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ccp-visualarts · 5 years ago

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Transcendental Mervy Pueblo x Atsuko Yamagata

14 November 2019 to 9 February 2020 Bulwagang Carlos V. Francisco (CCP Little Theater Lobby) Opening reception: 14 November, Thursday, 6pm

Pueblo and Yamagata, visual artists based in Manila, have met, created and exhibited their works at the recently concluded 7th international art festival called the Nakanojo Biennale in Japan last September 2019. This 14 November 2019, Thursday, 6pm, the Cultural Center of the Philippines unveils their work from the biennale to bid visitor to look-in to the insights of the artists in this exhibition who address historical, contemporary and societal specters.

Working both individually during their artist in residency of the biennale, Pueblo and Yamagata have realized projects that respond to the physical and nonphysical realm. Pueblo’s installation is interjected with coded references, creating socially charged mysterious draperies that function as a portrait of our contemporary reality. Yamagata playfully explores animist processes and presents a materialistic definitions of the immaterial just like how one’s journey is recorded by one’s own footprint. Transcendental offers an immersive experience that sets the space for an examination of one’s own values and of the indelible tracks that continues even after one’s presence is relinquished.

About the artists

Atsuko Yamagata Born 1982 in Sapporo City, Hokkaido, Japan, Yamagata is a self-taught practicing visual artist since 2006 with a B.A. degree from Foreign Studies Program of Tokyo University majoring in Indonesian language: Southeast Asian Cultural Studies. In 2012 she entered Musashino Art University in Tokyo, but withdrew after a year as she moved to the Philippines. Yamagata has numerous solo exhibitions in 2018: Uncontrolled Artificiality at Finale Art File, Born Softly at MO_Space, Belongingness at West Gallery, and in 2017: Breathing, Breeding, Blowout , at Artinformal, and Borrowed Scenery at Underground gallery, and Made Roots Here at Hotel Nikko Sapporo. On the same year she participated to the 6th Nakanojo Biennale in Gunma Prefecture(Japan) as resident-artist and exhibitor. She has been participating in numerous exhibitions mainly in the Philippines, but has exhibited internationally: Japan (from 2012-2019), Indonesia (2016) and Singapore (2018 and 2015).

Mervy Pueblo Born in Quezon City in 1982, Pueblo graduated from Minneapolis College of Art and Design with an MFA degree under the flagship of the Philippine-American Education Foundation and Fulbright Scholarship in 2013. She has received several awards from different institutions such as the Award for Continuing Excellent Service: for Visual Arts and Art Education by the Metrobank Foundation Inc. (2019 PH), AICAD Post graduate Teaching Fellowship by the Minneapolis College of Art and Design MN, USA (Nomination, 2016); Thirteen Artist Awards (2015 CCP, PH), Ethel Morrison Van Derlip Award (2013 USA), Ateneo Art Awards (Finalist, 2012 PH), the Metrobank Art and Design Excellence: Sculpture Competition (Special Citation 2006, and Finalist, 2007 to 2010 PH), and Recognition of Talented Youth in Arts and Culture conferred by the office of the Pasig City Mayor (2006). Pueblo had solo exhibitions at Gotanda Community Center, Gunma, Japan (Coming Home, 2019), Artinformal, MM, PH (Fearless, 2014), Bliss on Bliss, NY, USA (Capital Values, 2013), Northrup King, MN, USA (Expectation Kits, 2013), MCAD Library Gallery, MN, USA (Remember to Forget, 2011), and at the Black Room, Whittier Studios, MN, USA (Project Mediating Stone, 2011). Moreover she has participated in numerous group exhibitions and symposiums, locally and internationally such as; Japan 2019, 2018, 2016, 2012 and 2009; Malaysia 2018 and 2016; Singapore 2017 and 2014; France in 2014; the United States of America in 2011 to 2013; South Korea in 2011, 2010 and 2008; Russia in 2008; and Vietnam in 2007. She continues to work at her studio in Rosario, Cavite.

Exhibit viewing hours are Tuesday to Sunday, 10am to 6pm. Hours are extended until 10pm on days with evening performances at the CCP Main Theater. For more information, please contact: Visual Arts and Museum Division, Production and Exhibition Department at (632)8832-1125 loc. 1504/1505 and (632)8832-3702, mobile (0917) 6033809, email [email protected] or visit www.culturalcenter.gov.ph.

#ccp #cultural center of the philippines #ccp visual arts #transcendental #mervy pueblo #atsuko yamagata

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archatlas · 7 years ago

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what's your opinion on Sou Fujimoto?

Sou Fujimoto, in his own words, is an architect “interested in how architecture could have a relation to human behaviour and human body”. His projects so far explore how to create space with materials in a way that while heavily influenced by Japanese culture is unique.

I am very intrigued by his projects, trying to imagine how his buildings come to life, because the solution reached is always something unexpected, and that is very exciting. In my opinion he is still getting started and I a very curious to see where his talents take him, was kind of spaces he will create in the future, and how he will avoid the pitfalls of trying to lead a thriving practice which tends to limit the time and effort given to each project.

House NA

Final Wooden House

House N

House K

Musashino Art University Museum & Library

Group Home in Noboribetsu

#Dear ARCHy #Architecture

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architectnews · 4 years ago

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Tokyo Architecture News: Buildings Designs

Tokyo Architecture News 2020, Japanese Building, Construction Design, Architect, Property Updates

Tokyo Architecture News

Contemporary Japanese Architectural Developments: New Built Environment Updates

post updated 6 Oct 2020

Tokyo Architectural News

Tokyo Building News – latest additions to this page, arranged chronologically:

Tokyo Architecture Designs – chronological list

6 Oct 2020 Metsä Pavilion opens in Tokyo – a showcase of elegant design and fast offsite construction with wooden elements

The elegant Metsä Pavilion highlights innovative architecture based on industrially manufactured wooden elements. The pavilion was built fast and is now ready to host events organised by Business Finland and Finnish businesses. During the Summer Olympics and Paralympics, the Metsä Pavilion will serve as a home base for the Finnish national teams. Using Metsä Wood’s Kerto LVL as the main material made the construction fast, light and green.

photo courtesy of architects

The official opening of the Metsä pavilion, located on the grounds of Finnish embassy in Tokyo, will be held on 6 October. The Pavilion stays open until the end of 2021, hosting various events organised by Finnish companies and organisations. The Metsä Pavilion is Business Finland’s project with Metsä Group as the main partner.

