WATER
INTERNATIONAL ARTS MAGAZINE D�ISSUE NO.2
HEART
4
SWIMSUIT: BY STELLE NECKLACE: JANA EINARD MODEL: NANCY FREIBERG PHOTOGRAPHER: DAVIDE DE VISDOMINI
COVER PAGE
8 22 54 80
FEATURED ARTIST PIRIMPO GALLO
PAGE
4
FASHION
PAGE
8
I FEEL LIKE... SWIMMING! PHOTOS BY DAVIDE DE VISDOMINI
PAGE
10
PHOTOGRAPHY
PAGE
22
UNDER WATER PHOTOS BY DAVE CAMPBELL VARUN VARUN PHOTOS BY VARUN SINGH KUNDA WATERS PHOTOS BY STEN OJA
PAGE
24
PAGE
38
PAGE
48
ARCHITECTURE
PAGE
54
THE OCEAN...INSIDE SOU FUJIMOTO ARCHITECTS PRIMITIVE VIEW SOU FUJIMOTO ARCHITECTS WATER ANDO TEXT BY AYANA KOBAYASHI
PAGE
56
PAGE
66
PAGE
74
NEW BLOOD
PAGE
80
LIQUID SCULPTURE MARTIN WAUGH TTHORAC VITTORIO RACANO
PAGE
82
PAGE
88
ON THE PULSE
PAGE
94
L.A. BEAT TEXT BY MARIA VIIDALEPP N.Y.C. BEAT TEXT BY VERONIKA BJARSCH BARCELONA BEAT TEXT BY DAVIDE DE VISDOMINI BOLOGNA BEAT TEXT BY MARCO SILVERII BERLIN BEAT TEXT BY VERONIKA BJARSCH TALLINN BEAT TEXT BY MARIT MIHKLEPP TOKIO BEAT TEXT BY AYANA KOBAYASHI
PAGE
96
PAGE 100 PAGE 102 PAGE 104 PAGE 106 PAGE 108 PAGE 110
CONTENTS
4 D FEATURED ARTIST
PETER GARFIELD PETER GARFIELD EMPLOYS A WIDE ARRAY OF MEDIA SUCH AS PHOTOGRAPHY, SCULPTURE,VIDEO, AND PAINTING, TO REALIZE HIS ART. HE HAS RECEIVED NUMEROUS PRESTIGIOUS GRANTS AND FELLOWSHIPS. GARFIELD IS CURRENTLY TEACHES COURSES AT THE THE NEW SCHOOL AND THE SCHOOL OF VISUAL ARTS. HE IS BEST KNOWN FOR HIS INTENSELY ICONIC SERIES OF PHOTOGRAPHS OF CRUSHED HOUSES FALLING FROM THE SKY. LATELY, HE IS OBSESSED WITH PLANTS AND LANDSCAPE ARCHITECTURE. THIS IS EVIDENT IN HIS RECENT WORK AND IN HIS PRIVATE LIFE. GARFIELD’S LITTLE GARDEN IS A FANTASY LAND WHERE OVER 5000 VARIETIES OF FLOWER BLOOM AND FADE THROUGHOUT THE YEAR.WE MET HIM IN HIS GARDEN WHICH SITS IN THE MIDDLE OF HIS HOUSE AND STUDIO.WE GAVE HIM THESE FOLLOWING QUESTIONS AND HE REPLIED TO IT. HEART: *IS EVERYTHING A JOKE? SPECIFICALLY, I AM ASKING ABOUT THE ‘HOAX’ OF DROPPING REAL HOUSES VS. PHOTOGRAPHING TOY MODELS OF HOUSES OR THE ‘HOAX’ OF USING AN ACTOR TO ANSWER QUESTIONS FOR YOU OR TO MAKE EXTREMELY REALISTIC LOOKING LANDSCAPES WHICH ARE NOT REAL PLACES. CAN YOU TELL ME ABOUT THE ‘THE WATERMILL CHEESE AND CRACKERS INCIDENT’? *WHEN YOU LOOK BACK AT YOUR WORK, WHAT INTERESTS YOU ABOUT ART MAKING? *DO YOU FIND IT DIFFICULT TO TALK ABOUT? *WHAT DO THE FLYING HOUSES OR RAINING HOUSES MEAN TO YOU? *THERE IS A DECONSTRUSTIVE ELEMENT IN YOUR ART, WHICH YOU MAINLY USE FOR ARTIFICIAL ELEMENTS(?) AND A BIG RESPECT (?) FOR THE FLOW OF NATURE, WHICH YOU DON´T TOUCH IN IST CONSTRUCTION(?). *I FOUND THIS QUOTE FROM YOUR GREAT GRANDFATHER - “I LOVE AGITATION AND INVESTIGATION AND GLORY IN DEFENDING UNPOPULAR TRUTH AGAINST POPULAR ERROR.” (PRESIDENT JAMES GARFIELD). CAN YOU RELATE TO THAT AND HOW WOULD YOU CHANGE THIS SENTENCE TO MAKE IT YOURS? *IS YOUR ART AN EXPRESSION OF ANGER, OR DECEPTION? ? *DO YOU SEE CONNECTIONS THAT RUN THROUGHOUT THE INDIVIDUAL WORKS? *WHEN WE SEE YOUR HOUSE, GARDEN AND STUDIO. WHAT ARE THESE THREE THINGS FOR YOU? AND WHICH OF THIS ELEMENTS GIVES YOU THE MOST PERSONAL SATISFACTION? *SOME ARTIST MOVE A LOT. IS TRAVELLING A PART OF YOUR WORK OR IS IT A DISTRACTION? WHY DO YOU PERSONALLY CHOOSE TO LIVE HERE? COULD YOU DESCRIBE THE DIFFERENCE IN WORKING AT HOME AND WORKING ABROAD, WORK WHILE IN MOVEMENT. DOES IT MAKE ANY DIFFERENCE TO YOU? *THE THEME OF THIS ISSUE IS WATER, I DIDN´T ASK YOU FOR YOUR PERSONAL MEANING FOR THAT. ARE YOU INTERESTED IN WORKING WITH WATER. WHAT DOES LIQUID MEAN TO YOU AND HOW DO YOU SEE A CONNECTION TO YOUR WORK. *CAN WE TALK ABOUT YOUR GARBAGE PROJECT? YOU WORKED WITH HUGE PILES OF GARBAGE, ORDERED BY COLOR, WHERE THE VIEWER SUDDENLY EXPERIENCE A SHICKING BEAUTY IN TRASH. WHAT INTERESTS YOU IN WORKING WITH THINGS PEOPLE THROW AWAY. ARE YOU INTERESTED IN THE EPHEMERAL ASPECTS OF LIFE AS WELL? IS THAT WASTE YOU CREATED FOR THIS PROJECT OR YOU COLLECTED FOR IT? DOES YOUR ART PIECES START TO HAVE AN ITS OWN LIFE OR IS IT THE LIFE IT HAD BEFORE TRANSFORMED? *WHAT KIND OF IDEAS MOVE YOU THE MOST IN YOUR WORK THESE DAYS? *WHAT IST HE MAIN THING YOU WANT TO TEACH YOUR STUDENTS AT NEW SCHOOL? *HOW DO YOU DEFINE SUCCESS?
FEATURED ARTIST D 5 PETER GARFIELD: I’M A CANCER, SO I GUESS I’M QUALIFIED TO SPEAK ON THE THEME OF WATER. I’M VERY WATERY IN MANY REGARDS. LIKE WATER, I CAN ONLY BE CONTAINED IN CUPPED HANDS AND WILL VANISH WHEN HELD TOO TIGHT. LIKEWISE, MY WORK LIKES TO DEFY ATTEMPTS TO BE HELD TOO CLOSELY. IT THRIVES ON IT’S ABILITY TO SLIP AWAY, TO AVOID RESISTANCE. I HOPE THAT WITH TIME, AND WITH VERY LITTLE EFFORT, I WILL BE ABLE TO DIRECT IT MORE IN THIS DIRECTION OF FLUIDITY. THE FACT OR STATE OF BEING AND NOT BEING, SIMULTANEOUSLY. (IT’S WHY I’M ALSO WORKING IN GLASS.) MY INTEREST IN WATER AS AN INTEGRAL ELEMENT IN LANDSCAPE IS DIRECTLY RELATED. IT’S MUTABILITY MAKES IT DIFFICULT TO COMMODIFY. ITS POWER TO PROVOKE UNEASE, FEAR EVEN, AS WELL AS CALM. WATER HAS NO NEEDS. INVOKING THAT NATURE OF WATER, I COULD PROVIDE A VERY WATERY RESPONSE TO YOUR QUESTION: “WHAT IS THE MAIN THING YOU WANT TO TEACH YOUR STUDENTS?” -- THAT THE MOST IMPORTANT KNOWLEDGE THAT I CAN IMPART TO THEM IS THAT THEY DON’T REALLY NEED ME. I’D LIKE TO BUILD IN THEM THE ABILITY TO THINK CRITICALLY AND TO TRUST THEMSELVES, TO CREATE FROM A SPIRIT OF “SERIOUS PLAY” OR “PLAYFUL SERIOUSNESS”. AND I’D LIKE NOT TO LEAVE ANY TRACE OF MYSELF. I WAS INTERVIEWED RECENTLY BY A PANEL OF “A-LIST” ARTISTS AND CURATORS FOR A PRIZE AND WAS SURPRISED TO DISCOVER THAT, BECAUSE THEY WERE OF MY GENERATION OR A LITTLE OLDER, THEIR WHOLE MINDSET WAS FOCUSSED ON ISSUES THAT WERE MORE RELEVANT TO THE 1970S, ‘80’S AND EARLY ‘90S. IT WAS VERY CLEAR TO ME HOW POLITICAL AND CULTURAL PROGRESS CAN BE RETARDED BY INTELLIGENT, ACCOMPLISHED, WELL-MEANING INDIVIDUALS, LIKE MYSELF, WHO ARE GIVEN INSTITUTIONAL POWER. ALTHOUGH I WANT MY STUDENTS’ RESPECT, I WANT THEM TO KNOW NOT TO TAKE ME TOO SERIOUSLY. WHICH BRINGS ME TO YOUR QUESTION, “IS EVERYTHING A JOKE?” -- WHICH ALSO RELATES TO YOUR OTHER QUESTION ALONG THAT LINE OF THINKING, “IS YOUR ART AN EXPRESSION OF ANGER, OR DECEPTION?” THE ANSWER TO ALL OF THOSE IS YES. AND NO. AND I DON’T KNOW TO WHAT DEGREE OF EITHER. THAT’S WHAT I’M CONSTANTLY TRYING TO FIGURE OUT, AND IT’S ONE OF THE THINGS THAT PROPELS ME FORWARD. I NEED TO LEARN SOMETHING IN THE PROCESS OF MAKING WORK, OTHERWISE IT’S NOT WORTH THE TIME AND EFFORT. I DISLIKE ARTWORK THAT IS JUST PRODUCTION WORK. I WORK TO DISCOVER. IF I WEREN’T A WORKAHOLIC, I’D BE LAZY. LIKE MOST PEOPLE, I WANT TO BELIEVE -- TO BELIEVE IN SOMETHING. HOWEVER, I’M DISGUSTED BY WHAT HUMANS ARE CAPABLE OF. I AM PERIODICALLY SHOCKED INTO HAVING SOME KIND OF FAITH WHEN A SMALL GESTURE OF KINDNESS OR FLASH OF JOY BRIEFLY ECLIPSES MY NIHILISM. I JUST READ A REVIEW OF A POET’S LIFE’S WORK AND IN IT I WAS STRUCK BY THIS: “... SEIDEL HAS MADE THE BRUTAL POSTMODERN CALCULATION THAT CYNICISM IS THE ONLY DEFENSIBLE MORAL POSITION. ANY OTHER RELATION TO SUFFERING SENTIMENTALIZES THE PAIN.” I FEAR THAT SOMETIMES I HEW TOO CLOSELY TO THAT CYNICISM, AND ALTHOUGH I CAN UNDERSTAND WHY IT MIGHT BE THE ONLY DEFENSIBLE MORAL POSITION IN THIS AGE, I’D LIKE NOT TO BELIEVE THAT AND FALL INTO IT AS A DEFAULT POSITION. IDEALLY, I WILL CREATE SOMETHING THAT ACKNOWLEDGES THE WASTE -- THE ANGER AND DECEPTION, THE BAD JOKE THAT IS LIFE -- BUT THAT MANAGES TO ARRIVE AT SOME KIND OF BEAUTY IN SPITE OF IT. I LIKE THE QUOTE YOU FOUND FROM MY GREAT-GREAT GRANDFATHER: “I LOVE AGITATION AND INVESTIGATION AND GLORY IN DEFENDING UNPOPULAR TRUTH AGAINST POPULAR ERROR.” THERE’S A GENEROSITY ABOUT IT -- A GOOD-NATURED GADFLY. IT’S FUNNY THAT YOU MENTION HIM. I’M THINKING A LOT ABOUT DEATH AND HISTORY AT THE MOMENT -- FAMILIAL AND SOCIETAL. IN A CURRENT PROJECT I’M FOCUSSING ON A POLITICAL ASSASSINATION -- IT’S A SURROGATE FOR JAMES GARFIELD’S ASSASSINATION AND HOW THAT EVENT IS PASSED DOWN THROUGH GENERATIONS AND REVERBERATES IN THE PRESENT. I DON’T WANT TO SAY MUCH ELSE ABOUT IT, AS I’M WORKING IT OUT IN THE WORK. AS FOR THE “WATERMILL CHEESE AND CRACKERS INCIDENT,” I THINK IT WILL BE SOME YEARS BEFORE I CAN DISCUSS THAT IN A PUBLIC SPHERE (OR PUBLIC’S FEAR). I’LL SAY ONLY THAT I’D LIKE TO BE MORE LIKE WATER.
ENJOY.
FAS ION
H
10 D FASHION
I FEEL LIKE...
