OUT TODAY!!!! Julien Huang
has written a major profile of White Fungus for Business Today in
Taiwan. This is the first-ever article about White Fungus in Chinese.
The print magazine will be hitting shelves later today. In the meantime,
here it is online
Amazon's new downtown Seattle HQ: victory for the city over suburbia?
While
Microsoft and Nintendo have stayed in the suburbs, Amazon is building a
futuristic new inner-city home. Not everyone is happy – but this could
be a masterstroke for the city
The plans for Amazon's new headquarters in South Lake Union, Seattle, feature three 95-foot interconnected glass biospheres
I
often told myself in adolescence that, even though I'd had to grow up
in a none-too-exciting Seattle suburb, at least my particular
none-too-exciting Seattle suburb boasted the headquarters of both
Microsoft and Nintendo of America. Though I had to ride my bike for
the better part of an hour to reach so much as a grocery store, at
least I could feel, or imagine I felt, the buzz of thrilling new
computer and entertainment technologies in development not far away.
Nintendo
established its Redmond, Washington campus in 1982; Microsoft moved
its headquarters there in 1986. Both years fall squarely within the
late stage of America's long period of suburbanisation, when people
and corporations alike pulled their stakes up from the country's
once-robust city centres and put them down in far-flung suburbs like
Redmond, which back in the 1980s turned nearly rural at its edges.
Taking my thrills where I could find them in such an environment, I
seized every opportunity to visit their leafy compounds.
I
still remember the awe I felt upon entering these tightly secured,
painstakingly landscaped worlds-unto-themselves. They looked intent
on addressing their employees' every need, thereby absolving them of
the obligation to stray from campus. Many a story circulated of life
at Microsoft headquarters, where programmers would supposedly keep
themselves awake and coding on deadline for days at a stretch with
endless company-supplied cafeteria meals and bottles of Jolt Cola.
(Douglas Coupland would satirise this cutting-edge-yet-womblike
environment of dependency in his 1995 novel, Microserfs.)
Microsoft
and Nintendo's decision to base themselves 15 miles east and across a
lake from the city, to say nothing of aerospace giant Boeing's
presence more than 20 miles to the north, did little to benefit
Seattle proper. With the region's economic powers so far out on the
periphery, the downtown area fell to what looked like a subservient
position before its own suburbs: in parts strangely underdeveloped,
in others almost forgotten.
Microsoft's HQ in the Seattle suburb of Redmond. Photograph: Dan Callister/Rex
The
city’s now-fearsome internet retail pioneer, Amazon.com ,
might well have continued this saga of corporations key to Seattle’s
identity maintaining a distance, and detachment, from the city
itself, had it stayed in the even wealthier suburb of Bellevue where
the company began (in chief executive Jeff Bezos's converted garage). Instead,
the decision to consolidate much of its headquarters right up against
Seattle's downtown, in a former car-dealer-and-warehouse district
called South Lake Union (the lake separates the city's north and
south halves), has engendered a fascinating case study, still very
much in progress, of what happens when a powerful company goes about
ambitiously building an environment not away and sealed off from the
nearest urban centre, but right there in it – and even, to an
extent, integrated with it.
On
my most recent trip back to Seattle, I rode there every day from
downtown on the South Lake Union Streetcar (in fact, most Seattleites I
talked to called it the “South Lake Union Trolley”, relishing the
attendant acronym). It circulates, sounding a cheerful if synthesised
bell
at each of its 10 stops, on a 2.6-mile route past most of the
redeveloping neighbourhood's notable institutions: the Fred
Hutchinson Cancer Research Centre; the
many and varied coffee shops; the Whole Foods supermarket, sine
qua non
of a newly affluent American neighbourhood; the official South
Lake Union Discovery Centre, featuring an
interactive model of the surrounding blocks; the waterfront park,
which serves as lawn for the newly relocated Museum of History and
Industry; and the condominium blocks finished and unfinished, some
still wrapped in plastic, others just enormous holes in the ground.