“We are happy that many companies have decided to bring their events to the Metsä Pavilion, where wood meets nature scenery on the walls, world-class audio, and design furniture – all from Finland”, says Petri Tulensalo, Head of Sports Cluster at Business Finland.

Industrially efficient wood construction

The Metsä Pavilion is a showcase of how to construct a stylish building quickly and efficiently by using standard elements. The Pavilion was designed by renowned Finnish architectural office Helin & Co. Architects. The designs for all the elements used in the Pavilion are freely available on Metsä Wood’s Open Source Wood platform.

“We value the freedom of the architects and engineers to design in an aesthetically pleasing way. With our Open Source Wood Initiative we want to enable them with a variety of options”, explains Jussi Björman, Director, Business Development, Constructionat Metsä Wood.

The Metsä Pavilion makes the benefits of using prefabricated Kerto LVL (laminated veneer lumber) elements apparent. The elements were manufactured by a Finnish company, Timberpoint. The production of all the wooden columns, beams, and elements took only seven weeks at the factory.

The assembly of the Pavilion at the construction site was quick. It took only ten days, thanks to the lightweight wooden elements. Additionally, the great workability of Kerto LVL brought rapidness to the process. Puurakentajat was responsible for the construction.

The connections of the Metsä Pavilion are designed so that the building can be disassembled and assembled again at a new location.

Sustainably from Finnish forests

The raw materials for the Kerto LVL used in the Metsä Pavilion comes from sustainably managed Finnish forests where the forests grow more than they are used. Every part of each tree is used in the best possible way, therefore almost nothing goes to waste. By-products like sawdust and bark are utilised, for example, as bioenergy in the production of Kerto LVL.

As with all wood products, Kerto LVL stores carbon throughout the whole lifespan of the buildings built with it.

An end-result to be proud of

The Metsä Pavilion has met the expectations of Business Finland and Metsä Wood. The pavilion is proof that stylish buildings can be constructed efficiently from prefabricated wooden elements. “Historically, the pavilion is one of the biggest investments Business Finland has made in the Japanese market. It is also a great way to contribute to the success of the games, and the Japanese really respect it”, says Tulensalo from Business Finland.

5 Oct 2020 RK Flat RK Flat, Tokyo Apartment Interior

27 Mar 2020 L’OCCITANE Bouquet de Provence, Shibuya Crossing, Suginami City Architects: AtMa inc. photo : Shigenori Ishikawa L’OCCITANE Shibuya in Suginami City This flagship store renovation project is at the world-famous Shibuya Crossing, one of the busiest places in the capital city.

7 Mar 2020 NÔL Architects: CASE-REAL photo : Daisuke Shima NOL Restaurant Atelier Located on the ground level this a restaurant atelier with a distinct concept. Functioning as an experimental kitchen, nôl can also be considered as a flexible space freed from the physical restraints of a classical restaurant.

27 Dec 2019 Tokyo 2020 Olympic Stadium – Rainforest Destruction image courtesy of architects Tokyo 2020 Olympic Stadium Building To mark the inauguration of the New National Olympic Stadiumin Tokyo on December 21st, 12 NGOs issued the following statement, denouncing the Stadium’s severe negative impact on the tropical rainforests in Indonesia and Malaysia as a result of its construction.

9 Dec 2019 Shinjuku Miyabi Guest House, -27-15 Yotsuya Shinjuku-ku Architects: Himematsu Architecture photography: Kota Nakatake & Shinichiro Himematsu Shinjuku Miyabi Guest House Himematsu Architecture selected “Hemp Leaf” as concept for the symbol of the hotel. Hemp has very strong growing force and rapid growth speed as seen in nature.

23 Sep 2019 Biffi Teatro di Tsumagata Restaurant, 4-19-21, Shirokanedai, Mitato-ku Architects: Hiramoto Design Studio photography: Koji Fujii (Nacása&Partners Inc.) Biffi Teatro di Tsumagata Restaurant The architecture studio designed a long counter table around an open kitchen, inspired by Japanese Sushi / Teppan-yaki counter, giving diners a front-row view of all the chef’s activities.

2 Sep 2019 Salon Kusuda Restaurant, Ebisunishi, Shibuya-ku Architects: Hiramoto Design Studio photography : Koji Fujii (Nacása&Partners Inc.) Salon Kusuda Restaurant This new restaurant is a result of the collaboration between Mr. Kusuda Takuya, a connoisseur of the Japanese wine scene, and Mr. Miyanaga Hisatsugu, a famous chef.

2 Aug 2019 Angelo Mangiarotti – La Tettonica dell’Assemblaggi, Italian Cultural Institute, 2-1-30 Kudanminami, Chiyoda-ku Design: tomomi kito architect & associates photo courtesy of Vistosi Angelo Mangiarotti Exhibition This great exhibition is a tribute to the work and the thought of Angelo Mangiarotti, architect, sculptor and designer.

12 Jan 2019 Furusaki Tokyo Office, Nakano-ku Design: Hiroyuki Niwa with Yuki Imafuku photographer: Hiroyuki Hori Furusaki Tokyo Office Building

12 Sep 2018 Tokyo Parking Tower Competition

10 May 2018 Tatsumi Apartment House Design: Hiroyuki Ito Architects photo © Makoto Yhoshida RIBA Awards for International Excellence 2018 A minimal residence in Japan, this house is a direct response to the needs of a fast-paced and dynamic population. There is a compelling logic to the use of a limited amount of space that resolves difficulties and creates comfort and calm.

Toho Gakuen School of Music Design: NIKKEN SEKKEI photo © Harunori Noda This virtuoso piece of architecture has an august almost village like quality with its independent teaching spaces, clever accouustic treatments and neat communal spaces. It adroitly allows for flexibility, adaptation and improvisation by its students whilst retaining an order and formality.

