Fashion@Louis Vuitton魅惑旅情 90秒影音秀

LV新電視及電影形象廣告，利用動畫傳遞品牌的旅行精神。照片／LV提供

路易威登（Louis Vuitton）又有新創舉，在一系列由戈巴契夫、凱薩琳丹妮芙、阿格西與葛拉芙等旅行平面廣告之後，昨宣布將製作史上首支電視及電影廣告「Where Will Life Take You？」，長達90秒的影像魅力傳遞出LV對旅行與人本特質概念。

路易威登指出，雖然廣告內沒有名人、也沒有著名地景，甚至連商品都一閃即逝，但藉由數個不同地點旅程中的吉光片羽，以及不斷出現的字幕，如「What is a journey？」等，透過鏡頭氣氛營造，表達出旅行者的反思，以及旅行之後心靈的轉變。

台灣民眾最快今年可在電影院與電視上看到這支廣告，並且以中文版呈現。最近一系列的旅行平面廣告，未來將搭配上這支形象廣告，展現出LV打造除了時尚以外，另一種強調心靈與關懷的企業形象。

這支廣告片導演找來曾與王家衛執導Orange廣告系列的Bruno Aveillan，他曾經拍攝超過200齣廣告片。原創音樂則找來以斷背山、火線危機連續兩年奪下奧斯卡金像獎的Gustavo Santaolalla，為LV首支電影與電視廣告創作吉他旋律，貫穿全片。

@Source:2008/01/29 聯合報 ╱記者顏甫珉 http://udn.com/

Fashion@LV春夏較靚 6大名模比Sexy

六大名模為LV拍攝春夏新品，她們手上拎的是LV新款的Monogram Jokes系列包款，價格未定。照片／LV提供

克勞蒂亞雪佛、娜歐蜜坎貝兒、伊娃赫茲可娃、納塔莉亞芙迪諾娃、史蒂芬妮西摩、安琪拉琳芙兒，6大國際名模為LV擔任春夏新品代言人，6位美女搔首弄姿，爭奇鬥妍，其中俄羅斯名模納塔莉亞芙迪諾娃最神奇。


納塔莉亞 有娃娃特質

今年25歲的納塔莉亞芙迪諾娃，在17歲那一年，離開白俄羅斯，到巴黎為YSL走秀，她長得並不算很美，但有股獨特的可愛娃娃特質，那一場秀讓她一步登天，她的特質，在名模界帶動流行的娃娃風。納塔莉亞雖然生了3胎，但她每周固定運動、控制飲食，讓她看起來一點也不像媽媽。


伊娃 精通4國語言

捷克名模伊娃赫茲可娃精通捷克語、英語、法語、俄語，今年35歲的伊娃，從小嚮往伸展台生活，16歲參加Model選美比賽脫穎而出，就此開始她的圓夢之路。雖然剛開始Eva並非相當順利，但在她認真學習與熟悉在鎂光燈前表演後，她喜歡鏡頭前的感覺甚於走時裝秀，1992年，Eva在媒體炒作下，以及繼克勞蒂亞雪佛成為Guess代言人後，從此知名度水漲船高。


雪佛 世界最美的女人

享有「真人芭比」美譽的德國名模克勞蒂亞雪佛，1970年8月25日出生於德國杜塞爾多夫，父親是律師，從小接受很好的家教，她的愛好包括網球、繪畫和騎馬，曾與魔術師大衛訂婚，但6年後解除婚約；2002年5月與英國導演馬修弗恩結婚後，目前育有一對兒女。

克勞蒂亞雪佛曾於1995年被法國雜誌評為「世界上最美麗的女人」，且曾連續3年入選美國PEOPLE雜誌「50位最美的人」之一。雪佛的收入除位居全球超級名模前3名外，也是德國最富有的女性之一，富比世雜誌曾估計，其淨資產超過5千萬美元。

日前雪佛現身巴黎一場為 AIDS舉行的年度募款晚會SIDACTION Dinner，同時身為路易威登2008年春夏廣告代言之一的她，想當然耳又被LV給「包」了；全身穿戴路易威登「特別訂製」版本的晚宴造，風情萬種的克勞蒂亞雪佛魅力不減，為慈善晚會站台，預計募到750,000歐元（約台幣3,580萬元）。


娜歐蜜 掀時尚黑旋風

娜歐蜜坎貝兒於1970年出生在英國倫敦，15歲被人偶然發現，經過多年的奮鬥，現在不僅是全世界拍照最多的一位女明星，也是第一位出現在美國「時代週刊」、法文版及英文版「VOGUE」雜誌封面的黑人模特兒。

娜歐蜜打破了白人一統世界超級名模舞臺的局面，為時尚界帶來了一場「黑色風暴」。雙子座的娜歐蜜有著神秘莫測的個性和迷人的笑容，自信、熱情又充滿活力。


安琪拉 素食維持身材

1979年出生在美國奧克拉荷馬州的安琪拉琳芙兒，目前有兩個兒子，她跟俄羅斯的納塔莉亞一樣，擁有產後迅速瘦身的功力，安琪拉曾經跟「航越地平線」、「鐵達尼號」男星比利贊恩交往過，後來嫁給潛水家威廉艾德華，素食主義的她，吃得非常清淡，這也是她保持身材的招數之一。


史蒂芬妮 成熟嫵媚迷人

史蒂芬妮西摩曾為「維多莉亞的祕密」內衣代言而大紅，她曾經與「槍與玫瑰」的主唱艾克斯有過一段婚姻，今年40歲的史蒂芬妮西摩，有一股嫵媚的成熟韻味，相當迷人。

@Source: 2008/01/31 聯合報 ╱記者李韶明、袁青 http://udn.com/

People@Q&A with Ang Lee - Time

Tang Wei (L) and Tony Leung (R) star in Ang Lee's Lust, Caution.
Chan Kam Chuen / Focus Features



By REBECCA WINTERS KEEGAN

Ang Lee has made a habit of teaching Hollywood how little it knows about audiences, proving broad crowds would embrace a gay Western (Brokeback Mountain) and show up for a subtitled martial arts flick (Crouching Tiger, Hidden Dragon). With his new film, the NC-17-rated, Mandarin-language spy thriller Lust, Caution, the Oscar-winning director is once again ignoring the rules of commercial filmmaking.

TIME: You've said the three sex scenes in the film were harder to shoot than the martial arts scenes in Crouching Tiger. Why?

Lee: I'm a shy human being. I don't make pornos so I'd never done that before. To verbalize the feelings and lead the actors through those acts and witness how much they devote to it, it's very painful. Usually we don't go there. I don't intend to go there again. After half a day's shooting we had to stop, it was so exhausting. You're so hyper... emotionally, sexually, everything is so charged up.

Porn is plentiful, so why are scenes depicting sexuality with emotion so rare in films?

Most sex scenes are about covering things up, rather than exposing. It's very technical. It's a function you have to get over with so you can get on with the story. We give our best shot in digging into what the characters are going through. The sex scenes are pivotal parts of the story.

Did you ever consider altering your film to avoid the NC-17 rating?

When I was making it, I didn't really care. After the film was done, [Focus Features CEO] James Schamus explained to me what NC-17 means, the distribution, the advertisement, what you're gonna lose. He explained it and that was that. He never said anything else. Everybody at Focus got kind of excited about taking on the battle. They kept saying this year we have other films that will make money.