Tall
cranes stand everywhere, some of them poised to build the towers that
will constitute the landmarks of Amazon's new headquarters. These
plans also include an ambitious biodome,
approved last year by the City Design Review Board and made of three,
95-foot glass spheres.
Microsoft’s
co-founder Paul Allen, of all people, has played a considerable role
as the owner of Vulcan, the real-estate investment firm which has not
only taken on the task of developing Amazon's $266m (£158m) worth of
new buildings, but also sold them their existing $1.1bn South
Lake Union campus in the first place. According
to the Seattle Times, the campus is
reckoned to have room for at least 9,000 employees
–
but while these projects will determine, to a great extent, the look
of the neighbourhood's built environment, Amazon hasn't simply
summoned the entirety of new South Lake Union into being. Rather, its
ever-growing presence has attracted a host of other developers with
projects of their own, eager to attract the area's new population of
tech workers.
Pending
the completion of the towers, Amazon's current South Lake Union
operations go on in clusters of lower-rise buildings whose purpose
you couldn't necessarily surmise through a streetcar window. But
other, subtler clues identify their function: the sudden
preponderance of blue Amazon badges and unflattering Amazon
logo-emblazoned hooded sweatshirts on the street; the nearby
dentist's and even masseuse's offices advertising their acceptance of
Amazon health insurance; the recorded voice inside the streetcar
itself advertising the upcoming stop as “sponsored by Amazon.com”. The planned new Amazon headquarters in downtown Seattle
Nobody
could ever mistake Microsoft and Nintendo's Redmond campuses,
surrounded for miles by little more than grass and parking, for
cities. Even the most Amazonian blocks of South Lake Union, by
contrast, never feel less than urban in form. Maybe it has to do with
the nearness of the Seattle skyline, or with all the construction
adding to the bustle, or with the fact that people actually live here, not just sleep on the plush employee-lounge couches.
Still, much of it struck me as slightly too new, and slightly too
thought-through; I couldn't quite shake the feeling of spending time
in a company town, albeit a company downtown.
Even
in its incomplete state – and even more than America's older city
centres, now coming back to life largely through infusions of
high-end shopping – South Lake Union caters to those prepared to
spend. You may do it with relative modesty, at the food truck parked
at the end of the streetcar line offering kale salads and burgers
with bacon jam and jalapeño
aioli; you may drop a few dollars more at the speciality hot-chocolate
shop or the combined dog bakery and boutique; or you may go all the
way and get your teeth capped, purchase a Bang & Olufsen stereo
system, and put in an order for an $80,000 electric sports car at the
neighbourhood Tesla showroom. As for the price of a condominium,
well, if you have to ask ...
Scott
Bonjukian, who closely observes Seattle’s development at The
Northwest Urbanist,
finds South Lake Union “a
poignant example of the nationwide shift towards a service economy”.
Discussing the change in the neighbourhood's character over the past
decade, he says he didn't know whether denizens from its industrial
years, if any remain, long for the past. “There
doesn't seem to be much original architecture left, and what has been
preserved has mostly been adapted for new uses. Most residents are
probably transplanted tech workers who are looking to the future.”
I
most often disembarked the streetcar to sample South Lake Union's
impressive range of quality coffee providers, though the first I
tried visiting had temporarily shuttered – a sign on its closed
door blamed hassles from the building site of the future tower next
door. You need not go far for more direct complaints about the
direction the area has taken, with the disruptiveness of its growth,
its telling lack of schools and its sheer expense.
Resentful
sentiments from some Seattle residents are evident under news
articles heralding Amazon's bold move. Comments bemoan “exorbitant
prices for restaurants and services”, the amount of real estate
“built for outsiders to occupy”, the development’s lack of a
“soul” – and even its exemplification of a Seattle that is
“destroying itself”. “WE WELCOME OUR NEW CONDO OVERLORDS”
read a sarcastic bumper sticker seen in several gentrifying parts of
the city. Perhaps it is popular with those who once had such an easy
time driving their cars through South Lake Union's emptier streets,
whether or not they enjoyed those streets in and of themselves.
