I lamented the ugliness of the entrance and entrance hall of the current Imperial Hotel, Tokyo, yesterday. In the olden days, when I was meeting people in the lobby, the concielerge would inform me of rheir arrival by tap- ping the floor with a long cane with a bell in an English style. When I met strangers, I often used the Imperial Hotel.
Yukio Mishima said that when he had to write a hotel in a novel, he wouldn't write the name of a Japanes hotel. This means that none of the hotels has a tradi- tional style that can evoke a global image by its name. It's non-individuality. It may be true. For example, if you write Savoy in London, Ritz in Paris, and Plaza in New York, you can immediately imagine the image, its appearance, the sophisticated service of the hotel man/woman, and the customer base. There is a formal style in the history of the hotel. What Yukio Mishima was saying is quite correct. It may be no exaggeration to say that if you look at a hotel, you can understand the depth of the culture of the country to some extent. It was. Regarding the relationship between the hotel and the culture of the country, Ms., M of the gallery said on the phone the other day that the works of art in the hotel in a certain country are wounderful.
That's why I say Imperial Hotel, you made yourself cheap with your hand, and unfortunately I'm sorry. Oh yeah, in the collection of the Cooper Hewitt Museum in New York, there was tableware and furniture designed by Frank Lloyd Wright for the first Imperial Hotel. It was carefully preserved by the museum in other country, not in Japan.
Incidentally, the bookmark I use while reading is designed by F. L. Wright. It is a gift from Mr. and Mrs. K.