Is it possible people will go see this film because they're titillated by the rating?

There are people who know about me who will be curious. That's a plus, but the plus is 10 points and the minus is 80 points.

The film takes place in Shanghai during World War II. It's based on a short story by Eileen Chang which is much more subtle in describing the relationships between the characters. Why did you choose to be so explicit?

I'm not a translator of the author. I took a hint from her. To me the boldness of the story was unprecedented, particularly against the backdrop of the most macho, glorious, patriotic war against the Japanese. It was very daring.

This was your lead actress Tang Wei's first film. Were you concerned by the demands of the role?

Yes and no. The thrill actors get, the liberation, to reach the other side of themselves, it's very exciting, very liberating. They learn a lot about themselves. So often Tang Wei said to me when I asked her is she was OK, "What are you talking about?"

If making this movie was so emotionally taxing, why did you do it?

Because you're not supposed to. Truth can be painful and frightening. Lots of people, whether you're making a movie or doing a painting, you feel compelled to be honest. It's uncomfortable, but I feel compelled to communicate with other people.

@Source: http://www.time.com/time/arts/article/0,8599,1667513,00.html?iid=sphere-inline-bottom

People@Tyra Banks - Time

By HEIDI KLUM

Everyone knows Tyra as supermodel, as host and producer of America's Next Top Model and her own talk show, and as whip-smart business mogul. She is all those things. But I also know her as a close friend. When I started as an "Angel" for Victoria's Secret, Tyra was already an established pro there. During lunch, I'd grill her about the business: whom she would recommend as an accountant, an attorney, a business manager. Not everyone was, let's say, superfriendly, but Tyra was always nice. She shared her experience and knowledge with me. In this industry there are a lot of people who don't want to help each other, but I guess Tyra was and is secure because she was always willing to share what she had learned—and, trust me, I asked a lot of questions.

That open, warm side of her was more apparent as we became friends and spent a lot of time together at shoots. Tyra and I could always be goofy together and remind each other that, hey, this is fashion, not life or death. On the flip side, when situations got too crazy, we could always turn to each other for a reality check.

I'm not surprised that Tyra, 32, has achieved such phenomenal success. She's one of the most hardworking people I know—I've seen her go straight from a late night of press to an early-morning shoot with no complaints. Even more important, she is passionate about her projects and compassionate toward the people involved in them. Her appeal is obvious to anyone who knows her, whether personally or professionally or just from her shows. She is dynamic, positive and real, and we are only at the beginning of her special brand of global domination.

Klum is a supermodel, businesswoman and host of the reality show Project Runway

@Source: http://www.time.com/time/magazine/article/0,9171,1187401,00.html

People@Renzo Piano - Time

By RICHARD ROGERS

Renzo Piano is an absolute master of light and lightness. He has a fantastic understanding of construction and the scale of pieces. I don't think there is anybody like him. He's the son of a builder who was very close to his father and very proud that he was a builder; it gives him tremendous roots. The unusual thing about Piano, 68, is that he works from small to big. I had never met an architect like that before.

He doesn't approach a building from the point of an idea; it grows out of the ground. He's also one of the most elegant architects I know. He's elegant in person, but also his structures are very elegant, very humanistic. They aren't pieces of abstract sculpture. They grow out of understanding how buildings go together and how light comes through them; he designs roofs that pull light in. Piano has moved on from the massive machine—like the Pompidou Center in Paris, which we designed together and which is full of people, like a big climbing frame—to very beautiful museums and libraries. Each one is a bit more elegant. Piano has terrific range. I love the San Nicola football stadium in Bari, Italy, which is a massive statement—big petals of concrete that come out of the ground. Then there is the Beyeler building in Switzerland that is as light as anything. I won't say which of his buildings is my favorite. I will say he's my favorite architect. He's one of the supreme modern architects of his generation. He's also a fanatical sailor. He designs his own boats. When we were first friends, almost 40 years ago, he designed a concrete sailing boat. And actually it worked very well.

Rogers designed London's Lloyd's Building and the Millennium Dome

@Source: http://www.time.com/time/magazine/article/0,9171,1187238,00.html

People@Ang Lee - Time

By ZIYI ZHANG

Because of Ang Lee, so many more people know about Chinese filmmaking and about Chinese films. Crouching Tiger, Hidden Dragon, a Chinese-language movie, mesmerized Western audiences in 2000. And last year, with Brokeback Mountain, yet another unimaginable success, both with critics and audiences, he captivated the entire world and reached the pinnacle of moviemaking.

Lee's ability to be such a huge cross-cultural influence is, I think, unique. His Taiwanese upbringing, which kept him deeply rooted in the Chinese way of being and living, combined with his well-informed understanding of Western mores and filmmaking techniques have allowed him to speak to those two worlds in a way no other director has.

It's as if when Lee, 51, makes a film, he is able to erase the cultural lines and have its profundity understood at a universal level. He creates characters that draw in an audience no matter what language they speak. His insight into the human heart crosses all boundaries.

I know he is also making a huge influence in the lives of younger filmmakers and actors. I, for one, will be forever indebted to him for casting me in Crouching Tiger, Hidden Dragon. When I went to audition for him, I had made just one film (The Road Home) and had never done any martial arts. I was 20 and didn't feel up to any of it. He still gave me that chance. Why? He saw what I could be capable of and was willing to let me have a go at it. How great is he?

I love that he never limits himself either. He's a good role model for all of us. Director Ang Lee lives in the future.

The Beijing-born Zhang starred most recently in Memoirs of a Geisha

@Source: http://www.time.com/time/magazine/article/0,9171,1187225,00.html

Fashion@土耳其首家LV 新舊文化擦火花

LV在土耳其伊斯坦堡的第一家全球概念店，在伊斯坦堡最有歷史意義的Sisli區。
照片／LV提供
LV廣告部副總裁安東阿諾（左起）、名模伊娃赫茲可娃、LV總裁伊夫斯卡塞爾，三人一起剪綵。
照片／LV提供

LV在土耳其伊斯坦堡的第一家全球概念店上周末開幕，捷克名模伊娃赫茲可娃，穿著LV全新春夏的毛呢外套，搭配透明雪紡紗與絲緞合身裙，手提新款Vernis Sunset手拿包，配戴新款的蜂蜜色Gina太陽眼鏡與monogram幸運手鍊，十足春風洋溢的LV女郎。

土耳其的LV全新專賣店，位於伊斯坦堡最具歷史意義的Sisli區，坐落繁華先進的Abdi Ipekci街道上，搭配迎接新年與情人節的全新櫥窗設計與LV新款系列，交織出新舊時代衝突的文化色彩。
LV總裁伊夫斯卡塞爾、伊娃赫茲可娃及LV廣告部副總裁安東阿諾，一起亮相，為伊斯坦堡全球概念店開幕剪綵，安東阿諾是LVMH總裁柏納阿諾的兒子，外型有他老爸的影子。

伊娃赫茲可娃拍過最有名的廣告是「Victoria secret wonderbra」，身材惹火的伊娃，也曾在97年到99年，上過泳衣雜誌，從1993年到今年，伊娃走遍全球精品大秀，上過歐美各大時尚雜誌封面，走紅程度持續15年之久，而且目前仍是當紅的top model。

