ArchitecturalArohiteotural Instituteエnstitute of Japan

ー − 【カ テ ゴ リ 囗 日本 建 築 学 会 計 画 系 論 文 集 第 572号 ，147 152，2003 年 10 月 J．Archit 、 Plann．， AIJ， ND ．572，147 −152 ，0ct．．2003

’ ANTONIN RAYMOND S INTELLECTUAL BACKGROUND ： … AFOCUS ON THE CZECH CUBIST AND

MODERNIST ・ ー ア ン ト ニ ン レ イ モ ン ドの 学 問的 背景 チ ェ コ 出 身 の キ ュ ビ ス ト と モ ダ ニ ス ム 建 築 に 焦点 をあ て て

’ 一 rEA ＊ Chn stine VEIVDRED ∬∠4 UZAN 〈 U ・ ー ク リ ス チ ン ヴ ェ ン ド レ テ イ オ ザ ノ

Zlis paper aims at pointing out which elements in the 行rsヒworks of A飢 o ηin Raymond in τbkyo are to be linked with cubist architecture ， a

specific form of architecture that took its roots in his native Czech counnies at the beginning of the 191α s ．1n order Io have the proper elemen 紅s to ’ drive a cemparison between the Czoch cubist production and the A ． Raymond s one ， it is necessary to explain how that movement developed itself ’ and 壷hat were exactly its goals when he grew up as a reaction agains 重 the Viennese rationalistic domination． The Vi¢ nnese s reference ， long

undervalued in studies devoIed to Czech Cubisrn as wellas these on A ． Raymond ， appears to be as important as the Cubist one f（）r understanding

the Archiヒ ビs mindset ．

Keywords ’ A ． Raymond ， Tokyo， ， ， Modemism ， Vienna，（）． Wa8ner ， ー ー ー ー ・ キ ーワ ド ： A．レイ モ ン ド、東京、キ ュ e コ ム 、プ ラノ 、 ．ウ ィ ン 、0．ワ グ ナ 、Jl小 寺L デ ス テ イ ル

− − R 〕rintroducing several bui亘dings¢ rect ¢ d by Artt nin Raymond （L890 1976 ） 19 〃 1924 ，which enlarged the mQvemen し， including the Nationa旦 Sしyle， ’ d面 ng dle 1920 s ， a しime when after he parted fbm the F k L Wrigh ビs usually considered as a local version of 【he 血】tema 【ional Art D6co5 ．lhis ‘‘ （1869 −1959） office he successively established himsclf as Amehcan papcr aims ra山 er at se 質ing to what extension Raymo 踊 d was aware of 山 is ”1 Archi【 ts and Engin 匸s and as an independent Afchjtcct2，Ψ arious movemenI and of o 山 ers ， often misundcrst〔x ）d and misapplied to his wQrk ，

匸eferences are regularly made at the archi 【ectu 【al Cubism ． Som ¢ times such as De S両1， by rcsearchers eager 【o explain 山e background of his − ’ invoked fbr山 e entrance or the fireplaces de面 hng Qf the Yasui s hQuse at activi繭es in Ja脚 or in Uniled S【ates． ’ − ’ Tokyo Women s Chris［ian Cellege（19221924）（pl．1）， of the Goto s house Moreover， the au1hor shall emphasize しhe impo賦 ance Qf Ihe ’ （1923 ）（p1．2）or even fbr the Hoshi Schoors ceiling s composiIion G921） context in which cubist architecture has developed itselfL This one was surely

（p】．3），山 e ロ℃ nd 山 a し manifbsted itself in the Czech archjt tur¢ of the Early as impor 【ant as Czech cubism f（》r Raymond by the time he launched his

20th century was also recently linked Io Ihe composition patter血 of 山 e career ， previding him w 汕 asimilar inしellectual and cu1 しural backgrz）und ’ Reinanzakas house3 ，avilla A ． Raymond desi即 ed fbr himself right after 【hm 血 e besl represen しatives of the Cubisrn， such as Josef GD6ar （1880 −1945） 」」 ” 一 lhe Kan 【o earthquake （Pl．4）． Called upQn amQng other guardiah6gures4 and PaveUan 狄 （1882 且956 ）， blessing hlm with a good owledge of the

to explain a wide range Qf composition schemes as well as to characterize S essionnist architecture and its hopcs 【o reforTn the architecture in ’ various aesthetics of the Raymond sproduc 口on ， some pr isめns about 血 e modemiZing i【s old omame 珮 Is．

nature of the wishes and the cQnstructions oonceived by the Cz h Cubis【s ， have 【o be made on 山 aI poinし LRaym 皿 d s exposure to Czech cubism

