Sunday, June 13, 2010
Design scheme
Daido's work often deliver a sense of stark and contrasting within itself, which is considered throughout the design.
The building consists of three parts, gallery in the front, middle courtyard and the apartment at the back. The material used for construction is mainly precast concrete and glass, the same cold, stark sensation that can be found in Daido's art works.
The gallery has series curved shapes with varying slope which represents the traditional Japanese culture that has gradually changed under the influence of foreign values in modern society. In addition, the curved shapes are also in contrast to the apartment at the back, designed in a more conservative order with rectangular forms.
The courtyard is positioned in the middle with several advantages:
1. providing sufficient sun light for the gallery and the apartment
2. private outdoor space that enables interaction between people and nature
3. connecting the two distinguished space as a bridge
4. ideal for public/private events
It is very natural to set the apartment at the back, away from the noise and privacy is secured.
the office has a direct access to the gallery, without walking into the courtyard. However the bedroom and owner's studio are completely isolated at a higher floor with minimum disturbance from the gallery. The dinning room/Kitchen is positioned right next to the courtyard and the living room which could be handy when there are activities involved.
Design Features
Exhibition space
The gallery has three exhibition spaces: the main exhibition space with double height is bounded by the ramp and ready for large art pieces; the ramp itself functions as a gallery with art work installed in the wall. the changing of the slope in every direction represents the traditional value that has varied through time. By walking up the ramp while looking at the art pieces, it strikes beholder's mind as they are going on a journey of history; the small gallery between the main exhibition space and the courtyard is bounded by a whole set of glass walls, which brings the nature to the gallery and please people's mind.
The roof is cut with carefully designed openings which projects both light and shade to the interior space, serving as ornaments that bring the forms alive.
The building consists of three parts, gallery in the front, middle courtyard and the apartment at the back. The material used for construction is mainly precast concrete and glass, the same cold, stark sensation that can be found in Daido's art works.
The gallery has series curved shapes with varying slope which represents the traditional Japanese culture that has gradually changed under the influence of foreign values in modern society. In addition, the curved shapes are also in contrast to the apartment at the back, designed in a more conservative order with rectangular forms.
The courtyard is positioned in the middle with several advantages:
1. providing sufficient sun light for the gallery and the apartment
2. private outdoor space that enables interaction between people and nature
3. connecting the two distinguished space as a bridge
4. ideal for public/private events
It is very natural to set the apartment at the back, away from the noise and privacy is secured.
the office has a direct access to the gallery, without walking into the courtyard. However the bedroom and owner's studio are completely isolated at a higher floor with minimum disturbance from the gallery. The dinning room/Kitchen is positioned right next to the courtyard and the living room which could be handy when there are activities involved.
Design Features
Exhibition space
The gallery has three exhibition spaces: the main exhibition space with double height is bounded by the ramp and ready for large art pieces; the ramp itself functions as a gallery with art work installed in the wall. the changing of the slope in every direction represents the traditional value that has varied through time. By walking up the ramp while looking at the art pieces, it strikes beholder's mind as they are going on a journey of history; the small gallery between the main exhibition space and the courtyard is bounded by a whole set of glass walls, which brings the nature to the gallery and please people's mind.
The roof is cut with carefully designed openings which projects both light and shade to the interior space, serving as ornaments that bring the forms alive.
Friday, June 4, 2010
Daido Moriyama
Daido Moriyama
‘Hokkaido’
1978
Daido Moriyama
‘Nikko Toshogu’
1977
Daido Moriyama
‘Tono’
1974
Daido Moriyama
‘Hawaii’
2007-2010
Daido Moriyama
‘Hawaii’
2007-2010
Daido Moriyama was born in Osaka in 1938, often regarded as one of Japan’s leading figures in photography. Witness to the spectacular changes that transformed postwar Japan, his photographs express a fascination with the cultural contradictions of age-old traditions that persist within modern society. Providing a harsh, crude vision of city life and the chaos of everyday existence, strange worlds, and unusual characters, his work occupies the space between the objective and the subjective, the illusory and the real.
Moriyama takes pictures with a small hand-held camera that enables him to shoot freely while walking or running or through the windows of moving cars. Taken from vertiginous angles or overwhelmed by closeups, his blurred images are charged with a palpable and frenetic energy that reveal a unique proximity to his subject matter. Snapshots of stray dogs, posters, mannequins in shop windows, and shadows cast into alleys present the beauty and sometimes-terrifying reality of a marginalized landscape. His anonymous and detached approach enables him to capture the “visible present” made up of accidental and uncanny discoveries as he experiences them.
Moriyama emerged as a photographer in the 1960′s at the tail end of the VIVO collective, a revolutionary and highly influential group of Japanese artists who reexamined the conventions of photography during the tumultuous postwar period. William Klein’s loose, Beat style images of New York City in the 1960s also served as a major turning point for Moriyama, who found inspiration in Klein’s free-form photographic style. Taken by these innovative approaches at home and abroad, Moriyama ultimately went on to forge his own radical style.
Text from Luhring Augustine Gallery
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