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 ARCHITECTURE ・ 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， Cubism ， Prague， Modemism ， Vienna，（）． Wa8ner ， De Stijl 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 一 147 一 一 ． NII-ElectronicN 工 工 Eleotronio Library ServiceSe ArchitecturalArchitecturalInstitute Institute of Japan 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 painting 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 the city 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. catled nests where can are - have dreams be jlilptted,togicati Iflogical 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.