South Lake Union in 2007 before redevelopment. Photograph: Bloomberg via Getty
In truth, most Seattleites with whom I discussed the development
displayed a cautious optimism, albeit tinged with wariness about the
speed with which the neighbourhood has changed. But with such change
come creature comforts, including not just several branches of Starbucks
(that other iconically Seattle megabusiness) within walking distance of
one another, but purveyors of a higher level of coffee as well. Dow
Lucurell, owner
of Uptown
Espresso,
my local cappuccino spot of choice, has done business in South Lake
Union since 2004, a time when the area felt like a “ghost town”.
He remembered the Fred Hutchinson Cancer Centre and related
biotechnological enterprises as the first thriving presences there,
with Amazon actually coming late to the game. “In my business,”
Lucurell said, “if you wait to get in when it's prime, you can't
get in. When they need you and want you, that's when you make the
best deal. You have to have a coffee company.”
It
also helped Lucurell to have an accommodating “they” – in this
case, his landlords at Vulcan, the firm who dealt Amazon so much of
their real estate. “I'm completely happy,” he told me. “We went
three years on a handshake” during which time “the whole
neighbourhood changed. They have, like, 100,000 attorneys: if they
want to change the deal they're going to, but they've been not only
generous, but completely honorable. They subsidised me really well
the first few years. They wanted me to take a lot of space.”
Though
conditions in South Lake Union have suited Lucurell's coffee company
as much as his coffee company suits the neighbourhood, he did point
out the struggle of nearby restaurants and other businesses reliant
on a nighttime crowd. Part of this he attributed to the lack of
moderately priced housing that was discussed by the first “idealistic
visionaries” at Vulcan to helm the redevelopment project. He also
hopes for more small, locally owned businesses to balance out the
giant ones: “That's what builds character. An owner has more
investment in a neighbourhood than a manager. If the big companies
want to pull out, they just do. If Amazon takes off out of the area,
so does everyone else, and you're in business among a bunch of 'For
Lease' signs.”
Ultimately,
South Lake Union should give city-watchers an answer to a
long-burning question: can anyone just move in and build a complete,
functional urban centre, much less in the space of a decade or two?
Many of the elements already in place neatly illustrate both the
advantages and problems of this newest wave of urbanism – not least
what Bonjukian calls its “streetcar to nowhere”. Free to ride
(pending the development of proper payment machines) for those who
hold a Seattle transit card, it does indeed offer a jaunty way to get
around the area it covers, despite the short distance it runs.
But
while this small system suggests modern streetcars may yet add the
shot of vitality their proponents insist they do, they still don't
come by quite often enough. And even when they do, they can move with
infuriating slowness. On one ride I looked outside to see Lake Union
Park's joggers – even its strollers – passing me by, then endured
another delay up the street as the streetcars's driver had to get out
and tell a truck parked ahead to move out of its way. All the while,
I sat wondering when the next round of Amazon-underwritten service
improvements I'd heard about would come into effect.
正在大都會藝術博物館(Metropolitan Museum
of Art)展出的「水墨藝術：借古說今中國當代藝術」(Ink Art: Past as Present in Contemporary
China)即考察了筆墨藝術的復興。展覽呈現了35位藝術家的70部作品，他們多數出生於上世紀五六十年代，其中有幾位之前在紐約鮮有曝光，或從未出現
過。透過展覽我們能夠發現，一些藝術家已經找到了將筆墨呈現於紙的新方法，而另一些則以攝影、視頻、動畫，甚至是建立在照片基礎上的行為藝術的形式呈現出
了筆墨藝術的效果。
「水墨藝術」是大都會博物館的第一場中國當代藝術展。大都會擁有在
西方世界數一數二的中國傳統藝術收藏，還有一項水平相當的展覽項目。「水墨藝術」的策展人是精通中國書畫的博物館亞洲藝術部主任何慕文(Maxwell
K.