τhe aulhor do nQt wish to relrace here the emergence of this BeGause Ra ｝mond lefuhe coun ぼ y fbr Amcrica du丘ng the year

specific cument ， whose stages had been analyzed s¢ veral dmes from l966 19106 ，it has firsl 10 bc underlined 【hat he fc）rmerly could just experienced 」 ‘‘ ” and the pubHcation im ρo 毋 oy of ℃eskS architektonickS bismus 山 e budding of 山at trend． The lheoretical phase，山aI sta直ed cffectively

” ’ L ‘ I911−1914 by JaroslaΨ Vokoun ， until the mos け ecent book by Ro しislav wi1h the Pavel Janak s paper From Modem Archiし ture しo Nchitecturビ 一 7 Svacha ， The fty ramid ， the prism， the Arc，α 8 σん α わゴst architecture 且9〔吟 1910） ，was not 【o bc fully expressed before the years IgU −19128 ，a ， ． ・ Prof．， the French Japanese Cultural Center in Tokyo ， Ph ．D ． in Archiしec しura 且 東 京 日仏 学 院 教 授 建 築 史 博 士 History

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period that a]so saw its materializing. However, at the time Raymond went Presented during a long time, as ear]y as the 1920s by the art i O back traveling through Europe (1914), hc surely saw the main constructions historians Antonin Matejbek and Zdenek Wirth as a consequence of the

of the Cubist trend erected in the Czech capital. Then, thc most irnportant concurrent French-inspirod movcment held in Prague in the 191O's,

buildings had already been cornpleted. With the withdrawal of personalities the Czech eubist architectuTe, which does share the enthusiasrn for the

"Hcasso such as J. Chochol (1880-19S6), who had changed his mind towards much and Breque cordbe"ii, must be understood mere as a

" " "decline" more puristical arrangement (pl. 5), the was already announced. consequence of the ambient ubiquitously Modemism, held frorn Vienna

under Otto Wagner (184]-1918) to the Czech capital through Bedrich

Ohmann (18S8-1927) and 1ately with Jan Kotera (1871-1923) as the centra1 l･} i 2. figure (pl. 6) For Rayrnond, at lcast, Kotera was ttuly the central figure,

the only one, indeed, he talked about when asked by M. Czaja about his

youth in Prague1S.

tt/utt.)t . 'tt' 2. Czech Architecture before Cubism

Raymond was lucky enough to be trained during a time that

ranges among the most exciting period for the Czech architecture. when after '"" ･4 JI, years of dull historicist constructions. Prague eaught up with the other ･tsifegth;--･, ssifrEuropean cities. in a few years passed from a quite provincia] one, Vienna R,i'NNe, ,it where Architects trained in imposed an academic eclectisrn, to a city where Architects impose ee Czech-born wil] their way ofbuiTding. Coming back from Viennai4 in 1898, Jan Kotera has been

crodited for having carried to Prague the necessity of producing tnte i5. P]ate 1: (left above) A. Raymond, Yasui"$ house, lbkyo Women's Christian construction Bored with the haif areheolegical haif scienopc Cellege, 1922-1924, Sugiyama fund, fire-plaoe detai]. i S, composin'ons so popular among his contempoTaries, he was to fight for a Plate 2: (right abeve) A. Raymond, Goto's house, Tokyo, 1923, Shimizu research center, fire-place detail. new art, as he explained in a publication made for thc progressive rnagazine Plate 3: (left) A, Raymond, Hoshi schoo1, Tokyo, 1922, Sugiyama fund. drawing Vbbe S)ttiiJ3. closc in its form to the introductory 1ecture of of the ceiling that clearly rerninds the late gothic structure used in the Jagellon's Quite Otto reorn in the imgue Castle. Wagner for the Viennese Ene Arts School, his text expressed his thought Platc 4, (right> A. Raymond, Reinanzaka heuse, Shimizu res¢ arch center, main facadeduringcornpletion. about connecting thc architectura1 form of a building to its ewn necessity, a i 7, goal that Wagner and his fellows went after Hence, evcn if he did not experienced by himse]f the Cubist

architectura1 movement's evolution, Raymond had a gcmcl knewledge of it,

mainly through the publicatioms.. We know. thanks to a list of his private

books collection that he sent to Ameriea in 19379. that he owned a complete - collection of Styt [7V!e Style] a rnagazine estabiished in 1908 with Josef

Goear and Janak in its editoTial beard -, which featured vvithout any delay al1

the rnajor buildings of the Cubist trend. As important as his knowledgc of

Czech Cubisrn was his fatniliarity with the immediate previous contcxt, that,

as we will see now, was hugely responsible for the emergcnce of the Cubism

in Prague.

