http://english.eastday.com/epublish/gb/paper1/1340/class000100006/hwz204183.htm
Isozaki deconstructed
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In architect Arata Isozaki's works, a synthesis of East and West is evident and simple geometric forms are used to provide a clear structral system.
(Shanghai Daily news)
Japanese architect Arata Isozaki's exhibition showcases the master's flawless integration of East and West, and offers inspiration to local designers, writes Wang Jie ``Shanghai's architecture gets a B... minus,'' said noted Japanese architect Arata Isozaki, when he visited in 2002.
Two years later, Isozaki returned to show Shanghai what it might look like if he had been in charge. His exhibition, ``Unbuilt,'' showcases his distinguished architectural style through a series of models and pictures, and features masterpieces like his Olympic Stadium in Barcelona and Museum of Contemporary Art in Los Angeles. ``Isozaki is considered one of the top post-modern architects in the world,'' says Cui Wenjun, editor-in-chief of Architecture of Time magazine. ``His use of bold colors, his inventiveness and careful detailing are an Isozaki trademark.'' Like other Japanese architects, Isozaki's spiritually powerful works are culturally influenced.
His synthesis of East and West is evident. Take the Team Disney Building, which won the prestigious National Honor Award from AIA in 1992, for example. The building's looped gateway is intended to suggest the Mickey Mouse ears, while at the building's core, a 36-meter sphere, the world's largest sundial, contains a traditional Japanese rock garden. Born in Oita in 1931, Isozaki received his education and training in architecture at the prestigious University of Tokyo. According to Cui, Isozaki is noted for his successful integration of Eastern and Western ideas into a harmonious whole.
``He uses simple geometric forms to provide a clear structural system and a high level of industrial craftsmanship in the details.'' Isozaki sees architecture as a play of pure forms that simultaneously contain economic, functional, technical and a variety of other solutions. The highlight of the show is an installation, entitled ``Electric Labyrinth,'' that Isozaki created for the 14th Milan Triennale in 1968. It was destroyed during an outburst of social unrest at the art expo, but Isozaki resurrected it in 2002. The multimedia installation features 12 curved aluminum panels, each covered with pointed imagery of ghosts and violence from Ukiyo-e (`pictures of the floating world') prints, documentary stills of Hiroshima and Nagasaki. Entering this hellish world, viewers are conveyed a message of hatred and terror caused by the war. Whether it's the Florence New Station (2002) or the Shenzhen International Trade Plaza (1997), Isozaki often uses cubes and grids in minimalism. His work is not arrogant, yet it is simple and bold. The barrel vaulted roof is an Isozaki mainstay.
He constructs masses juxtaposed with voids and softens hard edges with curves. He has transposed a metaphor into a clean, colorful, pure and cerebral geometry. Isozaki is also a writer and theorist, and is considered the leading interpreter of trends and movements. ``Isozaki is always curious about learning new things,'' says Dai Zhikang, an art collector and the president of the Shanghai Zhengda Group, a real estate company. ``He is one of the rare architects whose works seem to have an underlying meaning. The interior spaces are very minimalist, only the bare essentials and nothing more.'' Critics say that local architects are too influenced by the West and lack creativity in their own tradition. Perhaps Isozaki will inspire them. ``we hope that this exhibition will give us some ideas in terms of both concept and technique,'' says Dai. Date: through August 1, 9am-5pm Venue: Shanghai Urban Planning Exhibition Hall, 100 People's Ave Admission: 30 yuan Tel: 6372-2077
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Isozaki deconstructed
--------------------------------------------------------------------
In architect Arata Isozaki's works, a synthesis of East and West is evident and simple geometric forms are used to provide a clear structral system.
(Shanghai Daily news)
Japanese architect Arata Isozaki's exhibition showcases the master's flawless integration of East and West, and offers inspiration to local designers, writes Wang Jie ``Shanghai's architecture gets a B... minus,'' said noted Japanese architect Arata Isozaki, when he visited in 2002.
Two years later, Isozaki returned to show Shanghai what it might look like if he had been in charge. His exhibition, ``Unbuilt,'' showcases his distinguished architectural style through a series of models and pictures, and features masterpieces like his Olympic Stadium in Barcelona and Museum of Contemporary Art in Los Angeles. ``Isozaki is considered one of the top post-modern architects in the world,'' says Cui Wenjun, editor-in-chief of Architecture of Time magazine. ``His use of bold colors, his inventiveness and careful detailing are an Isozaki trademark.'' Like other Japanese architects, Isozaki's spiritually powerful works are culturally influenced.
His synthesis of East and West is evident. Take the Team Disney Building, which won the prestigious National Honor Award from AIA in 1992, for example. The building's looped gateway is intended to suggest the Mickey Mouse ears, while at the building's core, a 36-meter sphere, the world's largest sundial, contains a traditional Japanese rock garden. Born in Oita in 1931, Isozaki received his education and training in architecture at the prestigious University of Tokyo. According to Cui, Isozaki is noted for his successful integration of Eastern and Western ideas into a harmonious whole.
``He uses simple geometric forms to provide a clear structural system and a high level of industrial craftsmanship in the details.'' Isozaki sees architecture as a play of pure forms that simultaneously contain economic, functional, technical and a variety of other solutions. The highlight of the show is an installation, entitled ``Electric Labyrinth,'' that Isozaki created for the 14th Milan Triennale in 1968. It was destroyed during an outburst of social unrest at the art expo, but Isozaki resurrected it in 2002. The multimedia installation features 12 curved aluminum panels, each covered with pointed imagery of ghosts and violence from Ukiyo-e (`pictures of the floating world') prints, documentary stills of Hiroshima and Nagasaki. Entering this hellish world, viewers are conveyed a message of hatred and terror caused by the war. Whether it's the Florence New Station (2002) or the Shenzhen International Trade Plaza (1997), Isozaki often uses cubes and grids in minimalism. His work is not arrogant, yet it is simple and bold. The barrel vaulted roof is an Isozaki mainstay.
He constructs masses juxtaposed with voids and softens hard edges with curves. He has transposed a metaphor into a clean, colorful, pure and cerebral geometry. Isozaki is also a writer and theorist, and is considered the leading interpreter of trends and movements. ``Isozaki is always curious about learning new things,'' says Dai Zhikang, an art collector and the president of the Shanghai Zhengda Group, a real estate company. ``He is one of the rare architects whose works seem to have an underlying meaning. The interior spaces are very minimalist, only the bare essentials and nothing more.'' Critics say that local architects are too influenced by the West and lack creativity in their own tradition. Perhaps Isozaki will inspire them. ``we hope that this exhibition will give us some ideas in terms of both concept and technique,'' says Dai. Date: through August 1, 9am-5pm Venue: Shanghai Urban Planning Exhibition Hall, 100 People's Ave Admission: 30 yuan Tel: 6372-2077
--------------------------------------------------------------------
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The Design-L list for art and architecture, since 1992...
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To signoff, send mailto:design-l-unsubscribe-request@xxxxxxxxxxxxx.
Visit archives: http://lists.psu.edu/archives/design-l.html