7 May 2018 Musashino Art University Museum & Library Building

3 May 2018 Ota Art Museum & Library, Gunma Prefecture Architects: akihisa hirata architecture office photo : Daici Ano Ota Art Museum & Library Building Ota City has a population of about 220,000 people, and the number of users of the station exceeds 10,000 people in a day. But few people walk in front of the station, shopping streets are quiet. To pioneer breakthroughs for such a situation prevailing throughout Japan, it is the purpose of construction to bring life back in front of Ota Station.

30 Apr 2018 Archasm Tokyo Anti Library Competition

18 Feb 2018 The Japanese Sword Museum in Tokyo

2 Jan 2018 Green Triangle – Aoyama 346, Minamiaoyama, Minato Design: Ryuichi Sasaki + Rieko Okumura/ Sasaki Architecture photo © Koichi Torimura Green Triangle – Aoyama 346 in Tokyo A three-story office and retail complex in the Minami Aoyama area.

20 Nov 2017 House for Four Generations Design: tomomi kito architect & associates photograph : Satoshi Shigeta House for Four Generations This is an interior renovation project of an existing two-story timber structure house in Tokyo which was built approximately 40 years ago. The clients, a young couple and the wife’s parents, were already living here before the renovation.

13 Nov 2017 Giant Bubble Installation Design: studio ENESS photograph : Larissa LP Giant Bubble Installation Mori Art Museum Design recently selected installation design studio ENESS to send their giant Bubble sculpture from Melbourne to Tokyo, Japan. The audience was encouraged to “please touch” the pulsating six meter-wide sculpture, which responded to human touch and closeness with light and sound.

7 Nov 2017 R・torso・C Residence Architects: Atelier TEKUTO photo : Jérémie Souteyrat、SOBAJIMA, Toshihiro R・torso・C Residence in Tokyo This house is located in the center of Tokyo, on a site area of mere 66 sqm. The clients are a married couple both working in the field of chemistry, sharing a passion for architecture and art.

Tokyo Houses – recent contemporary properties in the Japanese capital city

31 Jul 2017 Yoyogi National Gymnasium Design: Architect Kenzo Tange Photo courtesy Japan Sport Council Yoyogi National Gymnasium When Japan was preparing to host the first-ever Olympic Games in Asia in the early 1960s, the state commissioned eventual Pritzker Prize-winning architect Kenzo Tange to build a pivotal venue for the event. Tange responded with the Yoyogi National Gymnasium, two elegant concrete and steel buildings that gained immediate international recognition as masterpieces of modern architecture when their doors opened in 1964.

9 Jun 2017 Perrotin Art Gallery, 6-6-9 Roppongi, Minato-ku Architect: Andre Fu photography: Nacas, courtesy of Perrotin Tokyo Perrotin Art Gallery Building Following openings in Paris, Hong Kong, New York and Seoul, contemporary art gallery Perrotin, founded in 1989 by Emmanuel Perrotin, opened its newest gallery in Tokyo on June 7th with a solo exhibition bringing together a collection of recent paintings by 97 year old Pierre Soulages.

20 May 2017 Tropical Forest Timber at New National Stadium Tokyo Design: Kengo Kuma & Associates image courtesy of architects New National Stadium Tokyo Timber Investigation required as use of plywood likely linked to tropical forest destruction and human rights abuses found at construction site of new Tokyo Olympic Stadium. Ironically the building uses a lot of wood so it can fit into the wooden context, but thereby destroying woods in Borneo, in what appears to be an unssustainable way.

Vertical Cemetery in Tokyo

Indigo Waterfall Tokushima LED Art Festival, Japan

Terrazza Shirokane Restaurant in Tokyo

Next Tokyo Mile High Skyscraper by KPF

New National Stadium Tokyo Designs

Futako Tamagawa Masterplan

New National Stadium Tokyo

New National Stadium of Japan in Tokyo

Tallest buildings in Japan

Tokyo Music Centre Competition

More Tokyo Architecture News online soon

Location: Tokyo, Japan

Buildings in the Japanese Capital City

Tokyo Architecture Designs – chronological list

Tokyo Buildings : news + major projects

Tokyo Architects Offices

Tokyo Building Designs

Tokyo Houses

TBWAHakuhodo offices Design: Klein Dytham architecture Tokyo offices

Japanese Architecture – key buildings + design projects

Tokyo Architect : Practice Listings

Tokyo Store Buildings

Tokyo Building Developments

Buildings / photos for the Tokyo Buildings News – Japanese Architecture page welcome

Website: Architecture

The post Tokyo Architecture News: Buildings Designs appeared first on e-architect.

#e-architect

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frontiervolunteering · 7 years ago

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Amazing Libraries from Around the World

Let’s face it; we should probably all go to the library a bit more than we do. They offer a quiet and peaceful escape from the outside world, where you can get lost in a book, or just reflect. They act as cultural gathering places, and the world’s greatest minds have studied beneath their ceilings. Here are some of the world’s most amazing libraries!

Klementinum, Prague

The baroque Klementinum Library Hall is only one of the buildings that lives in the Klementinum complex. Apparently when the Jesuits originally opened the library in 1622, they started with only one book. The collection had swelled to 20,000 volumes by the time they were done, and the labels on the bookshelves are original to the library’s opening!

George Peabody Library, Johns Hopkins University, Baltimore

The library’s collection, which consists of over 300,000 volumes, dates from the founding of the Peabody Institute in 1857. The library gets its name from a Massachusetts-born philanthropist, surprisingly names George Peabody, who dedicated it to the people of Baltimore, as a token of appreciation of their “kindness and hospitality”.

Musashino Art University Museum and Library, Tokyo

This unique library, designed by Japanese architect Sou Fujimoto, really personifies the bound book’s eternal power. The library is a maze of light-wood bookshelves walled by glass – even the stairs have built in shelves, even though they’re currently empty. The designer himself compared it to a “forest of books”, and it’s easy to see why.