Plate 7/ J. Kothra, own house, Hradeginski 6, 1908, rnain facade, author's /'1'=-=l.･th:･eige-e '.t.ttt-.t. photograph: the slight polychromy used here airns to express in facade the 5,･-tsE ge organizationofthevariousinnerspaces. x,"lits ･ Beside his writings, Kotera started to cover Prague with bui]dings. with in mind the lesson ]earned threugh Wagnen The first villa he erected ii'pt･M' T for lhe sculp[gr Sucharda 6, 1904), even as being a kind of i･yj tw[ ge,, (Slaviekova .ee reinterpretation of the vernacular Czech house, was ilsswaparticular]ypraisedfor ,,li -x its rational eonceptionsiS. That houses, wrote the critic F. X. Salda thatl titt't-' '.'"-..- 's.../1/../ ssst 9. - have catled nests where dreams can be jlilptted, are togicati If logical Plate 5: J. Chochol, facade study for al,g collectiye house, 1914, NTM, Gocar Oeft) mainly inits articulation - Sucharda fund, author's photogmpJts : that preject could be considered as the first atternpt plan lhe house was foIIowed by various towarclspurismaestheticthatbecomeprominentatthebeginningofthetwenties. attempts where the inner composition was even more visible on the facade. Plate 6/ (right) J. Kotera. Manes Soci¢ ty building, 1co2, author's photographs/ the housing construction aimed at the most irnportant artistic Society ofthat time. As stated by WagneT, who often cornpared facades to Iextiles -

"cladding" reviving here the system leamed through Semper2O -, Kotera

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would llse Ihe polychrome effect bonn frorn the diffUrent materials foricks,and horizonta1 lines. So was the cuse of the Jan Stenc studio and house

layer)in his own house in 1908 6) 7),to the complcx built in 1 909-191O 9) in the P'rague's Salvatorski stTeet, where (Hradeginska (pl. .underline (pl.

respective places of the difft rent components, placing brick blocks at the the windows vary in proportions fo11owing the level at which there are to be - corneTs te underline the border between each leve] of the building, the g]ass located, white the Sequens heuse still showed in the regular rhythm of the - taking the place of the plastered surfaces on the Laichter building windows used instead of the traditional columns (pl. 10) a belatod

"cladding" (1908-1909, Chopinovti 4> fp1. 8). influence of the thcory defended by Wagrier.

3. The 1908:a turni"g point in Prag"e

Whcrn Raymend was to left Prague the trend promoted by Kodira,

even being not the more popular in the construction - the contractors

sticking largely with ornamentation soch as shown in the

Pafiiwska street - , had boen widely poputarized in the pub]ications : even

the coriservativc Architektonick)f Oabor magazine had started publishine Sccessionistbuildingsin]go324. 5, Nevertheless, as noticed by the Historians Wirth and Matejeek2

Kotera's work as a for the modern Czech architecture had ended even

before the year 1908. As they remembered in the 1920's, the protestations

against the nzaster's teaching can be seen around that time mainly in the

founding oj the first magazine almost entirely devoted to arehitectural

questions in l907 - The style - thatfound in seme technical schoot students Plate 8/ Cleft) J. Koterq Laichter building, 1908-1909. detail of the facade on the e aNUothvOo:LSs??hOetCge - such as Ehgel, Hofi}nann2 and Jlandk - its real stmports. Complctely in

Slha?ePign:O{Vn[gShtrt)eeotlAPch'.ork$hopand house. 1gog-1g1o, facade on opposition with the thesis that were defelded by the Kotera spiritual the Salvatorskti street, author's photograph. followers, such as O. NovotnY, several architects were looking doring the

was Even if the Wagner stance geing to fadequicktyin the sarne time for reintroducing some subjectivity in the aTchitectura1 work in an

Kotera without any trip te the cultural capiLal of the Ernpire - practicc2i, attempt that was not only theoretical but also practical.

