About Frank Lloyd Wright Imperial Hotel Candle Holder
This beautiful brass and enamel Frank Lloyd Wright Candle Holder features a design inspired in Frank Lloyd Wright’s designs for the Imperial Hotel, which reflect Wright’s attempt to merge Western and Japanese culture. The expansion of Tokyo’s Imperial Hotel was made to flag Japan’s advancements by showing its ties to the west. Frank Lloyd Wright was enlisted to make a combination of Western and Japanese engineering. The imperial hotel was made with concrete and Oya (a gray-green lava stone), which had a broad decorative scheme and it facilitated many skilled carvers to work in the project. The strikingly symmetrical complex drew inspiration from the iconography and architecture of pre-Columbian Mesoamerican cultures, reflecting, as a result, a Mayan Revival Style. Engineered on a floating foundation with reinforced steel, Wright’s genius constructing allowed the Hotel to survive the Great Kantō earthquake of 1923 with minimal damage. Eventually, the Imperial Hotel was demolished in 1968, but the entrance lobby was saved and reconstructed at the Meiji Mura architecture museum in Nagoya. More details on Frank Lloyd Wright Imperial Hotel Candle Holder:
- Dimensions: 5.5″H x 2.5″W x 2.5″L inches
- Weight: 1 lb
- Material: Brass, enamel, Battery operated tealight.
- Location: Inspired in patterns from Frank Lloyd Wright’s Imperial Hotel (demolished 1968) design.
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- ©/®/™ The Frank Lloyd Wright Foundation. All rights reserved.
About Frank Lloyd Wright
Frank Lloyd Wright was the leader of the Prairie School movement and his creative period spanned more than seventy years. Already well known during his life, he was recognized as “the greatest American architect of all time” by the American Institute of Architects in 1991, and he remains an influential figure to this day. The ever-inventive Frank Lloyd Wright attempted to keep his commitment to an “architecture of democracy,” by finding ways to incorporate the structure fully into its site in order to ensure a fluid, dynamic exchange between the interior of the structure and the natural environment outside. The implied message of Wright’s new architecture was space, not mass. In the late 1930s, he acted on a cherished dream to provide good architectural designs for the less prosperous people by adapting the ideas of his prairie houses to plans for smaller, less expensive dwellings with neither attics nor basements. These residences, known as Usonian houses became templates for suburban housing developments in the post-World War II housing boom.