Hearn)。何慕文並沒有布設臨時展廳，而是將展品分佈到大都會中國藝術展廳的各個角落，有時候會和一些古老得多的內容放在一起，或者放置的房間充滿了
中國建築的元素以及可用於展出捲軸的玻璃櫃。這些玻璃櫃通常專門用來展出大都會的中國書畫作品。
SaloneSatellite 2013: Young designers today Lots of young designers and numerous design schools from all over the world confirm the 16th
edition of the SaloneSatellite as the international reference point for
young creativity. Always full of new ideas, always charged with great
enthusiasm, and always a bridge between designers under 35 and
businesses. This year, three workshops will demonstrate the artisanal
know-how upon which modern industry continues to rely. April 9-14,
Pavilions 22-24 at the Milan Fairgrounds in Rho. As always, free
admission for all.
LONDON — One of the busiest places in Milan this week will be Bar
Basso on Via Plinio, packed with designers who have flocked to the city
for the Salone del Mobile, the annual furniture fair. Many of them will
raise a glass to the man who was largely responsible for encouraging the
design crowd to gather there — the late London-born, Milan-based
industrial designer James Irvine. It was typical of Irvine, who died in February at the age of 54, to
have decided to draw a crowd to his favorite watering hole and to have
pulled it off with such aplomb. When he lived nearby in the early 1990s,
Irvine persuaded Bar Basso’s owner to allow him to invite friends there
during design week and to stay open for longer than usual. Charming and
convivial, Irvine had moved to Milan in 1984 to work for the venerable
Italian designer Ettore Sottsass at the Olivetti electronics group, and
he stayed in the city to establish a successful design studio and a
happy family life.
Irvine’s death, which will be marked by a memorial party at his
studio Monday evening, is a tragic loss, but the legacy of his
unofficial role as cultural attaché to the design industry will endure
in the finer qualities of Milan’s design jamboree. Brash, frenzied,
overcrowded and overpriced though the city can be during the furniture
fair, the best of the hundreds of events taking place this week will
reflect the dynamism, ingenuity and passion for design and its history
that once attracted a talented young designer like Irvine to Milan, and
convinced him to stay there. The Salone del Mobile, which opens Tuesday at the Rho fairground and
closes Sunday, is rooted in the expansion of Italian manufacturing
during la dolce vita era of the 1950s and 1960s, when visionary
industrialists collaborated with talented designers to develop
technically innovative products in an elegant, modern style. Some of the
companies that emerged still dominate their product categories, as Flos
does in lighting and Kartell and Magis do in plastic products. Italy’s political instability has affected the design scene, as
illustrated by the controversy over the dismissal last month of the
architect Stefano Boeri as Milan’s councilor for design, fashion and
culture. The country’s economic woes and those of other established
furniture markets have also taken a toll, yet the Rho fair and its
fringe projects still bring more visitors to Milan than any other event
does and it dominates the global design calendar. About 338,000 people attended the fair in 2012, more than in 2011,
but less than 2008’s record of 383,793 visitors. The big European and
North American manufacturers that exhibit there are benefiting from
sales growth in expanding economies of Asia and Latin America, but are
also threatened by low-cost competitors in those regions. Even the most
prestigious companies have suffered, including Richard Ginori, the
Florentine porcelain maker, which has a rich design heritage dating to
the 1700s but went bankrupt in January. Many of the survivors have considerable strengths, not least in their
technical expertise, design prowess and imposing archives. This week,
both Flos and the Finnish furniture maker Artek will reissue products
designed in the mid-20th century by the Italian lighting designer Gino
Sarfatti and the Finnish architect Ilmari Tapiovaara respectively. Yet the large groups are also struggling to adjust to an increasingly
fragmented marketplace, and to pressure from consumers to operate more
responsibly, ethically and environmentally. Some of the most dynamic
participants in the fair in recent years have been smaller enterprises,
which specialize in particular materials or technologies, and are often
more progressive on the environmental front. Several of the most interesting new products to be introduced in
Milan this week will come from such businesses. Among them is a
beautifully crafted wood and leather chair produced by the Dutch
designer Dick van Hoff for Thomas Eyck of the Netherlands, and the
angular wooden furniture developed by the German designer Konstantin
Grcic and his British counterpart Jasper Morrison for the Italian
manufacturer Mattiazzi. The Mattiazzi products are made in the rugged, Spartan style that