Trinity College Old Library, Dublin

This monumental library was built in the 18th century, and is famous all over the world thanks to its traditional design. The oak wood shelves are filled to the brim with every book you can possibly imagine, and the insane amount of choice is mostly down to it being Ireland’s copyright library, meaning anything published in the country has to have a copy sent there. That’s a lot of books…

Bibliotheca Alexandrina, Alexandria, Egypt

It is well-known that Alexandria’s original library was destroyed by fire, or battle, more than 1,600 years ago. The new and modern Bibliotheca Alexandrina, opened in 2002, seeks to recapture some of the original libraries essence of public learning, with huge open reading rooms tilting towards the sea.

Bodleian Library, Oxford University, England

Whilst the library already had a name for itself before Harry Potter, the big-screen film made it known worldwide when Duke Humfrey’s wood-panelled reading room was used as the famous Hogwarts library in the movies. Long before the days of spells and witchcraft, generations of scholars, including Nobel Prize winners and Kings, studied here.

Connemara Public Library, Chennai, India

Established in 1896 and designed by H. Irvin, the consulting architect to the government of the time, this grand building is part of a cultural complex which includes a theatre, a museum and an art gallery. The library continues to receive copies of all books, periodicals and newspapers published in India, and the majestic interior decoration of this building shouldn’t be missed.

Austrian National Library, Vienna

The library was aptly named the “Imperial Library”, as it was the palace’s private library, until 1920 when it was handed over to the public. It dates back to 1723 and Minerva, the Roman goddess of wisdom, stands tall upon entrance, guarding the baroque library. The unique interior is bold and fit for royalty, and the library even contains a globe museum: it includes terrestrial and celestial globes dating back to before 1850.

Libraries are one of the silent treasures of our world, filled with forgotten knowledge, mysterious halls and angry librarians. These libraries are some of the most magnificent in the world, so grab a book, put your feet up (don’t actually – the librarian will not like that), and get lost in a story.

By Fran Collis - Online Journalism Intern

Frontier runs conservation, development, teaching and adventure travel projects in over 50 countries worldwide - so join us and explore the world!

Get more from us on social media with Facebook, Twitter , Instagram and YouTube.

#travel #explore #culture #countries #architecture #gapyear #blog #libraries

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williamjworld · 6 years ago

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Poster designs

This week, I did some more drawings for a final piece of the “Typography project” when I went home to see my parents last weekend.

When I got the drawings done I scan them for photoshop filling the whites spots using primary colours (Red, Blue, Yellow) for the poster design.

When that was done, I import it to Indesign to set up with the poster design, with the letter exchange document.

Letter Exchange

A design festival for people who use type

7th – 9th June 2019 Cinema Teatro Sarti Via Scaletta 10 Faenza

Italy

Letter Exchange is the first international conference in Italy dedicated solely to contemporary typography, with talks, workshops and tours focusing on where typography is today and where its future may lie. The conference will be held in Faenza, a medieval city in the north-east of Italy, home to an ancient tradition of design and craftsmanship.

Conference Speakers

Sarah Hyndman A British graphic designer, writer and public speaker, Sarah Hyndman asks lots of questions, has become an accidental specialist in multi-sensory typography and is known for her interest in the psychology of type. She is the founder of the innovative Type Tasting studio; driven by her passion for changing the way we think and talk about typography. Sarah is also known for her thought-provoking and highly entertaining typography workshops, events and books including Why Fonts Matter and the type dating card game What's Your Type?

Laura Meseguer A freelance graphic and type designer from Barcelona, Laura Meseguera’s studio works for international and domestic clients but also in self-initiated projects. As a typographer and type designer, she has specialized in all sorts of projects involving custom lettering and type design, for branding and publishing. Her design approach is to create unique solutions for every assignment, based on the concept, the content and the context, always in close collaboration with art directors and designers. She designs and produces typefaces which are distributed through her own digital type foundry Type-Ø-Tones, that is also a member of TypeNetwork. She is the author of TypoMag: Typography in Magazines, published by IndexBook, and co-author of the book “Cómo crear tipografías. Del boceto a la pantalla”, published in Spanish by Tipo, and translated into Polish, Portuguese, English and soon in Chinese. She is a board member of the ATypI since 2017. She also teaches type design and typography in different schools. Laura’swork has been featured in several publications and exhibitions such as Graphic Design Now. She also holds awards from the ADG-FAD (The Art Directors & Graphic Designers Association, Spain), and TDCs for her typefaces Rumba Lalola and Qandus.

Ken Barber Ken Barber is the typeface design director and chief lettering officer at font foundry and design studio, HouseIndustries. His work is in the permanent collection of the Smithsonian Institution’s Cooper-Hewitt National Design Museum and the Henry Ford Museum of American Innovation. Ken has also been honored by the New York Type Directors Club, Association Typographique Internationale, and Design Museum London. In addition to teaching at The Cooper Union in New York City, he regularly leads workshops on the practice of hand-lettering. Ken co-authored House Industries: The Process is the Inspiration (Watson-Guptill, 2017) with Andy Cruz and Rich Roat.

Lance Wyman Design legend Lance Wyman creates graphic systems for cities, events, institutions, and transit systems. Fifty years ago, his groundbreaking identity for the 1968 Mexico Olympics helped establish the modern practice of environmental design. He is a member of AGI, an SEGD Fellow and a recipient of the AIGA Medal. There are three major books published on his work.

Veronika Burian and José Scaglione Choosing and using typefaces has become increasingly complex in recent years. The different kinds of licenses, the large number of fonts on offer, and the variety of pricing structure and language support on the market result in ascenario where type users can get easily lost. In this presentation TypeTogether’s founders, Veronika Burian andJosé Scaglione will discuss how to curate high quality, flexible, and scalable typeface libraries. Learn how to go about selecting and combining fonts, how to judge language support capabilities in an increasingly global market, and how to use typeface customization as a powerful graphic design tool.

