L i A i SONS
TAJ LAKE PALACE
LEADERS CLUB / JANUARY 2010
IMPERIAL HOTEL CATHERINE SHAW
Who was Frank Lloyd Wright? According to Wright himself, he was the greatest architect ever. When asked which was his greatest building, Wright’s standard reply was “My next one.” Less well known, perhaps, is the eccentric American architect’s life-long passion for Japan, collecting and dealing in Japanese prints (Ukiyo-e) for over 60 years. “Ever since I discovered the print,” Wright wrote in his autobiography, “Japan has appealed to me as the most romantic, artistic, nature-inspired country on the earth … If Japanese prints were to be deducted from my education, I don’t know what direction the whole might have taken.” Wright’s most notable design in Japan was the venerable Imperial
Hotel in Tokyo. It was an important commission. The new design was to replace the original outdated neoclassical structure created in 1890 at the direction of the imperial palace with a new earthquake-safe and modern hotel worthy of hosting the world’s most discerning travelers. Wright didn’t disappoint. Between January 1917, when the project began, and his final departure in July 1922, Wright made five extended trips to Tokyo in
connection with the design and construction of the hotel, staying up to six months at a time. In an age of grand hotels, few equaled the striking architectural genius of Wright’s new design. His insistence on using Oya stone, a highly porous volcanic material that was easy to sculpt, was a bold decision that transformed the very walls of the hotel into a distinctive feature. Ever the perfectionist, Wright rejected commercially available Oya as unsuitable for the quality he required, and so the Imperial Hotel found itself in the business of buying a quarry in Tochigi Prefecture. According to The Imperial, The first 100 years, more than 100 highly skilled stonemasons carved the stone; and “if Wright did not like a piece, he had it done over again and again. The stonemasons, however, did not become discouraged by the genius artist’s demands, and eventually even Wright had to take off his hat to the high quality of Japanese craftsmen’s skills.” Wright’s eclectic working methods frustrated and fascinated from the beginning. Viewing his working drawings as a general guide only, he was infamous for redesigning on the spot—tearing down a newly built wall to make a new space that he was suddenly inspired to create. He was equally obsessive with the interiors, calling for American Indian-designed carpets woven in Peking, and decorating the vast lobbies and ballrooms with hand-painted peacock designs and gold leaf. Specially made, textured yellow-ocher tiles were used
for the interior walls, plastered areas were gilded, and side lighting used to great effect. Even concrete was carved into the shape of scarabs, turtles and peacocks to create the image Wright had in mind. He also introduced modern electrical technology throughout and an innovative floating foundations concept intended to withstand the tremors that regularly shake Japan. In the end, despite horrendous cost overruns and continual delays to the project, Wright professed to have created a modern building that was “sympathetic” to Japanese buildings, and that embodied modern scientific building principles and Japanese principles of unity. He left in July1922, never to return to his beloved Japan—nor did he work on other foreign commissions. The Imperial opened on September 1st in 1923 and, in its first test of structural integrity, survived the Great Kanto earthquake that struck during the grand opening ceremony. In fact, the Imperial Hotel was one of the very few buildings that withstood the might of this most powerful of earthquakes that killed thousands of people in the capital alone. Thereafter, the hotel went on to become the social center of Tokyo. Unfortunately, by 1968, floods, more earthquakes and wartime bombings had damaged the integrity of the structure; and so, after much heated debate, Wright’s masterpiece was carefully dismantled and replaced with the modern, but still classical Impe-
rial that welcomes guests today. Thankfully, however, Wright’s enduring style continues past his death. In 2005, a stunning 2,300-square-foot Frank Lloyd Wright Suite, created in collaboration with the Frank Lloyd Wright Foundation, was opened to provide guests a unique experience of the master architect’s interior styling. The Suite features original design motifs from the Wright-
patterns from the Wright-era hotel. Ceilings at the entrance hall are intentionally low, with higher ceilings inside the rooms, while interior stained glasses are purposely placed at a higher position from eye-level. Such visual devices were often employed by Wright to heighten a room’s grandeur. The Suite’s furnishings, such as sofas, tables and chairs, were designed by Wright. A replica chandelier is a key feature in the strik-