@Source: 2008/01/18 聯合報 ╱記者李韶明 http://udn.com/

Fashion@黑灰格紋+五金配件 LV性感壞男人

短夾克和直筒褲，側背的Damier方格圖案背包，是全新的黑灰配。
照片／LV提供
戴著LV頭盔的男模，一身酷樣。
照片／LV提供

由一台包覆Damier材質的鋼琴，拉開巴黎男裝周LV秀序幕，明顯地點出了LV 08秋冬又是Damier格紋的天下。紀念第二代傳人Georges Vuitton設計的Damier格紋逢120周年，LV秋冬推出全新的Damier，最大的賣點是「黑、灰格紋配」，搭配銀色五金風格的男性配件。

60年代法國男星亞蘭德倫（Alain Delon），及在30年代大紅的尚嘉賓（Jean Gabin）在電影中創造出放蕩不羈與神祕感，是08秋冬LV「壞男人形象」的翻版。似是而非的「使壞」性感，來自LV秋冬男裝細節和圖案。雙面穿的大衣、偽裝效果的細節、衣服的暗袋、多層效果的透明感，Marc Jacobs秋冬展現的是優雅的神秘感。

古老的俄羅斯、希臘、以色列、布達佩斯建築上的寶石、菱形建築裝飾風格在暖灰色西裝、夾克和白襯衫間形成重點。最酷的是採用鈔票的細線條版畫風格的服飾上裝飾細節，或者乾脆LV自己把「鈔票圖案作為裝飾依據」。

暗喻金錢萬能的鈔票圖騰，是玩弄奢華的使壞武器。縫上亮片的領帶與絲巾、彷如手表機芯金屬片結合出LOUIS字樣的項鍊墜飾。而多層襯衫、雙滾邊細節和拉鍊開岔的直筒長褲，或正反面呈現不同款式的雙面夾克，和一雙「尖頭皮鞋」，是08秋冬男性主力配件。

再怎麼玩，也玩不過頂著LV安全帽出場的男模，簡直是酷呆了。

@Source: 2008/01/19 聯合報 ╱記者袁青 http://udn.com/

Design@琉璃創意蛻變 繽紛到澄澈

「框景」是中國園林建築中常運用的設計，猶如以門窗為風景畫框，把山水美景或人文景觀包含其中。Liuli Living借用「框景」的概念，把牡丹妝點入畫，將裝飾與功能融為一體，金屬方框是一層抽屜，由切割的金屬把手構成。琉璃工房

當色彩全部抽去，琉璃會剩下什麼顏色？當繁華完全落盡，人生還留下什麼相貌？正在台北展出的「澄明之悟—楊惠姍現代琉璃藝術展」，呈現楊惠姍與琉璃工房團隊20年來不同階段的成果，透過創作不斷挑戰自我，充滿對生命的感悟。

走進SOGO百貨公司「澄明之悟」的展場，一朵朵盛開的透明無色巨型花卉，有的是牡丹，有的是荷花，栩栩如生的綻放花瓣以易碎的玻璃材質做成，透露出一種顏色盡落後的透明澄澈，巨大的尺寸與細膩的造型，不只吸引目光，更震撼人心。



楊惠姍藝術展，朵朵盛開無色花卉，透露出顏色盡落後的感悟，吸引目光震撼人心。



楊惠姍曾經是知名的女明星，1987年起投身琉璃藝術創作，苦心學習研究琉璃脫蠟鑄造法，20年來楊惠姍帶領琉璃工房創作團隊建立技術，藝術家與品牌的結合，使琉璃工房成為華人文化創意產業的知名品牌之一。

走過20年的琉璃工房，不只持續從事藝術品的創作，也將琉璃藝術產業化，例如成立透明思考（TMSK）餐廳及Liuli Living居家品牌，推動琉璃藝術與生活美學的結合。

為了展現琉璃工房20年來具階段性意義的創作，這次展覽有許多前所未見的作品，除了楊惠姍最新創作「澄明之悟」系列外，還展出「花好月圓」系列、「無相無無相」系列、千手千眼觀音及Liuli Living系列家具及飲食器皿。

「花的創作，其實是我展現生命的方式。」楊惠珊表示，她選擇以易碎的琉璃材質來表現生命，正是呼應生命的無常。佛法所說的人生七苦，包括生、老、病、死、怨憎會、愛別離及求不得，都在提醒人們生命的多變化與無法掌握。而一切的苦都是因為無常的存在，所以更應該去體會「空」與「無」的概念，並且對生命的苦產生更慈悲深切的觀照。

楊惠姍不同階段的花創作，展現的是她對生命的體悟歷程。例如她在第一階段創作的「花好月圓」系列中，賦予每一件作品明媚色彩，洋溢豐富的生命力，表現出世人喜愛與追求的美滿幸福。

到了第二階段的「澄明之悟」系列，她則把所有的色彩全部抽出，從繁花似錦到剎那透明，留給每一件作品澄澈透明的原本樣貌。對楊惠姍來說，「澄明之悟」系列巨大的花朵以透明澄澈的型態展現，正是她思考生命及創作歷程的另一個階段。

「無相無無相」系列作品，也不容錯過。楊惠姍在此系列作品中，以各式技法在靜定的佛像周圍空間，形成流態或氣泡，讓原本靜止的作品，展現了呼吸般的生命力與流動感，也揭示了「諸法無常」的變幻莫測。讓人對金剛經所言：「一切有為法，如夢幻泡影。如露亦如電，應作如是觀」有著更深層體會。



蘊含禪意與對生命體會的作品，彰顯出個人創作語言，也看見東方文化的深刻影響。



琉璃工房指出，楊惠姍蘊含禪意與對生命體會的作品，已在歐美獲得矚目。2007年「澄明之悟」在紐約Leo Kaplan藝廊第一次展出時，這個造型為一朵盛開的透明無色巨型牡丹的作品，吸引了美國康寧玻璃博物館館長歐諾（Tina Oldknow），立刻以美國康寧玻璃博物館的名義收藏。西方琉璃藝術界人士並認為，楊惠姍的作品建立了屬於她的創作語言，也看見東方文化在她身上的深刻影響。

琉璃工房今年起並推出「Liuli Living」這個新 系列，為東方文化創意與產業的結合更跨一步。

琉璃工房指出，Liuli Living有些商品原本就在「透明思考」餐廳使用，因為琉璃工房對生活美學的整體思考，從2001 年起就開始將酒杯、陶瓷等材質的飲食器皿與琉璃結合，今年起飲食器皿及家具等全部納入Liuli Living這個新品牌。

琉璃工房指出，相較於「澄明之悟」把色彩抽出，首度在台灣亮相的Liuli Living的產品則充滿綠、紅、金等鮮活明亮色彩，並以中國園林建築中常用的「框景」設計手法，將一朵朵盛開的金色富貴牡丹，框在如鏡的鋼琴烤漆般的原木料上，成為兼具觀賞與實用功能的現代家具。

