Karikomi – Japanese abstract topiary – from the ever-interesting ii-ne-kore blog out of Australia by way of Japan. “ii ne kore is a shorthand version of kore wa ii desu ne, an expression of appreciation or delight in japanese.” That is how I feel when I look at these.
If you’re in Vancouver and are interested in Arthur Erickson’s ties with Japan (and by extension Japan’s influence on west coast modernism), it’s worth ordering tickets for this event now. It will sell out.
“Our lighting is hand-built in Japan from natural materials, including the hand-made paper (washi) of Eriko Horiki, the bent Japanese cedar of Toshiyuki Tani’s Wappa series, the coiled beech wood of the Bunaco Lacquer Ware Company, and the todomatsu pine slats of Takumi Kohgei.
This house is called the Yakisugi or “charred cedar” house. Japanese architect Terunobu Fujimori is using a traditional Japanese technique of charring as a way to finish and preserve wood. See another charcoal house by Fujimori here.
This Japanese boro (futon cover) was made in the 19th century by recycling remnants of indigo dyed cotton and joining them together. It’s so well-made that it’s still in perfect condition.
Thanks to photographers Molly Des Jardin (cat slide), Ethan and Kohmura Masao (Fomal Haut) for these photos of rural Japanese houses. So few materials, so harmoniously put together. Many of the photos are from an open air museum in Japan, where traditional houses from different regions have been transported and reconstructed.
It shouldn’t be that difficult; it comes apart. The owner residents of Tokyo’s famous Nakagin Capsule Tower have voted to demolish it and rebuild a “modern” tower on the same location, which is now a valuable property adjacent to the Ginza district.
The Chen House in North Taiwan, design and constructed by Finnish architect Marco Casagrande and Taiwanese architect Frank Chen, was built for an older couple who wanted to retire to the country and grow bamboo and cherry trees – on a flood plain also beset by hurricanes and earthquakes.
Takashi Iwasaki‘s March show in Vancouver was postponed, so we’re doing our own little show here. Iwasaki, who was born in Japan and studied in both Japan and Canada, also produces paintings and drawings but it’s his embroideries that are particularly interesting, not just because it’s nice to see embroidery being done by a male artist, but also because of their unconventional, non-fussy style – he somehow bends the medium to make embroidery lines appear loosely hand-painted or drawn, so that there’s an interesting disjunction between method and effect.
The photo above shows the central living area of a rural farmhouse on the border of Tochigi and Ibaraki prefectures. The house was restored by Kenji Tsuchisawa who bought it as a rundown heap when he was only 20, after seeing a photograph of a traditional Japanese farmhouse on a Tokyo magazine cover.
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This Blog
This blog is a long, somewhat messy photo essay on the history and politics of design. Design's socio-historical context—that is, the constraints and influences on the way we make objects, dwellings and cities—seems too often ignored. We no longer know where our styles, tastes or objects really come from, and this damages our creativity and sense of meaning. Historical knowledge is so fugitive in the New World, with everything so decontextualized in the rapid flow of commodities and images. Don't even get me started on tumblr and pinterest.
As Fran Lebowitz said, "Designers now, they all have these things called mood boards. I suppose they think a sense of discovery equals invention. It would be as if every writer had a board with paragraphs of other writers—'Oh, I'll take a little bit of this, and that, he was really good.' Yes, he was really good! And that is not a mood board, it is a stealing board."
As for the sort of design I'm personally interested in, full disclaimer.....read more
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Book in Progress: Habitat
To read about my book project on Vancouver's UN-Habitat Forum event of 1976 concerning just and sustainable urban settlements, click here. Few know that Buckminster Fuller, Margaret Mead, Mother Teresa, Paolo Soleri and Maggie & Pierre Trudeau, along with many thousands of others, came to Vancouver in 1976 to talk about better, safer, fairer and greener cities worldwide. In fact it was the founding conference of UN Habitat, an agency built around a foundational document called The Vancouver Declaration. My book is about what happened that year and is a snapshot not just of Vancouver but of how people around the world began to view cities and themselves differently in the wake of, among other things, the first oil crisis.
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