THIS PAGE: NANCY IS WEARING SWIMSUIT BY STELLE SIMONLATSER, NECKLACE BY JANA EINARD (@ NU NORDIK). SHOES: STYLIST´S PRIVATE COLLECTION.
FASHION D 11
SWIMMING! SOME FRESH IDEAS FOR A YOUNG AND ALWAYS TRENDY SUMMER PHOTOGRAPHY: DAVIDE DE VISDOMINI
12 D FASHION
FASHION D 13
THIS PAGE: NANCY IS WEARING SWIMSUIT BY STELLE SIMONLATSER, NECKLACE BY JANA EINARD (@ NU NORDIK). OPPOSITE PAGE: SWIMSUIT BY KAI EICHEN, NECKLACE BY JANA EINARD (@ NU NORDIK).
14 D FASHION
THIS PAGE: NANCY IS WEARING SWIMSUIT BY STELLE SIMONLATSER, NECKLACE BY JANA EINARD (@ NU NORDIK). OPPOSITE PAGE: SWIMSUIT BY KAI EICHEN, NECKLACE BY JANA EINARD (@ NU NORDIK).
FASHION D 15
H
16 D FASHION
FASHION D 17
THESE PAGES: SWIMSUIT BY KAI EICHEN, NECKLACE BY JANA EINARD (@ NU NOR-
H
H
THIS PAGE: SWIMSUIT BY KAI EICHEN, NECKLACE BY JANA EINARD (@ NU NORDIK).
18 D FASHION
FASHION D 19
H
H
20 D FASHION
CRED
FASHION D 21 PHOTOGRAPHY: DAVIDE DE VISDOMINI davide.devisdomini@gmail.com STYLING: KAI EICHEN kai@kaieichen.com MODEL: NANCY FREIBERG (E.M.A.) www.ema.ee MAKE-UP & HAIRSTYLING: RISTO PILLAROO ristopillaroo@gmail.com DESIGNERS: STELLE SIMONLATSER stelle83@gmail.com KAI EICHEN (kai@kaieichen.com, www.kaieichen.com)
DITS
H
P OTOGRAP Y H
H
H
24 D PHOTOGRAPHY
UNDER
PHOTOGRAPHY D 25
WATER A SENSATIONAL SERIES OF PORTRAITS IN AN UNUSUAL LOCATION... PHOTOGRAPHY: DAVE CAMPBELL
H
26 D PHOTOGRAPHY
PHOTOGRAPHY D 27
28 D PHOTOGRAPHY
PHOTOGRAPHY D 29
30 D PHOTOGRAPHY
PHOTOGRAPHY D 31
H
32 D PHOTOGRAPHY
PHOTOGRAPHY D 33
H
H
34 D PHOTOGRAPHY
PHOTOGRAPHY D 35
H
H
36 D PHOTOGRAPHY
davecampbellphoto@yahoo.com
PHOTOGRAPHY D 37
H
H
38 D PHOTOGRAPHY
VARUN
PHOTOGRAPHY D 39
NURAV IN HINDU MYTHOLOGY, VARUN IS GOD OF WATER, CELESTIAL SPACE AND RAIN.THIS IS A SELECTION OF PHOTOS THAT TELLS A STORY OF AN INDIAN PHOTOGRAPHER AND ITS RELATION WITH WATER PHOTOGRAPHY: VARUN SINGH
H
H
40 D PHOTOGRAPHY
PHOTOGRAPHY D 41
H
H
42 D PHOTOGRAPHY
photos.varunsingh.net
PHOTOGRAPHY D 43
H
H
44 D PHOTOGRAPHY
PHOTOGRAPHY D 45
H
H
46 D PHOTOGRAPHY
PHOTOGRAPHY D 47
H
H
48 D PHOTOGRAPHY
K
PHOTOGRAPHY D 49
KUNDA WATERS A SUGGESTIVE SERIES OF IMAGES FROM THIS SMALL ESTONIAN TOWN CLOSE TO THE BORDER OF RUSSIA PHOTOGRAPHY: STEN OJA
H
H
50 D PHOTOGRAPHY
PHOTOGRAPHY D 51
H
H
52 D PHOTOGRAPHY
PHOTOGRAPHY D 53
H
ARC ITECTURE
H
H
56 D ARCHITECTURE
THE OCEAN... PROJECT: HOUSE O LOCATION: CHIBA,JAPAN SITE AREA: 656.46 SQ M BUILDING AREA: 128.94 SQ M TOTAL FLOOR AREA: 128.94 SQ M STRUCTURE: RC; 1 STOREY PRINCIPAL USE: RESIDENCE
ARCHITECTURE D 57
INSIDE A SPECTACULAR RESIDENCE BY THE JAPANESE COAST DIALOGUES WITH THE SURROUNDING OCEAN IN A SURPRISING VARIETY OF WAYS SOU FUJIMOTO ARCHITECTS
H
H
58 D ARCHITECTURE
HOUSE O A WEEKEND HOUSE FOR A COUPLE LOCATED ON A ROCKY COAST TWO HOURS DRIVE FROM TOKYO. THEY ARE PLANNING TO SETTLE DOWN THIS PLACE IN THE FUTURE. THE SITE IS A ROCKY STRETCH FACING THE PACIFIC OCEAN WITH APPROACHES SLOPING DOWN TO THE WATER LEVEL. THE CHARACTERISTIC OF ITS PLAN, IMAGINED LIKE THE BRANCHES OF A TREE, IS A CONTINUOUS ONE ROOM. ALL THE REQUIRED SPACES, ENTRANCE, LIVING AREA, DINING AREA, KITCHEN, BED ROOM, JAPANESE STYLE ROOM, STUDY ROOM AND BATH ROOM ARE ARRANGED IN THIS CONTINUOUS ONE ROOM. “HOUSE WITH FEELING OF OCEAN NEARBY” IS THE REQUEST FROM THE CLIENT. RESPONDING THIS IMAGE, I THOUGHT OF CREATING “VARIOUS OCEAN”. PANORAMIC VIEW OF THE OCEAN, OCEAN LOOKING FROM RECESSES OF A CAVE, ENCLOSED OCEAN AND A PLACE
EXTERIOR VIEW
ARCHITECTURE D 59 closet
bed room porch entrance
parking
closet N
living room
tatami room
dining room
study room kitchen
bath room
0
1
5m
H
H
60 D ARCHITECTURE
LIKE PROJECTED ABOVE THE OCEAN. ORIENTED IN DIFFERENT DIRECTIONS, ONE CAN FIND VARIOUS VIEWS OF THE OCEAN WALKING THROUGHOUT THE HOUSE. LIVING AREA, BEDROOM AND BATHROOM EACH HAS ITS UNIQUE RELATION TO THE OCEAN. ONE COULD SAY THE HOUSE IS AKIN TO A WALKING TRAIL ALONG A COAST, ONE COULD HAPPEN BY A PANORAMIC VIEW, SOMETIMES FEEL THE OCEAN AT THE BACK OR FIND THE OCEAN THROUGH A SMALL GAP. AND COMFORTABLE SPACES TO SETTLE ARE SCATTERED ALONG THE TRAIL. THOSE SPACES ARE THE ORIGINAL IMAGE FOR THIS PROJECT. INTERMINABLE SPACES CONTINUING OVER AND OVER WITHOUT ANY CLEAR BORDER, JUST AS SOMETHING BEFORE IT SEPARATES, I INTENDED ARCHITECTURE TO BE PRIMITIVE, “INBETWEEN NATURAL AND MAN-MADE”. TEXT BY SOU FUJIMOTO ARCHITECTS (www. )
EXTERIOR VIEWS
ARCHITECTURE D 61
INTERIOR VIEW OF THE BATHROOM
H
H
62 D ARCHITECTURE
ARCHITECTURE D 63
Liquid Applied Membrane Waterproof Plywood t12 Double Styroform t35 Slav Plate：APA23
Liquid Applied Membrane Waterproof Plywood t12 Double Styroform t35 Slav Plate：APA23
Flashing/grass hold Steel Plate t4.5 Gilded
130
Liquid Applied Membrane Waterproof Plywood t12 Double Styroform t35 Slav Plate：ALF23
Flashing/grass hold Steel Plate t4.5 Gilded
130
100 9
Wall: Architectual Concretet Japan cedar Form
Ceiling： Plaster board t9.5 Emulsion Painted
200
200
200
Maximum Height(+2915) 100 9
Ceiling： Plaster board t9.5 Emulsion Painted
Ceiling： Plaster board t9.5 Emulsion Painted
200
Wall: Architectual Concretet Japan cedar Form
CH2600
2915
1FL（＋115）
65
50 65 PIT
Floor：Wooden Flooring t15 Lauan Plywood t15 Insulation Board t30
SUS Channnel 3×25×50
50 65
Floor：Wooden Flooring t15 Lauan Plywood t15 Insulation Board t30
Floor Heating:Heating Film
1FL（＋115）
300 150
65 300 150
150
160 75 85
300
Floor：Wooden Flooring t15 Lauan Plywood t15 Insulation Board t30
bed room
150
485
600
900
65
900
Floor：Wooden Flooring t15 Lauan Plywood t15 Insulation Board t30
65
450
Floor Heating:Heating Film Shelf
Shelf
160 85 75
135 75
750
315 2295
450
Kitchen counter
dining room
210
Counter Table
1FL（＋115）
BFL（－485）
CH2600
kitchen
160 8575
Wall: Architectual Concretet Japan cedar Form
tempered glass t15
2915
CH2600
315
2915
315
tempered glass t15
300
300
3060
0
1
3350
2850
5
INTERIOR VIEW
H
H
64 D ARCHITECTURE
PHOTOS BY DAICI ANO
ARCHITECTURE D 65
INTERIOR VIEW
H
H
66 D ARCHITECTURE
PRIMITIVE
ARCHITECTURE D 67
VIEW THIS INGENOUS AND POETIC REALIZATION SHOWS THE ENDLESS POSSIBILITIES GIVEN BY THE USE OF WOOD IN ARCHITECTURE SOU FUJIMOTO ARCHITECTS
H
H
68 D ARCHITECTURE
MOKUBAN I WANTED TO CREATE AN ULTIMATE WOODEN ARCHITECTURE. I THOUGHT THROUGH THIS BUNGALOW, WHICH CAN BE CONSIDERED AS A SMALL AND PRIMITIVE HOUSE, IT WAS POSSIBLE TO DO A PRIMITIVE AND SIMULTANEOUSLY NEW ARCHITECTURE. 350MM SQUARE PROFILE CEDAR IS PILED ENDLESSLY. AT THE END OF THE PROCESS APPEARS A PROTOTYPICAL PLACE BEFORE ARCHITECTURE BECAME ARCHITECTURE. WOOD IS AMAZINGLY VERSATILE. DUE TO ITS VERSATILITY, WOOD IS USED IN A CONVENTIONAL WOODEN ARCHITECTURE BY INTENTIONAL DIFFERENTIATION IN VARIOUS PLACES. NOT ONLY IN STRUCTURES, SUCH AS COLUMNS AND BEAMS, BUT IT CAN ALSO BE USED IN EVERYTHING ELSE FROM FOUNDATION, EXTERIOR WALL, INTERIOR WALL, CEILING, FLOORING, INSULATION, FURNITURE, STAIRS TO WINDOW FRAMES. I POSIT THAT IF WOOD IS INDEED MULTIFACETED, THEN CONVERSELY IT SHOULD BE POSSIBLE TO CREATE ARCHITECTURE THAT FULFILLS ALL FUNCTIONS BY ONE PROCESS, AND BY ONE WAY OF USING WOODS. IT IS AN INVERSION OF VERSATILITY. FROM THAT ORIGINATES, NEW ARCHITECTURE THAT MAINTAINS AN UNDIFFERENTIATED CONDITION OF THE HARMONIZED WHOLE BEFORE FUNCTION AND ROLE UNDERWENT MITOSIS. 350MM SQUARE PROFILE CEDAR HAS AN AMAZING IMPACT. IT TRANSCENDS WHAT WE USUALLY CALL “WOOD” AND BECOMES “AN EXISTENCE” OF AN ENTIRELY DIFFERENT MATERIAL. WHILE THE DIMENSIONS ADEQUATELY DISPLAY ITS MATERIALITY AS WOOD, 350MM SQUARED IS SIMULTANEOUSLY THE DIMENSIONALITY DIRECTLY CORRESPONDING TO HUMAN BODY. THUS, THREE-DIMENSIONAL SPACE IS CREATED OUT OF 350MM INCRE-
MENTS. THIS STEPPED SPACE WAS A LONG FASCINATION OF MINE FOR COUPLE OF YEARS AS ITS DEFINING CHARACTERISTICS ARE THE GENERATION OF A SORT OF SPATIAL RELATIVITY AND A NEW SENSE OF VARIOUS DISTANCES UNACHIEVABLE BY COPLANAR FLOORS. THERE ARE NO CATEGORIZATION OF FLOORS, WALLS, AND CEILINGS HERE. A LOCALITY THAT WAS THOUGHT AS A FLOOR TRANSFORMS INTO CHAIRS, CEILINGS, AND WALLS FROM DIFFERENT PERSPECTIVES. FLOOR LEVELS ARE RELATIVE AND PEOPLE REINTERPRET THE SPATIALITY ACCORDING TO WHERE THEY ARE. PEOPLE ARE THREE-DIMENSIONALLY DISTRIBUTED IN SPACE AND WILL EXPERIENCE NEW SENSATIONS OF DEPTHS. SPACES ARE NOT DIVIDED BUT IS RATHER PRODUCED AS A CHANCE OCCURRENCE WITHIN FUSING ELEMENTS. INHABITANTS DISCOVER VARIOUS FUNCTIONS WITHIN THOSE UNDULATIONS. IT IS A PLACE AKIN TO NEBULOUS LANDSCAPE. THIS RESONATES WITH THE UNDIFFERENTIATED CONDITION OF ABOVE-MENTIONED ARCHITECTONIC ELEMENTS. BOTH AS A CONSTRUCTIONAL METHODOLOGY AND EXPERIENTIAL SPACE, THIS ARCHITECTURE IS SYNTHESIZED BY THE FUSION OF VARIOUS UNDIFFERENTIATED ELEMENTS. HERE, CONVENTIONAL RULES OF ARCHITECTURE IS NULLIFIED. THERE IS NEITHER A PLAN NOR A STABILIZING POINT. THIS IS POSSIBLE PURELY BECAUSE THE WOOD IS THAT VERSATILE. PERHAPS IT IS ONLY POSSIBLE WITH WOOD TO BE SIMULTANEOUSLY THE INSULATION AND THE STRUCTURE,THE FINISH AND ALSO THE FURNITURE. BY BEING COMPOSED OF THE WOODEN BLOCKS INSTEAD OF SLABS, THE METHOD OF CREATING THE UNDIFFERENTIATED CONDITION WAS MADE CLEAR.
