Image: Tsukioka Yoshitoshi, hikeshi (firemen)
Uploaded 2024.8.24
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“A minimal architecture that brings out the values of space and light, the pure image and colors of industrial materials: This is the home-studio of Christina Markham ad Rita Qasabian, young Sydney-based architects. The intrinsic simplicity, inspired by the model of oriental homes, is immediately evident in the rock garden, with stones set into the ground to create Zen paths, underlining the sense of harmony communicated by a clear, terse spatial construction, in which walls and floors in exposed concrete create a direct reference to the poetics of Tadao Ando.”
---Antonella Boisi, Living in (Vivre a) Sydney (Taschen, 2001)
Location: Annandale (Sydney) Australia
Date of construction: 1992 + 1997 final renovations
Size: 162 m2
Cost: AUS $250,000
Information source: Living in (Vivre a) Sydney, photos by Giorgio Possenti, text by Antonella Boisi (Taschen, 2001).
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Excerpts from the book, photo captions:
76. "The house seen from the stone garden in Zen-style. The two glass walls illuminate the living and dining room."
78-79. "The living area, accessed from a short staircase in white concrete, is furnished with Nordic design classics: Swan armchair by Arne Jacobsen, chairs with women cane seats and table by Poul Kajaerholm, small Danish sofa from the 50s. The suspended wooden cabinet conceals the sound system."
81. “On the coffee table by Poul Kjaerholm, a Japanese tea set. Gray or white cement, stones, iron beams: The materials underline the essential simplicity of the architecture.”
82. “In the custom kitchen with stainless steel counter and glass shelving, a set of ceramic bowls and a service in steel by Arne Jacobsen.”
83. “The studio facing the stone garden created in a corner of the entrance; table Less by Jean Nouvel and lamp Tolomeo by Michele De Lucchi and Giancarlo Fassina. Seating by Jorgen Rasmussen.”
84. “In the bedroom, tatami bed with futon, rice paper lamp by Isamu Noguchi, table by Poul Kjaerholm in the background, and artwork by Australian artist Lezlie Tilley. The black fiberglass chair is a famous piece designed by Charles and Ray Eames.”
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Uploaded 2024.8.24
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A discussion of Italian architect Andrea Branzi's art furniture, which amalgamates various elements of Japanese tokonoma design into a single piece. One way to describe it is an excising/extracting, and reducing, of the tokonoma area of a Japanese living space into a movable furniture unit. His installation artworks also reflect the architectonics of Japanese structures, such as teahouses or Shinto shrine omikuji tying racks. Some of his smaller, hand-held pieces reflect origami type conceptions (e.g. origami flower boxes).
Text, photo captions to be added.
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Uploaded 2024.8.27
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“Entering the spa is like leaving New York behind you completely, a hidden sanctum of verde tones, ancient bamboo, hemlock floors and low-to-the-ground sofas creating an elemental encounter through strokes of genius. The moody lantern-lit pool shimmers with all things zen, housed in a 250-year-old-barn of Japanese dark barn timbers - shipped in from Japan and assembled without using one single screw or nail.”
---‘The Greenwich Hotel’ at theaficionados.com
Photos: The Greenwich Hotel official website; caption text, credits to be added.
The Greenwich Hotel, in the Tribeca neighborhood of Manhattan, is the prize possession of Hollywood star, Robert De Niro, who grew up in neighboring Nolita. Architect David Rockwell headed the renovations, working with interior designers Sarah Collum, Hatfield Design LLC, and the Belgium designer Axel Vervoordt, “aka the master of wabi-sabi” (theaficionados.com) who teamed up with architect/designer Miki Tatsuro to create the star attraction---the penthouse suite.
The two designers “utilized the ancient Japanese aesthetic sense of wabi to create a meditative haven within the 6,800 square foot pied-a-terre.” Furthermore, the “top-level penthouse is designed to integrate as much as possible into the nineteenth century industrial neighborhood, using local materials, such as stone and reclaimed wood, providing an authentic feel for its guests and neighbors” (‘The Greenwich Hotel Tribeca Penthouse’ at archilovers.com). That idea too is in tune with Japanese conceptions of traditional design.
And it is clear that it is not only the penthouse and pool that reveal a traditional Japanese aesthetic. The entire hotel, including the lobby and other guest rooms, while furnished with an eclectic array of collector items, are coordinating chromatically and spatially with a similar subdued, soothing, restrained aesthetic, as the pool and penthouse.
The Japanese aspect is merged with a variety of elements, but still recognizable in the shoji-like lighting wall and ceiling panels in the lounge or the exposed wood elements and rough surfacing in guest rooms, and in the general thematic treatment of the interiors. Like the Japanese farmhouse transported thousands of miles away to become an indoor hotel pool interior, that influence may not be immediately recognizable to the untrained eye, being combined with collector Americana or ethnic artifacts, but is nevertheless undeniably there.
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