fbpx
Wikipedia

Antonin Raymond

Antonin Raymond (or Czech: Antonín Raymond), born as Antonín Reimann (10 May 1888 – 25 October 1976)[1] was a Czech American architect. Raymond was born and studied in Bohemia (now part of the Czech Republic), working later in the United States and Japan. Raymond was also the Consul of Czechoslovakia to Japan from 1926 to 1939, in which year the Czech diplomacy was closed down after the occupation of the European country by Nazi Germany.

Antonín Raymond
Born
Antonín Reimann

(1888-05-10)10 May 1888
Died25 October 1976(1976-10-25) (aged 88)[1]
NationalityCzechoslovak, later American
OccupationArchitect
AwardsMedal of Honor by the New York Chapter of American Institute of Architects, The Third Order of Merit of the Rising Sun by Emperor Hirohito
BuildingsReinanzaka House, Golconde Dormitory, Reader’s Digest Offices, Nanzan University

Raymond's initial work with American architects Cass Gilbert and Frank Lloyd Wright gave him an insight into the use of concrete for texture and structure that he would refine throughout his six-decade career. At studio practices in New Hope, Pennsylvania and Tokyo, he explored traditional Japanese building techniques combined with the latest In American building innovations. Raymond applied these principles to a wide range of residential, commercial, religious, and institutional projects in Japan, America, India, and the Philippines.

Along with British architect Josiah Conder, Raymond is recognized as one of the fathers of modern architecture in Japan.[2]

Biography edit

Raymond was born on 10 May 1888, in Kladno, Central Bohemia (now the Czech Republic) to Alois Reimann, a Jew of German descent, and his wife Růžena, a Catholic. Following the death of his mother and the bankruptcy of his father's shop the family moved to Prague in 1905. Raymond started at the Reálné gymnasium (secondary school aimed at more technical/practical sciences) in Kladno, then continued at a similar school in Prague.[3]

In 1906 Raymond entered Vysoká Škola Technická, the Czech Polytechnic Institute, studying under Josef Schultz and Jan Koula.[4] He completed his studies in Trieste in 1910 before leaving for New York City.

There, he began a three-year employment with Cass Gilbert, working on a number of projects including external architectural details for the Woolworth Building[3] and the Austin, Nichols and Company Warehouse in Brooklyn. His experience on the latter of these gave him an insight into the structural and textural properties of concrete.[5]

He began studying painting at the Independent School of Art in the Lincoln Square Arcade Building in 1912, but was forced to curtail a painting trip to Italy and North Africa with the onset of World War I. On his trip back to New York, he met his future wife and business partner, Noémi Pernessin, and they were wed on 15 December 1914.[6] In early 1916 he became an American citizen, naturalizing his name, Antonín Reimann, to Antonin Raymond.[4]

Employment with Frank Lloyd Wright edit

Raymond's initial encounter with the work of Frank Lloyd Wright came in 1908–1910 when he saw a small monograph and later (1910) a large portfolio of Wright's work published in Berlin. In his autobiography, Raymond recounts how deeply he and his fellow students were impressed by Wright's design: "Wright had restated the principles of building; he had overcome the cell, liberated the plan, made space flow, given buildings a human scale and blended them with nature, all in a romantic, sensual and original way that left us breathless."[7]

Through the influence of a mutual friend, Frank Lloyd Wright agreed to employ Raymond in May 1916.[6] Initially, Raymond and Noémi worked with Frank Lloyd Wright at Taliesin in Spring Green, Wisconsin. In 1917 he enlisted with the United States Army, serving overseas with the American Expeditionary Force. Upon his discharge from the army and his return to New York, Wright persuaded him to go to Tokyo with him to work on the Imperial Hotel.[6]

Although he remained as Wright's chief assistant for one year, Raymond soon became bored with the work. He became concerned that "the design had nothing in common with Japan, its climate, its traditions, its people and its culture".[8] Also, whilst his work with Gilbert showed him the great possibilities of concrete, Wright did not see concrete in the same way, preferring to encase it with brickwork or carved Oya Stone.[9]

Although Raymond proposed continuing working for Wright, he was eventually dismissed in January 1921. In February of the same year, he set up the American Architectural and Engineering Company in Tokyo with Leon Whittaker Slack.[10]

Japan and the Inter-war years edit

In the Tokyo Woman's Christian College, commenced in 1924, Raymond's architecture can be seen to still be heavily influenced by Wright. Its low, hipped roof and overhanging eaves are reminiscent of Wright's Prairie Houses.[11] This early work also demonstrates his interest in Czech Cubism and the work of Auguste Perret.[12]

 
Reinanzaka House (1924)

After their own house was destroyed in the Great Kantō earthquake, Raymond designed a new one, the Reinanzaka House, in Azabu, Tokyo. His desire to free himself from Wright's influence led him to explore spatial relationships between living, working and dining areas and how spaces could be closed off with folding screens.[13]The house is built almost entirely of in situ concrete. Raymond's workforce were enthusiastic in their use of this new material, likening it to the walls of traditional kura storehouses.[14] The house itself had metal fenestration, tubular steel trellises and traditional rain chains rather than rainwater downpipes. The interior too was well in advance of other houses of the International Style with the use of cantilevered tubular steel furniture.[15]

After a number of staff changes, the practice was renamed Antonin Raymond, Architect.[16]

Czechoslovak Consul in Japan edit

 
Italian embassy villa in Nikko (1928)
 
Summer House, Karuizawa (1933), today part of the Peynet Museum

Despite becoming a naturalized American citizen in 1916, Raymond became the honorary consul for the Czechoslovak Republic, representing the government of T. G. Masaryk. This gave him influence outside those circles normally associated with an architect of his age.[17] From 1928 to 1930, Raymond designed and remodelled the American, Soviet and French embassies. He also undertook work for the Rising Sun Petroleum Company, designing 17 earthquake-proof and fireproof employee houses, the general office building, the manager's residence and two prototype service stations, one in steel and the other in concrete. All were constructed in an International Modern Style.[18]

Corbusier inspiration edit

Since the Reinanzaka House, Raymond had been interested in the work of Swiss architect Le Corbusier. He acknowledged that further contribution of Corbusier's ideas to the practice came in 1930, when Kunio Maekawa (who had just returned from two years working for Le Corbusier in his Paris Office) joined.[19] He later applied Le Corbusier's ideas to vernacular Japanese architecture. Based upon Le Corbusier's unbuilt residential scheme for Mr. Errazuris in Chile, he designed a summer house for himself in Karuizawa, Nagano. Where Corbusier had used rough masonry and a tiled butterfly roof, Raymond used cedar with larch thatch.[20] Although the design was criticised by an American reviewer for being a copy of Le Corbusier's design, the Frenchman was so flattered and surprised that he included a photo of it in the third volume of his Oeuvre complète:[21]

Please be assured that there is no bitterness between us, but–as you yourself say–you made a slight mistake, that is you neglected to send me a note when you published the images of your Tokyo house, which is very pretty, by the way.

