LiAiSONS

TAJ LAKE
PALACE
LEADERS CLUB / JANUARY 2010
IMPERIAL HOTEL
Less well known, perhaps, is the eccentric American architects
life-long passion for Japan, collecting and dealing in Japanese
prints (Ukiyo-e) for over 60 years. Ever since I discovered the
print, Wright wrote in his autobiography, Japan has appealed to
me as the most romantic, artistic, nature-inspired country on the
earth If Japanese prints were to be deducted from my educa-
tion, I dont know what direction the whole might have taken.
Wrights most notable design in Japan was the venerable Imperial
Hotel in Tokyo. It was an important commission. The new design
was to replace the original outdated neoclassical structure cre-
ated in 1890 at the direction of the imperial palace with a new
earthquake-safe and modern hotel worthy of hosting the worlds
most discerning travelers.
Wright didnt disappoint.
Between January 1917, when the project began, and his fnal de-
parture in July 1922, Wright made fve extended trips to Tokyo in
Who was Frank Lloyd Wright?
According to Wright himself, he was
the greatest architect ever.
When asked which was his greatest
building, Wrights standard reply was
My next one.
CATHERINE SHAW
connection with the design and construction of the hotel, staying
up to six months at a time. In an age of grand hotels, few equaled
the striking architectural genius of Wrights new design. His insis-
tence on using Oya stone, a highly porous volcanic material that
was easy to sculpt, was a bold decision that transformed the very
walls of the hotel into a distinctive feature.
Ever the perfectionist, Wright rejected commercially available
Oya as unsuitable for the quality he required, and so the Imperial
Hotel found itself in the business of buying a quarry in Tochigi
Prefecture. According to The Imperial, The frst 100 years, more
than 100 highly skilled stonemasons carved the stone; and if
Wright did not like a piece, he had it done over again and again.
The stonemasons, however, did not become discouraged by the
genius artists demands, and eventually even Wright had to take
off his hat to the high quality of Japanese craftsmens skills.
Wrights eclectic working methods frustrated and fascinated from
the beginning.
Viewing his working drawings as a general guide only, he was in-
famous for redesigning on the spottearing down a newly built
wall to make a new space that he was suddenly inspired to create.
He was equally obsessive with the interiors, calling for American
Indian-designed carpets woven in Peking, and decorating the vast
lobbies and ballrooms with hand-painted peacock designs and
gold leaf. Specially made, textured yellow-ocher tiles were used
for the interior walls, plastered areas were gilded, and side light-
ing used to great effect. Even concrete was carved into the shape
of scarabs, turtles and peacocks to create the image Wright had in
mind. He also introduced modern electrical technology through-
out and an innovative foating foundations concept intended to
withstand the tremors that regularly shake Japan.
In the end, despite horrendous cost overruns and continual
delays to the project, Wright professed to have created a modern
building that was sympathetic to Japanese buildings, and that
embodied modern scientifc building principles and Japanese
principles of unity.
He left in July1922, never to return to his beloved Japannor did
he work on other foreign commissions.
The Imperial opened on September 1st in 1923 and, in its frst
test of structural integrity, survived the Great Kanto earthquake
that struck during the grand opening ceremony. In fact, the Impe-
rial Hotel was one of the very few buildings that withstood the
might of this most powerful of earthquakes that killed thousands
of people in the capital alone. Thereafter, the hotel went on to
become the social center of Tokyo.
Unfortunately, by 1968, foods, more earthquakes and wartime
bombings had damaged the integrity of the structure; and so,
after much heated debate, Wrights masterpiece was carefully
dismantled and replaced with the modern, but still classical Impe-
rial that welcomes guests today.
Thankfully, however, Wrights enduring style continues past his
death. In 2005, a stunning 2,300-square-foot Frank Lloyd Wright
Suite, created in collaboration with the Frank Lloyd Wright Foun-
dation, was opened to provide guests a unique experience of the
master architects interior styling.
The Suite features original design motifs from the Wright-
designed hotel, as well as replicas of his furniture designed at
the height of his career. It is the worlds only suite to combine
the unique architectural plans of the Wright Hotel with interior
designs created by Wright for private residences during the same
era. In 2009, the 50th anniversary of his death, the Suite is one of
the hotels most popular suites.
Located on the 14th foor of the Imperial Hotels Main Building,
the Suite is a perfect example of Wrights organic aesthetic.
