(Virgile Simon Bertrand, Courtesy of the RIBA Architecture & Zaha Hadid Architects)
(Christian Richters, Courtesy of the RIBA Architecture & Zaha Hadid Architects)
“There are 360 degrees, so why stick to one?” Zaha Hadid
“As a woman, I’m expected to want everything to be nice and to be nice myself. A very English thing. I don’t design nice buildings – I don’t like them. I like architecture to have some raw, vital, earthy quality.” Zaha Hadid
great images and written as a diary….fabulous feeling of being there in that visit…touches on the philosophy of the Bauhaus Movement…fantastic!
Originally published as “Im Bauhaus,” Zwrotnica 12 (1927) . Translated from the Polish by Steven Lindberg. From Between Two Worlds: A Sourcebook of Central European Avant-Gardes, 1910-1930. (The MIT Press. Cambridge, MA: 2002).
Finn Juhl (30 January 1912 – 17 May 1989) was a Danish architect, interior and industrial designer. Juhl was most notably known for his furniture design and for introducing Danish Modern to America in the 1940’s.
“Juhl’s life was, in fact, a roller coaster of fame and obscurity. High-profile projects in the 1940’s and 50’s (including the Trusteeship Council Chamber, the Danish ambassador’s residence in Washington, DC and all of SAS Scandinavian Airlines’ air terminals in Europe and Asia) brought him international recognition, and he organized many of the exhibitions — including the “Good Design” exhibit in Chicago in 1951, and another at the Metropolitan Museum of Art in New York in 1960.” In Copenhagen, A Renaissance for Finn Juhl By Stephen Brookes • Modernism Magazine •
Salto & Sigsgaard. The restoration of the Finn Juhl–designed United Nations Trusteeship Council Chamber, New York. Photography by Hans Ole Madsen. Image via Salto and Sigsgaard pinterest
“One cannot create happiness with beautiful objects, but one can spoil quite a lot of happiness with bad ones” – Finn Juhl
Pelikan is a wonderful example of Finn Juhl’s design. Inspired by the modern “free art” of the time, its organic shape and fluid lines are so inviting. Via takesunset.com
Unlike many of his contemporaries in Scandinavia and the rest of Europe, Juhl was as interested in form as in function. “A chair is not just a product of decorative art in a space,” he said. “It is a form and a space in itself.” His attention to form led him to design chairs where the seat is separate from the frame (images 5, 6 & 8) and sofas constructed out of floating shapes.http://www.apartmenttherapy.com/
Item Description Bwana Chair, designed by Finn Juhl, Denmark 1962. prod. by France and Son, Denmark 1962. teak. -via deconet.com
Juhl gave a soft edge to the lines of wooden modernist chairs, favoring organic shapes which often took the wood to the limits of what was possible. He generally used teak and other dark woods, unlike many of the other proponents of the Danish Modern movement who often used oak in their designs.
He was influenced by the abstract sculptor Jean Arp, an influence which is seen already in his early Pelican chair but it remained a motif throughout his career. Also influenced by tribal art, Juhl exhibited the Chieftain chair with photos of weapons from anthropological studies. Wikipedia
Bradley: “Denmark is a Disneyland for adults, for design geeks.”
