Bajo un sol desconocidoLászló Hudec, Antonin Raymond y la construcción de la arquitectura moderna en Asia Oriental

Abstract

Architecture is a direct reflection of culture, always changing in order to fit the necessities of the period. Chinese society underwent unexpected changes, along the late nineteenth century and early twentieth century, marked by the invasions of the Western powers, First and Second World Wars, rebellions, old regimes’ collapses and the founding of New China in 1949. As compared to China, Japan was facing constant earthquake issues, in addition to the ones already mentioned. The constant mixture between “new and old” was the main feature of contemporary Eastern Asia, Chinese and Japanese architecture. Referring to the “new”, unprecedented types of architecture appeared: consulates, churches, schools for girls, banks, hospitals, new type of residences, industrial complexes and entertainment functions. For all these building types, “new” materials, construction techniques, methods and equipment had to be used and invented (reinforced concrete or steel structures), a substantial shift from the typical Chinese and Japanese traditional wooden structures and manual labour. The fundamental objective of this thesis is to highlight the extraordinary contribution of both Hudec and Raymond to Modern Architecture in Eastern Asia, and the reason why this influence remains today. The investigation developed, started from the desire to learn about the roots of modern architecture in Shanghai, China and Tokyo, Japan, in general, and is mainly dedicated to the biography of two great architects, little-known, that were the most important for decades, for the economic centres of Eastern Asia. This topic opens up different ways among which we can divide the thesis - history, composition and urbanism. Their creativity and openness to the new, towards modernity, offered both László Hudec and Antonín Raymond a place of honour, well deserved, among the architects who left their mark on the development of the cities of Asia. The title ‘UNKNOWN SUNS” refers to the fact that neither Hudec nor Raymond had the chance to work under a known sun, as for various military vicissitudes, they were forced to settle in Eastern Asia and soon realized that it was their task and place to adapt innovations of modern architecture they had known in Europe to the incipient but firm architectural activity of the great Chinese and Japanese ports. The first chapter, the “General Introduction and Outline of the Thesis”, describes the main idea, the motivation, objectives and methodology used to achieve the aim of the thesis. 6 The second chapter, “Research and History”, is a theoretical one, mainly focused on studying and analysing the history and urbanism of Eastern Asia large cities. The modernization process Shanghai and Tokyo were going through was directly linked to the appearance of modern architecture. The third chapter “Path of life, From Europe to Asia” is like an introduction to the main objective of the thesis, describing both architects, László Hudec and Antonín Raymond’s early experience in their native countries, the years of war and their trajectories from Europe to Eastern Asia. In this chapter, a short analysis of the architectural movement and foreign architects in Shanghai and Tokyo was indispensable for the following study. Although the two architects were having similar origin and formation, their path of life drove them both far away, in the Far East. China and Japan, apparently alike, ended having quite different influence on the two. The local environment mixed with their personalities, way of thinking and stylistic preferences left a definite mark on their architecture. Close similitudes were found between the two when Hudec approached Modern Architecture in his late period. In the first years spent in Eastern Asia, both architects worked for and under different guidance: Raymond for Frank Lloyd Wright and Hudec in the office of Rowland Curry. These first collaborations are described in the fourth chapter from the thesis. From this period, independence, local and international recognition soon followed (fifth chapter). Their commissions came from a high diversity of clients. The sixth and seventh chapter are describing the modernity found in both Raymond and Hudec’s designs, achieving the aim of the thesis. Hudec ‘went with the flow’, his stylistic preferences and each phase in his design career, correspond with the ones Shanghai was going through. He followed the local trend. He stood out and earned local and international recognition mainly in his last period, when Modern Architecture became his last stylistic choice. Hudec’s approach of such a diverse palette of architectural styles was a reflection of Shanghai’s International character, due to the city’s multinational environment. László Hudec’s modernism lies in his architectural ability and complexity, as a man always ready to change his life drastically when confronted by dire events or facing necessity. He gained architectural experience in Shanghai (not as the leader of the architectural movements but always prepared to follow and to adhere to new trends and styles if his clients were wishing for, constantly adapting to the fashion and introducing latest western technologies in the Far East), diplomatic experience during the Second World War (providing humanitarian aid, helping his compatriots and Jews from the Nazis’ terrors) and teaching experience in America (giving lectures on archaeological themes). On the other side, Raymond was acting totally different. He used modern style since the very beginning of his private office. His aim was to find the perfect balance between modern and local traditions. Antonin Raymond, found himself in a relationship with Japan 7 that offered him the best conditions for developing his principles: “honesty”, “simplicity”, “economy”, “directness”, “functionality” and “naturalness”. Nature goes hand in hand with beauty, and beauty, in the traditional Japanese houses, was to be found in pure simplicity. A significant part of the thesis is focused on the way their projects and strong personalities managed to influence other prestigious architects. Hudec and Raymond are called pioneers of modern architecture because they were among the first western architects who came in eastern Asia (in a completely different cultural context as their native one), developed as modern architects and managed to guide, transform and implement a new way of thinking and designing. They had the luck of being in the right place at the right time.