Vienna - Raymond and numerous students of his generation had right under t' their eyes in Prague a Czech version of the WagneT lesson. Ihey could see it > right areund the turn of the new century in the the Peterka house (1899-1900

on Venceslas Square), whose fagade is organized'in tcrrns of structure and

cladding. Thrvugh Kotera work (for example the villa Trmal in Prague, 19(}2-03, or the Macha one in Bechyne), the younger generation also get ma,-i･..-...1 acquainted with the contemporary interest for the Folk architocture - aiready

popu]arized by the 1898 exhibition - which fashions was further enhanced

by the Viennese werks ef Jeser Hoffinann (Spitzer's and Meli-Moser's eePlate 10: (left) J. ChochoL Sequens house, l912, Libuginti 3, facade, author's houses at Hohe Warte in Vienna, 1901-02). This example wou]d play an photograph. Plate 1 1: (above) O. NovotnS, PTesentatien ef the Czech group at the important role, at least for Raymond, who will show throughout his career a Werkbund,19t4,author'sphotographsMrague'sarchhectura1archives.

deep interest for the residential Archi tecture.

As wfote the Architect P. a former Wagner's student This generation was educated at a time when the quest for a Janak, rationalistic arehitecture had overwhelmed Prague.22 As was perfectly himselC in its 19]O's The Style paper, the Wagner ]anguage that had recently

stated by one of Kotera faithfu1 fo11ower in 1912 - Otakar NovotnS pTevai]ed obliging the dijferent elements qf the construction to suit their 7 was not seen as stM being ampropriate nor to the aesthetic or to (1880-1959), whofrem the etdestpupits ofKbte"ra, bvaof the one that had jiinction2 S. been the tess detached of the master -, during the se'cond decade of the 20th the contemporary sensitiveness2 Wishing to renew the cohtemporary way

century Czech architects werc stilt fo11owing Kotera's path, kept occupied to of conceiving architocture, Pavel Janak was to propose some pTactical

find a compromise in order to regulan'ze, organile and find what is the solutions.

essentiat : the essential being the only valuable starting point for any

4. The realizations of the in the construction. IVIer, it's only to deliver theform qfthe usetess ornaments and propositionsand the Cubisrn

eariy1910's to reduce it to the simpte lines, as clear and expressive as passible. Only 3. when, we can speak abo"t the rightform2 We said previously that Raymond left the country right around

time and aiready underlined that he knew well what was on therc. Among other architects (such as Machon), NovotnS achieved that going

making faeades that had to precisely reflect the inner compositien while He attcnded the Polytcchnical schoo1 unti1 then, a schoo1 where the cofe of

developed itself. Even if he seems not being signing the triumph ef a rigid geometry based on the intersection of yenica] thc Cubism thcory had

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remembering any ferment of rnodcrnism in its Prague enyiTonrnent .for this the cubist architecture has reacted against the O. 1ijhgner arehitecture

time29, Raymond for sure had fo]lowed everything that happened there dojinition as a synthesis between junction, construction and poetry ; the

cven after hc left the country, through the publications he owned. eubist artrhitecture pushed back utilitarian thoughts and rationalism in

In Styl, for example, he could read some of the statements of which it savv the ltalian Renaissanee heritage and se turned its interest to

Jan5k, such as commentaries on those which were pubTished in Arn'sticalnon stntctural composin'ons of the late Clothic and of the Baroque4O.

" "" monthly3O such as Prism and pyramid frdm 1912. that fbcused on the Leading to the risk of sometimes missing the goals ef architecture, as

" 4i, plastic process of the crysta11ization and on the question of the fagade ; The underlined in t915 by NovotnV just after he acted hirnself in the

renovation of the facade'Z presenting the few principles that had to be trend42 (pl. ]2),/Architecture is net an independent art organized around i fo]lowed3 . This question, more than being only a theoretically stake, was completelysubjectiveregulations.

especially important at that timc, when P. Janak, J. GotSar, j. Chochol and j. Above the constraint put on ut{lization of the materials that took

t`OId Hofinan, active members of the Prague Club", an association created to any form far fiprn being linked to a structural prccess43, it is obvious then

oppose the new town-planning that considered adapting Parisian buildings in that not a single cubist Architect pl"cked up couragefor being coherent and 2, 4. the oldest districts of the capita13 proposed with the Cubism that gces wel] to atlapt principles designed for the j2u:odes to the buitding ptans4 we

aleng with the buildings an altemativc to the {mitation of che old can also add to the NovetnY comment that the Cub{sts Architects were not

33styles. coherent enough to apply the crystallization process to their windows.