@Source: 2008/01/12 經濟日報 文／鄭秋霜 http://udn.com/

Fashion@三宅一生結合Dyson 以風打造時尚創意

Dyson吸塵器與三宅一生跨界合作，以風打造時裝秀元素。記者陳俊吉／攝影

時裝與吸塵器的結合，聽起來匪夷所思，但三宅一生和Dyson以「風」做為主題，為兩個不相干的商品打造完美組合，並成功延伸三宅一生上個月在巴黎時尚周伸展台的創意概念。

三宅一生創意總監藤原太以「風」做為春夏新裝設計主題，並根據Dyson吸塵器的構圖線條設計服裝，藤原太和他的設計團隊拆解並分析Dyson吸塵器的內部構造，從中獲得靈感，設計出Dyson A-POC系列新裝，將吸塵管變成了袖子，圓錐筒變成了裙子，集塵筒則變身成外套。

Dyson吸塵器創辦人James Dyson則是利用「風」的力量，發明了不用集塵袋等耗材的吸塵器，用獨有的氣旋科技（cyclone technology）創造出強大吸力，吸力不會因集塵袋阻塞而衰退，這款吸塵器去年剛來台上市就造成熱銷。

在去年巴黎時尚周春夏新裝發表的伸展台上，James Dyson設計了一個巨大的通風管，做為模特兒走秀出入的通道，另外在空中高懸五支管子，將氣流導向伸展台，利用「風」結合吸塵器與時裝的創新概念設計舞台，別具巧思。為了紀念這場跨界邂逅，Dyson推出一款三宅一生限量版吸塵器，僅在歐美日本上市，結果被搶購一空，為吸塵器與時尚華服的相遇寫下完美的註腳。

@Source 2008/01/16 聯合報 ╱記者古鎮榮 http://udn.com/

Arch@Morimoto New York

Photo © Richard Pare
Drawing
Virtual Tour
Floor plan
Deatil of main bottle wall

Left to right: Ando associate Masataka Yano, architect Tadao Ando, Iron Chef Masaharu Morimoto, project creative director Stephanie Goto.
Photo © Sarah Amelar

Tadao Ando

New York City
Tadao Ando Architects and Associates

Tadao Ando serves up rich visual fare with silky concrete and glowing water bottles at New York’s Morimoto restaurant

By Sarah Amelar


Flaps of persimmon-red cloth over the entrance of Manhattan’s Morimoto restaurant flicker wildly in the breeze, animating the industrial brick-and-blackened-steel facade. A curiosity to passersby, the flame-bright scrims turn out to be a playful twist on a traditional noren, the curtain that hangs outside shops in Japan, signifying “open for business.” Unlike a typical noren, this one is not of cotton, but of woven PVC weighted at the bottom, and it spans not a modest commercial doorway, but an almost theatrical 50-foot-wide arch. This supersize gesture offers a first taste of the space’s inventive and, in many cases, oblique allusions to Japanese culture. Just as chef Masaharu Morimoto—a star of TV’s Iron Chef—fuses Japanese sushi with such flourishes as fois gras and crème fraîche, the restaurant design borrows seasonings from eclectic sources.

Right behind the noren, automatic doors glide open, revealing that this is not your classically sober, ultraserene Tadao Ando project. Certainly, concrete, his signature material, is present—notably in the stair descending from the 160-seat dining area, at grade, to the bar and lounge below. But beyond that cool, quiet gray, the 13,000-square-foot interior conveys a sense of spectacle in its dynamic convergence of angles, multiple contrasting surfaces, and overhead ripples coursing across a luminous, tentlike ceiling.

A nearly two-story-high water wall, angled off of the plan’s orthogonal lines, plunges down the center of the space alongside the stair. Not the gently trickling waterfall of Japanese gardens nor the country’s almost glacially still fountains, this freestanding wall is composed of 17,400 half-liter plastic bottles, filled with mineral water and screwed into electric-socketlike couplers. While vertical stainless-steel rods hold the couplers, horizontal bracing carries LED point lighting, producing a backlit shimmery effect.

But is this whimsical (though literally splashless) exuberance really the work of the typically rather subdued Ando? “Restaurants are different from more ‘serious,’ architecture,” he explains. “I recognize them as places for entertainment.” His client, Stephen Starr, a self-described “longtime fan of Ando’s” and “design-driven restaurateur,” who had commissioned Karim Rashid for his Morimoto restaurant in Philadelphia [record, November 2002, page 164], convinced the Japanese architect to take on this $6.5 million project in what was once the Nabisco Baking Company’s gritty loading dock and basement. The space now borders Manhattan’s Chelsea Market, a hip, quasi-industrial food arcade. Starr was initially concerned, he confesses, that the project might turn out “museumlike and all concrete,” so he “respectfully let Ando know early on that the restaurant would need warmth.” And, it seems, a lively spark.

information

Owner:
Starr Restaurant Organization

Architect:
Tadao Ando Architects and Associates5-23 Toyosaki 2 ChomeKita KuOsaka 5310072T +81 6 6375 1148F +81 6 6374 6240www.tadaoando.com
Tadao Ando, Masataka Yano

Project Architect New York:
Stephanie Goto, Stephanie Goto Design Group
Architect of recordGuggenheimer Architects www.g-arch.com

Furniture Design:
Ross Lovegrove

@Source: By Sarah Amelar
http://archrecord.construction.com/projects/interiors/archives/0609_1morimoto-1.asp

Arch@安藤打造 亞大藝術館像積木

安藤忠雄介紹自己設計的亞洲大學藝術館，是一棟三角型的建築。記者周文郁／攝影

安藤忠雄。記者周文郁／攝影

日本建築師安藤忠雄設計、一棟擁有不規則三角形、如積木般錯落堆積而成的藝術館，可望於兩年後在台中縣霧峰的亞洲大學揭幕。

這是安藤繼為交大設計美術館後，再度為台灣的大學設計建築。經由亞洲大學創辦人蔡長海邀請、亞洲大學副校長劉育東居中牽線，安藤將為該校設計藝術館，並由國家文藝獎得主、姚仁喜擔任在地執行建築師，總工程造價約二點一億台幣，預計二○一○年一月底完工。

劉育東說，安藤平均每三天接獲一個國際建築案邀約，但其中只有百分之三獲安藤青睞、設計建造。

安藤說，亞洲大學藝術館的基地擁有很大的廣場，他決定採舉世少見的三角形設計，他認為三角形較正方形更有發揮空間，但他坦承這樣「工程執行單位會很辛苦」。

亞大藝術館分三層樓、共一○三○坪，依安藤的設計，將正三角形的平面分割成三層，再錯落堆疊成不規則的無數個三角形。藉由平面分割而成的立體戶外平台，將變身為露天咖啡座、雕刻台、展望台等。顛覆一般直立式的柱子，館內的柱子全是「歪」的，由Ｖ形鋼架構造而成的空間及玻璃窗也都呈現三角形。Ｖ形鋼架支撐突出的懸臂下部空間，則形成如騎樓般可庇蔭的空間，此處並是入口通道及面臨廣場前的休憩園地。

螺旋狀重疊的三角形迴廊，或隱密或開放，讓人、藝術與大自然在此相遇、對話。

將與安藤合作打造藝術館的姚仁喜昨天笑說，這回他的角色如同「副導演」。他說此一建築最大的挑戰就是「它很簡單」，而看似簡單的建築其實最困難。

@Source: 2008/01/10 聯合報 ╱記者周美惠 http://udn.com/

Food@Big Fish in a Big Pond

Wonderland for the sushi set: Morimoto spreads high-concept design over 12,000 square feet.

