By Donald L. Johnson, Donald Langmead
Quickly after 1900 in either North the United States and Europe the evolution from the culture of Mediterranean and Gallic architectural kinds to modernism started. This phenomenon was once due, partially, to American business structure and the paintings of Frank Lloyd Wright. Wright's development and architectural treatises of 1898-1908, with the extra aid of Dutch propaganda on his behalf, considerably inspired eu practitioners and theorists. ecu structure inside of and out of doors of Holland displays an version of Wright's theories besides the structural determinism of yankee business structures. With new proof and clean research culled from Dutch and American data, own correspondence, fabric, this learn examines the burden 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 artwork and structure students and historians on each 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 used to be the catalytic resource in the back of Wright's Taliesin Fellowship confirmed in 1932, are awarded in transparent available language. Tied to the textual content are a variety of visible displays of important designs and constructions.
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Extra info for Architectural Excursions: Frank Lloyd Wright, Holland and Europe (Contributions to the Study of Art and Architecture)
Such analysis could be of great value to anyone prepared to consider Wright's architecture, and Berlage had declared it was worth thinking about. P. Oud clearly remembered the "enthusiasm with which Berlage spoke of . . 6 Le Corbusier also remembered as shall be revealed. This all happened in Holland within two months of Berlage's Amsterdam talks. With a few words, he had sparked a good deal of interest in Wright, with praise approaching adulation. That interest was fuelled by the professional journals of groups who emphasized widely diverse aspects of the architectural process and product: conservative and progressive architects, engineers and technologists.
During 1909-1910 Ludwig Mies van der Rohe was working in the Berlin office of Peter Behrens just when Wright frequented the German capital to discuss matters with Wasmuth and visit his mistress. Later commenting upon an exhibition of Wright's drawings in Berlin that coincided with his presence in Europe, the Ausgefuhrte portfolio and with Mohring's lecture about Wright, Mies wrote: This comprehensive display and the extensive publication of his works enabled us really to become acquainted with [Wright's] achievement.
The machine (for repetitively producing the new materials) was the symbol of a modem post-1918, independent Europe. The almost universal application of the box throughout the Western world meant to those who so wished, as Gropius (with a political bent) perceived as early as 1925, that it could be a uniting internationalist symbol because of its non-cultural newness. With obvious purpose it was dubbed an "international" architecture, a new style. Almost suddenly, in 1911 Gropius (with Adolf Meyer) completed buildings for the Fagus shoe last factory using Albert Kahn's steel and glass facade (for the administration building and workshop) and Wright's brickwork and other elements on the entry.