The kimono – they need several steps to dye once and again, again, again. Then go to the embroidery phase and maybe come back again to finish then send it back again. This is the kimono process for clothing. We had to reduce, to go a simple way. You put on the back side, only for the part he is working on now.
Q: What is the ink made from?
It’s not made from plants, but it’s a chemical product. And, of course, he mixes the colours to make the special colour for the kimono.
Q: How long has he been doing this for?
Q: So how old was he when he started doing this?
He was 18.
Q: OK. And why did he decide to do this?
It was natural because his father was doing also that.
Q: And his father, did he follow his grandfather?
No, his father started, so he’s second generation.
Q: Has it changed since his father was doing it?
No, they are keeping the same way, but of course it depends on era … periods, if changing a motif, they are changing, so he adapts …
Q: Does he worry that this something that is dying out or does he see it … does it have a future?
Nobody is taking his business after this moment – nobody. He works ten hours (a day) at least, sometimes more to finish the kimono, because it takes four days.
Q: Working ten hour days?
Yes. As we see, he starts with a red colour to complete the kimono. He finishes one motif to go to another motif. He tries to put the red colour on all parts of the kimono to not have a difference of colour for one kimono.
Q: So it’s all free hand?
Yes. Completely. That motif, the small parts, already he puts a glue … on the space to not have colour – he does not want to put colour on that part.
Q: You can’t correct a mistake …
He has to be quick to dry, to put another colour on. The company is very strict with the colour balance – so each time it’s done, he has to remake again. This is a very big piece for the women who will have … a very big ceremony – this is a kimono for that. It’s going to be very gorgeous and something very important for the life of women.
I produced Architecture & Influence as part the Philip Johnson Glass House Oral History Project for use on their web site and in their visitor center. Working with Project Director, Dorothy Dunn, we interviewed Norman Foster, Michael Graves. Charles Gwathmey, Richard Meier, Jaquelin T. Robertson, Richard Rogers, Vincent Scully, and Robert A. M. Stern–individuals for whom Philip Johnson was mentor, sponsor, and friend. I was responsible for selecting excerpts from the oral history interviews, selecting imagery, and scripting and editing the program in collaboration with Dorothy Dunn.
Frieze London 2016 features more than 160 of the world’s leading galleries, which present art from over 1,000 of today’s leading artists. Here are some highlights from the Preview.
Frieze London 2016, Regent’s Park, London (UK). October 5, 2016.
BSI Swiss Architectural Award 2014 / winner — José María Sánchez García, Spain
This video was shooted with a Canon 5D Mark II in Alange (Badajoz, Spain) in June 2014, as a collaboration with the architecture photographer Enrico Cano (enricocano.it).
The aim was to show the building in its complexity and with the surrounding environment, to document the project of José María Sánchez García during the exhibition of BSI Swiss Architectural Award 2014 (bsi-swissarchitecturalaward.ch).
Architect: José María Sánchez García, Spain (jmsg.es)
Architecture: Rowing Centre (2008-2010)
The German artist Andreas Gursky is regarded as one of the leading contemporary photographers. He is renowned for his large scale, digitally manipulated photographic images. In 2007, the Kunstmuseum Basel staged an exhibition with 25 works by Andreas Gursky, including the F1 Pit Stop and Pyongyang series.
I was commissioned to make a film and shoot a set of images by ESPN for Wilson, to show the manufacturing process of their tennis balls for the US Open. We flew to the factory, shot the film and stills in one day then flew home. Its an amazingly complex manufacture, requiring 24 different processes to make the final ball. It was hot, loud and the people who worked there, worked fast. So much beauty in each stage. I love the mechanics of how things are made, it fills me with great pleasure. I hope you enjoy the film.
Erwan and Ronan Bouroullec tell the story of their Lustre Gabriel, a Swarovski crystal chandelier created for the Palace of Versailles. The design is featured in the newly released Disegno No.6
Der zweite Teil der Time-Lapse Produktion „Lights over Switzerland“. Die Bilder dieser Zeitraffer Aufnahmen stammen alle aus der Schweiz, die Meisten entstanden nachts unter klarem Sternenhimmel. Unter anderem wurden Szenen in den Gebieten Wallis, Graubünden und in Bern aufgenommen, an den schönsten Naturplätzen, die die Schweiz zu bieten hat.
