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The Overlapping of Geometric Shapes Used as the Basis of Drawing Living Forms: Katsushika Hokusai, Ryakuga Haya-oshie, 1812 Figure 10: The Overlapping of Geometric Shapes as the Basis of Wright's Organic Decoration: Frank Lloyd Wright, David Wright House, Phoenix, AZ, 1950 Figure 11. The Overlapping of Geometric Shapes as the Basis of an Organic Building Plan: Frank Lloyd Wright, Ralph Jester Project, Palos Verdes, CA 1938 Sources: Haya-oshie 1812; Hanks 1979; Nute 1993

The Overlapping of Geometric Shapes Used as the Basis of Drawing Living Forms: Katsushika Hokusai, Ryakuga Haya-oshie, 1812 Figure 10: The Overlapping of Geometric Shapes as the Basis of Wright's Organic Decoration: Frank Lloyd Wright, David Wright House, Phoenix, AZ, 1950 Figure 11. The Overlapping of Geometric Shapes as the Basis of an Organic Building Plan: Frank Lloyd Wright, Ralph Jester Project, Palos Verdes, CA 1938 Sources: Haya-oshie 1812; Hanks 1979; Nute 1993

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This research uses examples drawn from the work of two modern American architects, Frank Lloyd Wright and John B. Yeon, to show how established traditions in one context can serve as a source of innovation in another. It shows how both of these designers translated two-dimensional spatial devices derived from Far Eastern decorative and pictorial ar...

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... 1996) In landscape painting, the obscuring of the middle ground with clouds or mist was intended to create the illusion of spatial depth on a flat plane (Figure 27), but when this device was transferred to garden design the effect was actually reversed, the intervening space between a made foreground and a distant natural scene seemingly collapsing to create the impression that they occupied a single, picture-like plane (Figure 28). 13 In using the Watzek house to obscure the city of Portland and the intervening distance to Mount Hood, more than fifty miles away, Yeon achieved a similar effect, of seemingly compressing three-dimensional space into a flat pictorial composition, and effectively acquiring the distant mountain as part of the landscape design of the dwelling (Figure 29). Source: John Yeon Archives, courtesy of Richard Louis Brown ...
Context 2
... 1996) In landscape painting, the obscuring of the middle ground with clouds or mist was intended to create the illusion of spatial depth on a flat plane (Figure 27), but when this device was transferred to garden design the effect was actually reversed, the intervening space between a made foreground and a distant natural scene seemingly collapsing to create the impression that they occupied a single, picture-like plane (Figure 28). 13 In using the Watzek house to obscure the city of Portland and the intervening distance to Mount Hood, more than fifty miles away, Yeon achieved a similar effect, of seemingly compressing three-dimensional space into a flat pictorial composition, and effectively acquiring the distant mountain as part of the landscape design of the dwelling (Figure 29). The trees to the east of the Watzek House perform a similar role from the interior of the home. ...

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