Frank Lloyd Wright
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From the beginning of the 20th century through present day, the relationship between the work of Frank Lloyd Wright and the traditional architecture of Japan has been widely discussed amongst fans and critics. Wright acknowledged an important commitment to Japanese art, and particularly to the woodblock print, but he consistently rejected that Japanese architecture had any direct impact on his work. Wright maintained that the Japanese culture confirmed many of his own design principles, but was not the inspiration for his architectural works.
Japanese art made its US debut at the 1876 Philadelphia Centennial Exposition. Seventeen years later, Japanese architecture became the focus when the Ho-o-den Palace was put on display at the Chicago Worlds Fair (Birk 62). Although Frank Lloyd Wright was familiar with these examples, his fondness of Japanese art did not become apparent until his trip to Japan in 1905. At this time, the young architect became quite taken with Japanese printmakers, who he believed caught the essence of natural materials in rare and beautiful fashion. Wright took pictures of Japanese temples, waterfalls, and other examples of nature. He acquired a huge collection of Japanese art over his lifetime. Wright was also captivated by Japans architecture which some people think started the Japanese influence on his future works. One commentator has gone so far as to suggest that the prairie style with which Frank Lloyd Wright distinguished himself in the early years of this century could more accurately be termed the Japanese style. One particular house Wright designed has a resemblance to the Japanese design.
Frank Lloyd Wright is essentially the “father” of Prairie style, and the acknowledged master of the prairie house. Prairie houses were well suited to the flat, open spaces of the Midwest, and their horizontal compositions helped them blend into the landscape. They utilize low slung roofs with deep overhanging eaves, which are both strong Japanese influences. They were also the first to use interior walls sparingly, providing flowing space and freedom of movement. There was commonly a taller central area, such as a two-story living room, from which wings of the house extended in cruciform, L, or T-shaped plans, among others. A fireplace usually had a central location and provided additional structure support. Casement windows, skylights, and French doors extended the view into the surrounding countryside. There was generous use of wood, especially white oak, as well as fireproof materials such as brick, stucco, and concrete (Commissions 2). When designing the prairie house, Wright kept in mind that the form of the building should articulate its primary function and that architecture should be a social expression, as well as, an art form.
In the early Prairie House, Wright effectively reduced the American suburban dwelling to a simpler form consisting of a large communal space centered on a free-standing chimney and bordered by dining and study areas. The particular configuration of the early Prairie House appears to have had part of its inspiration from the central hall of the Ho-o-den Palace, the Japanese pavilion built in south Chicago for the 1893 Worlds Columbian Exposition, which remained on its well-known island site at the center of Jackson Park for almost half a century (Commissions 3). The plan of the Ho-o-dens central half consisted