Arata Isozaki was born in Oita City, Japan, in 1931. He studied with Kenzo Tange, one of Japan’s leading modern architects, at the University of Tokyo from 1950 to 1954. He worked for Tange for a number of years and then went out on his own, but continued to collaborate with KT into the 70’s. This attitude is in keeping with native Japanese practices that stress collaboration and cooperation, rather than competition, among professionals.Encyclopedia.com
Architecture writer Martin Filler called Isozaki and his wife, sculptor Aiko Miyawaki, “true cultural citizens of the world.” Raised in a home where his businessman father wrote haiku poetry, he later was attracted toward the avant-garde and readily called his tastes “radical” in everything from music to literature. LA Times:Tastemakers
Furniture & Architecture
One can see how Japanese design is as much about emptiness as it is about structure – a perspective that comes naturally to the country that gave Zen Buddhism to the world.Japan-ness In Architecture Arata Isozaki
“What is the essence of Japanese design? Perhaps it is best exemplified in the clean lines of the Marilyn Chair , designed by architect Arata Isozaki in 1972. Isozaki combined the curves of Marilyn with the narrow, vertical lines found in the Mackintosh high-back chair.” Book: Japanese Design:A Survey Since 1950 Charles Rennie Mackintosh (1868-1928), was in turn influenced by Japanese design. In its curved side view, the chair makes reference to the body shape of Marilyn Monroe. The chair is constructed of bent laminated wood and a solid beech frame. It retains its original leather-covered upholsteredseat. Denver Museum of Art
image via: Arata Isozaki at 1stdibs Oval Dining Table and Marilyn Monroe Chairs
A Pair of Arata Isozaki Monroe Chairs made of ebonized beech image via https://www.aspireauctions.com/
In 1963 he established Arata Isozaki & Associates, the base from which he continued to work ever since. From his 1960s work such as Oita Prefectural Library, to his 1990s work in locations as far afield as Barcelona, Orlando, Kraków, Nagi in Okayama Prefecture, Kyoto, Nara, La Coruña, Akiyoshidai in Yamaguchi Prefecture and Berlin, to his 21st century work in the Middle East, China, Central Asia, and elsewhere, Isozaki has created an architecture so personal in its ideas and spaces that it defies characterization in any single school of thought. At the same time he resists the temptation to apply a signature style to his jobs, preferring instead to create architectural solutions specific to the political, social and cultural contexts of the client and site in question. YCAM Re-Mark
Inflatable concert hall by Anish Kapoor and Arata Isozaki in Matsushima, Japan 52-Weeks-52-CIties-by-Iwan-Baan_Ark-Nova-Isozaki_dezeen_22 Baan is known for eschewing the traditional approach of shooting buildings in isolation. He says his aim with every shoot is to capture the life both within and surrounding the built environment.
GreatBuildings.com Image – Team Disney Building by ARATA ISOZAKI
Isozaki draws from a wide-ranging store of references. MOCA’s pyramid-shaped skylights do indeed reflect Egyptian pyramids, for instance, but they are also simple geometric forms. Influenced first by his teacher, the prominent Japanese architect Kenzo Tange, by Le Corbusier and, later, by Otto Wagner, the architect builds on rather than discards his traditional training.
Image via The Vintage Poster
As the first museum ever to be entirely dedicated to the human species, Domus shines as a source of pride for Galicia. Japanese architect Arata Isozaki designed the Domus complex, which contains a museum, restaurant and IMAX theater, to look like a ship sail. davidsbeenhere
Domus shines as a source of pride for Galicia. Japanese architect Arata Isozaki designed the Domus complex
Arata Isozaki was instantly recognizable by his distinctive style of dress. He often wore traditional Japanese clothing, and he favored the color black. He appeared on the cover of the New York Times Magazine in 1986, dressed in a “dazzingly” fashionable Issey Miyake creation. By presenting himself as being sartorially distinct from the crowd, Isozaki provided a contemporary parallel to the flamboyant Frank Lloyd Wright, the famous American architect (and admirer of Japanese culture) who continued to affect Victorian dress long after it passed out of style. Encyclopedia.com
Bar Italia News Arata Isozaki
Irata Isozaki, Japanese architect, teacher and theorist. He will be remembered as the designer of such prestigious international projects as Barcelona’s Olympic Stadium, the Los Angeles Museum of Contemporary Art, the Tokyo University of Art and Design, the Team Disney Building in Orlando, FL…..and the list goes on.
I feel compelled to share this other aspect to his architectural aesthetic that came up often in my research and should be considered when you look at his body of work. Being Japanese brought both light and darkness to the architecture.
There is thus always an undercurrent of morbid scepticism lying beneath the exuberance of his aesthetic form—a darkness of spirit that became overt from time to time. In his Electric Labyrinth (1968), designed for the Triennale in Milan, for example, the exhibition was haunted by an image of the devastated Hiroshima, combined with traditional Japanese ghosts and demons representing the revengeful spirits of the nuclear disaster. MOMA.org
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