Space - Page 2

Mobile Art/ Chanel Contemporary Art Container

This is not new… the previous post just reminded me of it.
And there are three good reasons for this to be a post:
1. Rendering – mesmerizingly beautiful !
2. Zaha Hadid – I’m not a big fan of her architecture but have a deep respect for a woman who thrive in a field dominated by men.
3. “Je veux être de ce qui arrive” – I love this quote by Coco Chanel.




A rendering of the mobile pavilion for Chanel designed by Zaha Hadid

The world tour starts on 02/27/08 from Hong Kong and travels to Tokyo, New York, London, Moscow and Paris.

Chanel Mobile Art
Zaha Hadid Architects
Related article at Wallpaper*

Tokyo Underground

 
The images below look almost unreal. These are the images of Tokyo’s sewer system. It’s funny to think that this eye popping architecture was never meant to be seen by the external world.

Here is a simple formula:
Advanced Engineering × Japanese Precision = Awesome Beauty
(no aesthetic required)
 

 

 

 

 

 

Villa dall’Ava

villavallava.jpgSeveral years ago, when Rem Koolhaas became one of the most talked about architects, I had the rare opportunity not only to visit one of the houses he designed, but also to stay there for a few days while in Paris. The house called Villa dall’Ava, which was completed in 1991, had received worldwide attention in the architecture world.

I had first seen Rem Koolhaas’s work (it was an architecture model) at MOMA in the early ’90s, right around the time the distinguished Japanese architect Tadao Ando had his major exhibition at the museum. Ando back then was considered to be one of the ten most important architects in the word, and Koolhaas was still on the rise. However, although I don’t remember much about Ando’s exhibition at MOMA, I can still clearly visualize the architecture model by Koolhaas in my mind.

Generally, for Japanese, precision craftsmanship means average in skill, and the architecture model I had seen at MOMA was almost sacrilege in that respect. Everything was out of alignment and irregular, hardly anything was straight. I couldn’t understand how someone could make something with such a lack of precision… and had wondered how the actual architecture would look like, especially the details of it.

An architecture model is neither a sculpture nor a painting – it is merely a tool to examine the design and get some degree of understanding of how the actual architecture will look. Much against my expectation, Villa Dall’Ava turned out to be an architectural gem. There was a strange harmony of strength and fragility. To tell the truth, I was disappointed not to find any sign of “sacrilege” there. However there was something convincing and persuasive about the design… the house was whispering in my ear, “Imperfection is beautiful.” The house felt like it has its own life. It was cold but warm, heavy but light, filled with intimate contrasts which I’ve never found in Tadao Ando’s architectures.

This is, of course, not to say imperfection would necessarily add a human touch to a work of art, but after having used my hands to create art for many years, I have finally realized that a work with impeccable finish often lacked the warmth of human ki (qi or 気).

ー1999年に、パリ近郊にある、レム・コールハース設計の住宅ヴィラ・ダラヴァに滞在した時の思い出と、MOMAでの建築展で見たコールハースの建築模型の印象。ー

100% LOVE
*****

The video below was added to this post in May, 2008.


As we wait…

I used to make sculptures from sugar. That’s when I started to incorporate scents made by wonderful perfumers like Jean-Pierre Bethouart and Thierry Wasser in my art.

In 1999, I used 5 tons of sugar and 50 kilograms of fragrance oil for an installation in Japan. Everyday during the exhibition, 2 kilos of scent created by Thierry Wasser was sprayed on the floor. The visitors to the exhibition left with the scent on their clothes and shoes. As a result, an old downtown neighborhood in Tokyo was scented for a several block radius during the exhibition, and the scent remained for more than a year in the former rice market which housed the installation. Surprisingly, there wasn’t even a complaint, and I was still receiving messages from people who wanted the scent a year after the exhibition.