Among the relevant solutions the Cubists proposed, the use of the despite the huge possibi]ities of creating such symbols se desired in Janik's 47, diagonaT line, considered as the starting point of any construction, was theory45. Nor the ChochoT buirdings (pl. 12)46, or the Goear ones had supposed to express the third dimensionS4, The line shall illustrate thc taken a panicular advantage of'the glass material, sticking wiIh the old 'presence, growing forces in without being decorative. Then, instead of an fashloned scheme with two flaps, loosing only in the most extreme cases

architecture rnade, as a box, of the usual plan surfaces, the bubist archi[cctuTe theirrightangTes.

would provide a space in which the walls are no longer static and express fi instead thc dynamic of che materials used for it35, in an attempt to go

beyond thc Duchamp-Villon prototype of 191236. Quhe close to the

contemporary scu]ptura1 works of Otto Guttfreund (1889-1927), who

believed that scuipture stops the continuity oj' the action through a spatial 7, materiafization3 t'he buildings erected through the Janak pTecepts (mainly

by other architects such as Chochol, Hofinann or GoCar) were for Karel

Teige (1 9oo-:951) alike scuiptures to live in.

S. Czech Cubis]te verssus De Sdj1 Ptate 12: J. Chochol, lhree families house, 1912-]913, Rasinovo, facade on lhe similarity that Teige found between Czoch Cubist {left) theeppositeside,author'sphotographs. architecture and gives us a good opportunity to look at the Plate 13/ (right) J. Goear, Stach and Hofinann house, 1913, detail of the fhcade, author'spholograph. production of an other artistic group often used as a comparison for

Raymond work as we]]. To that point it is important to underline the targe In the well thought out c[mception of the Stach and Hofuian distance that separated the Czech Cubists and the De Stlj1 magazine's house's facade (pl. 13), the Architect hence used miitiona] windows. Even

Even if the two were at the first sight to the premoters. groups pursue in the ones that Goear displayed for the bow-windows line of the second

establishment of an with which an entircly new environment level of its Black Virgo house (OvecnY trh 19, 1912) are ress imaginative could be created3S, thcy differed in the means and in a few beliefs. Ihe than Kotera and Zasche's Retirement House Bank building (1912-1914, organically grown conception that prevailed in the Cubist thought under the RaSinovo nabf. 42). composed with complex lines a idea of t` " giving good so-called crystallization precess was ncver crucial for the De Stij1 closc Crysta1 structures (pl. t4). Although it was rnaterially possible, as shown by relations. That pTocess. which expressed itself mainly thrpugh the diagonal S. the Artel. a gro"p clese in mind te the Viennese Wiener Werkstatte4 from line. is net to be found in the Dutch architectura1 prcduction at all, or in the it$ fagade (pl. IS) te its small production (see Ketera's punch bowl or painting one. in the Duteh context, it was nothing but a consequence of the 9 Rozsipal glass services)4 . ,split between two of its protagenists, Mondrian and Van Dcesbourg ; Van "at This the surfhce work"" was widely commented by the eminent Doesbourg having made a note of the dogmatism ef Mondrian regarding the art critic Karel Teige, whe drew a direct comparison between the Cubist and 9. introduction of the fourth dimension (the time) in his art3 the Dutch almost contemporary architecture. But doing so, he's not talking As unclerstood ffom the publications and the buildings themselves, about De Stij1's wotks, but about the Wendingen group's ones. No better the architecture promoted by the Cubists was a non structura1 one, using a occasion could be found for correcting the inappropriate link often made deformation of the surface of the wall. without any influence on the `"The plans. between De Stij1 and the Czech Cubists. atchitecture of the so-called

As noticed by O. NovotnY, who was not only a devout modernist but also a Amsterdarn schoo1 and the Wendingen group (with de Kletk, Van der May, close friend ofJ. Goear - a fo11ower of thc cubist movemcnt in a[chitecturc -'