Extract of a letter from Le Corbusier to Antonin Raymond, 7 May 1935.[22]

In 1922, Raymond had been admitted to Tokyo Golf Club and when it relocated to Asaka, Saitama in 1932, he was asked to design it. His links to golfer Shiro Akaboshi also led to several residential commissions.[23]

In 1937 in Tokyo, Articles of Association forming a new firm, Reymondo Kenchiku Sekkei Jimusho, were signed by Antonin, Noémi and a number of Japanese architects, including Junzō Yoshimura.[3]

Sri Aurobindo Ashram edit

 
Golconde dormitory of the Sri Aurobindo Ashram in Pondicherry (1935)

In January 1938, Raymond, Noémi, and their son left Tokyo bound for America. This six-month journey took them initially to the Indian subcontinent and then on to Europe, including a trip to Prague.[6]

In 1935, Raymond's office had accepted a commission to design a dormitory for the Sri Aurobindo Ashram in Pondicherry, part of French India in southeast India.[24] A preliminary site visit was made by George Nakashima and the schematic design was completed in 1936. Although Raymond had envisioned that the dormitory would be completed in six months, Sri Aurobindo was concerned that the noise of construction would disturb the ashram, so he decided that the building would be constructed by its residents.[25]

Initially, Nakashima, Francois Sammer (a Czech architect who had worked for Le Corbusier in Russia), and Chandulal (a devotee who had trained as an engineer), built a full-scale model of the dormitory in order to test the feasibility of the design, and then used it as a laboratory to further refine the construction methods. Nakashima's duties included doing very explicit detail drawings showing, for example, the design of the concrete formwork. Devotees even donated brass utensils so that they could be melted down to make door handles and hinges.[26]

Raymond sought to mitigate the effects of the Pondicherry climate and oriented the Golconde dormitory (as it became known), so that its main facades faced north and south to make use of the prevailing breeze. A combination of moveable louvres on the exterior skin and woven teak sliding doors permitted ventilation without compromising on privacy. The building is still in use as an ashram today.[26] It was the first modernist building in India.[27]

The New Hope experiment edit

In 1939, Raymond's architectural practice in the United States began with the purchase and conversion of his farm and studio in New Hope, Pennsylvania. He and his wife's goal was to "create a physical and intellectual environment that mirrored and supported their approach to modern design-one that synthesised International Style developments with lessons learned from Japan's craft tradition".[28] They hoped that the lifestyle and design ethos that they would create, would be simpler and more in tune with nature, similar in set up to Frank Lloyd Wright's Taliesin Fellowship.

The Raymonds modified the house to create a more open plan feel, separated by Japanese fusuma partitions and shōji screens. The rooms were filled with objects of art, including rugs designed by Noémi and crockery by the Mingei designer Minagawa Masu.[29]

Raymond developed a prospectus for aspiring architects to come and live and study at New Hope and he attracted at least 20. In addition to teaching practical design solutions, the apprentices had hands-on work with various building trades. Farm work and hay making contributed a physical aspect. Students included Junzō Yoshimura and Carl Graffunder, and the farm was visited by people like Eero Saarinen and Alvar Aalto.[30]

Once the students had become settled, Raymond sought real-world projects for them to work upon, to put his theories into practice. Projects included an assortment of houses and extensions in New Jersey, Connecticut and Long Island.[31]

In May 1943, the Raymonds vouched for George Nakashima and his family, releasing them from a Japanese internment camp in Idaho, so that they could come and live at the New Hope farm.[32]

The war years (1941–1945) edit

With the approach of the Second World War, Raymond moved back to New York, ending the New Hope experiment. He formed a partnership with civil engineer Arthur Tuttle, structural engineer Elwyn Seelye and mechanical engineer Clyde Place. With the country's emphasis on the war effort, the company focused on US army contracts. Their work included: prefabricated houses at Camp Kilmer, New Jersey (1942) and Camp Shanks, New York (1942–1943) and housing and an airport in Fort Dix, New Jersey (1943). Controversially, in 1943, Raymond was asked to design a series of middle class Japanese style homes so that the Army could test the effectiveness of ordnance (specifically incendiaries) intended for use in targeted air bombing raids on Tokyo and other Japanese cities. These houses were eventually erected on the Dugway Proving Ground, nicknamed "Japanese Village". Raymond admitted in his autobiography that he was not proud of the work. [33]

Practice with Ladislav Rado edit

After the war, Raymond's practice with Tuttle, Seelye and Place was dissolved. He formed a new company with Slovak architect, Ladislav Leland Rado (1909–1993), and named it Raymond & Rado. Although this company lasted until Raymond's death in 1976, they practised apart, with Rado in the New York office and Raymond in Tokyo. Whilst Raymond explored pottery and sculpture (making friends with Tarō Okamoto and Ade Bethune), Rado pursued an orthogonal rationalism that Raymond would eventually distance himself from.[34]

Projects in the United States during the late 1940s allowed Raymond to gain a foothold in occupied Japan. This helped to restart the building boom in occupied Japan after the war.[35] This was mainly achieved through contacts made in his previous practice and those that he and Rado made in New York.

Their single story Great River Station on the Long Island Rail Road, expressed Raymond's fondness for inexpensive, simple materials. It had fieldstone retaining walls and a flat roof supported in each corner with a redwood post. The wide expanse of glazing created a modernist pavilion.[36]

In the St. Joseph the Worker Chapel, Victorias, in the Philippines, Raymond worked with liturgical artist Ade Bethune, to produce mosaic murals and a lacquerware tabernacle inside the reinforced concrete church. The interior was adorned with colourful frescoes by Alfonso Ossorio. The church acted as a social centre for employees of the Ossorio sugar cane refinery.[36] The church is regarded as one of the first examples of modern sacred architecture in the country.

The practice were also responsible for a number of parks and recreation buildings across the United States in the late 1940s, built largely to commemorate victory in the war.[36]

The Reader's Digest Building edit

In 1947, Raymond petitioned General MacArthur for permission to enter occupied Japan in order to participate in the reconstruction process. His staff from Reymondo Kenchiku Sekkei Jimusho had looked after the drawings and documents of the office through the war and Raymond decided to reopen the office.[37]

Raymond received the commission for the Reader's Digest Building from Mrs DeWitt Wallace on his return from Japan in 1949. She wanted a design that would show the best that America could offer. The site acquired for the building was opposite the Hirakawa Gate of the Imperial Palace.[37] Its choice was treated with great resentment by the Japanese who felt that favouritism was shown by the Occupation authorities in allowing an American company to utilise a prominent site that would have served better as a park.[38] Taking influence from Le Corbusier, Raymond responded to this criticism by masterplanning the site by using a Ville Radieuse inspired layout with the building set in gardens with sculptures by the Japanese American sculptor, Isamu Noguchi.

The long, rectilinear, two-storey building, had a double cantilevered frame supported on a single row of concrete columns. These columns tilted outwards from a vertical position. Floor to ceiling glazing on the second storey opened out onto a balcony running the length of the building. It included technical innovations from America including acoustic ceiling tiles, underfloor electricity ducts and fluorescent lighting.[37]

It is considered the first large building in which Raymond managed to use his principles of simplicity, economy of materials, elegance and lightness learned from his residential works. Raymond cited the design of the Hiroshima Peace Museum by Kenzo Tange as being an external imitation of the Reader's Digest Building.[39]

Despite winning awards when first completed, the Reader's Digest Building was demolished in 1963[40] to be replaced by the nine-floor Palaceside Building, a mixed used office building designed by Shōji Hayashi that for many years has served as the headquarters of the Mainichi Newspaper.