Toshi Omagari Toshi Omagari is a type designer at Monotype. He studied typography and typeface design at Musashino Art University in Tokyo, where he graduated in 2008, and went on to obtain an MA in typeface design at University of Reading in 2011. Since he joined Monotype in UK, he has released a number of revivals of forgotten classics such as Metro Nova and the Berthold Wolpe Collection. He has also been involved in many aspects of multilingual typography and font development, including work on various scripts including Greek, Cyrillic, Mongolian, Tibetan, and Arabic.

Ellen Lupton

Ellen Lupton is curator of contemporary design at Cooper-Hewitt, Smithsonian Design Museum in New York City and director of the Graphic Design MFA program at MICA in Baltimore. Her latest exhibition is The Senses: Design Beyond Vision (April–October 2018). She recently published Design Is Storytelling with Cooper Hewitt.

Workshops

Playing with a Heidelberg: Damiano Bandini’s letterpress workshop Damiano Bandini loves letterpress, and movable type. This is why he still runs an old letterpress workshop in downtown Faenza, carrying on the passion and knowledge handed down from father to son. La Vecchia Stamperia isa historic workshop (Bottega Storica dell’Emilia Romagna): everything started in 1920, so this workshop has been printing movable type on paper for more than 90 years – and counting. He has one of the largest collections of very rare metal block-prints and unique artistic wood type in use.

One day workshop, 5thth June 2019, 10.00am

La Vecchia Stamperia

Via Giulio Castellani 25

Faenza (RA)

Straights and Rounds

Richard Bailey and Bruno Maag will explain an effective and efficient approach to designing a typeface (family).

Participants will learn how to define the requirements, aesthetically, technically and linguistically, and how to set up

the design process.

Bruno began his career with an apprenticeship as a typesetter at Tages-Anzeiger, Switzerland’s largest daily

newspaper. He then studied Typography and Visual Communcations at Basel School of Design under Wolfgang

Weingart and Andre Gürtler amongst others. After graduating, Bruno emigrated to England to work for Monotype

where he established their ‘custom type department’, creating fonts for the New Yorker magazine, and others.

Recent highlights are fonts for Rio2016, multilingual type for Nokia and HP, and a lovely serif font for luxury hotel

brand Faena. He is currently investigating type and emotion, with a special interest in the physiological aspects.

Richard Bailey’s background is in corporate services, but since joining Dalton Maag he’s diversified into developing the design service offering and improving the client experience. Recent highlights include Ducati, USA Today, andAmazon. Richard holds the position of Operations Director, and is based in Dalton Maag’s London office.

Two day workshop, 6th-7thth June 2019, 10.00am

Biblioteca Comunale di Faenza (1st Floor)

Via Manfredi 14

Faenza (RA)

Sign Painting with John Downer This class will focus on rendering a few particular styles of capital letters and scripts that were commonly used in European sign painting during the 19thth and 20th centuries.

Two day workshop, 6th-7thth June 2019, 10.00am

Biblioteca Comunale di Faenza (2nd Floor)

Via Manfredi 14

Faenza (RA)

The Original Champions of Design with Bobby Martin and Jennifer Kinon Join Original Champions of Design partners Bobby Martin and Jennifer Kinon and the OCD team for a behind-the- scenes look at their process, their work and their love of type. Since the branding and design agency was founded in 2010, OCD has partnered with a wide range of clients such as the Girl Scouts of the USA, Prospect Park Alliance, The New York Times, the National Basketball Association and The Studio Museum in Harlem to ensure their growth and creative goals. Evening talk, 8th June, 5.oopm Cinema Teatro Sarti Via Scaletta 10 Faenza

Micro Typography with Tânia Raposo In this 1 day workshop you will acquire typographic skills on the micro level — how to solve intricate typographic hierarchies, and how to fine-tune long passages of text. You will learn how and when to use various kinds of dashes, get acquainted with OpenType features and get to know all the strange characters in your glyph palette.

One day workshop, 8th June 2019, 10.00am

Biblioteca Comunale di Faenza (1st Floor)

Via Manfredi 14

Faenza (RA)

For further information and to register for the conference visit the website at www.letterexchange.com

I haven’t decided which is best to use for a final piece, I’ll think about that tomorrow.

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florencejapzon · 6 years ago

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https://www.archdaily.com/145789/musashino-art-university-museum-library-sou-fujimoto

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estudiodedecoracion · 7 years ago

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Sou Fujimoto

Sou Fujimoto. Arquitecto y diseñador.

Sou Fujimoto, cuyo nombre real es Fujimoto Sōsuke, (1971, Hokkaido, Japón) es uno de los arquitectos japoneses más conocidos en la actualidad por sus estructuras ligeras y delicadas, y los cerramientos permeables de sus construcciones.

Sus exploraciones de infancia por el paisaje boscoso de la región de Hokkaido, al norte de Japón, llevaron al interés permanente de Fujimoto por el mundo natural, que se refleja en todo su trabajo posterior.

En 1994 Sou Fujimoto se graduó en la Facultad de Ingeniería de la Universidad de Tokio con un título en arquitectura, estableciendo en el año 2000 su propia oficina: Sou Fujimoto Architects.

Aunque de los jóvenes arquitectos japoneses Sou Fujimoto es un poco “outsider“, pertenece a una generación que ha estado muy influenciada por el modo de pensar del veterano arquitecto Toyo Ito.

La mayoría de su trabajo, inicialmente caracterizado por proyectos innovadores en espacios pequeños, con el diseño de estructuras residenciales, se concentra en Japón.

Fujimoto saltó a la fama unos años más tarde de establecer su Estudio después de ganar, durante tres años consecutivos, el premio Architectural Review Awards para personalidades emergentes en el mundo de la arquitectura.

Sou Fujimoto encontró inspiración para sus diseños de-construidos mirando hacia atrás, a la cueva como un espacio en bruto donde la función se ve determinada por el comportamiento humano, manifestando un nuevo enfoque de la relación entre el espacio arquitectónico y el cuerpo humano.

Su conferencia de 2014 en la Architectural League de Nueva York, titulada “Between Nature and Architecture“, representa la clave de sus reflexiones teóricas inspiradas en estructuras orgánicas y naturales (como bosques y cuevas), de las cuales Sou Fujimoto se inspira para una “interpretación ambigua de espacios y formas“.