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" Framer)'Z wrote the critic. is a manifestation of the same kind of the Czech Obviously presents, mainly through considcrable details in the

cubism; in the two cases it is a formalism that ignores any utilitaJian goal Yasui"s house at Tokyo Women's Christian Col]ege (1922-1924) (p]. 1) and

and is justa p]ay ef imaginary ]ines that do not care any constructional, the Goto's house (1923) (pl. 2), the Czcch Cubist's reference is a superficial 5 O. - practical er economica] requirernents necessary prcscnt in a building" It one since it consists only in applying a combination of triangles and of

is net surprising that Cubist bllildings did "ot satisfied Teige, whose own circles around the fire-plaees - and does not go deepeT than borrowing an " " idcas close to the new objectivity style were threatened by its revival in aesthetic which he believes has proven suitable for the plastic qualities of thc

the Tondo-cubism shapesSi and that the criuc tned to play down their Concrete buildings he was pioneering in. But this refeTence is only

influence, acting in the same way than the respective protagonists of the two supedienal. It does not affect the space composition in itsclf ; and only thc

groups in the Netherlands, each denouncing the other: De Stijl was declared final covering is concemed. This is an important difference with thc spatial

arrogant bocause it c]aimed that its style was the only possible; while the quest of the Czech Cubists, who cast the entire walls with these fbrms and

Amsterdam Schoo1 was in retum condemned as decadent, for its display of not only used them as applied ornament. individualemotion52,

Plate 14: (nght) Jan Kotereq Josef Zasche, Retirement House Bank Bui]ding, 1912-1913,entrancedeta[l,author'sphotograph.'V Plate IS {left) HofiTianm. Artel's shop f'acade, preject, 1914, author's phetographlPraguearthitccturalArchives

With or without the Teigc approval, it is hard to find any P]ate 16: A. Raymond, rwCC Campus, author's photograpblcourtesy ARO, relationship bctwccn the wish of a fioating space created by thc display of Tokyo. painting mside of De Stijl and the question of the crystallization process

Ihe case of the Heshi Schoo1's ceiling's composition 3) is promoted by the Cubist representatives. (pl.

somethmg different and should be related te two different sources. The first

one is to be in the ceiling of the Jage]lon roem in the 6. 0p the Cubist traces in Raymond's early works found lategothic - TTiis said, it could hardly have been rcfeficd to any Czcch cubist Prague castle which features the same kind of coupola where the nerves - spatial compositien when prescnting the Yasui's, thc Goto's house, the are ernphasized while the second is prvvided by his master Wright beloved

"Prejet which Hoshi school and the Reinanzaka buildings. Not onc of thcse buildings want Viellet-le-Duc pour une Salle de concert", is a revivification

of the theories, While the influence remains relatively to beat aModcmist ubiquitously pattern as the wantod to do in gothiclorganic Cubist

`'too" superficial in this the tewer which articulates on a different campus Prague for opposing the logic Kotera or Wagner puttern, nor to go well prpject,

- the TWCC - the branches leading to the dormitones testify how strong his along with any pre-existent building environment. Raymond's concems ure

radtcallydifftrcnts. Czech background was still on his preduction. But what he re-uses here (pl. ' 16), is not a Cubist motif but a develeped by Kotdra earlie[ for the During his first years of practice in Japan, Raymond is facmg pattern

exhibition vanous challenges, Eager to introduce thc best of the European and of the Mdnes building (p]. 6). With his bncks decorative arrangemenl,

the Iower is closer te the Wagner brought in Praguc through Amcriean techno]ogy, thc Architect has to dea] with various problems of

Kotera than to onlay used by the [[he same style depending on the programs and on the c]ients. Raymond, who was thcflatplasterod Cubists. thing

could be sard for the TWCC main building interior composition which drew trained first in Europc {in Prague but also practiced Architecture in Tneste)

its organizatien the of of and then in United States, rnastcrod a wide range of [echnological and from the Kotera initialprejectfor Sehoo1 Law the

Czech univcrsity in Prague decerative patterns. While he was praised for his quality as a draftsman (1907-1909).

St]11 used in combinatien with other borrewed to F. L. whcn it comes to thc gothic ornarnents in vogue in Cass Gilbcrt office, he patterns

Wnght in the of the Saint-Luke's hespital hc had cornprcted in 1926, could not use them so much in Jupan. where there were widely popularizcd a pf(iject

reference - net mindset while ago Lhrough Conder's tcaching and the Ende and Bbckmann's various the Czech including only the Cubism but also the

brought in Prague via Kotera - is not to be seen in the house of the Architect schemes for the Parliament. Among the decorative pattems availablc, the

more shaped or circlcs cati seen Czech cubism, which declined its theory in the fumiture field, offers the himself,No plaster in tnangles bc inside

t`casy The mentiened most to apply" elements that he needs when fu}filhng residences anymore. cubes, usually as being the basic element ef the

programs, censtruction, are not connected at all with the Czech cubist theory... that had