Experimentation in Tokyo edit

 
Gunma Music Center (1955–61)
 
Nanzan University campus in Nagoya (1964)

Raymond purchased land in the Nishi Azabu district of Tokyo to build his new office and living quarters. The office was built using the traditional Japanese post and lintel type construction using unplaned timber logs. The office served as a proving ground for the latest American building innovations including veneered plywood and suspended metal ductwork for forced air heating. Taking influence from Le Corbusier's modulor, Raymond used the traditional Japanese module of the ken (based upon the size of tatami mats) as a unit of measure to set out the building's structure. Again he used fusuma partitions and shoji screens, but in a modern way to divide up the spaces.[41]

Raymond sought to use the design and construction of the office as a platform to inform prototype dwellings for the post war reconstruction of Japan.[41]

In 1955, Raymond began a commission in Takasaki, Gunma Prefecture for a Music Centre to house the Gunma Symphony Orchestra. Out of respect for the historic site and the budget constraints, he designed a building built on three premises: it would have an economical structural system, there would be equality of sight lines and acoustics for each seat, and the building would have a low profile without a fly tower. Raymond achieved these aims by using a series of 12 centimetres (4.7 in) thick, reinforced concrete ribs connected together like an accordion and spanning 60 metres (200 ft).[12]

In 1961, he was commissioned to design the Catholic-based Nanzan University in Nagoya. It was one of the largest projects that he would undertake. The campus was orientated on a north–south axis across rolling hills and the eight buildings were arranged to suit the topography and harmonise with the landscape. In-situ concrete is used throughout the scheme and each building has its own concrete form, some with pilotis, others with shells.[42]

Located to the east of the Nanzan Campus is the Divine Word Seminary Chapel (1962). This is a building that exploits the plastic capacity of concrete, with two intersecting shells forming a bell tower. These are punctured with vertical slots which allow light to radiate along the curved interior walls.[43]

Influence of his wife Noémi Raymond edit

 
Antonin Raymond and Noémi Pernessin in New York, ca. 1914

Born in 1889 in Cannes to Swiss-French parents, Noémi moved to New York in 1900, and later studied Fine Art and Philosophy at Columbia Teachers College. Here, she was influenced by the painter and educator Arthur Wesley Dow. During Raymond's period of training as a painter, Noémi supported them both by doing graphic work for publications like the New York Sun and New York Herald Tribune.[44] When they both moved to Taliesin she became interested in 3D design. She also polished her knowledge of Japanese crafts, becoming a broker for clients such as Rudolph Schindler's wife, Pauline Gibling.

Noémi's influence on Raymond during the inter-war years was substantial.[45] She encouraged him to break away from Wright's rigid style and explore the design of the Reinanzaka House. She increased her interest in Japanese art and philosophy, including ukiyo-e woodblock prints and introduced Raymond to various influential people, including the mystic philosopher Rudolf Steiner.

She expanded her design repertoire to include textiles, rugs, furniture, glass and silverware. Noémi exhibited in Tokyo in 1936 and New York in 1940, and her textiles were chosen by American designers like Louis Kahn to cover furniture in their designs.[46]

Noémi also contributed to the design of the studio in Nishiazabu and a series of Raymond's villas during the 1950s, including the Hayama Villa (1958).[47]

A legacy in concrete edit

Ignored by Henry-Russell Hitchcock, Jr and Philip Johnson in their curatorial celebration of the International Style in 1932, and despite the homecoming exhibition of his work staged in the Rockefeller Center in 1939 and the AIA New York Chapter Medal of Honor that was awarded to him 17 years later in 1956, one has the feeling that Raymond's achievements were always somehow grudgingly received by his compatriots. And even now, over 50 years later... there remains a silent consensus in the field that is reluctant to acknowledge the unrivalled excellence and breathtaking scope of Raymond's architectural career.

 
Interior of St. Anselm's Church, Tokyo (1954)
 
Divine Word Seminary Chapel of Nanzan University, Nagoya (1962)

When Wright left, Raymond set up his own office, he advertised himself as a specialist in reinforced concrete. He was aware of its textural properties from Cass Gilbert, its structural ones from Wright, and its benefits in relation to earthquake proofing. His first major independent project in 1921 was to design Hoshi Pharmaceutical School, which was one of the first reinforced concrete buildings in Tokyo.[49] Raymond used precast concrete to form decorative elements for the building, such as window mullions. In a partially successful experiment, he used wooden formwork to imprint a texture onto the concrete (but he chose to cover it up).

On the Reinanzaka House, the labourers were skilled in the use of wood, and helped Raymond engrain the texture of cedar onto the concrete. This was further explored on the Tetsuma Akaboshi and the Morinosuke Kawasaki houses, where the concrete walls of the luxurious interiors were imprinted with cypress textures.[50] On the Karuizawa Studio, workmen polished the concrete with sand and straw to reveal the texture of the aggregate. Whilst at Nanzan University, the south facing facades were cast with checkerboard patterns, with applied metalwork casting abstract shadows on the surface.

Raymond's techniques endeared him to the Japanese architectural psyche, and in 1958, the editor of the architectural magazine Shinkenchiku, Yoshioka Yasugoro remarked, "it is doubtful that concrete is handled with such pains anywhere except in Japan. The idea of an exposed concrete surface seems to fit in with Japanese ideas of decor."[43] Post war architects like Tadao Ando have become famous for their use of exposed concrete.[51]

Raymond's use of a traditional post and beam structure in concrete for the Reinanzaka House was a technique that was adopted by post war Japanese architects such as Kenzo Tange.

Predating Le Corbusier's work in Chandigarh, the Golconde dormitory used a monolithic concrete structure with deep overhangs and louvres to adapt to specific climatic conditions. The building pioneered the use of reinforced concrete in India.[52]

Although Raymond's technique of exposing and perfecting concrete surfaces would come to be seen as "typically Japanese" over time, it is important to note that this entailed polishing and waterproofing the exposed surface rather than covering it with white tiles.

— Ken Tadashi Oshima [51]

Antonin Raymond died at St. Mary's Hospital in Langhorne, Pennsylvania, on 25 October 1976, aged 88.[1] His wife Noémi died four years later, aged 91. Raymond Architectural Design Office continues to practice in Tokyo.