Sus obras encajan en el lugar donde se integran elementos naturales y arquitectónicos, “lo natural y lo artificial“.

“En su momento pensé que sería una bonita idea hacer una arquitectura como si fuera una ciudad y un bosque. Debería existir mayor conexión entre arquitectura y naturaleza, una mejor integración de ambos mundos“.

Para Fujimoto, en la complejidad del entorno natural, “inyectamos nuestro sentido del orden humano (y viceversa), llevando adelante una nueva definición de espacio que responde a los tiempos cambiantes“.

Esta idea trasciende al imaginario conceptual que tenemos sobre Japón y en realidad lo que hace es hacerse eco de la vida contemporánea.

“Si arrancas un proyecto desde lo más básico, esto es, las necesidades y emociones humanas, el punto de partida no difiere mucho entre Oriente y Occidente. Hay una idea de calidad de vida común a todo el mundo“.

Para Fujimoto se puede encontrar formas diversas de hacer arquitectura desde la comprensión más básica de lo que somos, lo llama “futuro primitivo“.

“Disfruto observando la complejidad del mundo, en el que estamos expuestos a infinidad de acciones impredecibles. Me gusta hacer una arquitectura que responde a situaciones complejas e inesperadas, creando experiencias originales y auténticas“.

Entre algunas de sus muchas casas construidas en Japón destacan la “Casa T” (Gunma, Japón, 2005), básicamente una vivienda de un solo espacio, una gran sala con una planta bastante singular con forma de flor, que a partir de un centro se va doblando en diversos puntos.

Los espacios se crean a partir de los diferentes muros que apuntan hacia un centro desde diferentes direcciones.

“Casa N” (Ōita, Japón, 2008), un espacio abierto a la diversidad hecha para unos clientes con unas características particulares (dos personas y un perro) donde no hay un sitio específico destinado a casi ningún uso doméstico.

La casa en sí se compone de tres cascarás, una dentro de otra, con espacios anidados unos dentro de otros.

Una capa exterior de hormigón, atravesada por grandes ventanas sin vidrios, cubre completamente las instalaciones de la vivienda, creando un jardín con árboles y un patio de madera semicerrado. La segunda delimita una espacialidad intermedia, y la más pequeña crea un espacio interior más íntimo.

Fujimoto desdibujó los límites entre el espacio doméstico y la calle, y entre el entorno construido y la naturaleza ya que las cajas interiores ofrecían privacidad a los habitantes sin dejar de estar conectados con la naturaleza y el entorno.

La “Final Wooden House” (2008), con enormes travesaños de madera de cedro cruzando la casa con desorden, es más una cabaña de fin de semana que una casa, con muchos espacios abiertos donde los bloques de madera lo son todo: son elementos estructurales, muros exteriores y mobiliario.

Esta disposición permitía a los ocupantes interpretar el espacio de acuerdo con sus propias necesidades y fomentaba el uso flexible de superficies como pisos o áreas de descanso.

“Creo que el mobiliario puede actuar más como arquitectura y paisaje, y la arquitectura en vez de ser una caja vacía puede tener una relación más íntima con al cuerpo humano“, reconoció Sou Fujimoto al hablar de la relación que se establece entre mobiliario y arquitectura.

La “Casa NA” (Tokio, 2010), una estructura de acero blanco con un suelo de madera de abedul teñido también de blanco, está inspirada por la vida en un árbol y ddescrita como “una unidad entre la separación y la coherencia“, la casa actúa al mismo tiempo como una habitación individual y como una colección de habitaciones.

El programa genera superficies para una serie de actividades que se puede llevar a diferentes escalas. La casa ofrece espacios de intimidad y también espacios grupales, distribuyendo a las personas a través de la casa.

Sou Fujimoto comentó: “El punto intrigante de un árbol es que sus lugares no están aislados herméticamente, se conectan a otro en una única relatividad. Escuchar la voz de otra persona desde otro lado y desde arriba, estos son los momentos ricos que se encuentran a través de una densa espacialidad de vida“.

Cada piso está vinculado por una serie de escaleras y escalas, así como por recorridos cortos de pasos fijos y móviles. Los niveles estratificados a manera de muebles permiten que la estructura sirva para muchas funciones.

Entre los proyectos institucionales destacan el Musashino Art University Museum & Library de Tokio (2010), una biblioteca que envolvía los espacios públicos con enormes paredes que en realidad eran estanterías para los libros.

En 2012, Fujimoto fue miembro del equipo que ganó el León de Oro en la Exposición de Arquitectura de Venecia.

En 2013, Sou Fujimoto fue seleccionado para diseñar el pabellón temporal Serpentine Gallery en Hyde Park, Londres (Gran Bretaña), donde compuso una fascinante estructura de malla en forma de nube.

El espacio, de finos tubos de acero blanco que formaban rejillas etéreas y semitransparentes que se fusionaban con el paisaje, se disponía en múltiples niveles que instaban a un flujo de movimiento orgánico e invitaba a la gente a la exploración y a la interacción.

En cuanto a las piezas de diseño de Sou Fujimoto destaca el diseño de una instalación lumínica -un juego de focos, como un bosque de luz que proyectaba haces de luces cónicas- que montó para la firma de moda COS en el Salón del Mueble de Milán 2016.

Según Sou Fujimoto, COS es una firma de moda que deja que entren en su filosofía de marca otras consideraciones, como las arquitectónicas, además de compartir la misma idea de sencillez y limpieza de líneas y que encarna atemporalidad y elegancia.

“Bookchair” (2017) es una pieza híbrida, una estantería que incorpora una silla para la empresa Alias, una compañía creada en 1979 con un enfoque en el uso de materiales y tecnología innovadores.

“Bookchair” está hecho de paneles de fibra de madera y la empresa solo la ha fabricado en blanco para enfatizar los “fuertes lazos entre el contenido y el contenedor“.

La silla se incrusta y se ajusta a una sección recortada de la estantería lo que le permite deslizarse fuera y guardarse discretamente cuando no está en uso.