By FRANK BRUNI

Published: March 22, 2006

AT the sushi bar, not far from our table, a handsome man takes a seat beside two attractive women, who expertly pivot in his direction, as if practiced at this kind of maneuver. He talks a lot. They laugh a lot. As the night moves along, both women hand him their cards. Their friendship had better be strong. It may soon face an awkward test.

One of the cast members of "Queer Eye for the Straight Guy" arrives, a pretty and chattering posse around him, and claims a prime piece of real estate in the main dining room. The designer David Rockwell passes the group as he leaves. He didn't contrive the cool, clean, white-on-white look of Morimoto (an architect named Tadao Ando did), but he probably feels compelled to check it out.

It's a stunning piece of work: a sparkly wonderland for glittery people, who always get the word and always hop onboard. They drink their bright cocktails, fiddle with their chopsticks, survey their compatriots and tap-tap into their cellphones and other devices, presumably checking on the whereabouts of less fortunate friends, perhaps informing them that the place to be is right here, right now. It's Morimoto's moment.

Stephen Starr's, too. He's a Philadelphia restaurateur in the midst of an ambitious Manhattan transfer. In late January he opened this 12,000-square-foot restaurant, which is named for, and modeled after, a sibling in the City of Brotherly Love. It was followed this month by Buddakan, another Philadelphia import, another visually bedazzling behemoth, just a few hundred feet away.

Both restaurants bet on a proven formula of Asian-inflected food, thoroughly tricked-out digs, theatrical presentations and pure buzz, although Morimoto has an additional ace up its sleeve. Masaharu Morimoto, a Nobu alumnus familiar to viewers of "Iron Chef," put together the menu, supervises the cooking and, at least for now, can be seen caroming around the open kitchen and into the dining rooms to greet guests.

He never stands still, and neither does his menu, which zooms across national and continental borders. It presents the culinary equivalent of a round-the-world ticket. It also sets up the possibility of gastronomic jet lag.

A vast selection of very fine sushi and sashimi roots the restaurant in Japan, which also asserts itself in preparations of Kobe-style beef, in tofu and noodle dishes, and in the recurrence of shiso, miso, wasabi and sudachi.

But other dishes and ingredients branch out to other parts of Asia, and even to Europe and Latin America. Among the best appetizers I tried was a "tuna pizza" with raw bluefin tuna, jalapeño, red onion, olives and an anchovy aioli atop a crisp, thin tortilla. I also liked silky slices of "lamb carpaccio," dressed with Japanese green onions, grated ginger and garlic oil. But I was confounded by a vegetable tempura that was clobbered by a Gorgonzola dip.

From Italy it was off to China and France, mingled in an entree called "duck, duck, duck." Why, why, why? Because it was a multifaceted fowl, roasted Peking style. The crisp-skinned, moist leg was served whole, while carved breast meat went into an unpleasantly soggy sandwich made with slices of cucumber and a foie gras-infused croissant. A gooey duck egg, placed between a patch of red miso sauce and a pool of port wine-flavored duck jus, completed the excessively busy composition.

The appeal of the dishes at Morimoto, like their ethnic associations, was all over the place, due in part to their frantic nature and in part to the kitchen's uneven performance.

Rock shrimp tempura, half of the shrimp bathed in a wasabi aioli, half in a Korean red pepper sauce, were light and sweet. Black cod with a ginger and soy reduction and a spicy half chicken with roasted red and green finger peppers had tender flesh, and a delicate touch had been applied to the poached lobster in a wonderful salad with yellow beets, cauliflower and a soy beurre blanc.

But a roasted lobster was overcooked, as was just about all of the shellfish, including shrimp and crab, in a Japanese bouillabaisse with a red miso broth that turned out, by default, to be the highlight of the dish. And limp ribbons of beef in a soy and mirin broth tasted as if they had been adrift in hot water three times longer than they should have been.

Even more troubling than the unevenness was the way high concept repeatedly supplanted sound judgment, resulting in dishes more amusing to behold than to ingest. The utensils provided for appetizers of toro and hamachi tartare were wood sticks not unlike tongue depressors in their feel and lingering taste. The tartare was accompanied by a beautiful but exasperating spectrum of colorful condiments and herbs (an avocado purée, crème fraîche, micro radish sprouts, wasabi and so on) arranged in contiguous bands so slender that it was nearly impossible to isolate any one from another.

The "Morimoto sashimi," terrine-like cubes made from layers of hamachi, smoked salmon, barbecued eel and seared toro, was luscious and hugely flavorful, but which of five colorful liquids in five gimmicky pipettes should be used to anoint it? There wasn't enough fish to make it possible to try all of the sauces and then circle back to a favorite one.

Although plenty expensive, Morimoto is an often undisciplined restaurant, prone to silliness and crammed with servers whose extraordinary friendliness didn't mask their mistakes.

One night I arrived just a few minutes after three companions. When I checked in with the host station, I wasn't told they had been seated, and I went to wait in the spare, sleek lounge downstairs. I kept asking servers if they had arrived, and my companions kept asking about me. For 35 minutes Morimoto never managed to connect us.

But it has its luxe pleasures, including a serious array of not only sake but also shochu. It has its courtesies, like tables with ample space between them and a noise level kept somewhat in check by translucent partitions and by wavy white sheets of canvas and fiberglass on the ceiling and along the walls.

And it has its amusements, some of them related to the paces apparently required of large-scale Japanese restaurants making a run at a fickle downtown crowd.

There must be a signature design element. Morimoto's is a two-story internal wall, which is made from water bottles and resembles a gargantuan sheet of illuminated Bubble Wrap. There should be arresting restrooms, and Morimoto's take automation beyond the function of mere flushing. Step into a stall and the lid on the toilet rises to greet you.

A sense of humor, a sense of style and definite sex appeal: Morimoto has all of these, along with the crowd they bring. If only more of the food lived up to the frisson.

Morimoto

*

88 10th Avenue (15th Street), Chelsea; (212) 989-8883.

@Source: http://events.nytimes.com/2006/03/22/dining/reviews/22rest.html

Arch@ Tadao Ando’s New York Debut - Morimoto

Courtesy of Starr Restaurant Organization

Tadao Ando’s design for Morimoto includes a white fiberglass-canvas ceiling draped throughout the dining room.

In the works for over two years, Morimoto, designed by Osaka-based Tadao Ando and the architect’s first project in New York, opens today, January 31. Located in the building that contains Chelsea Market, between 15th and 16th Streets, Morimoto is located on the Tenth Avenue side of the market, and is on the same block as Buddakan, an Asian fusion restaurant that will open on February 22nd. Both are the brainchild of Philadelphia-based restaurateur Stephen Starr.

“Ando works primarily in concrete and I knew it would be a challenge,” said Starr, who owns more than a dozen restaurants in Philadelphia that have been designed by the likes of India Mahdavi, Karim Rashid, and David Rockwell. “I knew that could be a problem. An all-concrete restaurant is not a place people would want to go. So we sat down and figured out how to make that work,” he said. Morimoto is named after its chef Masaharu Morimoto, known on television as the Iron Chef, from the eponymous series.