designed hotel, as well as replicas of his furniture designed at the height of his career. It is the world’s only suite to combine the unique architectural plans of the Wright Hotel with interior designs created by Wright for private residences during the same era. In 2009, the 50th anniversary of his death, the Suite is one of the hotel’s most popular suites. Located on the 14th floor of the Imperial Hotel’s Main Building, the Suite is a perfect example of Wright’s organic aesthetic. Influenced by the natural world, the stately rooms overlook Hibiya Park and the Imperial Palace gardens. These views, in turn, effortlessly harmonize with the genius of Wright’s designs—featuring natural elements such as volcanic stone relief and inlaid oak wood paneling. The Suite’s entranceway utilizes the only wooden door for a guest room on the Imperial Hotel premises. Centrally displayed in the entry corridor is a replica of the multi-hued Oya stone relief from the Wright Imperial’s Takara room. As with the original relief, another part of which is preserved in the present Old Imperial Bar, this stunning handmade sculpture is carved from volcanic stone. The Suite, which includes a study, living room, dining room, bedroom and two bathrooms, expresses Wright’s ability to combine simultaneously a simple design aesthetic with intricate details such as round door handles, stained-glass detailing, and carpet
ing dining room, and the Suite is decorated with framed drawings of Wright’s original sketches. The master bedroom offers the Imperial’s original Simmons SleepWorks system bed—with a decorative headboard of unique inlay woodwork that is based on Wright’s sketches. Another area of the Imperial that honors his original design is the Old Imperial Bar located on the mezzanine, in the Main Building. On one wall is an original fresco from the Wright hotel, while the wall behind the bar is completely covered with openwork tiles in the art deco design of the Wright building. Imperial Hotel, +81-(0)3-3504-1111, www.imperialhotel.co.jp
“I remember when I first met the Japanese prints. That art had a great influence on my feeling and thinking. Japanese architecture – nothing at all. But when I saw that print and I saw the elimination of the insignificant and simplicity of vision, together with the sense of rhythm and the importance of design, I began to see nature in a totally different way.� Frank Lloyd Wright, 1957
LIAISONS JANUARY 2010
FRANK LLOYD WRIGHT’S IMPERIAL HOTEL CATHERINE SHAW
Who was
Frank Lloyd Wright?
According to Wright himself, he was the
greatest architect ever
. When asked which was his
greatest building
, Wright’s standard reply was
“My next one.”
20th century’s master architects controversial open-plan living spaces respect for nature modern American home international recognition New York’s Guggenheim Museum. Most agree, however, that he deserves the accolade of being one of the
. The flamboyant and
American architect pioneered the use of
, promoted the “honest” expression of materials, and insisted on a
in architecture. His prairie house designs redefined the
; and, later, he won
for his unique structural forms such as
Less well known, perhaps, is the eccentric American architect’s life-long passion for Japan, collecting and dealing in Japanese prints (Ukiyo-e) for over 60 years. “Ever since I discovered the print,” Wright wrote in his autobiography, “Japan has appealed to me as the most romantic, artistic, nature-inspired country on the earth … If Japanese prints were to be deducted from my education, I don’t know what direction the whole might have taken.” Wright’s most notable design in Japan was the venerable Imperial Hotel in Tokyo. It was an important commission. The new design was to replace the original outdated neoclassical structure created in 1890 at the direction of the imperial palace with a new earthquake-safe and modern hotel worthy of hosting the world’s most discerning travelers. Wright didn’t disappoint. Between January 1917, when the project began, and his final departure in July 1922, Wright made five extended trips to Tokyo in connection with the design and construction of the hotel, staying up to six months at a time. In an age of grand hotels, few equaled the striking architectural genius of Wright’s new design. His insistence on using Oya stone, a highly porous volcanic material that was easy to sculpt, was a bold decision that transformed the very walls of the hotel into a distinctive feature. Ever the perfectionist, Wright rejected commercially available Oya as unsuitable for the quality he required, and so the Imperial Hotel found itself in the business of buying a quarry in Tochigi Prefecture. According to The Imperial, The first 100 years,