The second part of the time-lapse production “Lights over Switzerland”. The images of this lapse are all from Switzerland, mostly taken at night under the stars. The scenes were taken in the region of Valais, Graubünden and Bern on the most beautiful natural places which Switzerland offers.
On the run up to the Stirling Prize, 2016, The Architect’s Journal takes a look into the six nominated buildings, with interviews from the architects.
This private gallery in Vauxhall has involved the conversion of an extraordinary terrace of listed industrial buildings, that were formerly theatre carpentry and scenery painting workshops. The gallery forms the whole length of the street, with the three listed Victorian buildings flanked at either end by new buildings. The ground and upper floors within the five buildings are continuous, allowing them to be used flexibly in many combinations, to accommodate both large and small exhibitions. There are 3 large galleries on each of the two floors, stretching in a line from one end of the building to the other. The two gallery levels are connected by new spiral staircases and a large lift.
Along Newport Street and facing to the railway, the unusual proportions of the Victorian workshops, with their groups of low level windows and high blank walls above, have been continued in the design of the new buildings. The new facades are made with a hard pale red brick that closely matches the surface of the listed buildings. The five buildings next to each other, all different but obviously related, make a sheer and impressive street elevation.
The scheme includes a restaurant and administrative offices for the gallery. The building shows exhibitions of the client’s extensive collection of contemporary art, and is open to the public for free.
Directed by: Marta Chierego
Title Sequence: Breeder
Cinematography: Javier Gesto, Gus Sacks, Marta Chierego
Additional footage shot by: George Lyon, Autumn Eakin
Edited by: Fernando Guariniello, Marta Chierego
Original Music Composed By: Mira Calix
Colour Grading: El Colorado, Madrid
Sound Mixing: Silk Studios, London
For: The World Economic Forum
Ubiquitous, mobile supercomputing. Artificially-intelligent robots. Self-driving cars. Neuro-technological brain enhancements. Genetic editing. The evidence of dramatic change is all around us and it’s happening at exponential speed.
Previous industrial revolutions liberated humankind from animal power, made mass production possible and brought digital capabilities to billions of people. This Fourth Industrial Revolution is, however, fundamentally different. It is characterised by a range of new technologies that are fusing the physical, digital and biological worlds, impacting all disciplines, economies and industries, and even challenging ideas about what it means to be human. Based on the book ‘The Fourth Industrial Revolution’ by Klaus Schwab, Executive Chairman and Founder of The World Economic Forum.
South Kilburn Estate which is located in Kilburne in northern London where Alison Brooks Architects conducts redevelopment. Designers and residents talk about 44 apartment houses completed in the first phase of the project.
アリソン ・ブルックス・アーキテクツが再開発を手がけるロンドン北部のキルバーンにある団地「South Kilburn Estate」。プロジェクトの最初のフェーズで完成した44戸の集合住宅について設計者や住人などが語る。
Terraforming imagines a world where a crystal planet has been discovered in the galaxy. It follows a young cartographer’s journey to the planet. Paying homage to 1960’s sci-fi classics with bold projections of modernism in space.
The first ever object to be designed by man 1.7 million years ago was a flint hand axe. The project juxtaposes the flint hand axe with Swarovski’s latest crystal technology; Xero chaton, the smallest precision cut crystals in the world measuring 0.6mm in diameter, smaller than a grain of sand.
Director / Editor: Juriaan Booij
Concept & Design: Studio Swine
Featuring: Will Lord & Christian Von Pfefer
Director of Photography: Edgar Dubrovskiy
Music: Gavin Singleton
Visual Effect Artist: Yasuyuki Otsuki
Grading: Simon Astbury at Unit Media London
High-Speed Camera: Bernard Esterhuysen
1st Assistant Camera: Tom Cosway
Gaffer: Antti Janhnen
Spark: Harry Gay
Complete Fabrication, Design Miami/Basel, Take 2 Film Services, Graham Godfrey, Ben Porter, Rob Gavigan, Bob de Graaf, Edward & Rory McHenry, Robert Rivers & Tobias Clifford-Flower.
The film Utilizes a photo from ESA/DLR/FU Berlin, G. Neukum