La silla tiene un aspecto mínimo, al igual que toda la estantería, con un asiento y respaldo sinuosos formados por una sola pieza de madera.

“Bookchair cobra vida a través de la agregación de un nuevo elemento, la silla dentro de la estantería, basada en un concepto que pretende reflejar la relación básica y fundamental entre un libro y su lector“, dijo Fujimoto.

“La estantería se convierte en un elemento del entorno en el que está instalada, desempeñando un papel activo y en constante cambio“, agregó Alias.

La instalación “Forest of Books“, es una serie de estanterías abstractas hechas de finas varillas de acero con siluetas de balaustrada basadas en la herrería del siglo XIX, y que fue creada en colaboración con la Galerie Philippe Gravier, y exhibida en Design Miami / Basel 2017.

Esta instalación, compuesta por cinco estantes escultóricos -cada uno de ellos creados en ediciones de cinco- está diseñada para evocar la sensación de un viaje a una biblioteca, que también establece una relación con la naturaleza.

“Las bibliotecas son, más allá del tiempo, un conjunto de una era diferente, pasada y futura. Una combinación de capacidad de búsqueda y capacidad de paseo“, dijo Fujimoto. “Un viaje no lineal en una búsqueda de una historia, una información, un descubrimiento“.

Algunas estructuras tienen bancos curvados alrededor de sus entrañas, a las que se accede a través de pequeñas aberturas que ofrecen a los visitantes un lugar para sentarse, mientras que otras tienen estanterías sobre las que se pueden colocar libros.

En la actualidad Sou Fujimoto es profesor en las Universidades de Tokio, Kyoto y en la Universidad de Keio o Keidai (Keiō Gijuku Daigaku), una universidad privada japonesa ubicada en Minato, Tokio.

Sou Fujimoto (pág. web).

Sou Fujimoto, e instalación “Forest of Books” creada en colaboración con Galerie Philippe Gravier y exhibida en Design Miami / Basel 2017.

AllABCDEFGHIJKLMNOPQRSTUVWXYZ

Achille Castiglioni

Adolf Loos

Alessandro Mendini

Alfredo Häberli

Alvar Aalto

Andrea Branzi

Andrée Putman

Andreu Carulla

Andy Martin

Antonio Citterio

Arend Groosman

Arik Levy

Arne Jacobsen

Autoban

BarberOsgerby

Benjamin Graindorge

Benjamin Hubert

Bertjan Pot

Boca do Lobo

Carlo Alessi

Carlo Mollino

Carlos Tíscar

Charles Rennie Mackintosh

Charles y Ray Eames

Claudio Colucci

David Adjaye

Dieter Rams

DimoreStudio

Doriana y Massimiliano Fuksas

Doshi Levien

Edward van Vliet

Eero Saarinen

Eileen Gray

Elena Manferdini

Enzo Mari

Ettore Sottsass

Fabio Novembre

Fernando Mastrangelo

Filippo Mambretti

Finn Juhl

Formafantasma

Francesco Rota

Frank Gehry

Frank Lloyd Wright

Fredrikson Stallard

Gabriella Crespi

Gae Aulenti

Gaetano Pesce

George Nelson

George Sowden

Gerrit Rietveld

Gio Ponti

Goula Figuera

Hans J. Wegner

Héctor Serrano

Hella Jongerius

Hermanos Campana

Hervé Van der Straeten

India Mahdavi

Inga Sempé

Jaime Hayón

Jasper Morrison

Jean Prouvé

Jean-Marie Massaud

Joaquim Tenreiro

Joe Colombo

Johan Lindstén

Jonathan Adler

Joost Van Bleiswijk

Jörg Schellmann

Josef Hoffmann

Jurgen Bey

Karim Rashid

Kelly Wearstler

Kiki Van Eijk

Konstantin Grcic

Le Corbusier

Lex Pott

Lievore Altherr

Lindsey Adelman

Lucas Muñoz Muñoz

Ludovica y Roberto Palomba

Maarten Baas

Maarten Van Severen

Marc Newson

Marcel Breuer

Marcel Wanders

Marianne Brandt

Matali Crasset

Matteo Thun

Mattia Bonetti

Max Lamb

Michael Anastassiades.

Michele de Lucchi

Mies van Der Rohe

Miguel Milá

Nadadora

Naoto Fukasawa

Nendo

Nigel Coates

Nika Zupanc

Olivier Mourgue

Ora Ïto

OS and OOS

Paola Navone

Paolo Lomazzi

Patricia Urquiola

Patrick Naggar

Patrick Norguet

Philippe Starck

Piero Fornasetti

Pierre Paulin

Piet Hein Eek

Quentin de Coster

Richard Hutten

Richard Sapper

Rick Owens

Rodolfo Dordoni

Ron Arad

Ron Gilad

Ronan & Erwan Bouroullec

Ross Lovegrove

Sacha Lakic

Scholten & Baijings

Seung-Yong Song

Shiro Kuramata

Simone Simonelli

Snarkitecture

Sou Fujimoto

Stefan Diez

Studio Job

Studio Kaksikko

Tapio Wirkkala

Tejo Remy

Thomas Sandell

Tokujin Yoshioka

Tom Dixon

Toni Grilo

Ueli y Susi Berger

UUfie

Verner Panton

Vico Magistretti

Vincent Van Duysen

Vincenzo de Cotiis

Vladimir Kagan

Von Pelt

William Plunkett

William Sawaya

Xavier Lust

Xavier Mañosa

Yrjo Kukkapuro

Yves Béhar

Zaha Hadid

Zanuso

from http://decorador.online/disenadores-destacados/sou-fujimoto/

0 notes

giuseppe-gallo · 7 years ago

Photo

#library #architecture Musashino Art University Museum and Library, #Tokyo Sou Fujimoto #archisubmission by Alena Murin http://ift.tt/2uQAqFL

#architecture #Archinerds

0 notes

eturazeim · 8 years ago

Photo

Installation View from ‘Circle of Life | サークル・オブ・ライフ’ (2016)

JOSHUTEN at Musashino Art University Museum & Library

0 notes

archatlas · 7 years ago

Note

Hey, could I get a post about cool libraries please? I sorta have a thing for them