more than 100 highly skilled stonemasons carved the stone; and “if Wright did not like a piece, he had it done over again and again. The stonemasons, however, did not become discouraged by the genius artist’s demands, and eventually even Wright had to take off his hat to the high quality of Japanese craftsmen’s skills.” Wright’s eclectic working methods frustrated and fascinated from the beginning. Viewing his working drawings as a general guide only, he was infamous for redesigning on the spot—tearing down a newly built wall to make a new space that he was suddenly inspired to create. He was equally obsessive with the interiors, calling for American Indian-designed carpets woven in Peking, and decorating the vast lobbies and ballrooms with hand-painted peacock designs and gold leaf. Specially made, textured yellowocher tiles were used for the interior walls, plastered areas were gilded, and side lighting used to great effect. Even concrete was carved into the shape of scarabs, turtles and peacocks to create the image Wright had in mind. He also introduced modern electrical technology throughout and an innovative floating foundations concept intended to withstand the tremors that regularly shake Japan. In the end, despite horrendous cost overruns and continual delays to the project, Wright professed to have created a modern building that was “sympathetic” to Japanese buildings, and that embodied modern scientific building principles and Japanese principles of unity. He left in July1922, never to return to his beloved Japan—nor
LIAISONS JANUARY 2010
FRANK LLOYD WRIGHT’S
CATHERINE SHAW
Who was Frank Lloyd Wright? According to Wright himself, he was the greatest architect ever. When asked which was his greatest building, Wright’s standard reply was “My next one.” Most agree, however, that he deserves the accolade of being one of the 20th century’s master architects. The flamboyant and controversial American architect pioneered the use of open-plan living spaces, promoted the “honest” expression of materials, and insisted on a respect for nature in architecture. His prairie house designs redefined the modern American home; and, later, he won international recognition for his unique structural forms such as New York’s Guggenheim Museum.
Less well known, perhaps, is the eccentric American architect’s life-long passion for Japan, collecting and dealing in Japanese prints (Ukiyo-e) for over 60 years. “Ever since I discovered the print,” Wright wrote in his autobiography, “Japan has appealed to me as the most romantic, artistic, nature-inspired country on the earth … If Japanese prints were to be deducted from my education, I don’t know what direction the whole might have taken.” Wright’s most notable design in Japan was the venerable Imperial Hotel in Tokyo. It was an important commission. The new design was to replace the original outdated neoclassical structure created in 1890 at the direction of the imperial palace with a new earthquake-safe and modern hotel worthy of hosting the world’s most discerning travelers. Wright didn’t disappoint. Between January 1917, when the project began, and his final departure in July 1922, Wright made five extended trips to Tokyo in connection with the design and construction of the hotel, staying up to six months at a time. In an age of grand hotels, few equaled the striking architectural genius of Wright’s new design. His insistence on using Oya stone, a highly porous volcanic material that was easy to
sculpt, was a bold decision that transformed the very walls of the hotel into a distinctive feature. Ever the perfectionist, Wright rejected commercially available Oya as unsuitable for the quality he required, and so the Imperial Hotel found itself in the business of buying a quarry in Tochigi Prefecture. According to The Imperial, The first 100 years, more than 100 highly skilled stonemasons carved the stone; and “if Wright did not like a piece, he had it done over again and again. The stonemasons, however, did not become discouraged by the genius artist’s demands, and eventually even Wright had to take off his hat to the high quality of Japanese craftsmen’s skills.” Wright’s eclectic working methods frustrated and fascinated from the beginning. Viewing his working drawings as a general guide only, he was infamous for redesigning on the spot—tearing down a newly built wall to make a new space that he was suddenly inspired to create. He was equally obsessive with the interiors, calling for American Indian-designed carpets woven in Peking, and decorating the vast lobbies and ballrooms with hand-painted peacock designs and gold leaf. Specially made, textured yellow-ocher tiles were used for the interior walls, plastered areas were gilded,
“I remember when I first met the Japanese prints. That art had a great influence on my feeling and thinking. Japanese architecture – nothing at all. But when I saw that print and I saw the elimination of the insignificant and simplicity of vision, together with the sense of rhythm and the importance of design, I began to see nature in a totally different way.” Frank Lloyd Wright, 1957
IMPERIAL HOTEL and side lighting used to great effect. Even concrete was carved into the shape of scarabs, turtles and peacocks to create the image Wright had in mind. He also introduced modern electrical technology throughout and an innovative floating foundations concept intended to withstand the tremors that regularly shake Japan. In the end, despite horrendous cost overruns and continual delays to the project, Wright professed to have created a modern building that was “sympathetic” to Japanese buildings, and that embodied modern scientific building principles and Japanese principles of unity. He left in July1922, never to return to his beloved Japan— nor did he work on other foreign commissions. The Imperial opened on September 1st in 1923 and, in its first test of structural integrity, survived the Great Kanto earthquake that struck during the grand opening cer-