I THINK THIS BUNGALOW CEASES TO BE WITHIN THE DOMAIN OF WOODEN ARCHITECTURE. IF ARCHITECTURE MADE FROM WOOD IS TO BE CONSIDERED WOODEN ARCHITECTURE, THEN THIS BUNGALOW IS THE WOOD ITSELF THAT TRANSCENDS THE ARCHITECTURAL CONVENTION TO DIRECTLY BECOME A PLACE FOR HUMANS. IT IS OF PRIMORDIAL EXISTENCE BEFORE ARCHITECTURE. THAT IS TO SAY, RATHER THAN NEW ARCHITECTURE, IT SEEKS NEW CONCEPTION, A NEW EXISTENCE. TEXT BY SOU FUJIMOTO ARCHITECTS (www. )
ARCHITECTURE D 69
“INTERIOR” VIEW
EXTERIOR VIEW
H
H
70 D ARCHITECTURE
ARCHITECTURE D 71
INTERIOR VIEW
H
350
X02
350
4195
X04
X06
350
X08
350
X10
X02 350
350
X04 350
350
X06 4195 350
350
X08 350
350
350
350
X00
350
X02
350
X00
172.5
172.5
X02 350
350
350
X06
X04 350
350
X06
350
350
X08
1
1
1
172.5
Y02
350 350 350 350 350
11 01
11 02
11 05
11 06
350
350 350
1
350
11 04
10 13
Y00
Y00
172.5
1
10 12
350
1
10 11
150
350
350
350
4195 350
350
87.5 87.5 87.5
1
10 04
87.5
87.5
10 01
1
10 03
87.5
1
1
10 02
350
350
172.5
Y02
350
Y04
350 4195
87.5
10 05
350
Y06
Y04
350
87.5
10 16
350
Y00
Y06
4195 350
350
1
350
Y00
Y08
X06
350
350
1
Y10
Y08 350
87.5
1
Y10
350
1
10 15 1
Y11
350
87.5
87.5
1
1
Y11
350
350
X10
172.5
172.5
X11
350
350
X00
350
350
X02
350
350
350
4195
X04
350
X06
350
350
350
X08
350
11 03
X10
172.5
350
172.5
X11
350
X00
350
350
X02
350
350
350
4195
X04
X06
排気設備(部分詳細図参照)： ﾊﾟｲﾌﾟﾌｧﾝ/FY-08PP7D(Nastional)
ｺﾝｾﾝﾄ① 対象：ｴｱｺﾝ,ﾊﾟｲﾌﾟﾌｧﾝB,照明B 品番：ﾅｼｮﾅﾙ露出接地ｺﾝｾﾝﾄ(4口)鋼鉄製 参照：木部詳細加工図
ﾍﾞﾝﾄﾞｷｬｯﾌﾟ/外壁用ｽﾃﾝﾚｽ製換気口 金網付 CX-SN(西邦工業)
X08
4195 350
350
87.5
87.5 87.5
1
10 14
350
172.5
50
2
1
X04
X02
X00
172.5
1
350
350
09
① 13
1
10 10
350
電気本線 引き込み φ40
350
4195
X04
09 12
2
1
10 09
X11
350
87.5
172.5 350 350 350 350
Y02
350
10 07
350
350
Y02
X10
350
172.5
172.5 175 175
350
X08 350
1
350
90
2
350
X06 4195 350
350
10 08
172.5
2
電源線ア +空調配管 /ｺﾝｾﾝﾄ① φ90 350
②
350
Level 09
X11 350
Y04
350
130
09 11
09 01
X11
X10 350
Y06
Y04
350
②
250
Level 08
X00
Y06
350
350
ﾙｰﾑｴｱｺﾝ(12畳用)設置
ｺﾝｾﾝﾄ①へ
172.5
350
10 06
09 14
ｴｱｺﾝ取付部側面に掘込み W250 D130 H130(中心合せ)
172.5
350
4195 350
②
ｴｱｺﾝ配管接続用ｼﾞｬｯｸ設置 W160×D160×H100
172.5
Y08
350
1
350
Y00
Y10
Y08
350
09 15
350
Y00
Y10
350
09 16
09 05
ＳW 1 350
Y11
350
09 17
ＳW 1
350
08 14
350
09 18
86.25
172.5
350
08 13
172.5
78.9
90
350
2
Y11
350
1
09 06
172.5 350
09 19
350
350 350
X00
350
2
172.5
X04
X02
X00
172.5
1
Y02
350
350 350 172.5
08 12
ＳW 1 350
350
③
2
09 02
350
172.5
X11
350
350 4195
Y04
Y02
1
X10 350
350
Y06
Y04
1
Y00
2
1
09 03
Y02
350
350
Y06
350
87.5
350 350
09 07
09 04
08 04
350
1
08 03
09
① 09
1
4195 350
3
08 17
08 02
X08 350
350
350 350 350 350
3
350 4195
2
3
08 01
Y08
3
08 06
87.5
1
87.5
87.5
2
08 05
1
Y04
Y10
Y08
09 08
1
87.5
87.5
350 350 4195 350
Y06
Y10
09 10
1
Y08
X06 4195 350
350
172.5
08 18
08 10
350
87.5
08 16
350
08 15
1
Y11
350
350
1
87.5
87.5
08 09
350
350
1
08 08
87.5
1
08 07
Y11
350
87.5
08 11
Y10
350
172.5
X04
X02
X00
172.5
172.5
X11 350
87.5
350
172.5
X10 350
86.25
350
電気本線引き込み
X08 350
172.5
X06 4195 350
350
350
350
350
350
172.5
350
172.5
350
350
Y11
X04
X02
X00 172.5
350
X10 350
Level 10
X11
350
350
X00
172.5
172.5
X02 350
350
X04 350
350
X06 4195 350
350
X08 350
350
X10 350
350
X11 350
X00
172.5
172.5
X02 350
350
X04 350
350
X06 4195 350
350
350
06 14
Y10
ﾗｸﾞｽｸﾘｭｰ収まり悪 →材の向き変更で対処できますか？
Y11
172.5
Y08
175
06 05
Y11
2
Y10
350
X00
350
350
X02
350
350 4195
X04
350
350
X08
350
X00
X02 350
350
X06 350
4195 350
X08 350
172.5
172.5
X11
350
350
X00
350
350
X02
350
350 4195
X04
・照明C
X10 350
350
X00
X11 350
172.5
172.5
X06
350
X02 350
350
X04 350
350
X10
X08 350
350
350
350
350
350
350
4195 350
350 4195 350
350
350
350
172.5
350
350
350
X02
350
350 4195
X04
350
X06
1
07 04
1
07 03
350
1
07 02 350
5
Y00
Y00
07 01
3
86.25
電気本線 引き込み φ40
350
Y02 ｺﾝｾﾝﾄ③ 対象：ﾊﾟｲﾌﾟﾌｧﾝＡ,照明Ａ 品番：ﾅｼｮﾅﾙ露出接地ｺﾝｾﾝﾄ(4口)鋼鉄製 参照：木部詳細加工図
350
06 12
1
ＳD 1
2
350
X00
350
350
X08
350
X10
電源線ア +空調配管 /ｺﾝｾﾝﾄ① φ90 172.5
172.5
X11
350
350
X00
350
350
X02
350
350 4195
X04
350
X06
Level 06
X11 350
06 11
1 350
350
172.5
X11
X10 350
350
350
350 4195 350 350 350 350 350
06 02
電源線ア +空調配管 /ｺﾝｾﾝﾄ① φ90
X00
172.5
172.5
X02 350
350
X04 350
350
X06 4195 350
350
X08 350
350
X10 350
350
X11 350
X00
172.5
172.5
350
350
X02
350
350
X04
350 4195
350
X06
350
X08
350
350
X10
172.5
X11
X02 350
350
X04 350
350
X06 350
4195 350
350
X00
Level 00
PHOTOGRAPHY BY IWAN BAAN iwan@iwan.com
X02
X04
350 4195
350
X06
350
350
X08
350
350
X10
X11
Level 01
X00
350
50
172.5 350
172.5 350
03 05
+1
320
350
350
350
電源線ウ /ｺﾝｾﾝﾄ③,④ φ50
03 04
50
20
350
4195 350
350 350 4195 350 172.5
Y02
Y00
Y00
+3
03 11
350
Y04
Y02
350
350
03 02
WD 1
350
・電源線ア ・空調配管/ｺﾝｾﾝﾄ①
350
350
X02
350
350
X04
350 4195
・照明C
350
X06
350
03 01
172.5
02 14
350
CD管露出配線 ・電源線カ/洗面ｺﾝｾﾝﾄ⑥
02 13
02 15 172.5
Y04
350
r8 5
350
r1 00
電気本線引き込み: 洗面室内露出配線
872.5
350
02 16
CD管露出配線 電源線オ/ｽｲｯﾁ用
CD管露出配線
86.25 350
Y06
350
WD 1
ＳD 1
172.5
172.5
/ｼｹﾞﾙ工業 埋込み 給排水配管用穴φ135
350
350
350
・照明C
CD管露出配線 電源線エ/ｺﾝｾﾝﾄ⑤ (LEVEL06木材裏へ)
ｽﾃﾝﾚｽｼﾝｸ310Gﾎﾞｰﾙ
445
CD管露出配線
350
02 03 302
135
172.5
Y00
02 02
86.25
Y00
2
02 01
混合水洗配管用穴 φ30×2箇所
・空調配管/ｺﾝｾﾝﾄ①
01 16
350
Y06
350
350 350 4195 350
Y02 350
洗面室内露出配線
・電源線カ/洗面ｺﾝｾﾝﾄ⑥
350
Y08
03 03
02 17
02 18
350
Y04
Y02
138
電気本線引き込み:
・電源線ア
350
Y10
Y08
+1
電源線ウ /ｺﾝｾﾝﾄ③,④ φ50
350
Y04 350
CD管露出配線 電源線エ/ｺﾝｾﾝﾄ⑤ (LEVEL06木材裏へ)
01 15
ＳD 1
01 01
Y10 2
電源線ウ(縦抜き穴:φ50) /ｺﾝｾﾝﾄ③,④
CD管露出配線 電源線オ/ｽｲｯﾁ用
CD管露出配線
01 02
350
02 20
02 12
350
350 350 350 4195
ｺﾝｾﾝﾄ/露出配線
347.5
172.5
02 11
50
350
02 10
03 06
350
02 09
Y11
350
02 08
350
350
02 07
+1
02 19
350
WD 1
01 03
172.5
172.5
Y06
350
Y06
02 06
01 17 350
01 04 01 14
350
350
Y08
02 05
Y11
4
01 05
46.25 350
Y08
02 04
01 06 152.5
262.5
86.25
Y00
350 172.5
197.5
20
197.5
電源線ウ /ｺﾝｾﾝﾄ③,④ φ50 100
350
Y00
Y10
機械室
機械室
350
Y02
350 350
46.25
285以上
46.25
01 13
02 21
01 10
350
Y04
Y02
Y10
350
01 11
01 08
01 07
4195 350
350 350 4195
197.5
350
Y04
Y11
350
Y06
Y11
350
Y06
172.5
172.5 350 350 350
Y08
01 12
350
Y08
350
197.5197.5 46.25
350 350
Y00
5 r8
FL-567
172.5
4195 350
172.5
Y10
350
Y10
350
152.5
350 350
4195 350
20
350
350
285以上
Y02
X00
X06 350
152.5
FL±0
172.5
350
01 09
695
Y11
350
350
1030
Y06
Y00
350
X08
172.5
172.5
2035 197.5
350
Y11
350
325 152.5
152.5
1795
Y08
Y04
Y00
86.25 350
06 10
1
Level 05
350
285
350
06 09
350
・電源線カ/洗面ｺﾝｾﾝﾄ⑥
350
2
172.5
05 11
06 08
172.5
2
06 07
CD管露出配線 90
07 07
07 06 50
Y04
Y02
1
06 06
86.25
ＳD 1
05 01
Y04
・空調配管
電源線ア +空調配管 /ｺﾝｾﾝﾄ① φ90
20
132.5
285 152.5
745
350
20
1030
132.5
Y10
350
Y02
07 05
Y06 ｺﾝｾﾝﾄ⑤ 対象：居室で使用1 品番：ﾅｼｮﾅﾙ露出接地ｺﾝｾﾝﾄ(4口)鋼鉄製
86.25
350
05 12
258.75
06 03
197.5
172.5 350
Y11
X04 350
350
350 350 4195
2
Level 04
172.5
Y02
350
CD管露出配線 ・電源線ア/ｺﾝｾﾝﾄ①
洗面ｺﾝｾﾝﾄ⑥ 対象：ﾄﾞﾗｲﾔｰ等、非常設機器 品番：ﾅｼｮﾅﾙ露出接地ｺﾝｾﾝﾄ(2口)鋼鉄製
X10
05 13
洗面室内露出配線
87.5
172.5
Y00
Y04
350
05 03
Y06 電源線エ/ｺﾝｾﾝﾄ⑤ (裏面に加工の上、 配線・取付け)
電源線ウ /ｺﾝｾﾝﾄ④ φ50
06 01
1
電源線エ/ｺﾝｾﾝﾄ⑤ (裏面に加工の上、 配線・取付け) 電気本線引き込み:
WD 1
350
3
350
Y00
Y04
ﾗｸﾞｽｸﾘｭｰ：表面から斜打ち
1
電源線ウ(縦抜き穴:φ50) /ｺﾝｾﾝﾄ④
2
Y06
350
05 14
86.25
350
Y06
Y08
1
172.5
Y02
350
350
05 19
350
Y02
350 172.5
04 13
X06
05 20
05 15
05 02 86.25
172.5
350
05 16
05 04
350
Y04
1
04 14
350 172.5
350
05 05
350
Y04
350
350
100
04 02
172.5
175
175
1
CD管露出配線 電源線オ/ｽｲｯﾁ用
3
ＳD 1
2
87.5
350
350
WD 1
Y02
04 01
電源線ウ /ｺﾝｾﾝﾄ④ φ50
Y08
1
5
350
350 CD管露出配線 電源線エ/ｺﾝｾﾝﾄ⑤ (LEVEL06木材裏へ)
1
350
350
Y06
1
：φ110穴あけ ：三菱V-08PC5ﾌｪｲｽﾌﾟﾚｰﾄ脱 鋼板製ﾊﾟｲﾌﾟφ100設置 ：鋼板製ﾊﾟｲﾌﾟφ100
ﾍﾞﾝﾄﾞｷｬｯﾌﾟ
Y06
04 12
172.5
350
木材加工 ﾊﾟｲﾌﾟﾌｧﾝ
04 11
350
Y04
04 10
05 21
86.25
04 09
87.5
350
04 08
1
05 17
05 06
4195 350
04 07
350
350 350
1
04 06
350 4195
87.5
50
2
Y00
Y08
350
04 03
87.5
350
電源線ウ /ｺﾝｾﾝﾄ④ φ50
4195 350
Y06
SW 1
3
350
350
350
Y08 350
Y08
1
87.5
05 07 05 18
07 08
350
Y08
06 13
350
Y10
172.5
Y10
2
350
05 22 350
05 08
06 04
350
Y11
172.5
Y11
350
Y10
05 23
350
Y10
05 10
350
1
05 09
172.5
Y11
350
Y11
172.5
1
350
172.5
5
350
1
4
350
Y10
04 05
350
04 04
350
Y11
172.5
SW 1
00 r1
H
72 D ARCHITECTURE
ＳD 1
03 07
86.25 350
350
X08
350
350
X10
172.5
X11
Level 02
172.5
X00
350
350
350