Check out the many previous posts about libraries! Including these feature posts:

Libraries in public parks or natural places

Libraries Massimo Listri

Famous libraries

Libraries Reinhard Görner

Library building design

Here are some recent library projects:

Musashino Art University Museum & Library Sou Fujimoto

Tianjin Binhai Library MVRDV + Tianjin Urban Planning and Design Institute

National Library of Sejong City Samoo Architects & Engineers

Underground Forest in Onepark Gubei Wutopia Lab

Free University’s Philology Library Foster + Partners

City of St. Louis Public Library Central Library Expansion Cannon Design

#architecture #Dear ARCHy

345 notes · View notes

williamjworld · 6 years ago

Text

Project Brief- Typography part 2

University of Cumbria BA(Hons) Graphic Design/Illustration Year 1 Module: GRAP4070 Communicating Ideas

Project 4 Letter Exchange

“A typographic hierarchy expresses an organisational system for content, emphasising some data and diminishing others. A hierarchy helps readers scan a text, knowing where to enter and exit and how to pick and choose among its offerings. Each level of the hierarchy should be signalled by one or more cues,

applied consistently aross a body of text.” Ellen Lupton, Thinking with Type

Brief

This brief is about extending the typographic knowledge and skills you started to look at two weeks ago into a larger piece of design using more information. You will be creating a typographic image and then combining this with a body of information which needs to be organised using a hier- archical system. You are tasked with producing a poster for a conference on creative typography called Letter Exchange.

Required elements

Your poster must contain: • an image/illustration made from type/lettering, which captures the idea of typography as an exciting, creative, experiemental endeavour • the full text about the conference (see document Letter Exchange Copyon Blackboard) • the poster must be A2 in size • you may use full colour • you cannot include any other kind of images

The brief divides into two parts:

1 The typographic image

We want to see lots of exploration and experimental play here, to develop an engaging and exciting typographic image which makes the audience regard typography as a creative artform and the conference as an inspi- rational event they would like to participate in. This can be made through any medium. Consider analogue materials and processes as well as digital methods: paints, inks, stencils, playing with the scanner and photocopier, projection, cutting, tearing, folding, sticking, collage, monoprinting, mixed media...If you can imagine doing it, then try doing it. This should be FUN! The only criteria is that it should be made from letterforms (which don’t necessarily have to spell anything). There will be studio workshop sessions to help you to develop your image and you may use any of the workshops for which you have had an induction eg. printmaking, metal, photography,wood etc. But don’t spend longer than the first week doing this.

2 The layout and typographic treatment of the information

Once you have your typographic image/illustration you need to turn your attention to the composition and typographic treatment of the information. How are you going to successfully compose the image and text content together? Remember that the overall layout must be well structured

and lead your reader’s eye through the information. As in your previous project, there are headlines, sub-heads, intros, main body text etc. There should be an evident typographic hierarchy to distinguish these levels of content. How do you use the elements within the type family to do this? (size/weight/u&lc/italics and other variants etc.) We want to see lots of control and attention to detail here. Initial layouts and compositions need to be considered as thumbnail sketches on paper before you start working on screen.

There are no restrictions on the number of typefaces, weights or colours you can use, but be discriminating about how many variants you really need. Is working within one type family, or a limited number of typefaces, going to produce a more coherent piece of design than throwing every- thing at it?

Assessment Criteria

1 IDENTIFY – Demonstrate an understanding of the need to identify appropriate research/source material in order to progress ideas/ concepts. 2 STRATEGIES – Select approaches and strategies that communicateideas and intentions to others in an effective manner. 3 SEQUENTIAL – Understand how to visualise ideas/concepts sequentially and selectively in order to arrive at creative solutions. 4 SORT – Identify an evaluative ability in shifting/sorting/testing/examin- ing in order to further develop ideas and concepts. 5 APPROPRIATE – Demonstrate the appropriateness of a design solu- tion to the demands of a set brief.

Deadline

Thursday 14th March 2019

My tutor Tony and Rhiannon, show some of there own of typography, to get some idea of what me and my group could do with our own typography.

There is also some of artwork from college where I did some typography in one or two projects and my Pinterest board with typography ideas.

https://www.pinterest.co.uk/willsjacksonroc/typography-style/

This has given me ideas to do a poster design with what I asked to do in this project with some inspiration from other typography artists:

Letter Exchange

A design festival for people who use type

7th – 9th June 2019 Cinema Teatro Sarti Via Scaletta 10 FaenzaItaly

Conference Speakers

Ellen Lupton

Workshops

One day workshop, 5thth June 2019, 10.00am

La Vecchia Stamperia

Via Giulio Castellani 25

Faenza (RA)

Straights and Rounds

Richard Bailey and Bruno Maag will explain an effective and efficient approach to designing a typeface (family).

Participants will learn how to define the requirements, aesthetically, technically and linguistically, and how to set up

the design process.

Bruno began his career with an apprenticeship as a typesetter at Tages-Anzeiger, Switzerland’s largest daily

newspaper. He then studied Typography and Visual Communcations at Basel School of Design under Wolfgang

Weingart and Andre Gürtler amongst others. After graduating, Bruno emigrated to England to work for Monotype

where he established their ‘custom type department’, creating fonts for the New Yorker magazine, and others.

Recent highlights are fonts for Rio2016, multilingual type for Nokia and HP, and a lovely serif font for luxury hotel

brand Faena. He is currently investigating type and emotion, with a special interest in the physiological aspects.

For further information and to register for the conference visit the website at www.letterexchange.com

Two day workshop, 6th-7thth June 2019, 10.00am

Biblioteca Comunale di Faenza (1st Floor)

Via Manfredi 14

Faenza (RA)

Two day workshop, 6th-7thth June 2019, 10.00am

Biblioteca Comunale di Faenza (2nd Floor)

Via Manfredi 14

Faenza (RA)

One day workshop, 8th June 2019, 10.00am

Biblioteca Comunale di Faenza (1st Floor)

Via Manfredi 14

Faenza (RA)

Better get planning.

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