Selected works edit

 
Ehrismann Residence, Yamate (1927)
  • Tokyo Woman's Christian College, Tokyo (1921–1938)
  • Reinanzaka House, Tokyo (1924)
  • Hoshi University Main Building, Tokyo (1924)
  • Ehrismann Residence, Yamate, Yokohama (1927)
  • The American School in Japan, Meguro Campus, Tokyo (1927)
  • Italian Embassy Villa, Nikko (1929)
  • Troedsson Villa, Nikko (1931)
  • Tokyo Golf Club, Asaka (1932)
  • Summer House, Karuizawa (1933)
  • Akeboshi Tetsuma House, Tokyo (1933)
  • Morinosuke Kawasaki House, Tokyo (1934)
  • Tokyo Woman's Christian College Chapel/Auditorium (1934)
  • Raymond Farm, New Hope (1939)
  • The Huyler Building, Buffalo, New York (interior) (1939–1940)
  • St. Joseph the Worker Church, Victorias City, Negros, the Philippines (1949)
  • Raymond House and Studio, Azabu (1951)
  • Reader's Digest Offices, Tokyo (1951)
  • Cunningham House, Tokyo (1954)
  • St. Anselm's Church, Tokyo (1954)
  • Yawata Steel Otani Gymnasium, KitaKyushu (1955), (GoogleEarth 33.862184,130.806841)
  • Yaskawa Head Offices, KitaKyushu, (1954)
  • St. Alban's Church, Tokyo (1956)
  • Hayama Villa, Hayama (1958)
  • Moji Golf Club, KitaKyushu (1959)
  • St. Michael's Church, Sapporo (1960)
  • New Studio, Karuizawa (1962)
  • St. Paul Church, Shiki (1963)
  • St. Paul's Chapel, Rikkyo Niiza Junior and Senior High School, Niiza Campus, Saitama (1963)
  • Nanzan University Campus (1964)
  • Chapel and Lecture Hall, Rikkyo Boys Primary School, Tokyo (1966)

Awards edit

Publications edit

  • 1935 Antonin Raymond: His Work in Japan 1920–1935 published by Jônan Shoin, Tokyo
  • 1938 Architectural Details published by the International Architectural Association, Tokyo
  • 1962 The Works of Antonin Raymond Architectural Association Journal
  • 1967 Watakushi to nihon kenchiku (Myself and Japanese Architecture) A collection of writings and lectures, published by Kajima Shuppansha, Tokyo
  • 1970 Jiden (autobiography) published in Japanese by Kajima Shuppansha, Tokyo
  • 1973 Antonin Raymond: An Autobiography published by Charles E. Tuttle Company of Rutland, Vermont and Tokyo, Japan

See also edit

Footnotes edit

  1. ^ a b c "Deaths Elsewhere", Miami Herald, 30 October 1976, p. 10
  2. ^ Helfrich & Whitaker 2006, p. 25.
  3. ^ a b c Helfrich & Whitaker 2006, p. 266.
  4. ^ a b Gloaguen, Yola (Winter 2016–17). "Antonin Raymond, an Architectural Journey from Bohemia to Japan in the Early 20th Century" (PDF). The Friends of Czech Heritage (16): 10–13.
  5. ^ Helfrich & Whitaker 2006, p. 66.
  6. ^ a b c d Helfrich & Whitaker 2006, p. 267.
  7. ^ Raymond 1973, p. 24.
  8. ^ Stewart 2002, p. 89.
  9. ^ Helfrich & Whitaker 2006, pp. 66–67.
  10. ^ Helfrich & Whitaker 2006, p. 268.
  11. ^ Reynolds 2001, p. 82.
  12. ^ a b Japan Architect 2005, p. 22.
  13. ^ Helfrich & Whitaker 2006, p. 96.
  14. ^ Helfrich & Whitaker 2006, p. 68.
  15. ^ Frampton 1990, p. 258.
  16. ^ Helfrich & Whitaker 2006, p. 269.
  17. ^ Reynolds 2001, p. 81.
  18. ^ Stewart 2002, p. 129.
  19. ^ Reynolds 2001, p. 84.
  20. ^ Stewart 2002, p. 33.
  21. ^ Helfrich & Whitaker 2006, p. 27.
  22. ^ Helfrich & Whitaker 2006, p. 332.
  23. ^ Stewart 2002, pp. 134–135.
  24. ^ Gupta & Mueller 2021, p. 148.
  25. ^ Gupta & Mueller 2021, p. 149.
  26. ^ a b Gupta & Mueller 2021, p. 150.
  27. ^ Sharma n.d.
  28. ^ Helfrich & Whitaker 2006, p. 48.
  29. ^ Helfrich & Whitaker 2006, p. 49.
  30. ^ Helfrich & Whitaker 2006, p. 50.
  31. ^ Helfrich & Whitaker 2006, p. 51.
  32. ^ Helfrich & Whitaker 2006, p. 272.
  33. ^ Helfrich & Whitaker 2006, p. 53.
  34. ^ Helfrich & Whitaker 2006, pp. 55–56.
  35. ^ Reynolds 2001, p. 161.
  36. ^ a b c Helfrich & Whitaker 2006, p. 56.
  37. ^ a b c Stewart (1987), p. 165
  38. ^ Reynolds 2001, p. 162.
  39. ^ Stewart 2002, p. 168.
  40. ^ Helfrich & Whitaker 2006, p. 40.
  41. ^ a b Helfrich & Whitaker 2006, pp. 57–58.
  42. ^ Japan Architect 2005, p. 124.
  43. ^ a b Helfrich & Whitaker 2006, p. 74.
  44. ^ Helfrich & Whitaker 2006, p. 16.
  45. ^ Helfrich & Whitaker 2006, p. 17.
  46. ^ Helfrich & Whitaker 2006, p. 18.
  47. ^ Helfrich & Whitaker 2006, p. 20.
  48. ^ Frampton 2006, p. 9.
  49. ^ Helfrich & Whitaker 2006, p. 67.
  50. ^ Helfrich & Whitaker 2006, p. 69.
  51. ^ a b Helfrich & Whitaker 2006, p. 75.
  52. ^ Gupta & Mueller 2021, p. 147.
  53. ^ Johnson & Langmead 2013, p. 263.

References edit

  • Frampton, Kenneth (1990) [1980]. Modern Architecture a Critical History (Revised and enlarged ed.). Thames and Hudson. ISBN 0-500-20201-X.
  • Frampton, Kenneth (2006). Foreword. Crafting a Modern World: The Architecture and Design of Antonin and Noemi Raymond. By Helfrich, Kurt; Whitaker, William. Princeton Architectural Press. ISBN 1-56898-583-5.
  • Gupta, Pankaj Vir; Mueller, Christine (2021). Golconde: The Introduction of Modernism in India (2nd ed.). Actar D. ISBN 9781638408161.
  • Helfrich, Kurt; Whitaker, William (2006). Crafting a Modern World: The Architecture and Design of Antonin and Noemi Raymond. New York: Princeton Architectural Press. ISBN 1-56898-583-5.
  • Japan Architect (Spring 1999). "Antonin Raymond". Japan Architect. 33.
  • Japan Architect (Spring 2005). "Docomomo Japan: The 100 Selections". Japan Architect. 57. ISSN 0448-8512.
  • Johnson, Donald Leslie; Langmead, Donald (2013). Makers of 20th-Century Modern Architecture: A Bio-Critical Sourcebook. Routledge. ISBN 978-1-136-64056-8.
  • Raymond, Antonin (1973). Antonin Raymond: An Autobiography. Charles E Tuttle Co.
  • Reynolds, Jonathan McKean (2001). Maekawa Kunio and the Emergence of Japanese Modernist Architecture. University of California Press. ISBN 0-520-21495-1.
  • Sharma, Komal (n.d.). "Golconde: The First Modernist Building in India". Metropolis.
  • Stewart, Dennis B (2002). The Making of a Modern Japanese Architecture: From the Founders to Shinohara and Isozaki. Kodansha International. ISBN 4-7700-2933-0.