X02
350
350
X04
350 4195
350
X06
ARCHITECTURE D 73
X08
X10 350
X11
350
350
172.5
172.5
350
Y11
350
11 12 11 11
350
Y10
350
11 10 11 09 350
Y08
350
11 08 11 07 350
4195
Y06 150
350
750
天井仕上： 透明ｱｸﾘﾙ板t=20
Y04 350
W750×D1050
11 16
350
11 15
Y02 350
11 14
350
11 13
Y00
172.5 350
350
350
X08
350
X10
172.5
X11
Level 11
X10 350
350
X11 350
172.5
172.5
X08 350
Y11
350
07 15 07 14
4
07 13
4
Y10
350
350
4
07 12
350
350
Y08
350
4195
Y06 2 350
07 11
350
350
Y04
350
Y02
350
Y00
86.25
電気本線 引き込み φ40
0
172.5
07 09
350
86.25
07 10
1
350
350
X08
350
X10
172.5
X11
Level 07
X08
X10 350
350
X11 350
172.5
172.5
350
Y11
350
03 16 03 15
+1
1
03 14
+1
Y10 350
1
350
+1
03 12
Y08 350
+2
50
20
350
03 09
Y06
+2 350
+1
03 13
4195
+1
+1
350
03 10
Y04 350
CD管露出配線 電源線エ/ｺﾝｾﾝﾄ⑤ (LEVEL06木材裏へ)
CD管露出配線 電源線オ/ｽｲｯﾁ用
350
03 08
電気本線引き込み:
Y02
洗面室内露出配線 350
CD管露出配線 ・電源線ア/ｺﾝｾﾝﾄ① ・空調配管
172.5
・照明C
350
86.25
CD管露出配線 ・電源線カ/洗面ｺﾝｾﾝﾄ⑥
Y00
86.25 350
350
X08
350
350
X10
172.5
X11
Level 03
EXTERIOR VIEW
H
H
74 D ARCHITECTURE
WATER
THESE PAGES: “BENESSE HOUSE OPAL” IN NAOSHIMA, JAPAN
ARCHITECTURE D 75
ANDO AT SUNTORY MUSEUM IN OSAKA, JAPAN, A CHALLENGING EXHIBITION FEATURING THE UNIQUE RELATIONSHIP BETWEEN TADAO ANDO, OSAKA CITY AND “WATER” IS BEING HELD UNTIL MID-JULY. BY AYANA KOBAYASHI
H
H
76 D ARCHITECTURE
WATER inspires ANDO ANDO IS THE INTERNATIONALLY-ACCLAIMED JAPANESE ARCHITECT, WHO IS DEEPLY LINKED THE ELEMENT “WATER”. HE HAS PREVIOUSLY TRIED APPLYING ANY POTENTIAL OF WATER TO MANY HIS UNIQUE PROJECTS SUCH AS “CHURCH ON THE WATER” IN HOKKAIDO, JAPAN AND “MODERN ART MUSEUM OF FORT WORTH” IN USA. ONE OF HIS CURRENT PROJECT “ABU DHABI MARITIME MUSEUM” IN ABU DHABI, UAE (IMG.1) WILL ALSO BE A BIG CHALLENGE FOR UNKNOWN WATERSCAPE. FURTHERMORE, AT PRESENT, HE IS ENGAGED IN TWO FANTASTIC RECONSTRUCTION PROJECTS TO PROMOTE THE USE OF GREAT CANALS IN EACH TWO METROPOLIS OF THE WORLD, VENICE IN ITALY AND OSAKA IN JAPAN.THIS EXHIBITION’S EXCITING TITLE “THE CITY OF WATER / OSAKA VS VENICE” IS EVIDENTLY FROM THESE TWO ONGOING PROJECTS. SINCE 2005 IN VENICE HE HAS BEEN OFFERING QUITE INNOVATIVE IDEAS TO RENOVATE SOME OLD BUILDINGS LIKE PALAZZO GRASSI IN 2006. THE LATEST PROJECT IS “PUNTA DELLA DOGANA RENOVATION” (IMG.2). PUNTA DELLA DOGANA, WHICH IS LOCATED IN THE TIP OF DORSODURO ISLAND ENCLOSING WIDE CANALS, WAS ORIGINALLY THE CUSTOMS HOUSE OF THE SEA. HIS MISSION IS TO RENOVATE IT AS A NEW MODERN ART MUSEUM UNDER THE STRICT REGAL REGULATION FOR LANDMARKS PRESERVATION OF THE CITY. MOREOVER ANDO HAS OBLIGATED HIMSELF TO OPTIMIZE FOR
THE SPACIAL ABILITY OF ORIGINAL BUILDING AND ITS LOCATION SURROUNDED BY RICH WATER. ON ANDO’S WORKS WATER IS LARGELY EXPECTED TO SERVE AS GREAT “MEDIUM” BETWEEN SITE, ARCHITECTURE AND HUMAN. IN FACT HE IS ALWAYS A SPECIALIST TO PRODUCE SITE-SPESIFIC ENVIRONMENT, BY BRINGING LOCAL STREAMS OR SEA INTO HIS PLAN AS IF A PART OF HIS ARCHITECTURE. ANDO BELIEVES THAT WATER IS THE “SYMBOLIC MIRROR” OF BOTH NATURE AND THE HUMAN ENERGY FOR GLOWING LIFE IN THEIR HISTORY. “MOST NECESSARY THING TO PRODUCE STRONG FRAMES FOR URBAN PLANNING IS NOT ALWAYS GREAT CAPITAL NOR SOCIAL CONFIDENCE RESOLUTION, BUT SOMETIMES THE VERY VITALITY OF CITIZENS THEMSELVES. THEN WATER RESOURCE PROVIDES CENTRIPETAL FORCE FOR ANY PEOPLE TO IMAGINE THEIR IDEAL CITY AND LIFE ENVIRONMENT.” HE EXPLAINS. CURRENT VENICE HAS BEEN NEVER BUILT SPONTANEOUSLY. THIS AMAZING AQUAPOLIS IS DEFINITELY THE FRUIT OF CITIZEN’S PROACTIVE WRESTLE AGAINST WATER AND ALSO GREAT MOTIVATION TO LIVE WITH WATER IN ANY PERIOD. “THE CITY OF WATER / OSAKA VS VENICE” DESCRIBES OSAKA CITY RESIDENTS’ DETERMINATION TO LEARN FROM VENICE AND RECREATE ORIGINATIVE LANDSCAPE IN OSAKA AS AN “AQUA METROPOLIS”. ANDO IS A NATIVE OF OSAKA
CITY AND IN A SENSE HE IS REGARDED AS A DEPENDABLE “LOCAL” ARCHITECT IN OSAKA. HE HAS PUT HIS SOUL INTO PROVIDING A FLOW OF IDEAS FOR NEW URBAN SPACE IN OSAKA MORE THAN 40 YEARS. MANY OF HIS PLANS USED TO DIE ON THE VINE, BUT NOWADAYS HE IS MAKING A SIGNIFICANT CONTRIBUTION AS THE VERY BEST LEADER OF URBAN PLANNING IN OSAKA CITY, COLLABORATINGWITH CITY GOVERNMENT (IMG.3). CITIZENS ARE SURELY GETTING ENCOURAGED NOT ONLY BY HIS EXTRAORDINARY ABILITY AS AN ARCHITECT BUT ALSO BY HIS INTENSIVE CHARACTER AND STRONG ATTACHMENT FOR OSAKA. MOREOVER OSAKA PEOPLE ARE EXPECTED TO HAVE A GOOD DISCIPLINES OF GETTING EAGER FOR ANY REFORM, THANKS TO THEIR EXCELLENT VIGOROUS REGIONAL CHARACTERISTIC! THOUGHT IT DOESN’T MEAN VERY MUCH TO MANY PEOPLE EVEN THE JAPANESE OUTSIDE OF OSAKA, OSAKA CITY IS ON THE BIG BAY AND SEVERAL LONG WATER CORRIDORS ARE PASSING THROUGH THE CENTRAL AREA OF THE CITY JUST LIKE VENICE. CITIZENS USED TO UTILIZE THEM AS IMPORTANT CHANNELS BEFORE. HOWEVER THEY HAVE BEEN GETTING ABANDONED BY THE MODERN CITY-DWELLER WHO GAINED BUSY SUBWAY NETWORK. SO WHAT IS ANDO’S SCHEME TO REGENERATE THEIR SLEEPING TREASURE?
ARCHITECTURE D 77
IMG.1 “ABU DHABI MARITIME MUSEUM”, ABU DHABI, UAE - PHOTO BY TOMIO OHASHI
IMG.2 “PUNTA DELLA DOGANA RENOVATION”, VENICE, ITALY PHOTO BY SHIGEO OGAWA
IMG.3 “NAKANOSHIMA PROJECT II” PHOTO BY HIROYUKI HIRAI
H
H
78 D ARCHITECTURE
WATER changes OSAKA ANDO’S CONCEPTION FOR “REGENERATION OF THE CITY OF WATER” PROJECT AT THE EXHIBITION THEY FOCUS ANDO’S GREAT IDEAS AND PRACTICE FOR “AQUA METROPOLIS OSAKA 2009” PROJECT, WITH EFFECTIVE PERSPECTIVE PANELS, SCREEN IMAGES AND HUGE MODELS. ONE OF THE REMARKABLE ONGOING PROJECT IS “HEISEIERA ALLEY OF CHERRY BLOSSOMS CAMPAIGN” (IMG.4). TRADITIONALLY FAMOUS ALLEYS OF CHERRY BLOSSOM HAVE BEEN THROUGH SOME BANKS IN OSAKA CITY. THE WATERSCAPE WITH CHERRY PINK ARE EXPECTED TO CHARACTERIZE MOST JAPANESE SENSE OF BEAUTY. THEREFORE PEOPLE STARTED PLANTING MORE TREES THROUGH EVERY BANK TO EXTEND THE LONGEST ALLEY OF CHERRY BLOSSOM IN THE WORLD! CAPITAL INVESTOR OF THIS PROJECT ARE JUST EVERY CITIZENS.AT PRESENT MORE THAN 50 THOUSANDS CITIZENS HAVE APPROVED A FUND-RAISING CAMPAIGN LAUNCHED IN 2004
AND THEN 2300 TREES HAVE BEEN ALREADY PLANTED ANYWHERE THROUGH CANALS BETWEEN SKYSCRAPERS. EACH TREE HOLDS A SMALL RELIEF WITH NAMES OF CONTRIBUTORS IN WITNESS OF EACH SMALL ACHIEVEMENT. CITY GOVERNMENT EXPECTS THAT 7.5KM ALLEY WILL RUN THROUGH HEART OF THE METROPOLIS IN YEARS TO COME. THIS IS INDEED A PROJECT BASED ON ANDO’S BELIEF “TOWN IMPROVEMENT BY OUR OWN HANDS”! NOW ANDO ALSO TAKES A LEAD IN DESIGNING VARIOUS CASUAL LANDMARKS HERE AND THERE ON THE RIVERS SUCH AS PORT, BRIDGE, RIVERSIDE TERRACE, POOL ON THE WATER AND MORE. A SUBWAY STATION OF HIS ELEGANT DESIGN WAS JUST OPENED AT THE RIVERSIDE OF NAKANOSHIMA AREA LAST YEAR (IMG.5). ANY NEW LANDSCAPES FUSED WATER WITH
MUSEUM’S OFFICIAL WEBSITE: http://www.suntory.com/culture-sports/smt/ MUSEUM’S OFFICIAL WEBSITE: http://www.palazzograssi.it EVENT’S OFFICIAL WEBSITE: http://www.suito-osaka2009.jp/en/index.html
MUSEUM INFO TADAO ANDO EXHIBITION 2009 THE CITY OF WATER / OSAKA VS VENICE EXHIBITION PERIOD: MAY 23 TO JULY 12, 2009 *NO CLOSURE DURING THE ENTIRE PERIOD. HOURS: 10:30-19:30 (*PLEASE NOTE THAT THE GATE CLOSES AT 19:00.) AT SUNTORY MUSEUM IN OSAKA, JAPAN
THE CITY WILL SERVE AS A LOCOMOTIVE TO BRING PEOPLE BACK TO RIVERSIDE AGAIN. MOREOVER HE BELIEVES THAT THE MOST SIGNIFICANT FACTOR TO CHANGE THE CITY IS A HOT ACTIVITY OF PEOPLE ITSELF RATHER THAN BUILDINGS’ FRESH VIEW. WATER RESOURCE LEADS CITIZENS’ VITALITY, THEN THEIR ENERGETIC ACTIVITIES LEAD FUTURE CITY ENVIRONMENT. IN THIS AUTUMN OSAKA CITY IS ALSO PLANNING TO HOLD A BIG RIVERSIDE EVENT NAMED “AQUA METROPOLIS OSAKA 2009” TO WIDELY COMMUNICATE TO THE PUBLIC OSAKA’S REVIVAL AS A WATER METROPOLIS. NOBODY COULD IMAGINE ANY LONGER WHERE OSAKA WILL BE HEADED FROM NOW ON IN FRONT OF A GREAT LEADER WITH NUMEROUS POWERFUL “DESIGNERS” AND THEIR PROUD WATER RESOURCE!