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J am nevv learning te buw the warjl)r creatirtg our fornt in jtatcn'en ofour geals, not other puipose than destroying their so seyere rigidiry by introducing the C.1 our :echnigues, eur materiaLs, in eur environnvant, thS[, p. 193, i S '` " cliagenal Iine. in that perspective, the Mallet-Stevcns' Noai1]es vi11a, often Jan Evangelista Koal4 F. X. galda a noyi architektrrta {" F. X, Salda and the 'd), new architectu:e Stavba {The cansmtctien), 1937-19S8, p, 25-26 reminds at the referred as a cubes: combination would heve been a more adequate ciitfc death occasion how impertant he was in the aew style theorization pmcess. iS thid., 24. cemparison53. p. : ON, `'Pismo sumi, Malzsa Fabianlja iz Ieta 195S' ('LLetter by Max Fabiani frem 19S5), airlyals and closest Evolving with the departs of his collaborators Zbornik za uTnemosmo agodavino, nova vrsta XXV[r4 ljubljalla, 1op1, p. I21-ln reealls the role played by M. Fabiani in the witing of the Modern IAr:hitaktur and how as we]1 as with his own interests of the momeng Antonin Raymond Wagner usvd some ofSemper ideas in his teaching. ZiThe Uibi ek Sbep Iocated in the Jlmgmaanoyi street mainly in the architectuTe is rfch and complex and cannet be explained with only one (1912-1913), way fue secolld level bays was treated. is sbowing instead a Loes infiuence (Gdlduian referenc: in mind [[he Czech aTchitectuTe is for sure one arneng the mest and Stalasch Shop, 1co8-19op). 2 2Jan Evangelista Kouleg op cin, p- 47- of his early career in Japan.But here we're talking not Z3 iinpoTtamt jnfiuences Otakar NovetnS. Jdn Kbtira ajthe aloba CJbn SbtdYu and inr tinte). Prague, 19S8,