promises to be an important trend in Milan: So are the new pieces
designed by the French brothers Ronan and Erwan Bouroullec for Magis and
by their compatriot Jean-Marie Massaud for the Italian lighting company
Foscarini. Equally influential will be the craftsmanship associated with Eyck’s
objects, and multifunctional furniture that users can adapt to suit
their changing needs, like the new seating-cum-storage systems developed
by the German designer Werner Aisslinger for Italy’s Moroso and by the
Dutch architect Rem Koolhaas for the U.S. group Knoll. Flexibility will become even more important to the furniture industry
in the future as the development of digital production technologies
transforms the relationship between designers, manufacturers and
consumers by enabling the latter to influence the design of original
objects, rather than simply customizing finished pieces. Digital production was explored by several fringe exhibitions in
Milan last year, and will be again this time, including a series of
workshops organized by the Dutch groups Prooff and UNStudio. One of
Italy’s biggest furniture companies, Cassina, is to present the first
phase of its experiments with the Italian architect and engineer Carlo
Ratti. A different futuristic theme is to be pursued in Afrofuture, a series
of workshops featuring innovations in African design and technology at
the department store La Rinascente. Yet no Salone del Mobile would be complete without toasting Milan’s
past design glories. Martino Gamper, Studio Formafantasma and other
designers are to pay homage to the design maestri of the 1950s and 1960s
in an exhibition at La Triennale Design Museum, which is also
presenting a tribute to the Italian designer Gae Aulenti, who died in
November. And Domus magazine has commandeered Casa degli Atellani, the house
where Leonardo da Vinci lived while painting “The Last Supper,” to
exhibit Ramak Fazel’s photographs of the Milanese design scene since the
early 1990s, including, of course, many shots of past Saloni.
What will you find during the Milan Furniture Fair?
By PILAR VILADASApril 12, 2013
Paradigm Shift / Tools for Life
After its sneak preview in
January at the fall 2013 Prada men’s fashion shows, “Tools for Life,”
the furniture collection designed for Knoll
by OMA, the architecture office that was co-founded by Rem Koolhaas,
will make its official debut next week during the Salone Internazionale
del Mobile in Milan. The collection, which will be on view April 9 and
10 at Prada’s exhibition space at Via Fogazzaro 36, consists of pieces
that address the increasingly blurred boundaries between working and
living space by being kinetic rather than static. As Koolhaas said, his
goal was to create furniture “that performs in very precise but also in
completely unpredictable ways” and indeed, flexibility is the key here. A
massive, heavily engineered piece called the 04 Counter consists of
three horizontal bars that stack like a wall, but which can also pivot
and cantilever, transforming the piece from room divider to “piazza,” as
Benjamin Pardo, Knoll’s design director, called it, adding, “Once
people discover that the object moves, they want to engage with it.”
Similarly, the 05 Round Table and the 06 Table (the latter, with its
two-layered top, was conceived as an executive desk) can be raised and
lowered, by means of an electric mechanism, anywhere from standing
height to lounge level. The collection also includes a coffee table,
seating, a screen and a credenza. Its arrival coincides with Knoll’s
75th anniversary, and while Pardo sees parallels in OMA’s furniture to
some of Florence Knoll’s classic designs — “They are the background
pieces that create sub-architecture in an architectural space” — he sees
“Tools for Life” as a response to the way we work now. “I want to talk
about work and not the office,” he said, “the distinction being that
today people work everywhere.”
The trend toward flexible work/living space is a definite theme at
the Salone this year: the fair itself is sponsoring “Project: office for
living,” an exhibition designed by the French architect Jean Nouvel
that will feature five different work environments, from a classic
apartment that is transformed into a cocoon-like work space to a
cityscape of mobile, modular and stackable flat surfaces “that can be
piled up and perched upon.” Sounds like great minds are thinking alike.
(April, 5, 2013, by Pilar Viladas)
Island Fever in Italy The word “bikini” became popular
referring to minimalist beachwear and to the South Pacific atoll where
nuclear tests were conducted. It is also the name of two new furniture
projects by Werner Aisslinger for the Italian company Moroso. This work,
which is to be introduced next month at the Milan Furniture Fair, is
neither lethal nor scandalous, but it does disrupt convention.