ARCHITECTURE D 79
IMG.4 SKETCH OF ASSOCIATION FOR THE HEISEI-ERA ALLEY OF CHERRY BLOSSOMS CAMPAIN BY TADAO ANDO
IMG.5 ENTRANCE GATE OF “NANIWA-BASHI SUBWAY STATION” PHOTO BY YOSHITO MATSUDAIRA
H
NEWBLOOD
82 D VISUAL ARTS
LIQUID SC
THE CREATIONS OF ARTIST MARTIN WAUGH BRING THE VIEWER
VISUAL ARTS D 83
CULPTURE
R ON A SPIRITUAL JOURNEY BOUNDED ONLY BY IMAGINATION
H
84 D VISUAL ARTS
MARTIN WAUGH´S LIQUID SCULPTURE THESE PAGES: GOOSEASAURUS OPENING PAGES: EZEKIEL CLOSING PAGES: THE AMAZING JUGGLING NIPPLE
VISUAL ARTS D 85
HEART: HOW DID YOU BEGIN TO PHOTOGRAPH LIQUIDS? MARTIN WAUGH: I STARTED OUT TRYING TO MIMIC SOME OF THE CLASSIC HIGH-SPEED PHOTOGRAPHS: BREAKING LIGHT BULBS, POPPING BALLOONS, AND SPLASHING DROPS. ALL REALLY FUN ACTIVITIES FOR SOMEONE TRAINED IN PHYSICS. BEYOND REQUIRING PHOTOGRAPHIC TECHNIQUE, THE PROJECT CATERED TO MY TINKERER SIDE, INCORPORATING THE DESIGN OF CUSTOM ELECTRONICS AND MECHANICAL SYSTEMS. I TOOK ME SEVERAL TRIES TO GET A GOOD PHOTOGRAPHIC SET UP, AND THEN CAME THE FUN OF FIGURING OUT WHICH TRICKS I COULD DO WITH THE DROPS AND SPLASHES. FLUIDS IN MOTION FASCINATE MY SENSES. I FEEL THEIR SMOOTH AND EFFORTLESS CURVES: STRUCTURES REFLECTING A PERFECT BALANCE OF DYNAMIC FORCES. THEY TICKLE SOME FAINT PHYSICAL MEMORY, LIKE A SCENT EVOKING A FORGOTTEN MIX OF FEELINGS. H: WHAT EXACTLY ARE LIQUID SCULPTURE IMAGES? MW: THEY ARE FLUIDS IN MOTION, FROZEN IN TIME BY A FLASH OF LIGHT. THEY ARE DROPLETS WITNESSED IN MID-SPLASH. I ORCHESTRATE THESE SCULPTURES BY ACCURATELY AIMING THE DROPS AND RELEASING THEM WITH PRECISE TIMING. AS NATURE TAKES ITS COURSE, I PHOTOGRAPH THE UNFOLDING FORMS USING A DIGITAL CAMERA AND ELECTRONIC FLASH. I INSTIGATE THE MYRIAD OF SHAPES BY VARYING THE DROPS’ TRAJECTORIES AND MANIPULATING THEIR PHYSICAL PROPERTIES. COLOR, VISCOSITY, AND SURFACE TENSION ARE CONTROLLED WITH DYE, GLYCERIN, AND SOAP. H: WHO (OR WHAT) WAS YOUR INSPIRATION?
FROM MANY PLACES. H: WHERE DO YOU PERFORM YOUR WORK? MW: ALL MY WORK IS DONE IN MY HOME. I CONVERTED MY BASEMENT INTO A STUDIO (AND LABORATORY). IT DOESN’T TAKE A LOT OF SPACE, AND AS LONG I AM USING JUST WATER, CLEAN UP IS EASY. H: HOW DO YOU GET THE VIBRANT COLORS? DO YOU USE COLORED LIGHT? MW: YES, I USUALLY HAVE COLOURED GELS OVER SOME OF MY FLASHES. H: HOW ELSE DO YOU WORK WITH COLORS? MW: I CAN CREATE STRIPED DROPS BY CAREFULLY PLACING THE COLOR AHEAD OF TIME. I KNOW HOW THE LIQUID MOVES AND PREPARE THE SCENE SO THE MOVING LIQUID GRABS THE COLOR AS IT GOES. I USE FOOD COLORING AND ANILINE DYES. OTHER DYES WILL WORK, TOO, BUT ADDING ANYTHING TO THE WATER CHANGES ITS CHARACTERISTICS – USUALLY BY DECREASING THE SURFACE TENSION. SO, I MIGHT SEE ONE TYPE OF DROP IN CLEAR WATER THAT I CAN’T RECREATE WITH COLORED WATER BECAUSE THE SUBSTANCE IS DIFFERENT. H: CAN YOU SHARE SEVERAL FEATURES OF A GOOD PICTURE? MW: BEAUTY TRULY IS IN THE EYE OF THE BEHOLDER! FOR ME, I LIKE TO SEE THE LIQUIDS STAND OUT FROM THE BACKGROUND, YET WITH A GOOD DEPTH FIELD. ALSO, I LIKE TO SEE THE DETAIL IN THE SURFACE OF THE LIQUID. LIGHTING IS VERY IMPORTANT. STOPPING THE MOTION WELL TO AVOID BLUR IS SOMETHING I STRIVE FOR, BUT SOMETIMES A BIT OF BLUR GIVES MORE OF A FEELING OF ACTION.
MW: SCIENTIFICALLY, DR. HAROLD EDGERTON AND A. M. WORTHINGTON. ARTISTICALLY, I FIND INSPIRATION
H
H
86 D VISUAL ARTS
VISUAL ARTS D 87
www.liquidsculpture.com
H
H
88 D VISUAL ARTS
TTHO
ART, FANTASY, IMAGINATION, ILLUSION PROJECTION IN
BY MARCO
VISUAL ARTS D 89
ORAC
N THE CREATIONS OF THE AUSTRALIAN-BORN ARTIST
O SILVERII
H
H
90 D VISUAL ARTS
FISH DREAM
VISUAL ARTS D 91
VITTORIO RACANO, ALSO KNOWN AS TTHORAC WAS BORN IN SYDNEY, AUSTRALIA, IN 1966. HIS LIFE HAS BEEN A LONG AND CONTINOUS STRUGGLE BETWEEN DIFFERENT REALITIES, A RUMOURED LIFE. HE LIVED IN SYDNEY JUST FOR SIX YEARS, THEN THE FAMILY MOVED TO SOUTH OF ITALY, WHERE HE HAD HIS FIRST APPROACH TO ART. HE ATTENDED ART SCHOOLS, BUT HE SOON ABANDONED THEM. HE IS A FREE MAN, SLAVE OF HIS OWN FREEDOM. HE HAS DEDICATE ALL HIS LIFE, UNTIL NOW, TO DRUGS AND PAINT, HE HAS ALWAYS BEEN INVOLVED IN THE ACT OF DIGGING IN ORDER TO REACH A KIND OF UNREACHABLE. IT IS A HUMAN PAINTING, IT TALKS ABOUT RESTLESSNESS, THOUGH IT IS NOT EASY TO “TALK ABOUT” WHEN WE ARE STARRING AT HIS WORKS AND AT ART IN GENERAL. ACTUALLY, WE CANNOT TALK, WE CAN ONLY SEE, AND FEEL, AND SOMETIMES STRUGGLE. IT IS ALWAYS A MYSTERY, WE CANNOT KNOW WHAT A PAINTER BRINGS TO HIS CANVAS, OR WHAT LEADS HIM TO IT. IT WILL ALWAYS RESULT AS AN ADDICTION FOR US. HIS PAINT MAY BE ASSOCIATED TO A KIND OF SURREALISM IN WHICH WOMEN AND FISHES ARE DEPICYED IN STRANGE JUXTAPOSITIONS, “CONTAINED” IN A STRANGE WATER, ABSOLUTELY INNATURAL, TOO COLOURED, TOO VIOLENT, TOO THICK. THE EMOTIONAL SENSATION MAY LEAD THE OBSERVER TO A KIND OF APNOEA, WHICH IS THE ARTIST’A APNOEA ITSELF. A VIOLENT APNOEA,WHICH HURTS THE PAINTER THROUGH THE DEEP AND VIOLENT BRUSH, TOGETHER WITH THE USE OF A VERY HEAVY SPATULA, WHICH IS NOT REALLT THE NOBEL ARTISTIC SPATULA, BUT A REAL WHIP. THE CHOISE OF COLOURS REPRESENTING WATER IS, OF COURSE,
CONNECTED TO THE EMOTIONAL THEME: VIOLET, YELLOW AND RED THE MOST IMPORTANT CHOISES, SOMETIMES BLUE. ART, FANTASY, IMAGINATION, ILLUSION PROJECTION, AN ONIRIC AND NOT LINEAR VISION OF WOMAN, SO ROUGH BUT SENSUAL, OR AN ILLUSIONARY MERMAID, THE SILENT BUT STRONG DESIRE TO GO OUT OF APNOEA AND START BREATHING,ALWAYS GRATEFUL TO WATER, FIRST AND SACRED ENVIRONMENT EVEN THOUGH SO UNREAL, AND NEVER LIMPID. TEXT BY MARCO SILVERII
H
H
92 D VISUAL ARTS
VISUAL ARTS D 93
H
ON the PULSE
H
THE METRO ART IN LOS ANGELES ALTHOUGH THE LA METRO SYSTEM IS STILL IN ITS INFANCY IN MANY WAYS, IT NEVERTHELESS HAS ITS OWN UNIQUE VIRTUES. MANY OF THE STATIONS FEATURE FASCINATING WORKS OF MODERN ART AND METRO, THE PUBLIC TRANSPORTATION COMPANY IN CHARGE OF THE METRO SYSTEM, ORGANIZES FREE TWO-HOUR GUIDED TOURS IN THE SUBWAY GALLERIES. YOU CAN, HOWEVER, ALSO TAKE THE TOUR YOURSELF, PREFERABLY ON THE BEGINNING OF A WEEKDAY WHEN THE TRAIN TRAFFIC IS FREQUENT. I MYSELF RODE THROUGH FOURTEEN STOPS AND GOT AN EXQUISITE ART EXPERIENCE. DIRECTION: UNION STATION TO NORTH HOLLYWOOD, THE RED LINE UNION STATION STARTING POINT. NO ART.
CIVIC CENTER
ARTIST: PETER REIQUAM ARTWORK: CIVIC CENTER BENCHES, 2004 GRANITE. ARTIST:JOHN TREVINO ARTWORK: CHINATOWN TREVANO ADAPTS THE MONKEY KING CHARACTER FROM CHINESE FOLKLORE TO SYMBOLICALLY BRIDGE THE GAP BETWEEN CHINATOWN ‘S TRADITION, COMMERCE & ITS EMERGING POP CULTURE. ARTIST: SARAJO FRIEDEN ARTWORK: VENICE FRIEDEN’S PLAYFUL PANORAMA CAPTURES THE QAMUT OF FUN ACTIVITIES THAT CHARACTERIZE THE CANALS, BEACH & BOARDWALKS OF THIS CREATIVE COMMUNITY. ARTIST: JONATHAN BOROFSKY ARTWORK: I DREAMED I COULD FLY, 1993 FIBERGLASS RESIN, SOUND ELEMENT.
PERSHING SQUARE
ARTIST: STEPHEN ANTONAKOS ARTWORK: NEON FOR PERSHING SQUARE, 1993 NEON, ALUMINIUM.
7TH ST / METRO CENTER
ARTIST: NOEL KORTEN, MARTA PERLAS, KIPP KOBAYASHI ARTWORK: PLANTINGS, 2002 CONCRETE, LIGHTING ELEMENTS.
WESTLAKE / MACARTHUR PARK
ARTIST: THERMAN STATOM ARTWORK: INTO THE LIGHT, 1993 FABRICATED STEEL, DICHROIC GLASS, CERAMIC TILE. ARTIST: SAM PACE ARTWORK: LEIMERT PARK PACE VISUALLY EVOKES ONE OF LA’S BEST-KEPT SECRETS. WHERE ELSE CAN YOU EXPERIENCE JAZZ, HIP-HOP, BLUES, POETRY, ARTWORKS & GREAT SOUL FOOD THEN CHILL OUT I THE PARK TO PLAY CHESS OR DOMINOES. ARTIST: ARTEMIO RODRIQUEZ ARTWORK: THE ARTIST ILLUSTRATES HOW EAST LOS ANGELES CEMETERIES HONOR ITS DIVERSE HISTORY & REFLECT THE COMMUNITY’S SENSE OF FAMILY & SOUL. ARTIST: JOLY ZELLEN ARTWORK: MIRACLE MILE ZELLEN CONTRASTS THE FORMALITY & GRACE OF THE WILTERN THEATER’S ART DECO ARCHITECTURE AGAINST THE DIZZYING FLURRY OF BUSINESS ALONG WILSHIRE BOULEVARD.