Located directly underneath a stretch of the High Line, the exterior of Morimoto is a dark galvanized steel façade, with a gentle rising archway, which frames an orange curtain that leads to the entrance. Budgeted at $12 million, the interior of Morimoto features Ando’s trademark use of concrete, but with softer touches. Inside, he has draped the interior space in swaths of white fiberglass-reinforced canvas, which flows across every inch of the ceiling. Upon entry, dining areas and sushi bar surround a central staircase that leads diners to the bar downstairs. In the floor-opening of the staircase, a dramatic installation of 17,400 water-filled glass bottles are each hung horizontally from the ceiling down to the below-grade level. Each glass bottle is fitted with an LED light that renders the simple installation into a multi-media show.

Since Morimoto was a conversion of a space formerly used as a loading dock, the space required a larger upgrade, architecturally. “At the beginning, it was really hard to see the big picture,” said Stephanie Goto of Manhattan-based Goto Design Group, the local architects. “If you see the space from before now, [Morimoto] looks effortless but there were many things that had to go into putting a kitchen in the basement, and creating openings.” However, “Great architecture goes into making things look effortless.” ANDREW YANG

Morimoto, 88 10th Ave, at 15th Street; (212) 989-8883

@Source:http://www.archpaper.com/news/01_31_06_tadao.html

從生活文化 汲取創作靈感@Thinking

創新，是企業前進的動力，但創新泉源何處尋？不妨探頭望望生活周遭的美麗風景，或從生活文化裡挖寶，你會發現創新元素，原來就「藏」在裡頭。

每年4月，日本京都的櫻花祭，總吸引來大批觀光客，帶來可觀商機。

為了抓住這股商機，京都人把「賞櫻」的生活文化，注入商品，製作出代表櫻花、樹木、土壤的粉紅、綠、咖啡三種顏色漸層的和果子，成為旅人的最佳伴手禮。

猶如仙女棒一揮，原本平淡無奇的商品，「變成一個有故事的商品，感動消費者的五感，也提升商品的價值。」政大科技管理所教授李仁芳說。

風土條件 企業的軟實力

日前，李仁芳應台灣廣告主協會之邀，以「加值型行銷（value up marketing）」為題發表演講。

「風土條件是企業的軟實力！」李仁芳指出，日本人善於運用在地風土文化，從中找到感動消費者的創新元素，用商品說故事給消費大眾聽，藉此為商品價值加值。

日本動畫大師宮崎駿，就是個例子。李仁芳點出一張張日本神社、木造房屋的照片，接著跳到宮崎駿動畫電影「神隱少女」的畫面，聽眾豁然開朗，「原來動畫大師就是從生活周遭的環境，找尋創作靈感。」

此外，不同於一般卡通畫家，每秒只用九張畫稿，宮碕駿每秒用15張畫稿，表現出動畫的細膩度，「這就是在創造所謂的『深度經濟』。」李仁芳說。

然而，這也是長年走代工路線的台灣產業，最不擅長的部分。李仁芳指出，企業的創新可分為降低成本（cost down）及加值（value up）兩種。

加值創新 開發行銷元素

過去，台灣企業著墨於降低成本型創新，擅於重新研發、再包裝既有商品，進行低價競爭，加上少有自發性創新商品，隨著市場競爭日益激烈，只得靠不斷降低成本爭取訂單。

「透過加值型創新生產出來的商品，是不需要競爭的。」李仁芳再舉凌志汽車（LEXUS）為例，說明企業如何從生活文化中尋找創新因子。

「LEXUS最值得注意的地方，是極高速下的穩定與寧靜。」這是美國Road & Track雜誌對LEXUS的評語。「安靜」，也是LEXUS一直強調的商品特色。

LEXUS的最大競爭對手是德國的雙B，但德國的工藝技術舉世聞名，來自日本的LEXUS為何要特別強調「安靜」這個元素？又有何能耐推銷這個賣點？

李仁芳分析，LEXUS的母公司豐田汽車，總部所在地的關西，歷史文化豐饒。「什麼是關西情調？」常去日本的他指出，「安靜」就是當地的生活形態。

李仁芳說，LEXUS從公司的發源地找到「安靜」的創新元素，融入汽車的研發中，並以此做為行銷訴求，當消費者購車時聯想到它的原產地，會打從心裡信任這款車的安靜特色。

回頭看看台灣的情形。李仁芳說：「以台灣人的生活條件，是很有機會從生活文化中，發展加值型創新。」台灣服務業已有不少成功的例子。

有日本友人來訪時，李仁芳總愛招待他們到「食養山房」用餐。優雅的用餐環境、精緻的餐點，讓喜愛精緻餐飲的日本人，也讚不絕口。

他指出，食養山房不以連鎖形態經營大眾市場，堅持在陽明山上，打造獨一無二的品牌，精緻的美食結合山上的美景，讓消費者願意多花一點錢，也是另一種的加值行銷策略。

李仁芳強調，「加值創新不見得要走高貴路線，」例如本土咖啡品牌85度C，主打「平價」即可享受五星級飯店師傅烘培的蛋糕。

近幾年，台灣製造業摩拳擦掌，打算從代工轉型自有品牌，但是「創新」這一課，仍有待學習。

勇於造物 多聽多看多學

「創新的根源，得有『造物』的勇氣。」李仁芳說，台灣的製造業主，有多少人有勇氣，做個不同市場主流的「創新異類」，用自己的眼光設計、研發商品，再推銷到國際舞台？宏達電便是值得學習的對象。

李仁芳形容，1997年成立至今，「宏達電一直在走一條下雪的路」。十年前，當所有的PDA製造商，都採用PALM為PDA內建系統，宏達電選擇微軟的 WINCE系統；當大家都在走代工路線時，宏達電選擇以「創新力」打市場。歷經十年奮鬥，宏達電 如今有「一天賺1億元」的堅強實力。

日本京瓷公司創辦人稻盛和夫提出，「發想力 x 熱情 x 生活方式＝經營者評價」的加值型創新經營公式，就是提醒經營者除了要有發想力、實踐創新的熱情外，還要懂得生活，才會成功。

宏達電執行長周永明，早就以這樣的態度經營企業。李仁芳說，周永明常鼓勵員工「走出去」，多聽、多看、多被外面的世界感動，從中找到創新的靈感，企業才能不斷進步。

台灣的企業經營者，別再把自己困在辦公室裡，試著走出去戶外細細欣賞台灣的美麗風景，從中尋找為商品、也為企業加值的創新力量吧！

@Source: 2008/01/09 經濟日報 ╱林婉翎 http://udn.com/

Fashion@時尚秀場座位學

永遠坐在第一排的名人（像上圖左二的貝嫂就是）、明星、名流、VIP和重要媒體，當然都是秀上另一種重要風景。
圖片提供／LV
Dior在巴黎凡爾賽宮舉行的高級訂製服秀，氣氛奢華，只能容下不超過200個座位，誰坐哪兒，費盡心思都有一定的安排。
圖片提供／Dior
時尚秀超級贏家LV的秀，每一季都吸引全球媒體和VIP專程飛到巴黎觀看。
圖片提供／LV
PRADA別出心裁的秀場布置，以同心圓的環狀設計座次表，引人入勝。
圖片提供／PRADA
開秀之前，忙碌的工作人員正小心「喬」大位，LV簡約的秀場座位，絕非想像中那麼「陽春」。
圖片提供／LV
YSL在巴黎的秀場，布置得一如私人沙龍會所，氣氛優雅。
圖片提供／YSL
料峭春寒的巴黎羅浮宮花園，枯枝打寒顫的2月天，斗大的、雪白的山茶花，漫天蓋地印滿了透明雨棚搭出的秀場。