Bikini Island is a modular cluster of sofas and tables
that support a variety of activities. “Twenty years ago, people were all
staring in the same direction at the TV screen,” Mr. Aisslinger said of
the way couches were once occupied. “Nowadays, they do thousands of
different things, from meditation to answering e-mails.”
The Bikini armchair, shown, is a simple oak seat painted
in a vibrant gradient of tropical colors. “You know Moroso,” Mr.
Aisslinger said. “It’s a company doing wild and extroverted sculptural
pieces which have a certain impact.”
The collection has not yet been scheduled for production. Information: moroso.it. (March 27, 2013, by Julie Lasky)
Plywood Bends to an Architect’s Will
Next week, the Pritzker Prize-winning architect Tadao Ando will
introduce his first production piece: a chair called Dream, for the
Danish company Carl Hansen & Son. The chair, which will be shown
during the Milan Furniture Fair, is a single sheet of curved plywood set
on a plywood base.
Mr. Ando “told us many times, ‘I never promised you it
would be easy,’ ” said Knud Erik Hansen, the chief executive of the
family-run company, which is known for classic pieces by renowned
designers like Hans J. Wegner and Mogens Koch.
Patience and a patent were required before the thin wood
could be manipulated just so without cracking. “We have managed, and
it’s a wonderful chair, but I tell you it has given us gray hairs,” Mr.
Hansen added.
Dream will be available this summer in oak and American
walnut, with optional leather upholstery, starting at about $4,000.
Information: (212) 242-6736 or carlhansen.com. (April 3, 2013, by Julie Lasky)
Molding the Glow
Founded in 1586,
Cristalleries de Saint-Louis is the oldest glass manufacturer in France,
but it’s taking a 21st century approach to new products. Next week in
Milan during Euroluce, the lighting show held every other year during
the international furniture fair, it will introduce three lighting
collections by celebrated women designers: Kiki van Eijk, Paola Navone
and Ionna Vautrin. Ms. van Eijk, who is based in the Netherlands and is
best known for unique or limited-edition objects, found inspiration in
the thousands of old molds she discovered in the factory’s warehouse.
Her design, Matrice (French for matrix), takes the shape of one of those
molds. Illuminated by LEDs, Matrice is available as a sconce, table
lamp or floor lamp in a copper or nickel frame with a matte or bright
finish. The table lamp, shown in copper, stands 15 ½ inches tall and is
$14,200. Information: (212) 835-6448. (April 3, 2013, by Arlene Hirst)
家居
在米蘭國際傢具展，你能看到什麼？
《紐約時報》報道2013年04月12日
諾爾公司的「04號櫃檯」，由OMA設計。
變型：生活之器(Tools for Life)系列
繼今年1月在普拉達(Prada)的2013秋季男裝秀上低調預展後，“生活之器”系列傢具將於下周（4月8日當周）在米蘭國際傢具展(Salone Internationale del Mobile di Milano)
上首度正式亮相。這組傢具由雷姆·庫哈斯(Rem
Koolhaas)與人合辦的OMA(荷蘭大都會建築事務所)為美國諾爾公司(Knoll)設計，於4月9日和4月10日兩天，在位於Via
Fagazzaro街36號的普拉達展覽空間(Prada’s exhibition
space)展出。參展的幾件傢具都有一個特色，就是運用動態而非靜態的設計，體現了工作與生活空間日益模糊的界限。正如庫哈斯所說，他的目標就是打造那
種“有十分精準的、而又完全不可預知的用途”的傢具。的確如此，靈活性是其中的關鍵。比如說，一件叫做“04號櫃檯(04
Counter)”的、看上去構造粗大笨重作品，由三根水平的木條組成，堆成一堵牆的樣子，但是這三根木條又可以繞着軸點分開轉動，把原來用於分隔空間的
傢具，變成了諾爾公司的設計主管本傑明·帕爾多(Benjamin
Pardo)口中的“樞紐”(piazza)。他補充說：“一旦人們發現這東西可以轉動，他們就想去擺弄一下。”
An Italianate Victorian home built in
1869 on a hilltop overlooking the Delaware River in bucolic Frenchtown,
N.J., is about to enter the market at $999,000. The fully renovated
four-bedroom, two-and-a-half bath home has a wraparound porch on the
south and west sides and sits on three-quarters of an acre, most of it
dedicated to perennial gardens.