Infuenced by the natural world, the stately rooms overlook Hibiya
Park and the Imperial Palace gardens. These views, in turn, effort-
lessly harmonize with the genius of Wrights designsfeaturing
natural elements such as volcanic stone relief and inlaid oak
wood paneling.
The Suites entranceway utilizes the only wooden door for a guest
room on the Imperial Hotel premises. Centrally displayed in the
entry corridor is a replica of the multi-hued Oya stone relief from
the Wright Imperials Takara room. As with the original relief,
another part of which is preserved in the present Old Imperial Bar,
this stunning handmade sculpture is carved from volcanic stone.
The Suite, which includes a study, living room, dining room, bed-
room and two bathrooms, expresses Wrights ability to combine
simultaneously a simple design aesthetic with intricate details
such as round door handles, stained-glass detailing, and carpet
patterns from the Wright-era hotel. Ceilings at the entrance hall
are intentionally low, with higher ceilings inside the rooms, while
interior stained glasses are purposely placed at a higher posi-
tion from eye-level. Such visual devices were often employed by
Wright to heighten a rooms grandeur.
The Suites furnishings, such as sofas, tables and chairs, were de-
signed by Wright. A replica chandelier is a key feature in the strik-
ing dining room, and the Suite is decorated with framed drawings
of Wrights original sketches. The master bedroom offers the
Imperials original Simmons SleepWorks system bedwith a
decorative headboard of unique inlay woodwork that is based on
Wrights sketches.
Another area of the Imperial that honors his original design is the
Old Imperial Bar located on the mezzanine, in the Main Building.
On one wall is an original fresco from the Wright hotel, while the
wall behind the bar is completely covered with openwork tiles in
the art deco design of the Wright building.
Imperial Hotel, +81-(0)3-3504-1111, www.imperialhotel.co.jp
I remember when I frst met the Japanese
prints. That art had a great infuence on my
feeling and thinking. Japanese architecture
nothing at all. But when I saw that print
and I saw the elimination of the insignifcant
and simplicity of vision, together with the
sense of rhythm and the importance
of design, I began to see nature in a totally
different way. Frank Lloyd Wright, 1957
LIAISONS JANUARY 2010
FRANK
LLOYD
WRIGHTS
IMPERIAL HOTEL
Who was Frank Lloyd Wright? According to Wright himself, he was the
greatest architect ever. When asked which was his
greatest building, Wrights standard reply was My next one.
Most agree, however, that he deserves the accolade of being one of the 20th centurys master
architects. The famboyant and controversial American architect pioneered the use of
open-plan living spaces, promoted the honest expression of materials, and insisted on a
respect for nature in architecture. His prairie house designs redefned the modern
American home; and, later, he won international recognition
for his unique structural forms such as New Yorks Guggenheim Museum.
CATHERINE SHAW
Less well known, perhaps, is the eccentric American architects
life-long passion for Japan, collecting and dealing in Japanese
prints (Ukiyo-e) for over 60 years. Ever since I discovered the
print, Wright wrote in his autobiography, Japan has appealed
to me as the most romantic, artistic, nature-inspired country
on the earth If Japanese prints were to be deducted from my
education, I dont know what direction the whole might have
taken.
Wrights most notable design in Japan was the venerable Impe-
rial Hotel in Tokyo. It was an important commission. The new
design was to replace the original outdated neoclassical struc-
ture created in 1890 at the direction of the imperial palace with
a new earthquake-safe and modern hotel worthy of hosting the
worlds most discerning travelers.
Wright didnt disappoint.
Between January 1917, when the project began, and his fnal
departure in July 1922, Wright made fve extended trips to
Tokyo in connection with the design and construction of the
hotel, staying up to six months at a time. In an age of grand
hotels, few equaled the striking architectural genius of Wrights
new design. His insistence on using Oya stone, a highly porous
volcanic material that was easy to sculpt, was a bold decision
that transformed the very walls of the hotel into a distinctive
feature.
Ever the perfectionist, Wright rejected commercially avail-
able Oya as unsuitable for the quality he required, and so the
Imperial Hotel found itself in the business of buying a quarry in
Tochigi Prefecture. According to The Imperial, The frst 100 years,
more than 100 highly skilled stonemasons carved the stone;
and if Wright did not like a piece, he had it done over again and
again. The stonemasons, however, did not become discouraged
by the genius artists demands, and eventually even Wright had
to take off his hat to the high quality of Japanese craftsmens
skills.
Wrights eclectic working methods frustrated and fascinated
from the beginning.
