In the fourth issue of Wendingen’s Frank Lloyd Wright series, J.J.P. Oud, a Dutch architect, wrote the following:
“So firm of structure for all their movability were the piled up masses growing as it were out of the soil, so natural was the interlacing of the elements shifting as on a cinematographic screen, so reasonable was the arrangement of the spaces, that nobody doubted the inevitable necessity of this form-language for ourselves, too, since it was assumed as a matter of course that practicalness and comfort had here been combined into a beautiful synthesis in the only manner possible in our day, that Wright, the artist, had achieved what Wright, the prophet, had professed” (J.J.P. Oud, Complete Wendingen, 86-87).
Wright’s aims in architecture were much like the aims of Wendingen itself. Both were focused on the discipline of architecture, yet believed that creating architecture that is, as Wright says in one of his essays featured in Wendingen, “the living-spirit of building truly and beautifully,” requires more than simply a roof and walls. Truly great architecture is harmonious, with everything from the furniture inside to the sculptural decoration outside reading as part of a whole.
- Wendingen vol. 7 no. 10, 1925, M. de Klerk, Furniture and Interiors.
- Wendingen vol. 7 no. 6, 1926, Frank Lloyd Wright, Special Issue 4.
- Wendingen vol. 7 no. 7, 1926, Frank Lloyd Wright, Special Issue 5.
- Wendingen vol. 2 no. 6, 1919, Interiors and Furniture.