我怯生生地擠在一堆穿著各式雜色花軟呢香奈兒套裝的貴婦群裡，看著魚貫出場的名模，和大師卡爾拉格斐一塊兒謝幕。

那情景歷歷在目。記不清楚那天我是坐在秀場哪個角落，但那分打心底的涼意，卻不斷提醒自己：有一天，非得坐定那第一排的時尚「寶座」。

入口之後 是天才和偏執迷的異想世界也許此刻，你正坐在巴黎小皇宮、羅浮宮杜樂麗花園的露天棚內、米蘭PRADA的Show room、GUCCI的私人劇院、洛杉磯的停機坪、東京惠比壽公園、柏林美術館、上海影城、北京長城、台北的故宮長廊，還是紐約第五大道Ralph Lauren席設私人別墅的秀場，正坐在某個用考究的古羅馬數字，書寫上你的名字的座位上……但你不會忘記，這是飛了幾十個鐘頭的航程後，才開始的序幕。你一頭栽進倫敦某個超市、東方快車車廂內，或是陰暗淒涼的廢車場裡，就為了等待大秀開鑼。沒錯，這只是一個開始，一個也許擠都擠不進去，看起來五光十色；但背後卻暗藏偏執、阿諛、世故、排擠、卡位和權力爭鬥的時尚世界入口。

TOP 10 中國VOUGE總編在列

「第一排」座上賓，也會風水輪流轉，不過，唯一可以確認的是，中國版VOGUE總編輯安潔莉卡，已自動被所有名牌列入TOP 10秀場大牌的名單上。這是可以「理解」的，誰市場大，誰就擁有敬意。

即使如此，身為時尚公務員的記者，矢志躋身秀場第一排寶座的志願，從來沒有改變過。

秀場座次 決定時尚人怎麼看你這場明爭暗鬥，從秀場「座次」就已經決定了一切。這種糾結著人情、勢利和實力的圈內文化，從來沒有改變過，也不會停止。

每次收到燙金邀請卡的那一剎那起，緊繃、焦慮的氣氛，更助長了一窺秀場的好奇和好勝心。

我的秀場經歷，勉強還算完整。身經不下數百場國內外大小秀，嘗過被拱上夢幻「第一排」的甜頭，也吃過千里迢迢飛了半個地球但仍被拒於門外的排頭。更慘的是，在人生地不熟的秀場外被當成菜鳥，人高馬大的「紅領帶」（多半繫著一條紅領帶的秀場保全人員），一個箭步搶下我的相機，硬要抽掉底片！更別提在又溼又冷的雪地裡，等待在開場前被恩准入場的機會，這一站，就是個把小時。

最沒好氣的是，好不容易進了場，卻被滿坑滿谷的人牆擋住視線，連衣角都沒看清楚，秀就散場了。

中韓請上座 台灣媒體往後退秀場座位，決定了坐在這個位置上的人的「人氣」和媒體影響力。

隨著席次愈來愈多、愈坐愈前排的變化，也反映了名牌對媒體的「西瓜效應」。中國和韓國在精品圈崛起，不過是這幾年的事；而我的座位節節敗退，也成了台灣市場實力消長最好的證明。

每一季的時尚大秀，每場全球幾千人次申請登記，搶不到兩三百個座位。而有了入場票，也不代表你很重要。通常第一排絕對是大人物的專區，愈後排就愈遞減。

對一般人來說，秀場中段位置最理想，靠近攝影師區的前段次之。若是緊挨著秀場出口的位置，模特兒一出場，多半時間看到的都是背影，你覺得會好看嗎？

有的邀請卡上就註明是站票，你也不必太抱怨，想想那些不得其門而入的，不論是邀請卡在寄到旅館中途已被偷了，或是根本沒被放在秀場名單上，第一步，當然還是想法子先擠進場再說！

名模穿幫、名人調情，台上台下加味好料多

「秀」真有那麼好看嗎？

受凍、悶熱的天候下人擠人，15分鐘，屁股還沒坐熱、眼睛瞳孔也還來得及適應秀場強大的投射燈光，還分不清這季衣服重點……如果這樣看，那麼答案當然是「No!」

但從某些角度來看，卻很值得。當黑珍珠娜歐蜜就在你眼前穿幫，琳達在你面上摔了一跤，中田英壽和莎朗史東就在你鄰座眉來眼去；或是美國版VOGUE和法國版ELLE總編緝「后不見后」，都是沒親臨秀場無法體驗的「加演戲碼」。

@ Source: 2008/01/08 聯合報 ╱記者袁青 http://udn.com/

Fashion@T型袖搭短褲 Versace春夏幻影

奧圖曼圖像全以電腦繪成，產生一種奇幻感。
圖／Versace提供


Versace春夏女裝以輕盈柔軟的T型袖搭配線條落在大腿處的短褲，企圖在理性和性感之間取得新的平衡。

不再強調80年代誇大的肩墊，外套也不再是過度顯示權勢的代表。水洗和酵素處理的緞布或輕盈的亞麻布、苧麻布，營造輕柔感。大口袋和逆褶的狩獵外套，薄如紙的袋鼠皮有一種特殊光澤。

T型袖設計的裙或褲裝成為日裝主角。襯衫式外套以小皺褶取代繫帶的緊身褲；翻領襯衫式外套，有凸顯胸型的剪裁效果。卡其、軍綠、橙、桃紅，以及巧克力的棕（不同層次的黑）等。招牌奧圖曼圖像（Ottoman iconography），包括鬱金香、半月形和樹枝和來自Iznik陶器的圖案全以電腦繪成，產生一種奇幻感。

Versace春夏手袋特點是增大容量；除了鱷魚皮、駝鳥皮和蟒蛇皮，選用拉菲亞樹葉纖維等物料結合而成，加上皺摺處理和獨特扣環的細節設計，增添摩登感。鞋款上的流蘇晃動，多少有印度風的影子。

@Source: 2008/01/09 聯合報 http://udn.com/ ╱記者袁青

Fashion@印度時尚 自在性感做衣服的主人

斜肩、披掛是印度風服飾的特色，圖為Dior早春禮服。
圖片提供／Dior
印度風服裝充滿哲理，以圍裹、披掛的穿衣方式，絕不會有「不合身」的問題。
圖片提供／Hermes


金磚四國崛起，印度風迅速在全球延燒，不僅印度菜、瑜伽、印度舞孃的肚皮舞已蔚為時尚，就連服飾也吹起印度風，披披掛掛、圍裹纏繞，還要搭配叮叮咚咚的珠寶配件，讓女人搖曳生姿，舉手投足盡是冶豔風情。