External links edit

  • Raymond Digital Archives 8 September 2019 at the Wayback Machine (in Japanese, Flash required)
  • Raymond Architectural Design Office 8 September 2019 at the Wayback Machine

antonin, raymond, czech, antonín, raymond, born, antonín, reimann, 1888, october, 1976, czech, american, architect, raymond, born, studied, bohemia, part, czech, republic, working, later, united, states, japan, raymond, also, consul, czechoslovakia, japan, fro. Antonin Raymond or Czech Antonin Raymond born as Antonin Reimann 10 May 1888 25 October 1976 1 was a Czech American architect Raymond was born and studied in Bohemia now part of the Czech Republic working later in the United States and Japan Raymond was also the Consul of Czechoslovakia to Japan from 1926 to 1939 in which year the Czech diplomacy was closed down after the occupation of the European country by Nazi Germany Antonin RaymondBornAntonin Reimann 1888 05 10 10 May 1888Kladno Kingdom of Bohemia Austria HungaryDied25 October 1976 1976 10 25 aged 88 1 Langhorne Pennsylvania U S NationalityCzechoslovak later AmericanOccupationArchitectAwardsMedal of Honor by the New York Chapter of American Institute of Architects The Third Order of Merit of the Rising Sun by Emperor HirohitoBuildingsReinanzaka House Golconde Dormitory Reader s Digest Offices Nanzan University Raymond s initial work with American architects Cass Gilbert and Frank Lloyd Wright gave him an insight into the use of concrete for texture and structure that he would refine throughout his six decade career At studio practices in New Hope Pennsylvania and Tokyo he explored traditional Japanese building techniques combined with the latest In American building innovations Raymond applied these principles to a wide range of residential commercial religious and institutional projects in Japan America India and the Philippines Along with British architect Josiah Conder Raymond is recognized as one of the fathers of modern architecture in Japan 2 Contents 1 Biography 1 1 Employment with Frank Lloyd Wright 2 Japan and the Inter war years 2 1 Czechoslovak Consul in Japan 2 2 Corbusier inspiration 3 Sri Aurobindo Ashram 4 The New Hope experiment 5 The war years 1941 1945 6 Practice with Ladislav Rado 7 The Reader s Digest Building 8 Experimentation in Tokyo 9 Influence of his wife Noemi Raymond 10 A legacy in concrete 11 Selected works 12 Awards 13 Publications 14 See also 15 Footnotes 16 References 17 External linksBiography editRaymond was born on 10 May 1888 in Kladno Central Bohemia now the Czech Republic to Alois Reimann a Jew of German descent and his wife Ruzena a Catholic Following the death of his mother and the bankruptcy of his father s shop the family moved to Prague in 1905 Raymond started at the Realne gymnasium secondary school aimed at more technical practical sciences in Kladno then continued at a similar school in Prague 3 In 1906 Raymond entered Vysoka Skola Technicka the Czech Polytechnic Institute studying under Josef Schultz and Jan Koula 4 He completed his studies in Trieste in 1910 before leaving for New York City There he began a three year employment with Cass Gilbert working on a number of projects including external architectural details for the Woolworth Building 3 and the Austin Nichols and Company Warehouse in Brooklyn His experience on the latter of these gave him an insight into the structural and textural properties of concrete 5 He began studying painting at the Independent School of Art in the Lincoln Square Arcade Building in 1912 but was forced to curtail a painting trip to Italy and North Africa with the onset of World War I On his trip back to New York he met his future wife and business partner Noemi Pernessin and they were wed on 15 December 1914 6 In early 1916 he became an American citizen naturalizing his name Antonin Reimann to Antonin Raymond 4 Employment with Frank Lloyd Wright edit Raymond s initial encounter with the work of Frank Lloyd Wright came in 1908 1910 when he saw a small monograph and later 1910 a large portfolio of Wright s work published in Berlin In his autobiography Raymond recounts how deeply he and his fellow students were impressed by Wright s design Wright had restated the principles of building he had overcome the cell liberated the plan made space flow given buildings a human scale and blended them with nature all in a romantic sensual and original way that left us breathless 7 Through the influence of a mutual friend Frank Lloyd Wright agreed to employ Raymond in May 1916 6 Initially Raymond and Noemi worked with Frank Lloyd Wright at Taliesin in Spring Green Wisconsin In 1917 he enlisted with the United States Army serving overseas with the American Expeditionary Force Upon his discharge from the army and his return to New York Wright persuaded him to go to Tokyo with him to work on the Imperial Hotel 6 Although he remained as Wright s chief assistant for one year Raymond soon became bored with the work He became concerned that the design had nothing in common with Japan its climate its traditions its people and its culture 8 Also whilst his work with Gilbert showed him the great possibilities of concrete Wright did not see concrete in the same way preferring to encase it with brickwork or carved Oya Stone 9 Although Raymond proposed continuing working for Wright he was eventually dismissed in January 1921 In February of the same year he set up the American Architectural and Engineering Company in Tokyo with Leon Whittaker Slack 10 Japan and the Inter war years editIn the Tokyo Woman s Christian College commenced in 1924 Raymond s architecture can be seen to still be heavily influenced by Wright Its low hipped roof and overhanging eaves are reminiscent of Wright s Prairie Houses 11 This early work also demonstrates his interest in Czech Cubism and the work of Auguste Perret 12 nbsp Reinanzaka House 1924 After their own house was destroyed in the Great Kantō earthquake Raymond designed a new one the Reinanzaka House in Azabu Tokyo His desire to free himself from Wright s influence led him to explore spatial relationships between living working and dining areas and how spaces could be closed off with folding screens 13 The house is built almost entirely of in situ concrete Raymond s workforce were enthusiastic in their use of this new material likening it to the walls of traditional kura storehouses 14 The house itself had metal fenestration tubular steel trellises and traditional rain chains rather than rainwater downpipes The interior too was well in advance of other houses of the International Style with the use of cantilevered tubular steel furniture 15 After a number of staff changes the practice was renamed Antonin Raymond Architect 16 Czechoslovak Consul in Japan edit nbsp Italian embassy villa in Nikko 1928 nbsp Summer House Karuizawa 1933 today part of the Peynet MuseumDespite becoming a naturalized American citizen in 1916 Raymond became the honorary consul for the Czechoslovak Republic representing the government of T G Masaryk This gave him influence outside those circles normally associated with an architect of his age 17 From 1928 to 1930 Raymond designed and remodelled the American Soviet and French embassies He also undertook work for the Rising Sun Petroleum Company designing 17 earthquake proof and fireproof employee houses the general office building the manager s residence and two prototype service stations one in steel and the other in concrete All were constructed in an International Modern Style 18 Corbusier inspiration edit Since the Reinanzaka House Raymond