WILSHIRE / VERMONT
ARTIST: PETER SHIRE ARTWORK: LOS ANGELES SEEN 1996, PAINTED STEEL.
VERMONT/BEVERLY
ARTIST: PETER COLIN ARTWORK: NARRATIVE PHOTOGRAMS
L.A. BEAT
H
H
98 D ON THE PULSE ALTHOUGH THE LA METRO SYSTEM IS STILL IN ITS INFANCY IN MANY WAYS, IT NEVERTHELESS HAS ITS OWN UNIQUE VIRTUES. MANY OF THE STATIONS FEATURE FASCINATING WORKS OF MODERN ART AND METRO, THE PUBLIC TRANSPORTATION COMPANY IN CHARGE OF THE METRO SYSTEM, ORGANIZES FREE TWO-HOUR GUIDED TOURS IN THE SUBWAY GALLERIES. YOU CAN, HOWEVER, ALSO TAKE THE TOUR YOURSELF, PREFERABLY ON THE BEGINNING OF A WEEKDAY WHEN THE TRAIN TRAFFIC IS FREQUENT. I MYSELF RODE THROUGH FOURTEEN STOPS AND GOT AN EXQUISITE ART EXPERIENCE. DIRECTION: UNION STATION TO NORTH HOLLYWOOD, THE RED LINE UNION STATION STARTING POINT. NO ART.
CIVIC CENTER
ARTIST: PETER REIQUAM ARTWORK: CIVIC CENTER BENCHES, 2004 GRANITE. ARTIST:JOHN TREVINO ARTWORK: CHINATOWN TREVANO ADAPTS THE MONKEY KING CHARACTER FROM CHINESE FOLKLORE TO SYMBOLICALLY BRIDGE THE GAP BETWEEN CHINATOWN ‘S TRADITION, COMMERCE & ITS EMERGING POP CULTURE. ARTIST: SARAJO FRIEDEN ARTWORK: VENICE FRIEDEN’S PLAYFUL PANORAMA CAPTURES THE QAMUT OF FUN ACTIVITIES THAT CHARACTERIZE THE CANALS, BEACH & BOARDWALKS OF THIS CREATIVE COMMUNITY. ARTIST: JONATHAN BOROFSKY ARTWORK: I DREAMED I COULD FLY, 1993 FIBERGLASS RESIN, SOUND ELEMENT.
PERSHING SQUARE
ARTIST: STEPHEN ANTONAKOS ARTWORK: NEON FOR PERSHING SQUARE, 1993 NEON, ALUMINIUM.
7TH ST / METRO CENTER
ARTIST: NOEL KORTEN, MARTA PERLAS, KIPP KOBAYASHI ARTWORK: PLANTINGS, 2002 CONCRETE, LIGHTING ELEMENTS.
WESTLAKE / MACARTHUR PARK
ARTIST: THERMAN STATOM ARTWORK: INTO THE LIGHT, 1993 FABRICATED STEEL, DICHROIC GLASS, CERAMIC TILE. ARTIST: SAM PACE ARTWORK: LEIMERT PARK PACE VISUALLY EVOKES ONE OF LA’S BEST-KEPT SECRETS. WHERE ELSE CAN YOU EXPERIENCE JAZZ, HIP-HOP, BLUES, POETRY, ARTWORKS & GREAT SOUL FOOD THEN CHILL OUT I THE PARK TO PLAY CHESS OR DOMINOES. ARTIST: ARTEMIO RODRIQUEZ ARTWORK: THE ARTIST ILLUSTRATES HOW EAST LOS ANGELES CEMETERIES HONOR ITS DIVERSE HISTORY & REFLECT THE COMMUNITY’S SENSE OF FAMILY & SOUL. ARTIST: JOLY ZELLEN ARTWORK: MIRACLE MILE ZELLEN CONTRASTS THE FORMALITY & GRACE OF THE WILTERN THEATER’S ART DECO ARCHITECTURE AGAINST THE DIZZYING FLURRY OF BUSINESS ALONG WILSHIRE BOULEVARD.
WILSHIRE / VERMONT
ARTIST: PETER SHIRE ARTWORK: LOS ANGELES SEEN 1996, PAINTED STEEL.
VERMONT/BEVERLY
ARTIST: PETER COLIN ARTWORK: NARRATIVE PHOTOGRAMS STORYTELLING IS AN IMPORTANT PART OF OUR CULTURAL GROWTH AND BEHAVIOR. THESE ENERGETIC IMAGES PRODUCED BY A PHOTOGRAM PROCESS TELL STORIES THAT REFLECT THE IDEA OF THE JOURNEY & PASSAGES, MEMORIES & THRESHOLDS THAT DEFINE OUR LIVES.
VERMONT / SANTA MONICA ARTIST: ROBERT MILLAR
ON THE PULSE D 99
INFO BROUGHT TO YOU BY MARIA VIIDALEPP @LA.US (mariavidalepp.wordpress.com)
H
H
ART IT´S TIME FOR GROUP SHOWS, GET AN IDEA FOR THE SUMMER: „DOWN BELOW IST CHAOS“ GROUP SHOW CURATED BY NEW YORK BASED GERMAN ARTIST ALEXANDER WEISS 50 ELDRIDGE STREET, 6TH & 7TH FLOOR, NY 10002 JUL10 – AUG 10, 2009 „6 WORKS, 6 ROOMS“ AT DAVID ZWIRNER GALLERY 525 WEST 19TH STREET, NY 10011, www.davidzwirner.com JUN 27 - AUG 14, 2009 „THE LIVING AND THE DEAD“ AT AT GAVIN BROWN 620 GREENWICH STREET, NY 10014, www.gavinbrown.biz JUL 1 – AUG 07, 2009 „WORKS ON VIEW“ AT JACK SHAINMAN GALLERY GROUP SHOW CURATED BY KATIE RASHID 513 WEST 20TH STREET, NY 10011, www.jackshainman.com JUL 10 - AUG 07, 2009 „AS LONG AS IT LASTS“ AT MARIAN GOODMAN GALLERY GROUP SHOW CURATED BY TOM ECCLES 24 WEST 57TH STREET, NY 10019, www.mariangoodman.com JUL 1 - AUG 28, 2009
DINING IT´S TIME FOR GROUP SHOWS, GET AN IDEA FOR THE SUMMER: NEW YORK IS BECOMING A BICYCLE CITY. GET ON YOUR SADDLE AND ENJOY THE SUNSET LAYING IN THE LAWN UNDER THE BROOKLYN BRIDGE. RIGHT AFTER STROLLL AROUND IN DUMBO AND HEAD UP TO VINEGAR HILL HOUSE A NEWLY OPENED RESTAURANT WITH A WARM AND COZY SETTING. THE KITCHEN IS OPEN AND YOU MIGHT SEE YOUR FOOD BEING PREPARED IN FRONT OF YOU. THE MENU IS STREAMLINED AND INCORPORATES CHOICE SEASONAL PRODUCTS. YOU CAN SIT IN THE GARDEN OR INDOOR WHERE PERIOD PIECE ACCOMPANY THE RESTAURANT’S FRIENDLY AND WELCOMING ATMOSPHERE. 72 HUDSON AVE., NEAR WATER STREET, NY 11201 FOR THE DRINK AFTER GO TO WILLIAMSBURGS FIRST PROPER COCKTAIL BAR HOTEL DELMANO, 82 BERRY STREET, NY 10003 AND TRY ONE OF THEIR HOUSE SPECIALS AND GET A CHOCOLATE DESSERT TO NIBBLE ON WHILE SIPPING YOUR COCKTAIL. „EGG“ WILL SERVE YOU A RICH AND SIMPLE AMERICAN BREAKFAST... GO EARLY OR DON´T GO ON WEEKENDS, IT GETS CROWDED. 135 NORTH 5TH STREET, BROOKLYN, NY 11211, www.pigandegg.com
N
NEW YORK BEAT
INFO BROUGHT TO YOU BY VERONIKA BJARSCH @NYC.US
H
KÉYAH DE RAÚL BELINCHÓN KÉYAH (MEANING “EARTH” IN THE NAVAJO LANGUAGE) IS A PHOTOGRAPHIC PROJECT CARRIED OUT IN A NAVAJO INDIAN RESERVE IN ARIZONA. THE ARTIST CHOSES THE SUBJECT OF THE EARTH, SO IMPORTANT ALSO IN MIRÓ´S WORK AND SPEAKS OF VALUES AND QUALITIES ASSOCIATED WITH RURAL CULTURES AND EXPLORES THE ANCESTRAL AND THE PRIMITIVE.
FUNDACIÓ MIRÓ
DATE: 2009. 5. 29 (FRI) - 2009. 7. 12 (SUN) PLACE: FUNDACIÓ MIRÓ, BARCELONA
WEBSITE: http://www.fundaciomiro-bcn.org
TIME AS MATTER. MACBA COLLECTION. NEW ACQUISITIONS THE THREE STORIES OF THE MUSEUM, THE CAPELLA DELS ÁNGELS AND THE EXHIBITION HALL IN THE STUDIES AND DOCUMENTATION CENTER WILL DISPLAY THE WORKS AQUIRED BY THE BARCELONA MUSEUM OF CONTEMPORARY ART IN THE LAST TWO YEARS. IN PARTICULAR, A PIECE OF STRAORDINARY IMPORTANCE IN RECENT ART HISTORY (ACQUIRED JOINTLY WITH THE WHITNEY MUSEUM OF AMERICAN ART, NEW YORK, DESERVE A VISIT: SHAPOLSKY ET AL. MANHATTAN REAL ESTATE HOLDINGS, A REAL-TIME SOCIAL SYSTEM, AS OF MAY 1, 1971, BY HANS HAACKE
MACBA
DATE: 2009. 5. 15 (MON) - 2009. 8. 31 (MON) PLACE: MACBA, MUSEUM OF CONTEMPORARY ART, BARCELONA OPENING HOURS: MONDAY AND WEDNESDAY FROM 11 AM TO 8 PM; THURSDAY AND FRIDAY FROM 11 AM TO MIDNIGHT; SATURDAY FROM 10 AM TO 8 PM; SUNDAY AND HOLIDAY FROM 10 AM TO 3 PM. CLOSED ON TUESDAY.
WEBSITE: http://www.macba.cat
THE JAZZ CENTURY
A READING OF THE HISTORY OF THIS EXTRAORDINARY ARTISTIC HAPPENING OF THE LAST CENTURY THROUGH THE INTERACTION WITH DIFFERENT ART DISCIPLINES.
CCCB
DATE: 2009. 7. 22 (WED) - 2009. 10. 18 (SUN) PLACE: CCCB, CENTRE DE CULTURA CONTEMPORÁNIA DE BARCELONA OPENING HOURS: FROM TUESDAY TO SUNDAY FROM 11A.M. TO 8P.M. THUSDAY 11 A.M. AT 10 P.M. CLOSED ON NON-HOLIDAY MONDAYS. THE TICKET DESK CLOSES HALF AN HOUR BEFORE THE CENTRE’S CLOSING TIME ADMISSION: 4.50 €
WEBSITE: http://www.cccb.org
BARCELONA STREET ARTS FESTIVAL THE STREETS OF BARCELONA BECOME OPEN STAGES FOR MORE THAN 50 INDIVIDUAL ARTISTS AND COMPANIES WHO GIVE DANCE, MUSIC, THEATER AND CIRCUS PERFORMANCES. ALSO VISUAL-ARTS EXHIBITIONS. EVENTS TAKE PLACE ON RAMBLA DEL RAVAL AND OTHER STREETS.
RAMBLA DEL RAVAL
DATE: JULY PLACE: RAMBA DEL RAVAL AND OTHER STREETS INFOS: CALL 93-215-7411 OR 933-161-160.
