet leaves them between. (p. 68-69). With the almost impossible segregation Mies took the occupant from the