had been interested in the work of Swiss architect Le Corbusier He acknowledged that further contribution of Corbusier s ideas to the practice came in 1930 when Kunio Maekawa who had just returned from two years working for Le Corbusier in his Paris Office joined 19 He later applied Le Corbusier s ideas to vernacular Japanese architecture Based upon Le Corbusier s unbuilt residential scheme for Mr Errazuris in Chile he designed a summer house for himself in Karuizawa Nagano Where Corbusier had used rough masonry and a tiled butterfly roof Raymond used cedar with larch thatch 20 Although the design was criticised by an American reviewer for being a copy of Le Corbusier s design the Frenchman was so flattered and surprised that he included a photo of it in the third volume of his Oeuvre complete 21 Please be assured that there is no bitterness between us but as you yourself say you made a slight mistake that is you neglected to send me a note when you published the images of your Tokyo house which is very pretty by the way Extract of a letter from Le Corbusier to Antonin Raymond 7 May 1935 22 In 1922 Raymond had been admitted to Tokyo Golf Club and when it relocated to Asaka Saitama in 1932 he was asked to design it His links to golfer Shiro Akaboshi also led to several residential commissions 23 In 1937 in Tokyo Articles of Association forming a new firm Reymondo Kenchiku Sekkei Jimusho were signed by Antonin Noemi and a number of Japanese architects including Junzō Yoshimura 3 Sri Aurobindo Ashram edit nbsp Golconde dormitory of the Sri Aurobindo Ashram in Pondicherry 1935 In January 1938 Raymond Noemi and their son left Tokyo bound for America This six month journey took them initially to the Indian subcontinent and then on to Europe including a trip to Prague 6 In 1935 Raymond s office had accepted a commission to design a dormitory for the Sri Aurobindo Ashram in Pondicherry part of French India in southeast India 24 A preliminary site visit was made by George Nakashima and the schematic design was completed in 1936 Although Raymond had envisioned that the dormitory would be completed in six months Sri Aurobindo was concerned that the noise of construction would disturb the ashram so he decided that the building would be constructed by its residents 25 Initially Nakashima Francois Sammer a Czech architect who had worked for Le Corbusier in Russia and Chandulal a devotee who had trained as an engineer built a full scale model of the dormitory in order to test the feasibility of the design and then used it as a laboratory to further refine the construction methods Nakashima s duties included doing very explicit detail drawings showing for example the design of the concrete formwork Devotees even donated brass utensils so that they could be melted down to make door handles and hinges 26 Raymond sought to mitigate the effects of the Pondicherry climate and oriented the Golconde dormitory as it became known so that its main facades faced north and south to make use of the prevailing breeze A combination of moveable louvres on the exterior skin and woven teak sliding doors permitted ventilation without compromising on privacy The building is still in use as an ashram today 26 It was the first modernist building in India 27 The New Hope experiment editIn 1939 Raymond s architectural practice in the United States began with the purchase and conversion of his farm and studio in New Hope Pennsylvania He and his wife s goal was to create a physical and intellectual environment that mirrored and supported their approach to modern design one that synthesised International Style developments with lessons learned from Japan s craft tradition 28 They hoped that the lifestyle and design ethos that they would create would be simpler and more in tune with nature similar in set up to Frank Lloyd Wright s Taliesin Fellowship The Raymonds modified the house to create a more open plan feel separated by Japanese fusuma partitions and shōji screens The rooms were filled with objects of art including rugs designed by Noemi and crockery by the Mingei designer Minagawa Masu 29 Raymond developed a prospectus for aspiring architects to come and live and study at New Hope and he attracted at least 20 In addition to teaching practical design solutions the apprentices had hands on work with various building trades Farm work and hay making contributed a physical aspect Students included Junzō Yoshimura and Carl Graffunder and the farm was visited by people like Eero Saarinen and Alvar Aalto 30 Once the students had become settled Raymond sought real world projects for them to work upon to put his theories into practice Projects included an assortment of houses and extensions in New Jersey Connecticut and Long Island 31 In May 1943 the Raymonds vouched for George Nakashima and his family releasing them from a Japanese internment camp in Idaho so that they could come and live at the New Hope farm 32 The war years 1941 1945 editWith the approach of the Second World War Raymond moved back to New York ending the New Hope experiment He formed a partnership with civil engineer Arthur Tuttle structural engineer Elwyn Seelye and mechanical engineer Clyde Place With the country s emphasis on the war effort the company focused on US army contracts Their work included prefabricated houses at Camp Kilmer New Jersey 1942 and Camp Shanks New York 1942 1943 and housing and an airport in Fort Dix New Jersey 1943 Controversially in 1943 Raymond was asked to design a series of middle class Japanese style homes so that the Army could test the effectiveness of ordnance specifically incendiaries intended for use in targeted air bombing raids on Tokyo and other Japanese cities These houses were eventually erected on the Dugway Proving Ground nicknamed Japanese Village Raymond admitted in his autobiography that he was not proud of the work 33 Practice with Ladislav Rado editAfter the war Raymond s practice with Tuttle Seelye and Place was dissolved He formed a new company with Slovak architect Ladislav Leland Rado 1909 1993 and named it Raymond amp Rado Although this company lasted until Raymond s death in 1976 they practised apart with Rado in the New York office and Raymond in Tokyo Whilst Raymond explored pottery and sculpture making friends with Tarō Okamoto and Ade Bethune Rado pursued an orthogonal rationalism that Raymond would eventually distance himself from 34 Projects in the United States during the late 1940s allowed Raymond to gain a foothold in occupied Japan This helped to restart the building boom in occupied Japan after the war 35 This was mainly achieved through contacts made in his previous practice and those that he and Rado made in New York Their single story Great River Station on the Long Island Rail Road expressed Raymond s fondness for inexpensive simple materials It had fieldstone retaining walls and a flat roof supported in each corner with a redwood post The wide expanse of glazing created a modernist pavilion 36 In the St Joseph the Worker Chapel Victorias in the Philippines Raymond worked with liturgical artist Ade Bethune to produce mosaic murals and a lacquerware tabernacle inside the reinforced concrete church The interior was adorned with colourful frescoes by Alfonso Ossorio The church acted as a social centre for employees of the Ossorio sugar cane refinery 36 The church is regarded as one of the first examples of modern sacred architecture in the country The practice were also responsible for a number of parks and recreation buildings across the United States in the late 1940s