21.2` only of Czeeh CubisTn. but also of the whole context of the city he was p. Architrktonicky Otbor UL 1903, p. 3S shovifs a Seces3ionist drawingby JutkoyTc. Z 5 trained which Fanged from thc interest for the Folk architecture, the WagmeT Auteni- Maajeek, ZdenEk Wt[th, op cit, p. 7g. Z6 la 1911 Y]adislay Hofiman wtotc ftr that magazine wbet remains today a teaching, and its KotifTian version, as well as the rediscovery of a rich `' fundaurental text for nnderstanding the goals of the Czech arcbitecture / NoyS princi.p " architecture "), style y architcknie Ct T!ie llew prillciples in Styl Y Cne -O, p. IS-24.; Baioque and Gothic hentage. "KpodstatE " ethers can be found in Free trends such as architeknrry C`On the state of "individualisajiei･fonma Architep:ure"), 1913, p. S3-56, v architektufe" ("Tbe '). individlla]isedshapes in Architectttre 191S. p. 241-2S5. 2 ' 'L Acknowledgements Payel Jdi, Otto Wagner X Stylt(th Style 1), 1908-1909, p. 42. 2S '`Od Pave] Janilg modemy arahitektury k arebiteictufe" ('`Ffom medem The author would like to express her deepest acknowledgements :owards ">, architecttue to Styl "(lhe style op, cit., p. 106. Pr6E T. Iftij5oka institute ef Technology). arch. H. Misqwa and Ms H. Architeeture M, CTokyo 2 SMichael Czaja, cit. Matsunami compaiiy), who kindly helped her to orient her research. op. (Shimizu 3O The who]e text is in iirench in Luca Qvattroccbl Zti Sticession di Pragtre, She is also gratefu1 foT the oppornmity that Ms Godai CA. RayTnond:s former published Parls. ed. Ga-mard, 1992, 241-246. her arid M. K. T. Oshima cataloguing the p. sesretary) gave herin having 3 i " :' "), ?ayel JanElc, Ohneva prfieeif C` The facades renoyation [bneikaty misian' th n eitirely new documentati'on received ftom M. Sugiyama's fatniIy. tarttstical Mbnthly M. ]913, p. 85-95. 32 Zprivy Spolku architektfiy a inimYitiy v Kralovtsvi eeskem >OOC[V iprchitecys References and EV:gineers Asseciation of the aech KbTgdom, Soufi i na plthry na regulaci lditig i the regulation ftmaa of an area ef th¢ Czech During asam# period of time (1922-192- it is possible to find on the drawings Strun] ceTojectfor plmtoj'Mbla [name "), " " '` I9oo, 94-96. , diffeient maiks or the Americall A[chi[ett and engineer crr the A. Raymond uid A. capita1] p. `L " ". 33 a Prism and UeTglecty mgsiinde l Sykes Americail Architects Pavel Janak, }Iranelpyramida ('J pyramid':), 2 tt Monthly I), 1911-19IZ r62-l7e. ADtonin Raymond", Japan Architect, Spring 1999, p. 130 , biography given by "rti,tical p. s4 Raymend azd L. L Rado Architects. foEd,n5 3 '` "), O nabytku a About fumituie and e!hers Vimsuealj; Hiroshi Misawa A Rdyn:ond nojiatakun!eriogartari (A. Rlayntond" resldences sft]ries). PayelJanalg jinem"{'` Tekye, Sept1999, 6d. Kenchikushtno Kenkiuehia N07, p. I12 / To be ftee of Wright n:dsiditrkif(MbnthlyarttsticalM,1912-1913.p.22. 3 6 '` " "), he adapted the Czech Cubism4 as he did aiready at Heshi school. But if theTe it was just Vladislay Hofirra], K podstatE architektur)r Ct On the state of Architecaire op. Dn surface, for his own heuse he wanted something mo[e structu[ziL Ru uled to nvake ciz, p, 14.S7 czech cubism fivm form te space,.. He tried to a)Nay alIthe decorative '` " that goes get pan TITe Otto Guttfi,euad paper Surface and space is p-blished in Iimstina Passuth, to ereate) on empiling of this strealn a=d to focus Cer the space. Hedrd it in cubes..." Les avant-gardes en Europe centrale 1907-1927, ?acis, Hamiilation, 19S8. 4 Among the vadous that are the rnest eften called in conpeetien with A. 3 e personalities Wim de Wit The AmsteTdem ScheeL Mrr PTessl 19S3, p. 29, Raymond'swari we can L. Wtight obviously infiuenced hi-t deeply as Sg quete/F, (who De Snj'l･J917-iP22-Iheformattve years, Mrr Press, 1982. p. 30, 32 and 3S. showu by.the Reischauer's villa Dn thc W.C.C. campus), Le Corbusicr influence '" Cwhieh Karel Teige, op. cit･,p･ 23- seems at office duting and A. to grow the Raymend's the Maekawa's trainingperiod), " '` " "> Ota1[ar NevotaS Sbody a rozpory (`'Accords ct dbsaccords }loine' thid)y Perret Cwhose infiuence might be far deeper than the lonely passing ef the Czech trends), 1915. Aiehilect FeuerstEin whe himselfbad spent one and half under thc Fremch master), (Free year ` Z 5 After a first attempt dedicated to the Sofia Impedal palace (1912), Otakar NoyetaY Ceslag Art dgco, Prague, 1999, cataiogue of the exhibition held at the ObeFni Dum- cenceived in that style a cellective dvvelling ftague Old Town). He is alse See the chapter on architectuie whttenby Peter KrajcL (1919-1926, e attheariginofthecubistptesentationforthe1914Weikbundeihibitiofi. Anteniu Raymond An autobiograpdy, 65. p. `S ", V " Otakar NevotnY,'` Hletlanfanavrat Ct Research and cDme back"), Slyi rr (-T7 11]e theoretical pbase begau effbctively with tbe Payel Jantik's papei, Od modermy "), style ll 1921, 2, arahi:ektury k architektuie" ftom Medem te II (1he (ZLD, p. CL Architectule Architeerure Styl " Otakar NevotnY, .lan Kbtha ay'e'ho doba Kbtin and its time). on, ciL, p. 59. style 1909-191e, p. 106. Clini (lke M, 4S S " '' in that way, the fornzer Czech movement theeries were not so aiffercnt than the wrth the Vladislav Hoiman's publication, NbvS princip v architektufe (" The new "). ones of the Genuan Expressionnist treutis, espeeiallythe Gla'seme Kerte. in architecfure Styl V(1;be Slyle V). 1911-1912, p. IS-24. pmuctplcs " SCestv Tliese buildi-gs aie erected at the comer ef the Neltianovti stTvet (19]3-l914) and kubistnus, architektura a design IPIO-IY25'

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