Residential Design

Vol 1, 2018

A business-to-business magazine focused on the collaborative process and talented work of residential architects and custom homebuilders.

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Notes From the Symposium After Wright—Rudolf Schindler, Richard Neutra, and Antonin and Noémi Raymond: Pathfinders of Regionalism and Sustainability BY JOHN DEFAZIO, AIA In 1910, Ernst Wasmuth pub- lished "Constructed Buildings and Designs by Frank Lloyd Wright" in Germany. What became known as the Wasmuth Portfolios illustrated not just Wright's innovations in tectonics and planning, but a breakthrough in the very nature of architectural space. Wright had "broken the box." It is said all work ceased for the day when the folios arrived at the Berlin offices of Peter Behrens, where a young Walter Gropius, Ludwig Mies van der Rohe, and Charles-Édouard Jeanneret (Le Corbusier) were all apprenticing at the time. A new generation of architects would soon flock to work with Wright. Four of them—Czech-born-and-trained architect Antonin Raymond and his wife, French-born American artist/designer Noémi Pernessin, and two young Austrian architects, Rudolf Schin- dler and Richard Neutra—joined Wright's employ through the 1910s and '20s. This past fall, the Raymond Farm Center for Living Arts & Design gathered Barry Bergdoll of Colum- bia University and the Museum of Modern Art, Judith Sheine of the University of Oregon, writer/lecturer Barbara Lam- precht, and William Whitaker, curator of the University of Pennsylvania's Louis I. Kahn Archives, to participate in a day- long symposium, "After Wright—Rudolf Schindler, Richard Neutra, and Antonin and Noémi Raymond: Pathfinders of Regionalism and Sustainability." These distinguished schol- ars picked up the story of Wright's influence from there. Tokyo and the Farm Barry Bergdoll's kickoff presentation, "Tokyo and the Farm: Wright's New Departures in the 1910s and 1920s," started by pointing out that although the Wasmuth Portfolios brought great fame to Wright, this was a terrible time for the architect, "filled with personal tragedy and professional setbacks." Quoting Wright scholar Anthony Alofsin, FAIA, of the Univ- eristy of Texas at Austin, Bergdoll described how these "lost years" were actually rich ones creatively for Wright, who was incubating the concepts and forms that distinguished his work in the decades to follow. Displaying a "bird's-eye" rendering that Noémi and Antonin Raymond prepared for Wright's rebuilding of Taliesin East, Bergdoll conjectured that this unique perspective view was a contribution of the Raymonds', Above: Antonin and Noémi Raymond were very involved in the design for Wright's Tokyo Imperial Hotel. After a falling out with the architect, they left to start their own firm in Japan. Photo: Courtesy John DeFazio/CRAN 57 VOL. 1, 2018 RESIDENTIALDESIGNMAGA ZINE.COM AIA CRAN

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