built largely to commemorate victory in the war 36 The Reader s Digest Building editIn 1947 Raymond petitioned General MacArthur for permission to enter occupied Japan in order to participate in the reconstruction process His staff from Reymondo Kenchiku Sekkei Jimusho had looked after the drawings and documents of the office through the war and Raymond decided to reopen the office 37 Raymond received the commission for the Reader s Digest Building from Mrs DeWitt Wallace on his return from Japan in 1949 She wanted a design that would show the best that America could offer The site acquired for the building was opposite the Hirakawa Gate of the Imperial Palace 37 Its choice was treated with great resentment by the Japanese who felt that favouritism was shown by the Occupation authorities in allowing an American company to utilise a prominent site that would have served better as a park 38 Taking influence from Le Corbusier Raymond responded to this criticism by masterplanning the site by using a Ville Radieuse inspired layout with the building set in gardens with sculptures by the Japanese American sculptor Isamu Noguchi The long rectilinear two storey building had a double cantilevered frame supported on a single row of concrete columns These columns tilted outwards from a vertical position Floor to ceiling glazing on the second storey opened out onto a balcony running the length of the building It included technical innovations from America including acoustic ceiling tiles underfloor electricity ducts and fluorescent lighting 37 It is considered the first large building in which Raymond managed to use his principles of simplicity economy of materials elegance and lightness learned from his residential works Raymond cited the design of the Hiroshima Peace Museum by Kenzo Tange as being an external imitation of the Reader s Digest Building 39 Despite winning awards when first completed the Reader s Digest Building was demolished in 1963 40 to be replaced by the nine floor Palaceside Building a mixed used office building designed by Shōji Hayashi that for many years has served as the headquarters of the Mainichi Newspaper Experimentation in Tokyo edit nbsp Gunma Music Center 1955 61 nbsp Nanzan University campus in Nagoya 1964 Raymond purchased land in the Nishi Azabu district of Tokyo to build his new office and living quarters The office was built using the traditional Japanese post and lintel type construction using unplaned timber logs The office served as a proving ground for the latest American building innovations including veneered plywood and suspended metal ductwork for forced air heating Taking influence from Le Corbusier s modulor Raymond used the traditional Japanese module of the ken based upon the size of tatami mats as a unit of measure to set out the building s structure Again he used fusuma partitions and shoji screens but in a modern way to divide up the spaces 41 Raymond sought to use the design and construction of the office as a platform to inform prototype dwellings for the post war reconstruction of Japan 41 In 1955 Raymond began a commission in Takasaki Gunma Prefecture for a Music Centre to house the Gunma Symphony Orchestra Out of respect for the historic site and the budget constraints he designed a building built on three premises it would have an economical structural system there would be equality of sight lines and acoustics for each seat and the building would have a low profile without a fly tower Raymond achieved these aims by using a series of 12 centimetres 4 7 in thick reinforced concrete ribs connected together like an accordion and spanning 60 metres 200 ft 12 In 1961 he was commissioned to design the Catholic based Nanzan University in Nagoya It was one of the largest projects that he would undertake The campus was orientated on a north south axis across rolling hills and the eight buildings were arranged to suit the topography and harmonise with the landscape In situ concrete is used throughout the scheme and each building has its own concrete form some with pilotis others with shells 42 Located to the east of the Nanzan Campus is the Divine Word Seminary Chapel 1962 This is a building that exploits the plastic capacity of concrete with two intersecting shells forming a bell tower These are punctured with vertical slots which allow light to radiate along the curved interior walls 43 Influence of his wife Noemi Raymond edit nbsp Antonin Raymond and Noemi Pernessin in New York ca 1914 Born in 1889 in Cannes to Swiss French parents Noemi moved to New York in 1900 and later studied Fine Art and Philosophy at Columbia Teachers College Here she was influenced by the painter and educator Arthur Wesley Dow During Raymond s period of training as a painter Noemi supported them both by doing graphic work for publications like the New York Sun and New York Herald Tribune 44 When they both moved to Taliesin she became interested in 3D design She also polished her knowledge of Japanese crafts becoming a broker for clients such as Rudolph Schindler s wife Pauline Gibling Noemi s influence on Raymond during the inter war years was substantial 45 She encouraged him to break away from Wright s rigid style and explore the design of the Reinanzaka House She increased her interest in Japanese art and philosophy including ukiyo e woodblock prints and introduced Raymond to various influential people including the mystic philosopher Rudolf Steiner She expanded her design repertoire to include textiles rugs furniture glass and silverware Noemi exhibited in Tokyo in 1936 and New York in 1940 and her textiles were chosen by American designers like Louis Kahn to cover furniture in their designs 46 Noemi also contributed to the design of the studio in Nishiazabu and a series of Raymond s villas during the 1950s including the Hayama Villa 1958 47 A legacy in concrete editIgnored by Henry Russell Hitchcock Jr and Philip Johnson in their curatorial celebration of the International Style in 1932 and despite the homecoming exhibition of his work staged in the Rockefeller Center in 1939 and the AIA New York Chapter Medal of Honor that was awarded to him 17 years later in 1956 one has the feeling that Raymond s achievements were always somehow grudgingly received by his compatriots And even now over 50 years later there remains a silent consensus in the field that is reluctant to acknowledge the unrivalled excellence and breathtaking scope of Raymond s architectural career Kenneth Frampton 48 nbsp Interior of St Anselm s Church Tokyo 1954 nbsp Divine Word Seminary Chapel of Nanzan University Nagoya 1962 When Wright left Raymond set up his own office he advertised himself as a specialist in reinforced concrete He was aware of its textural properties from Cass Gilbert its structural ones from Wright and its benefits in relation to earthquake proofing His first major independent project in 1921 was to design Hoshi Pharmaceutical School which was one of the first reinforced concrete buildings in Tokyo 49 Raymond used precast concrete to form decorative elements for the building such as window mullions In a partially successful experiment he used wooden formwork to imprint a texture onto the concrete but he chose to cover it up On the Reinanzaka House the labourers were skilled in the use of wood and helped Raymond engrain the texture of cedar onto the concrete This was further explored on the Tetsuma Akaboshi and the Morinosuke Kawasaki houses where the concrete walls of the luxurious interiors were imprinted with cypress textures 50 On the Karuizawa Studio