WEBSITE: http://www.artsdecarrer.org
U2
THE HISTORICAL IRISH BAND WILL PERFORM AT THE CAMP NOU, THE STADIUM OF F.C.BARCELONA
CAMP NOU
DATE: 2009. 7. 2 (THU) PLACE: ESTADIO CAMP NOU, BARCELONA
H WEBSITE:
http://www.u2.com
BARCELONA BEAT
INFO BROUGHT TO YOU BY DAVIDE DE VISDOMINI @BARCA.CAT
H
H
BOLOGNA ART EVENTS ITS WELL KNOWN REPUTATION OF CULTURAL CENTER, ITS STRATEGIC POSITION AND ITS UNIVERSITY, THE OLDEST IN EUROPE, ITS ELEGANT PALACES, THE OLD CHURCHES, THE ENCHANTING MASTERPIECES OF THE 17TH CENTURY OF GUIDO RENI, OF THE CARRACCI BROTHERS AND OF GUERCINO, MAKE IT BEAUTIFUL AND “DOTTA”, HIGHLY EDUCATED, MAKING CLEAR THE CULTURAL STATUS OF THIS TOWN DURING THE MODERN AND THE CONTEMPORARY ERAS. WELL KNOWN FOR ITS TOWERS AND LONG PORCHES, BOLOGNA IS ONE OF THE BIGGEST AND WELL KNOWN ITALIAN MEDIEVAL CENTERS; WITH ITS 11 THEATERS, 44 MUSEUMS AND MORE THAN 30 ART GALLERIES, BOLOGNA ENRICHES ITS HISTORICAL CENTERS WITH SEVERAL HAPPENINGS, EXHIBITIONS AND EXPOS. SO, IN THIS CONTEST, THAT OLD “TASTE” FOR ART AND THE WILL TO BE IN A FIRST ROW IN ITALY WHEN IT COMES TO ORGANIZING CULTURAL EVENTS, CAN´T BUT GROW, TOGETHER WITH THE ATTENTION GIVEN TO THE WORK OF EMERGENT ARTISTS. IN THIS CONTEST OPERATES THE IX EDITION OF THE “ICEBERG FESTIVAL”: A “BIENNALE” CONTEST OF VISUAL AND APPLIED ARTS, FROM DESIGN TO ARCHITECTURE, TO FILM AND PHOTOGRAPHY. ARTE FIERA: INTERNATIONAL EVENT OF CONTEMPORARY ART, HELD ANNUALY, WHERE INTERNATIONALLY KNOWN ARTISTS SHOW THEIR MOST IMPORTANT WORKS. BOLOGNA FESTIVAL: MUSIC FESTIVAL (THE ONE HELD THIS YEAR WILL BE THE 28TH EDITION) WITH 3 CYCLES OF CONCERTS OF GREAT INTERPRETERS, YOUNG TALENTS OR CLASSICS. MAMBO, MUSEO D’ARTE MODERNA OF BOLOGNA, PROMOTE A PERMANENT EXHIBITION OF THE WELL KNOWN “BOLOGNESE” ARTIST GIORGIO MORANDI (BOLOGNA, 20 LUGLIO 1890 – BOLOGNA, 18 GIUGNO 1964) AND EXCLUSIVE COLLECTIONS OF ITALIAN AND FOREIGN ARTISTS THAT CHANGE PERIODICALLY. IN JULY, MAMBO WILL PRESENT THE FIRST “PERSONAL” EXHIBITION IN AN ITALIAN MUSEUM OF SETH PRICE, AN ARTIST WITH A MULTI-DISCIPLINARY APPROACH THAT INCLUDES PAINTINGS, SCULPTURE, PHOTOGRAPHY, SOUND, VIDEO, WRITING. AT THE SAME TIME, THERE WILL BE ALSO AN EXHIBITION OF THE WORK OF SARAH MORRIS, ARTIST KNOWN FOR HER PAINTINGS AND FILMS CHARACTERIZED BY AN ABSTRACT APPROACH WHERE SHE DESCRIBES URBAN AND SOCIAL TYPOLOGIES.
BOLOGNA BEAT
INFO BROUGHT TO YOU BY MARCO SILVERII @BOLOGNA.IT
H
H
ART EBERHARD HAVEKOST PRINTS AT GALERIE GEBR. LEHMANN, BERLIN LINDENSTR. 35, 10969 BERLIN, GALERIE-GEBR-LEHMANN.DE JUN 27 - SEP 12, 2009 „SPACE ITSELF“ CRISTIAN RUSU AT GALERIA PLAN B HEIDESTRASSE 50, 10557 BERLIN, www.plan-b.ro JUNE 19 - JULY 25, 2009 „ ANNE TORMA, BALINT ZSAKO, ISTVAN ZSAKO “ AT WILDE GALLERY CHAUSSEESTRASSE 7, 10115 BERLIN, www.wilde-gallery.com JUN 19 – JUL 18, 2009 IMI KNOEBEL AT NEUE NATIONALGALLERIE POTSDAMER STRASSE 50, 10785 BERLIN, www.smb.spk-berlin.de MAY 23 – AUG 9, 2009
DINING IF YOU CAN´T GET ENOUGH OF ITALIAN FOOD AND YEARN FOR A WONDERFUL ROMANTIC ATMOSPHERE IN THE MIDDLE OF THIS PARTY TOWN, GO TO „ HOSTARIA DEL MONTE CROCE“. FOR A FIXED PRICE OF 51 EURO YOU WILL ENJOY EIGHT! COURSES OF EXCELLENT ITALIAN FOOD AND WINE. MITTENWALDER STRASSE 6, 2ND BACKYARD, 10961 BERLIN-KREUZBERG ART SCENE SPOT „BAR 3“ WILL MAKE THE NIGHT SEEM FAR TOO SHORT, EVEN IT’S A BERLIN NIGHT. GO THERE TO MEET BEAUTIFUL PEOPLE AND GET A NICE AFFORDABLE DRINK. WEYDINGERSTRASSE 20, 10178 BERLIN-MITTE AFTER A LONG NIGHT OUT, GET BREAKFAST THE NEXT MORNING AT: MATHILDA, GRAEFESTRASSE 12, 10967 BERLIN-KREUZBERG
BERLIN BEAT
INFO BROUGHT TO YOU BY VERONIKA BJARSCH @BERLIN.DE
H
H
JULY AND AUGUST IN TALLINN IN THE BEGINNING OF JULY (FROM 2ND UNTIL 5TH OF JULY) WHOLE ESTONIA IS BREATHING IN THE SAME RHYTHM AND TRYING TO FIND ITS ETHNIC ROOTS, BECAUSE TRADITIONAL DANCE AND SONG FESTIVALS „TO BREATHE AS ONE“ ARE BEING ORGANISED. THOUSANDS AND THOUSANDS OF ESTONIANS WILL GATHER TOGETHER TO MAKE MOVING PATTERNS AND FILL THE AIR WITH JOY OF SINGING. http://www.laulupidu.ee/eng VON KRAHL THEATRE BAR BEGINS WITH NEW SERIES OF ALTERNATIVE MUSIC CONCERTS AND PARTY NIGHTS („FEATURING: THURSDAYS OF KRAHL“) AND THE FIRST EVENT IS BEING HELD ON 3RD OF JULY. A HIGHLIGHT OF THIS NIGHT IS DEFINITELY GOING TO BE J.M.K.E, THE PIONEER OF ESTONIAN PUNK MUSIC. THERE IS ALSO A SPECIAL DEAL WITH THE BAR THAT BEER IS GOING TO BE CHEAPER THAN USUAL. SO, PUNK ON! http://www.rada7.ee/?s=f&k=1&id=35897 TO HAVE A TASTE OF OLD TALLINN AND MEDIEVAL CARNIVAL YOU COULD VISIT TOWN HALL ON 9TH OF JULY (19.00-22.00). THE ONLY THING TO REMEMBER IS TO ENTER IN ADEQUATE CLOTHES. IF NOT BEFORE THEN CERTAINLY AFTER THE MORRISSEY CONCERT ON 4TH OF JULY AT ROCK CAFE (TARTU MNT 80D) YOU SHOULD FEEL AS IF EVERY DAY IS LIKE SUNDAY. FOR THE FIRST TIME IN THE HISTORY HE COMES TO ESTONIA WITH THE SUITCASE FULL OF SARDONIC AND BELLETRISTIC LYRICS FOR WHAT HE HAS BEEN LOVED. FOR MORE MELLOW MUSIC LOVERS AND THE ONES WHO LIKE THE UNISON OF TRIP HOP, ROCK, BLUES AND POP MORCHEEBA IS GOING TO PERFORM ON 14TH OF JULY AT ROCK CAFE. http://www.rockcafe.ee/ IN THE SAME BUILDING (TARTU MNT 80D) THERE IS VAAL GALLERY WHERE IS POSSIBLE TO CHANCE UPON REFRESHING INSTALLATIONS AND PERSONAL EXHIBITIONS. http://www.vaal.ee/eng UNTIL 5TH OF JULY TALLINN ART HALL (VABADUSE VÄLJAK 6) OFFERS ANNUAL EXHIBITION OF ESTONIAN ARTIST ASSOCIATION „SELF-EXPOSURE“. ARTISTS ARE EXPOSING THEMSELVES MENTALLY, PHYSICALLY, SOCIALLY OR HOW THEY RELATE TO CONTEMPORARY ART IN ESTONIA. AESTHETICS OF ENDLESSNESS AND RECURRING ARE SHOWN IN ART HALL GALLERY (VABADUSE VÄLJAK 6) WHICH IS OCCUPIED BY ANDRES KOORT AND SVEN SAAG AND THEIR EXHIBITION „ALL THE TIME“ UNTIL 12TH OF JULY. FROM 2ND UNTIL 12TH OF JULY YOU COULD VISIT EXHIBITION ON HEDONISTIC EXPERIENCES „PARTY“ BY KIRKE KANGRO AND ANDRUS LAURINGSON IN CITY GALLERY (VABADUSE VÄLJAK 6). EXHIBITION WALK COULD CONTINUE WITH DRAAKONI GALLERY (HOBUSEPEA STREET 2, http://www.eaa.ee/draakon/english/eindex.htm) AND HOBUSEPEA GALLERY (PIKK STREET 18, http://www.eaa.ee/hobusepea/english/enindex1.htm) INTERNATIONAL AND LOCAL DESIGN IS EXHIBITED IN HOP GALLERY (HOBUSEPEA STREET 2) http://www.eaa.ee/hop/naitused.htm AND JEWELLERY IN A-GALLERY (HOBUSEPEA STREET 2, http://ehted.agalerii.ee/). ON 22ND OF JULY KADRIORG ART MUSEUM IS HAVING A BIRTHDAY PARTY CALLED „GAMES OF FLOWER GARDEN“. EMPEROR GIVES GREETINGS TO THE GUESTS, INTRODUCES THE HISTORY OF KADRIORG PALACE AND DIRECTS DIFFERENT GAMES TO PLAY WITH WHOLE FAMILY. PEOPLE COULD VISIT SUMMER EXHIBITION „JOYS OF LIFE. THE GOLDEN AGE OF DUTCH AND FLEMISH PAINTING“ FOR FREE. KANUTI GILDI SAAL (PIKK STREET 20) STARTS BREATHING AGAIN FROM AUGUST 17TH WHEN AUGUST DANCEFESTIVAL BEGINS. UNTIL 31ST OF AUGUST YOU CAN ENJOY UNIQUE CHOICE OF CONTEMPORARY DANCE PIECES FROM ALL OVER THE WORLD (FRANCE, DENMARK, GERMANY, BELGIUM, ITALY, ESTONIA). FOR THE PROGRAM AND PERFORMERS WATCH http://www.saal.ee/events/2009/08/?lng=en CENTER OF TALLINN IS ALWAYS LIVELY BECAUSE OF THE STORIES OLD WALLS HOLD AND RECREATE WHEN THEY MEET PEOPLE. IN SUMMER IT´S ALMOST COMPULSORY TO VISIT TOWN ENDS, GREEN SPOTS BY THE SEA, LIKE PALJASSAARE OR PIRITA. SO IT IS MORE VISIBLE HOW CITIZENS OF THIS LITTLE CITY COULD ACTUALLY BREATHE AS ONE.
TALLINN BEAT
INFO BROUGHT TO YOU BY MARIT MIHKLEPP @TALLINN.EE
H
H
EXHIBITION 5 DIRECTED BY SHUJI YAMANAKA “BONES” THE EXHIBITION IS DIRECTED BY SHUNJI YAMANAKA, WHOSE WORK INCORPORATES BOTH DESIGN AND ENGINEERING PERSPECTIVES, AND WILL DIRECT OUR ATTENTION TO THE RELATIONSHIP BETWEEN FUNCTION AND FORM IN INDUSTRIAL PRODUCTS, WHILE CONSIDERING THE SOPHISTICATED STRUCTURES OF THE BONES OF LIVING BEINGS. THE KEYWORDS OF THE EXHIBITION ARE “BONES” AND “SKELETONS” OF INDUSTRIAL PRODUCTS, AS THE CORE ELEMENTS OF DESIGN. SPARKED BY THE WORK OF 12 GROUPS OF CREATORS, WE WILL CONTINUE OUR SEARCH FOR THE “SKELETONS OF THE FUTURE.”
21_21 DESIGN SIGHT DATE: 2009. 5. 29 (FRI) - 2009. 8. 30 (SUN) PLACE: 21_21 DESIGN SIGHT OPENING HOURS: 11:00 - 20:00 (ENTRANCE UNTIL 19:30) CLOSED ON TUESDAYS ADMISSION: GENERAL ¥1,000 / UNIVERSITY STUDENTS ¥800 / HIGH AND JUNIOR HIGH SCHOOL STUDENTS ¥500 / AGES 12 AND UNDER MAY ENTER FOR FREE.
WEBSITE: http://www.2121designsight.jp
“VISUAL DECEPTION” EXHIBITION THIS EXHIBITION BRINGS TOGETHER PAINTINGS RANGING FROM CLASSIC WORKS OF THE 16TH AND 17TH CENTURIES TO MODERN MASTERS LIKE DALI AND MAGRITTE, BUT IT ALSO CONTAINS WITTY EXAMPLES BY JAPANESE ARTISTS. NOW AS IN THE PAST, PEOPLE HAVE ALWAYS BEEN FASCINATED BY TROMPE-L’OEIL. AFTER SEEING THIS EXHIBITION, YOU WILL UNDERSTAND WHY. - SHOWS A VARIETY OF WESTERN AND JAPANESE TROMP-L’OEIL FROM OLD TIME TO THE PRESENT. - ARCIMBOLDO’S VERTUMNUS (RUDOLF II) SHOWN FOR THE FIRST TIME IN JAPAN. - WITH A COMPREHENSIVE SECTION OF JAPANESE TRICK ART. - INCLUDING VARIOUS EXAMPLES OF CONTEMPORARY ART.
BUNKAMURA THE MUSEUM DATE: 2009. 6. 13 (SAT) - 2009. 8. 16 (SUN) PLACE: BUNKAMURA THE MUSEUM OPENING HOURS: OPEN EVERY DAY DURING THE EXHIBITION. HOURS: 10:00-19:00 (TILL 21:00 ON FRI. AND SAT. ENTER 30 MINUTES BEFORE CLOSING TIME) ADMISSION: ADULT ¥1,400 COLLEGE/HS¥1,000 JHS/CHILD ¥700.