Viewing his working drawings as a general guide only, he was
infamous for redesigning on the spottearing down a newly
built wall to make a new space that he was suddenly inspired
to create. He was equally obsessive with the interiors, calling
for American Indian-designed carpets woven in Peking, and
decorating the vast lobbies and ballrooms with hand-painted
peacock designs and gold leaf. Specially made, textured yellow-
ocher tiles were used for the interior walls, plastered areas were
gilded, and side lighting used to great effect. Even concrete was
carved into the shape of scarabs, turtles and peacocks to create
the image Wright had in mind. He also introduced modern
electrical technology throughout and an innovative foating
foundations concept intended to withstand the tremors that
regularly shake Japan.
In the end, despite horrendous cost overruns and continual
delays to the project, Wright professed to have created a modern
building that was sympathetic to Japanese buildings, and that
embodied modern scientifc building principles and Japanese
principles of unity.
He left in July1922, never to return to his beloved Japannor
Less well known, perhaps, is the eccentric American archi-
tects life-long passion for Japan, collecting and dealing
in Japanese prints (Ukiyo-e) for over 60 years. Ever since I
discovered the print, Wright wrote in his autobiography,
Japan has appealed to me as the most romantic, artistic,
nature-inspired country on the earth If Japanese prints
were to be deducted from my education, I dont know
what direction the whole might have taken.
Wrights most notable design in Japan was the venerable
Imperial Hotel in Tokyo. It was an important commission.
The new design was to replace the original outdated neo-
classical structure created in 1890 at the direction of the
imperial palace with a new earthquake-safe and modern
hotel worthy of hosting the worlds most discerning travel-
ers.
Wright didnt disappoint.
Between January 1917, when the project began, and his
fnal departure in July 1922, Wright made fve extended
trips to Tokyo in connection with the design and construc-
tion of the hotel, staying up to six months at a time. In an
age of grand hotels, few equaled the striking architectural
genius of Wrights new design. His insistence on using Oya
stone, a highly porous volcanic material that was easy to
sculpt, was a bold decision that transformed the very walls
of the hotel into a distinctive feature.
Ever the perfectionist, Wright rejected commercially avail-
able Oya as unsuitable for the quality he required, and so
the Imperial Hotel found itself in the business of buying a
quarry in Tochigi Prefecture. According to The Imperial, The
frst 100 years, more than 100 highly skilled stonemasons
carved the stone; and if Wright did not like a piece, he had
it done over again and again. The stonemasons, however,
did not become discouraged by the genius artists de-
mands, and eventually even Wright had to take off his hat
to the high quality of Japanese craftsmens skills.
Wrights eclectic working methods frustrated and fasci-
nated from the beginning.
Viewing his working drawings as a general guide only,
he was infamous for redesigning on the spottearing
down a newly built wall to make a new space that he was
suddenly inspired to create. He was equally obsessive
with the interiors, calling for American Indian-designed
carpets woven in Peking, and decorating the vast lobbies
and ballrooms with hand-painted peacock designs and
gold leaf. Specially made, textured yellow-ocher tiles were
used for the interior walls, plastered areas were gilded,
FRANK
LLOYD
WRIGHTS
Who was Frank Lloyd Wright? According to Wright himself, he was
the greatest architect ever. When asked which was his greatest build-
ing, Wrights standard reply was My next one. Most agree, however,
that he deserves the accolade of being one of the 20th centurys mas-
ter architects. The famboyant and controversial American architect
pioneered the use of open-plan living spaces, promoted the honest
expression of materials, and insisted on a respect for nature in architec-
ture. His prairie house designs redefned the modern American home;
and, later, he won international recognition for his unique structural
forms such as New Yorks Guggenheim Museum.
LIAISONS JANUARY 2010
CATHERINE SHAW
and side lighting used to great effect. Even concrete was
carved into the shape of scarabs, turtles and peacocks to
create the image Wright had in mind. He also introduced
modern electrical technology throughout and an innova-
tive foating foundations concept intended to withstand
the tremors that regularly shake Japan.
In the end, despite horrendous cost overruns and continu-
al delays to the project, Wright professed to have created
a modern building that was sympathetic to Japanese
buildings, and that embodied modern scientifc building
principles and Japanese principles of unity.
He left in July1922, never to return to his beloved Japan
nor did he work on other foreign commissions.
The Imperial opened on September 1st in 1923 and, in its
frst test of structural integrity, survived the Great Kanto
earthquake that struck during the grand opening cer-
emony. In fact, the Imperial Hotel was one of the very few
buildings that withstood the might of this most power-
ful of earthquakes that killed thousands of people in the
capital alone. Thereafter, the hotel went on to become the
social center of Tokyo.