emony. In fact, the Imperial Hotel was one of the very few buildings that withstood the might of this most powerful of earthquakes that killed thousands of people in the capital alone. Thereafter, the hotel went on to become the social center of Tokyo. Unfortunately, by 1968, floods, more earthquakes and wartime bombings had damaged the integrity of the structure; and so, after much heated debate, Wright’s masterpiece was carefully dismantled and replaced with the modern, but still classical Imperial that welcomes guests today. Thankfully, however, Wright’s enduring style continues past his death. In 2005, a stunning 2,300-square-foot Frank Lloyd Wright Suite, created in collaboration with the Frank Lloyd Wright Foundation, was opened to provide guests a unique experience of the master architect’s
LIASONS JUNE 2009,
Wright as an art dealer While working on the Imperial Hotel project, Wright acquired thousands of top-quality Japanese prints, effectively becoming an art dealer and curator. Many of the artworks he sold to clients, friends and wealthy collectors now form the basis of important museum collections worldwide. Wright often sold Japanese prints to decorate the walls of clients’ houses and even designed special stands to display these prints in a modern setting. When architectural work was scarce, Wright resorted to using prints as collateral for loans, and even paid salaries with the prints. His best print clients were the wealthy Spaulding brothers. Wright acted as their private agent during the years he was
building the Imperial. According to Julia Meech, art historian and author of Frank Lloyd Wright and the Art of Japan, “the Spaulding money was the opportunity of a lifetime. The profits he made from the print business at this time [he bought cheaply in Tokyo, and sold at notoriously high prices back home] exceeded his revenue from his own work during this lean period of his career.” Interestingly, Wright speculated his entire commission for the Imperial Hotel on prints. “His own compelling argument in favor of print selling, beyond getting himself out of debt, was that it allowed him to refuse any work that did not interest him, a dream of long standing, and one that any architect would envy,” says Meech.
interior styling. The Suite features original design motifs from the Wright-designed hotel, as well as replicas of his furniture designed at the height of his career. It is the world’s only suite to combine the unique architectural plans of the Wright Hotel with interior designs created by Wright for private residences during the same era. In 2009, the 50th anniversary of his death, the Suite is one of the hotel’s most popular suites. Located on the 14th floor of the Imperial Hotel’s Main Building, the Suite is a perfect example of Wright’s organic aesthetic. Influenced by the natural world, the stately rooms overlook Hibiya Park and the Imperial Palace gardens. These views, in turn, effortlessly harmonize with the genius of Wright’s designs—featuring natural elements such as volcanic stone relief and inlaid oak wood paneling. The Suite’s entranceway utilizes the only wooden door for a guest room on the Imperial Hotel premises. Centrally displayed in the entry corridor is a replica of the multihued Oya stone relief from the Wright Imperial’s Takara room. As with the original relief, another part of which is preserved in the present Old Imperial Bar, this stunning handmade sculpture is carved from volcanic stone. The Suite, which includes a study, living room, dining room, bedroom and two bathrooms, expresses Wright’s
ability to combine simultaneously a simple design aesthetic with intricate details such as round door handles, stained-glass detailing, and carpet patterns from the Wright-era hotel. Ceilings at the entrance hall are intentionally low, with higher ceilings inside the rooms, while interior stained glasses are purposely placed at a higher position from eye-level. Such visual devices were often employed by Wright to heighten a room’s grandeur. The Suite’s furnishings, such as sofas, tables and chairs, were designed by Wright. A replica chandelier is a key feature in the striking dining room, and the Suite is decorated with framed drawings of Wright’s original sketches. The master bedroom offers the Imperial’s original Simmons SleepWorks system bed—with a decorative headboard of unique inlay woodwork that is based on Wright’s sketches. Another area of the Imperial that honors his original design is the Old Imperial Bar located on the mezzanine, in the Main Building. On one wall is an original fresco from the Wright hotel, while the wall behind the bar is completely covered with openwork tiles in the art deco design of the Wright building. Imperial Hotel, +81-(0)3-3504-1111, www.imperialhotel.co.jp