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Antonin Raymond (or ), born as Antonín Reimann (10 May 1888 – 25 October 1976)"Deaths Elsewhere", Miami Herald, 30 October 1976, p. 10 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.
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.
In 1906 Raymond entered Vysoká Škola Technická, the Prague Polytechnic, studying under Josef Schultz and Jan Koula. 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 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.
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. In early 1916 he became an American citizen, naturalizing his name, Antonín Reimann, to Antonin Raymond.
Through the influence of a mutual friend, Frank Lloyd Wright agreed to employ Raymond in May 1916. 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.
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". 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.
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.
their own house was destroyed in the Great Kantō earthquake, Raymond designed a new one, the Reinanzaka House, in Azabu. 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.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. The house itself had metal fenestration, tubular steel trellises and traditional 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.
After a number of staff changes, the practice was renamed Antonin Raymond, Architect.
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.
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.
In 1937 in Tokyo, Antonin, Noémi and a number of Japanese architects, including Junzō Yoshimura, signed Articles of Association forming a new firm, Reymondo Kenchiku Sekkei Jimushō.
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. 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.
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.
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. It was the first modernist building in India.
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.
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.
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.
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.
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 there after the war. 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.
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 by Alfonso Ossorio. The church acted as a social centre for employees of the Ossorio sugar cane refinery. 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.
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. 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. 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.
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.
Despite winning awards when first completed, the Reader's Digest Building was demolished in 1963 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 Shimbun.
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.
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 system. Raymond achieved these aims by using a series of thick, reinforced concrete ribs connected together like an accordion and spanning .
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 Concrete shell.
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.
Noémi's influence on Raymond during the inter-war years was substantial. 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.
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).
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. 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." Post war architects like Tadao Ando have become famous for their use of exposed concrete.
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.
Antonin Raymond died at St. Mary's Hospital in Langhorne, Pennsylvania, on 25 October 1976, aged 88. His wife Noémi died four years later, aged 91. Raymond Architectural Design Office continues to practice in Tokyo.
Selected works
Awards
Publications
See also
Footnotes
(1990). 050020201X, Thames and Hudson. 050020201X
(2025). 9781568985831, Princeton Architectural Press. ISBN 9781568985831
(2025). 9781638408161, Actar D. ISBN 9781638408161
(2025). 9781568985831, Princeton Architectural Press. ISBN 9781568985831
(2025). 9780520214958, University of California Press. ISBN 9780520214958
(2025). 9784770029331, Kodansha International. ISBN 9784770029331
External links
Categories: 1888 Births, 1976 Deaths, 20th-century Czech People, Czech Architects, 20th-century American Architects, American People Of Czech Descent, American Expatriates In Japan, Czech Expatriates In Japan, Expatriate Architects In The United States, Expatriate Architects In Japan, People From Kladno, Czech Technical University In Prague Alumni, Recipients Of The Order Of The White Lion, People From New Hope, Pennsylvania, Recipients Of The Order Of The Rising Sun, 3rd Class
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