Unfortunately, by 1968, foods, more earthquakes and
wartime bombings had damaged the integrity of the
structure; and so, after much heated debate, Wrights
masterpiece was carefully dismantled and replaced with
the modern, but still classical Imperial that welcomes
guests today.
Thankfully, however, Wrights enduring style continues
past his death. In 2005, a stunning 2,300-square-foot
Frank Lloyd Wright Suite, created in collaboration with the
Frank Lloyd Wright Foundation, was opened to provide
guests a unique experience of the master architects
IMPERIAL HOTEL
I remember when I frst met the Japanese prints. That art had a great infuence
on my feeling and thinking. Japanese architecture nothing at all. But when I
saw that print and I saw the elimination of the insignifcant and simplicity of
vision, together with the sense of rhythm and the importance of design, I began
to see nature in a totally different way. Frank Lloyd Wright, 1957
LIASONS JUNE 2009,
Wright as an art dealer
While working on the Imperial Hotel project, Wright acquired
thousands of top-quality Japanese prints, effectively becoming
an art dealer and curator. Many of the artworks he sold to clients,
friends and wealthy collectors now form the basis of important
museum collections worldwide.
Wright often sold Japanese prints to decorate the walls of clients
houses and even designed special stands to display these prints
in a modern setting. When architectural work was scarce, Wright
resorted to using prints as collateral for loans, and even paid
salaries with the prints.
His best print clients were the wealthy Spaulding brothers.
Wright acted as their private agent during the years he was
building the Imperial. According to Julia Meech, art historian
and author of Frank Lloyd Wright and the Art of Japan, the
Spaulding money was the opportunity of a lifetime. The profts
he made from the print business at this time [he bought cheaply
in Tokyo, and sold at notoriously high prices back home] ex-
ceeded his revenue from his own work during this lean period of
his career. Interestingly, Wright speculated his entire commis-
sion for the Imperial Hotel on prints.
His own compelling argument in favor of print selling, beyond
getting himself out of debt, was that it allowed him to refuse any
work that did not interest him, a dream of long standing, and
one that any architect would envy, says Meech.
interior styling.
The Suite features original design motifs from the
Wright-designed hotel, as well as replicas of his furniture
designed at the height of his career. It is the worlds only
suite to combine the unique architectural plans of the
Wright Hotel with interior designs created by Wright for
private residences during the same era. In 2009, the 50th
anniversary of his death, the Suite is one of the hotels
most popular suites.
Located on the 14th foor of the Imperial Hotels Main
Building, the Suite is a perfect example of Wrights
organic aesthetic. Infuenced by the natural world, the
stately rooms overlook Hibiya Park and the Imperial Pal-
ace gardens. These views, in turn, effortlessly harmonize
with the genius of Wrights designsfeaturing natural
elements such as volcanic stone relief and inlaid oak
wood paneling.
The Suites entranceway utilizes the only wooden door
for a guest room on the Imperial Hotel premises. Central-
ly displayed in the entry corridor is a replica of the multi-
hued Oya stone relief from the Wright Imperials Takara
room. As with the original relief, another part of which is
preserved in the present Old Imperial Bar, this stunning
handmade sculpture is carved from volcanic stone.
The Suite, which includes a study, living room, dining
room, bedroom and two bathrooms, expresses Wrights
ability to combine simultaneously a simple design aes-
thetic with intricate details such as round door handles,
stained-glass detailing, and carpet patterns from the
Wright-era hotel. Ceilings at the entrance hall are inten-
tionally low, with higher ceilings inside the rooms, while
interior stained glasses are purposely placed at a higher
position from eye-level. Such visual devices were often
employed by Wright to heighten a rooms grandeur.
The Suites furnishings, such as sofas, tables and chairs,
were designed by Wright. A replica chandelier is a key
feature in the striking dining room, and the Suite is
decorated with framed drawings of Wrights original
sketches. The master bedroom offers the Imperials origi-
nal Simmons SleepWorks system bedwith a decorative
headboard of unique inlay woodwork that is based on
Wrights sketches.
Another area of the Imperial that honors his original
design is the Old Imperial Bar located on the mezzanine,
in the Main Building. On one wall is an original fresco
from the Wright hotel, while the wall behind the bar is
completely covered with openwork tiles in the art deco
design of the Wright building.
Imperial Hotel, +81-(0)3-3504-1111,
www.imperialhotel.co.jp