workmen polished the concrete with sand and straw to reveal the texture of the aggregate Whilst at Nanzan University the south facing facades were cast with checkerboard patterns with applied metalwork casting abstract shadows on the surface Raymond s techniques endeared him to the Japanese architectural psyche and in 1958 the editor of the architectural magazine Shinkenchiku Yoshioka Yasugoro remarked it is doubtful that concrete is handled with such pains anywhere except in Japan The idea of an exposed concrete surface seems to fit in with Japanese ideas of decor 43 Post war architects like Tadao Ando have become famous for their use of exposed concrete 51 Raymond s use of a traditional post and beam structure in concrete for the Reinanzaka House was a technique that was adopted by post war Japanese architects such as Kenzo Tange Predating Le Corbusier s work in Chandigarh the Golconde dormitory used a monolithic concrete structure with deep overhangs and louvres to adapt to specific climatic conditions The building pioneered the use of reinforced concrete in India 52 Although Raymond s technique of exposing and perfecting concrete surfaces would come to be seen as typically Japanese over time it is important to note that this entailed polishing and waterproofing the exposed surface rather than covering it with white tiles Ken Tadashi Oshima 51 Antonin Raymond died at St Mary s Hospital in Langhorne Pennsylvania on 25 October 1976 aged 88 1 His wife Noemi died four years later aged 91 Raymond Architectural Design Office continues to practice in Tokyo Selected works edit nbsp Ehrismann Residence Yamate 1927 Tokyo Woman s Christian College Tokyo 1921 1938 Reinanzaka House Tokyo 1924 Hoshi University Main Building Tokyo 1924 Ehrismann Residence Yamate Yokohama 1927 The American School in Japan Meguro Campus Tokyo 1927 Italian Embassy Villa Nikko 1929 Troedsson Villa Nikko 1931 Tokyo Golf Club Asaka 1932 Summer House Karuizawa 1933 Akeboshi Tetsuma House Tokyo 1933 Morinosuke Kawasaki House Tokyo 1934 Tokyo Woman s Christian College Chapel Auditorium 1934 Raymond Farm New Hope 1939 The Huyler Building Buffalo New York interior 1939 1940 St Joseph the Worker Church Victorias City Negros the Philippines 1949 Raymond House and Studio Azabu 1951 Reader s Digest Offices Tokyo 1951 Cunningham House Tokyo 1954 St Anselm s Church Tokyo 1954 Yawata Steel Otani Gymnasium KitaKyushu 1955 GoogleEarth 33 862184 130 806841 Yaskawa Head Offices KitaKyushu 1954 St Alban s Church Tokyo 1956 Hayama Villa Hayama 1958 Moji Golf Club KitaKyushu 1959 St Michael s Church Sapporo 1960 New Studio Karuizawa 1962 St Paul Church Shiki 1963 St Paul s Chapel Rikkyo Niiza Junior and Senior High School Niiza Campus Saitama 1963 Nanzan University Campus 1964 Chapel and Lecture Hall Rikkyo Boys Primary School Tokyo 1966 Awards edit1952 Architectural Institute of Japan Award for the Reader s Digest Building 1956 Medal of Honor by the New York Chapter of American Institute of Architects 1957 First Honor Award of the American Institute of Architects and the Yawata Steel Worker s Union Memorial Hall Award of Merit 1964 Third Class Order of the Rising Sun by Emperor Hirohito 53 1965 Design Award from the Architectural Institute of Japan for his design of Nanzan University NagoyaPublications edit1935 Antonin Raymond His Work in Japan 1920 1935 published by Jonan Shoin Tokyo 1938 Architectural Details published by the International Architectural Association Tokyo 1962 The Works of Antonin Raymond Architectural Association Journal 1967 Watakushi to nihon kenchiku Myself and Japanese Architecture A collection of writings and lectures published by Kajima Shuppansha Tokyo 1970 Jiden autobiography published in Japanese by Kajima Shuppansha Tokyo 1973 Antonin Raymond An Autobiography published by Charles E Tuttle Company of Rutland Vermont and Tokyo JapanSee also editCzech Republic Japan relations Junzō YoshimuraFootnotes edit a b c Deaths Elsewhere Miami Herald 30 October 1976 p 10 Helfrich amp Whitaker 2006 p 25 a b c Helfrich amp Whitaker 2006 p 266 a b Gloaguen Yola Winter 2016 17 Antonin Raymond an Architectural Journey from Bohemia to Japan in the Early 20th Century PDF The Friends of Czech Heritage 16 10 13 Helfrich amp Whitaker 2006 p 66 a b c d Helfrich amp Whitaker 2006 p 267 Raymond 1973 p 24 Stewart 2002 p 89 Helfrich amp Whitaker 2006 pp 66 67 Helfrich amp Whitaker 2006 p 268 Reynolds 2001 p 82 a b Japan Architect 2005 p 22 Helfrich amp Whitaker 2006 p 96 Helfrich amp Whitaker 2006 p 68 Frampton 1990 p 258 Helfrich amp Whitaker 2006 p 269 Reynolds 2001 p 81 Stewart 2002 p 129 Reynolds 2001 p 84 Stewart 2002 p 33 Helfrich amp Whitaker 2006 p 27 Helfrich amp Whitaker 2006 p 332 Stewart 2002 pp 134 135 Gupta amp Mueller 2021 p 148 Gupta amp Mueller 2021 p 149 a b Gupta amp Mueller 2021 p 150 Sharma n d Helfrich amp Whitaker 2006 p 48 Helfrich amp Whitaker 2006 p 49 Helfrich amp Whitaker 2006 p 50 Helfrich amp Whitaker 2006 p 51 Helfrich amp Whitaker 2006 p 272 Helfrich amp Whitaker 2006 p 53 Helfrich amp Whitaker 2006 pp 55 56 Reynolds 2001 p 161 a b c Helfrich amp Whitaker 2006 p 56 a b c Stewart 1987 p 165 Reynolds 2001 p 162 Stewart 2002 p 168 Helfrich amp Whitaker 2006 p 40 a b Helfrich amp Whitaker 2006 pp 57 58 Japan Architect 2005 p 124 a b Helfrich amp Whitaker 2006 p 74 Helfrich amp Whitaker 2006 p 16 Helfrich amp Whitaker 2006 p 17 Helfrich amp Whitaker 2006 p 18 Helfrich amp Whitaker 2006 p 20 Frampton 2006 p 9 Helfrich amp Whitaker 2006 p 67 Helfrich amp Whitaker 2006 p 69 a b Helfrich amp Whitaker 2006 p 75 Gupta amp Mueller 2021 p 147 Johnson amp Langmead 2013 p 263 References editFrampton Kenneth 1990 1980 Modern Architecture a Critical History Revised and enlarged ed Thames and Hudson ISBN 0 500 20201 X Frampton Kenneth 2006 Foreword Crafting a Modern World The Architecture and Design of Antonin and Noemi Raymond By Helfrich Kurt Whitaker William Princeton Architectural Press ISBN 1 56898 583 5 Gupta Pankaj Vir Mueller Christine 2021 Golconde The Introduction of Modernism in India 2nd ed Actar D ISBN 9781638408161 Helfrich Kurt Whitaker William 2006 Crafting a Modern World The Architecture and Design of Antonin and Noemi Raymond New York Princeton Architectural Press ISBN 1 56898 583 5 Japan Architect Spring 1999 Antonin Raymond Japan Architect 33 Japan Architect Spring 2005 Docomomo Japan The 100 Selections Japan Architect 57 ISSN 0448 8512 Johnson Donald Leslie Langmead Donald 2013 Makers of 20th Century Modern Architecture A Bio Critical Sourcebook Routledge ISBN 978 1 136 64056 8 Raymond Antonin 1973 Antonin Raymond An Autobiography Charles E Tuttle Co Reynolds Jonathan McKean 2001 Maekawa Kunio and the Emergence of Japanese Modernist Architecture University of California Press ISBN 0 520 21495 1 Sharma Komal n d Golconde The First Modernist Building in India Metropolis Stewart Dennis B 2002 The Making of a Modern Japanese Architecture From the Founders to Shinohara and Isozaki Kodansha International ISBN 4 7700 2933 0 External links edit nbsp Wikimedia Commons has media related to Antonin Raymond Antonin Raymond and George Nakashima Raymond Digital Archives Archived 8 September 2019 at the Wayback Machine in Japanese Flash required Raymond Architectural Design Office Archived 8 September 2019 at the Wayback Machine Retrieved from https en wikipedia org w index php title Antonin Raymond amp oldid 1173581637, wikipedia, wiki, book, books, library,

article

, read, download, free, free download, mp3, video, mp4, 3gp, jpg, jpeg, gif, png, picture, music, song, movie, book, game, games.