Blaine Brownell's Matter in the Floating World: Conversations with Leading PDF
By Blaine Brownell
It may be argued that Japan encompasses a greater variety of across the world major architects and architects relative to its geographic measurement than wherever else on the earth. jap designers frequently enforce radical experiments in new fabrics and construction platforms that effectively handle coming near near power and source demanding situations. those technological achievements are mixed with an acute know-how of the ephemerality of lifestyles, making a wealthy discussion among the concrete and the summary.
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Additional resources for Matter in the Floating World: Conversations with Leading Japanese Architects and Designers
The rest of the furniture moves freely. We actually had a problem with the bathtub, because when it is full of water it has too much inertia. We can start to move it, but it doesn’t want to stop [laughter]. So we made a large concrete block with silicone rubber to act as a wheel stop. The bathtub now acts like a bumper car. That’s remarkable. So do the clients actually put things away when they are not using them? Not every day. They just move the furniture around, and when they have guests they put everything back inside the drawer wall.
So I thought we could use light fixtures as fans that plug into the wall. And you started to make various personal objects like the 365puchi calendar. It’s such a simple thing but actually very clever—a tactile object that inspires us to interact with it. Did you have a plan at the beginning of Nendo? Did you set out to design small objects and scale up to larger ones, for example? No, I didn’t have any plans. First I made a few lamps, and in 2003 we decided to exhibit at the furniture fair. ” Moment Oki Sato about making wrinkles, in order to reveal geometric imperfections instead of hiding them.
The color fades away. That was the one thing I wanted to do—I didn’t want it to just disappear. The leaf pattern fades over five minutes. So a meal, the dishes softly radiate changing colors underneath—is this your idea of a kind of synthesized diurnal cycle? Yes, I want to convey a sense of time. Why is this an important interest for you? I think because I work here in Tokyo, in which there is no time. I can buy something I want twenty-four hours a day. Also, I can buy anything here. Right—souvenirs from various Japanese destinations are all sold in Tokyo Station [laughing].
Matter in the Floating World: Conversations with Leading Japanese Architects and Designers by Blaine Brownell