吉爾伯特就是在那座「天空之館」中，伏在她那張15英尺（約4.6
米）長的金合歡實木書桌上，寫完了她最新的一本暢銷小說《萬物簽名》(The Signature of All Things，由Viking
Adult出版社於2013年出版)，是一個涉及歷史學與植物學的浪漫故事。閣樓的角落裡放着一張特大號的「午休床」；屋內還有11扇彷彿輪船舷窗的窗戶
（但窗外掠過的不是游魚，而是雄鷹）；天花板上，未經翻修的屋樑低得不太安全；另有一段樓梯通往私密的穹頂小室，從那裡可以看到360度的景色。
... France, is a serious work of design by Japanese architect Shigeru Ban and French architect Jean de Gastines (associated with Philip Gumuchdjia). ...
Designed by Japanese architect Shigeru Ban and France's Jean de Gastines, the museum has a translucent, Teflon-coated roof that appears to have melted over ...
La jornada fue liderada por el mundialmente conocido arquitecto Japonés Shigeru Ban. Las unidades habitacionales fueron diseñadas por los laboratorios de ...
An international architectural team of Shigeru Ban (Japan), Jean de Gastines (France) and Philip Gumuchdjian (England) won the design competition among 157 ...
Proponents of the project, including the Aspen Skiing Co., say the museum, designed by accomplished Japanese architect Shigeru Ban, will be an extraordinary ...
... Berkeley and Washington, DC Zaha Hadid's MAXXI museum in Rome and a new branch of the Pompidou, by Shigeru Ban and the French architect Jean de Gastines ...
The new art museum proposal is an “environmentally sustainable” design by accomplished Japanese architect Shigeru Ban. It would be his first museum in the ...
The new building is set to be designed by Japanese architect Shigeru Ban, and will be his first US building. [Real Aspen] – Hitting His Stride: Pinetop ...
Shigeru Ban (坂茂, Ban Shigeru; born 1957 in Tokyo, Japan) is an accomplished Japanese and international architect, most famous for his innovative work with ...
Shigeru Ban used cardboard pillars in fashion designer Issey Miyake's gallery ... Japanese architect Shigeru Ban has built homes, pavilions and churches, ... www.time.com/time/innovators/design/profile_ban.html - 頁庫存檔 - 類似內容
Shigeru Ban,Eugenia Bell,Deb Wood - 2001 - Architecture - 144 頁 Shigeru Ban may be best known for his evocative Curtain Wall House in Tokyo--a highlight of the Museum of Modern Art's 1999 Un-Private House exhibit--but few ... books.google.com/books?isbn=1568982348...
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The Keynote Speaker was Shigeru Ban, Hon. FAIA, a Japanese architect with a diverse and international practice. Ban spoke about his architecture, ... www.aiacc.org/site/docs/ban.pdf - 類似內容
shigeru ban is a pioneer of paper tube structures (PTS), he investigated the substance and found that not only could recycled cardboard.
Shigeru Ban
Photos: Daniel Schäfer
TASCHEN turns 30!
This year TASCHEN celebrates 30 years in business. We are delighted to announce that to mark the occasion, Japanese architect Shigeru Ban has designed our anniversary booth for Frankfurt Book Fair 2010. As one of the world’s most innovative and significant architects, Shigeru Ban is widely known for his use of paper and birch plywood as a structural element, and we feel very honored to have our own temporary TASCHEN construction, inspired by the roof design of the new Centre Pompidou-Metz.
To all those who share our enthusiasm and would like to celebrate with us: please come visit the TASCHEN booth in Hall 3.0, C 159.
