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Frank Lloyd Wright Research Papers

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While most American draftsmen in the early 1900s looked to Europe and European draftsmen for concepts, Frank Lloyd Wright found Japanese design and art more inspirational. He collected and mounted displays of Japanese art. Wright also found significant clients in Japan who understood and appreciated his work. Wright was first fascinated by Japanese art in 1893, when he saw Japan’s pavilions at the sprawling world fair in Chicago.
His attentiveness in Japan’s art and culture bloomed during several trips there starting in 1905. He returned from his first trip to Japan with hundreds of ukiyo-e (woodblock) prints, planning to sell them in America. Wright often sold his clients art to hang on the walls he had built, explaining that they completed his streamlined interiors. Japanese prints, especially traditional bird and flower images, had easily understandable ideas. Wright's collection eventually became the key to his financial survival he used the prints as a struggling beneficiary might use the family jewels, to settle his debts in difficult times; he always bought more when he was flush.
The Imperial Hotel in Tokyo, Japan, designed in 1915, was one of Wright's impressive, most sophisticated projects. But by the early 1920s, Wright was working in insignificance, that is, few people knew of him or his work. He had spent much
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He borrowed landscape, using windows or doorways like picture frames a concept the Japanese call shakkei. Even his fascination with geometric shapes is in keeping with the rectangular straw tatami mat, the base of Japan's traditional architecture. But his open plans, where space flows from room to room, are completely outside Japanese tradition. Wright fused East and West, and he loved the element of surprise. You'd go down a corridor with a low ceiling and then come out into an open
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