WEBSITE: http://www.bunkamura.co.jp/museum
“TOKYO INTL LESBIAN AND GAY FILM FESTIVAL” THE “TOKYO INTERNATIONAL LESBIAN AND GAY FILM FESTIVAL” IS THE ONLY LONG-LASTING EVENT IN THE WORLD OF SEXUAL MINORITIES WHICH WILL REACH ITS 18TH YEAR THIS YEAR. WITH THE AIM OF CONTRIBUTING TO VISUAL CULTURE THE FILM FESTIVAL WILL PRESENT HIGH QUALITY FILMS THAT RARELY GET THE EXPOSURE IN ORDINARY VENUES FOR THEIR CONTENT THAT DEALS WITH SEXUALITY AND GENDER. IT MOREOVER AIMS TO BE A SITE FOR LEARNING AND INFORMATION FOR THE CREATION OF A MORE VARIED AND FREE SOCIETY THROUGH THE DISPELLING OF PREJUDICES OVER SEXUAL MINORITY AND HIV/AIDS ISSUES. THE FESTIVAL COLLABORATES WITH OTHER SIMILAR FESTIVALS AROUND THE WORLD TO BUILD A WIDE NETWORK THAT WILL FOSTER THE INTERNATIONAL EXCHANGE OF ART.
SHINJUKU WALD 9, SPIRAL HALL DATE: 2009. 7. 10 (FRI) - 2009. 7. 12 (SUN) PLACE: SHINJUKU WALD 9 (SHINJUKU MARUI ANNEX 9F) DATE: 2009. 7. 16 (THU) - 2009. 7. 20 (MON) PLACE: SPIRAL HALL (SPIRAL 3F) ADMISSION: TICKET FEE FOR ONE MOVIE ¥1,000
WEBSITE: http://tokyo-lgff.org/2009/e/index.html
TOKIO BEAT
INFO BROUGHT TO YOU BY AYANA KOBAYASHI @TOKIO.JP
H
- EDITORS IN CHIEF: DAVIDE DE VISDOMINI - DAVE CAMPBELL ; FASHION EDIT EDITOR: PHILIP TIDWELL ; REPORTER FROM LOS ANGELES: MARIA VIIDALEPP; FROM BARCELONA: DAVIDE DE VISDOMINI; BRAND MANAGER AND REPORTER HKLEPP ;REPORTER FROM TOKIO: AYANA KOBAYASHI -- EDITORS IN CHIEF: DA PHOTOGRAPHY EDITOR: DAVE CAMBELL ; ARCHITECTURE EDITOR: PHILIP TID NEW YORK AND BERLIN: VERONIKA BJARSCH ; REPORTER FROM BARCELONA: MARCO SILVERII ; REPORTER FROM TALLINN: MARIT MIHKLEPP ;REPORTER FR NI - DAVE CAMPBELL ; FASHION EDITOR: KAI EICHEN ; PHOTOGRAPHY EDITOR FROM LOS ANGELES: MARIA VIIDALEPP; REPORTER FROM NEW YORK AND BER DOMINI; BRAND MANAGER AND REPORTER FROM BOLOGNA: MARCO SILVERII AYANA KOBAYASHI -- EDITORS IN CHIEF: DAVIDE DE VISDOMINI - DAVE CAMP -BELL EDITORS IN CHIEF: DAVIDE DEPHILIP VISDOMINI - DAVE CAMPBELLFROM ; FASHION EDIT ; ARCHITECTURE EDITOR: TIDWELL ; REPORTER LOS ANGE EDITOR: PHILIP TIDWELL ;FROM REPORTER FROM LOS ANGELES: MARIA VIIDALEPP; IKA BJARSCH ; REPORTER BARCELONA: DAVIDE DE VISDOMINI; BRAND M FROM BARCELONA: DAVIDE DE VISDOMINI; BRAND MANAGER AND REPORTER FROM TALLINN: MARIT MIHKLEPP ;REPORTER FROM TOKIO: AYANA KOBAYASH KLEPP ;REPORTER FROM TOKIO: AYANAEDITOR: KOBAYASHI EDITOR: KAI EICHEN ; PHOTOGRAPHY DAVE- CAMBELL ; ARCHITECTU IDALEPP; REPORTER FROM NEW YORK AND BERLIN: VERONIKA BJARSCH ; REP REPORTER FROM BOLOGNA: MARCO SILVERII ; REPORTER FROM TALLINN: MAR CHIEF: DAVIDE DE VISDOMINI - DAVE CAMPBELL ; FASHION EDITOR: KAI EICHE IP TIDWELL ; REPORTER FROM LOS ANGELES: MARIA VIIDALEPP; REPORTER FR CELONA: DAVIDE DE VISDOMINI; BRAND MANAGER AND REPORTER FROM BOL PORTER FROM TOKIO: AYANA KOBAYASHI -- EDITORS IN CHIEF: DAVIDE DE VI EDITOR: DAVE CAMBELL ; ARCHITECTURE EDITOR: PHILIP TIDWELL ; REPORTE BERLIN: VERONIKA BJARSCH ; REPORTER FROM BARCELONA: DAVIDE DE VISDO ; REPORTER FROM TALLINN: MARIT MIHKLEPP ;REPORTER FROM TOKIO: AYAN BELL ; FASHION EDITOR: KAI EICHEN ; PHOTOGRAPHY EDITOR: DAVE CAMBEL GELES: MARIA VIIDALEPP; REPORTER FROM NEW YORK AND BERLIN: VERONIK MANAGER AND REPORTER FROM BOLOGNA: MARCO SILVERII ; REPORTER FRO -- EDITORS IN CHIEF: DAVIDE DE VISDOMINI - DAVE CAMPBELL ; FASHION EDI EDITOR: PHILIP TIDWELL ; REPORTER FROM LOS ANGELES: MARIA VIIDALEPP; FROM BARCELONA: DAVIDE DE VISDOMINI; BRAND MANAGER AND REPORTER HKLEPP ;REPORTER FROM TOKIO: AYANA KOBAYASHI -- EDITORS IN CHIEF: DA PHOTOGRAPHY EDITOR: DAVE CAMBELL ; ARCHITECTURE EDITOR: PHILIP TID NEW YORK AND BERLIN: VERONIKA BJARSCH ; REPORTER FROM BARCELONA: MARCO SILVERII ; REPORTER FROM TALLINN: MARIT MIHKLEPP ;REPORTER FR NI - DAVE CAMPBELL ; FASHION EDITOR: KAI EICHEN ; PHOTOGRAPHY EDITOR FROM LOS ANGELES: MARIA VIIDALEPP; REPORTER FROM NEW YORK AND BER DOMINI; BRAND MANAGER AND REPORTER FROM BOLOGNA: MARCO SILVERII AYANA KOBAYASHI -- EDITORS IN CHIEF: DAVIDE DE VISDOMINI - DAVE CAMP BELL ; ARCHITECTURE EDITOR: PHILIP TIDWELL ; REPORTER FROM LOS ANGE IKA BJARSCH ; REPORTER FROM BARCELONA: DAVIDE DE VISDOMINI; BRAND M FROM TALLINN: MARIT MIHKLEPP ;REPORTER FROM TOKIO: AYANA KOBAYASH EDITOR: KAI EICHEN ; PHOTOGRAPHY EDITOR: DAVE CAMBELL ; ARCHITECTU IDALEPP; REPORTER FROM NEW YORK AND BERLIN: VERONIKA BJARSCH ; REP REPORTER FROM BOLOGNA: MARCO SILVERII ; REPORTER FROM TALLINN: MAR CHIEF: DAVIDE DE VISDOMINI - DAVE CAMPBELL ; FASHION EDITOR: KAI EICHE IP TIDWELL ; REPORTER FROM LOS ANGELES: MARIA VIIDALEPP; REPORTER FR CELONA: DAVIDE DE VISDOMINI; BRAND MANAGER AND REPORTER FROM BOL PORTER FROM TOKIO: AYANA KOBAYASHI -- EDITORS IN CHIEF: DAVIDE DE VI EDITOR: DAVE CAMBELL ; ARCHITECTURE EDITOR: PHILIP TIDWELL ; REPORTE BERLIN: VERONIKA BJARSCH ; REPORTER FROM BARCELONA: DAVIDE DE VISDO
TOR: KAI EICHEN ; PHOTOGRAPHY EDITOR: DAVE CAMBELL ; ARCHITECTURE ; REPORTER FROM NEW YORK AND BERLIN: VERONIKA BJARSCH ; REPORTER R FROM BOLOGNA: MARCO SILVERII ; REPORTER FROM TALLINN: MARIT MIDAVIDE DE VISDOMINI - DAVE CAMPBELL ; FASHION EDITOR: KAI EICHEN ; DWELL ; REPORTER FROM LOS ANGELES: MARIA VIIDALEPP; REPORTER FROM : DAVIDE DE VISDOMINI; BRAND MANAGER AND REPORTER FROM BOLOGNA: ROM TOKIO: AYANA KOBAYASHI -- EDITORS IN CHIEF: DAVIDE DE VISDOMIR: DAVE CAMBELL ; ARCHITECTURE EDITOR: PHILIP TIDWELL ; REPORTER RLIN: VERONIKA BJARSCH ; REPORTER FROM BARCELONA: DAVIDE DE VISI ; REPORTER FROM TALLINN: MARIT MIHKLEPP ;REPORTER FROM TOKIO: PBELL ; FASHION EDITOR: KAI EICHEN ; PHOTOGRAPHY EDITOR: DAVE CAMTOR: EICHEN ; PHOTOGRAPHY DAVE CAMBELL ; ARCHITECTURE ELES: KAI MARIA VIIDALEPP; REPORTER EDITOR: FROM NEW YORK AND BERLIN: VERON;MANAGER REPORTERAND FROM NEW YORK AND BERLIN: VERONIKA BJARSCH ; REPORTER REPORTER FROM BOLOGNA: MARCO SILVERII ; REPORTER RHI FROM BOLOGNA: MARCO SILVERII REPORTER FROM MARIT MIH-- EDITORS IN CHIEF: DAVIDE DE; VISDOMINI - DAVETALLINN: CAMPBELL ; FASHION URE EDITOR: PHILIP TIDWELL ; REPORTER FROM LOS ANGELES: MARIA VIPORTER FROM BARCELONA: DAVIDE DE VISDOMINI; BRAND MANAGER AND RIT MIHKLEPP ;REPORTER FROM TOKIO: AYANA KOBAYASHI -- EDITORS IN EN ; PHOTOGRAPHY EDITOR: DAVE CAMBELL ; ARCHITECTURE EDITOR: PHILROM NEW YORK AND BERLIN: VERONIKA BJARSCH ; REPORTER FROM BARLOGNA: MARCO SILVERII ; REPORTER FROM TALLINN: MARIT MIHKLEPP ;REISDOMINI - DAVE CAMPBELL ; FASHION EDITOR: KAI EICHEN ; PHOTOGRAPHY ER FROM LOS ANGELES: MARIA VIIDALEPP; REPORTER FROM NEW YORK AND OMINI; BRAND MANAGER AND REPORTER FROM BOLOGNA: MARCO SILVERII NA KOBAYASHI -- EDITORS IN CHIEF: DAVIDE DE VISDOMINI - DAVE CAMPLL ; ARCHITECTURE EDITOR: PHILIP TIDWELL ; REPORTER FROM LOS ANKA BJARSCH ; REPORTER FROM BARCELONA: DAVIDE DE VISDOMINI; BRAND OM TALLINN: MARIT MIHKLEPP ;REPORTER FROM TOKIO: AYANA KOBAYASHI ITOR: KAI EICHEN ; PHOTOGRAPHY EDITOR: DAVE CAMBELL ; ARCHITECTURE ; REPORTER FROM NEW YORK AND BERLIN: VERONIKA BJARSCH ; REPORTER R FROM BOLOGNA: MARCO SILVERII ; REPORTER FROM TALLINN: MARIT MIDAVIDE DE VISDOMINI - DAVE CAMPBELL ; FASHION EDITOR: KAI EICHEN ; DWELL ; REPORTER FROM LOS ANGELES: MARIA VIIDALEPP; REPORTER FROM : DAVIDE DE VISDOMINI; BRAND MANAGER AND REPORTER FROM BOLOGNA: ROM TOKIO: AYANA KOBAYASHI -- EDITORS IN CHIEF: DAVIDE DE VISDOMIR: DAVE CAMBELL ; ARCHITECTURE EDITOR: PHILIP TIDWELL ; REPORTER RLIN: VERONIKA BJARSCH ; REPORTER FROM BARCELONA: DAVIDE DE VISI ; REPORTER FROM TALLINN: MARIT MIHKLEPP ;REPORTER FROM TOKIO: PBELL ; FASHION EDITOR: KAI EICHEN ; PHOTOGRAPHY EDITOR: DAVE CAMELES: MARIA VIIDALEPP; REPORTER FROM NEW YORK AND BERLIN: VERONMANAGER AND REPORTER FROM BOLOGNA: MARCO SILVERII ; REPORTER HI -- EDITORS IN CHIEF: DAVIDE DE VISDOMINI - DAVE CAMPBELL ; FASHION URE EDITOR: PHILIP TIDWELL ; REPORTER FROM LOS ANGELES: MARIA VIPORTER FROM BARCELONA: DAVIDE DE VISDOMINI; BRAND MANAGER AND RIT MIHKLEPP ;REPORTER FROM TOKIO: AYANA KOBAYASHI -- EDITORS IN EN ; PHOTOGRAPHY EDITOR: DAVE CAMBELL ; ARCHITECTURE EDITOR: PHILROM NEW YORK AND BERLIN: VERONIKA BJARSCH ; REPORTER FROM BARLOGNA: MARCO SILVERII ; REPORTER FROM TALLINN: MARIT MIHKLEPP ;REISDOMINI - DAVE CAMPBELL ; FASHION EDITOR: KAI EICHEN ; PHOTOGRAPHY ER FROM LOS ANGELES: MARIA VIIDALEPP; REPORTER FROM NEW YORK AND OMINI; BRAND MANAGER AND REPORTER FROM BOLOGNA: MARCO SILVERII ;
INFO & ADVERTISING heart.artsmag
@
gmail.com
HEART