By Donald L. Johnson, Donald Langmead

Quickly after 1900 in either North the US and Europe the evolution from the culture of Mediterranean and Gallic architectural kinds to modernism all started. This phenomenon used to be due, partly, to American business structure and the paintings of Frank Lloyd Wright. Wright's development and architectural treatises of 1898-1908, with the extra support of Dutch propaganda on his behalf, considerably encouraged ecu practitioners and theorists. ecu structure inside of and outdoors of Holland displays an variation of Wright's theories besides the structural determinism of yank commercial structures. With new proof and clean research culled from Dutch and American data, own correspondence, fabric, this learn examines the load of Wright's works and phrases and people of the Dutchmen H.P. Berlage, Theo van Doesburg, Jan Wils, J.J.P. Oud, William Dudok, and Hendrik Theodor Wijdeveld.This new perception at the results of Wright's architectural theories and designs, coupled with an in depth advisor for extra examine, will allure paintings and structure students and historians on either side of the Atlantic and also will be of curiosity to social historians, artists, and designers. occasions and new theories, together with the statement that Hendrik Theodor Wijdeveld was once the catalytic resource in the back of Wright's Taliesin Fellowship demonstrated in 1932, are offered in transparent obtainable language. Tied to the textual content are quite a few visible shows of vital designs and constructions.

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Additional resources for Architectural Excursions: Frank Lloyd Wright, Holland and Europe (Contributions to the Study of Art and Architecture)

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Wright arrived in Yokohama on 20 March 1905. Their five weeks in Japan, together with the Willitses, began a long association that was essential to a sustained interest in oriental art and philosophies. During his absence from the United States Wright's office was managed by Walter Burley Griffin, a young architect whose work was to impress Berlage. Wright's attachment to the Orient was one of the things attractive to Dutch architects at the beginning of the twentieth century, perhaps because it aligned with their own interest.

And third, the realization that different building types called for different esthetic systems. 7). When the young Austrian architect Adolf Loos visited the United States in the 1890s he was unaware of Wright's architecture. Most of it was not well known around the mid-west let alone nationally. Loos' influence upon the course of events in European architecture, however, was at one moment critical and largely determined by his stay in America. Loos had studied architecture at the Dresden Technical College.

The obvious visual differences between Wright's architecture and others' assured that his work would at least be noticed. And Wright verbalized his ideas. Since architecture is an experiential but primarily a visual art, pictures were most useful to architects. That has been confirmed by accounts of those who saw the articles and photographs in 1911. Yet critical questions remain. How was the information otherwise disseminated within Europe? How was Wright's work received? And what was Europe's response?

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