印度服裝，饒富禪意

印度是哲人的孕育地，就連印度風服飾也是饒富哲理。

印度風服裝的特色，不外是披掛、垂墜和圍裹，如此才能利用最簡單的布材、以最少的剪裁呈現印度華服之美。

在印度的穿衣哲學裡，人是衣服的主人，衣服可以隨著主人的身材凹凸曲線而改變，如此就不會有「衣服不合身」的問題。

亞曼尼2008年春夏以南歐的休閒風情與東方調詮釋新裝，就融入不少披掛、圍裹的元素，不對稱的斜肩與裙襬，穿起來寬鬆舒適，但又不減奢華貴氣，正是印度風服飾的特點。

喧鬧，也能優雅

印度風服飾色彩濃豔炫麗，常予人過分喧鬧之感，若搭配不當，容易流於俗氣。想穿出「印度風」的高貴，不妨參考2008年春夏高堤耶 (Jean Paul Gaultier)詮釋的愛馬仕女裝，模特兒頂著穆斯林頭巾優雅走秀，雖是披金戴銀，但以單一色系如粉紅、橘金、亮銀等凸顯尊貴感，斜肩披掛的純絲絲巾隨風飄逸，搭配閃亮炫目的金白，詮釋印度貴族的尊貴優雅。

印度風的嬉皮趣味

印度是宗教哲學起源地之一，靈修興盛，70年代的嬉皮文化就與印度關係密切，寬鬆舒適的Pajama罩衫上精繡金銀絲線，帶有濃郁的中東風情，正是嬉皮族群的最愛，只要搭配牛仔褲或七分褲、頭上再繫上頭巾，就非常時尚。

印度，就是粉紅

印度，就是粉紅！猶記得60年代美國第一夫人賈姬陪同夫婿甘迺迪訪問印度時，就選擇穿上炫麗亮眼的粉紅色套裝，因為印度的色彩濃郁，粉紅、鮮黃、豔桃色都是印度的代表色彩。

本季如Versace、Jil SANDER、Marc Jacobs等，都可見到粉紅色系的禮服，整件披掛身上隨風搖曳生姿，更添異國風情。

此外，印度的刺繡和珠繡也是風格獨具，圖案多以花草居多，構圖一致、有視覺延展的秩序美感，不像中國刺繡是以寫實畫風居多。

知名華裔設計師Andrew Gn就大量運用印度風刺繡，讓服飾更添華麗。浪凡 (LANVIN)也以印度風格的亮片珠繡，詮釋帶濃郁東方風情的奢華。

@Source: 2008/01/09 聯合報 @ http://udn.com/ ╱記者陶福媛

Restaurant@愛樂咖啡 聽音樂裝貴婦

在誠品敦南B2，散發文藝氣息的音樂館和「愛樂咖啡」比鄰而居，步調向來緩慢的莎莎，喜歡和好姊妹到這裡點下午茶套餐，聽迥異於主流市場的音樂。

每周六晚間10時有駐唱歌手彈奏西洋老歌，是愛樂者的集散地，也是好姊妹聊心事的最佳場所。

愛樂咖啡

．地址：台北市敦化南路一段245號B2

．電話：02-2775-5977分機828

．營業時間：周日至周四11:00～24:00，周五、周六11:00～凌晨02:00

@Source: 2008/01/05 聯合報 / 記者李思嫻

Arch@Le Bellechasse, Paris, by Christian Lacroix

Best new Hotel

Le Bellechasse, Paris, by Christian Lacroix

Christian Lacroix's second boutique jewel is a visual interpretation of Paris's seventh arrondissement. The history of the famously literary area has been transformed into a decorative scheme for 34 rooms in two adjoining buildings. Fantastical frescos adorn the walls and ceilings, while simple white fixtures and linens reinforce the contemporary luxury.

@Source: http://www.wallpaper.com/travel/best-new-hotel/2005

Arch@Chichu Art Museum

Wallpaper* Design Awards 2004: Chichu Art Museum,

At first sight Naoshima, an island of natural beauty in Japan’s Inland Sea, is an unlikely place of artistic pilgrimage. It has no bridges to the mainland and can be reached only by boat. It’s more than six hours by a combination of Shinkansen and ferry from Tokyo. But ever since Tadao Ando designed a now celebrated Contemporary Art museum there more than a decade ago, the island has been on the global cultural map. This year Ando added a second museum on the island, providing an even more compelling reason to visit. The Chichu Art museum is built into the headland and barely rises above ground level, so as not to disturb the natural appearance of the site, next to a national park.

The museum contains works by James Turrell and Walter de Maria, as well as a room devoted to Monet’s Water Lilies. With just nine works in total, the Chichu’s is a select but powerful collection.

The concrete corridors that link the galleries, some of them open to the elements, cleave through the hillside so the visitor moves from inside to outside, and the sky and the weather become an integral part of the experience, while the works are bathed in natural light. The overall result is akin to a Bond-movie vision.

The Chichu’s tranquil setting, Ando’s restrained design and the contemplative work it houses couldn’t combine better to encourage the visitor to reflect on the relationship between man and his environment.

Tadao Ando’s concrete apertures allow the works at the semi-subterranean Chichu Art Museum to bask in natural light

Information:

Chichu Art Museum
Naoshima Fukutake Art Museum Foundation
3449-1 Naoshima
Kagawa
Japan
tel: 81.87 892 3755

Website: http://www.chichu.jp

@Source: http://www.wallpaper.com/architecture/best-art-pilgrimage/387
9 December 2004 | Architecture

People@Tadao Ando

The Japanese architect Ando has long been revered at Wallpaper* HQ for his creative use of light and geometric aesthetic. If proof were needed, he is a former nominee in our Design Awards with his exploration of nature and man in the Chichu Art Museum. Hence it seemed only appropriate that we employ Ando’s experimental genius to judge this year’s awards.

Ando’s route into the field of architecture is not what you might expect from one of today’s dominating design forces. He explored unlikely incarnations as a truck driver and boxer before discovering his penchant for architecture. However, after traveling through Africa, Europe and the United States, Ando settled in his native Japan where he began applying his self-taught methods to building designs that have since earned his status as one of the greatest architects of our time.

With no formal training, Ando’s dedication to craftsmanship and signature works in exposed concrete won him the prestigious Pritzker Prize for architecture, as well as scattering the Japanese landscape with his unmistakable designs.

Rejecting the traditional Japanese method of openness, Ando instead creates enclosed spaces whilst employing a creative use of natural light that exist together in splendid contradiction. Inspired by his chaotic Japanese urban environment, his primary impetus is to create spaces where the individual can reflect away from the outside world. From venues of worship such as the Chapel of Contrasts, the Church of the Light in Japan, to Morimoto, the favored eatery of the glitterati in Manhattan’s Meatpacking district, each of his works provides a sense of being at once secluded and connected to nature.

One of Ando’s latest commissions due to open for public viewing later this year is his eagerly anticipated design for the Francois Pinault Foundation for Contemporary Art in Paris: a concrete and glass avant-garde art sanctuary imbued with Ando’s typically empowering and humbling style.

Website : http://www.andotadao.com

@Source : http://www.wallpaper.com/architecture/judges-profiles-tadao-ando/2012
5 January 2008 | Architecture

Fashion@PRADA新經典出現 高菲包業績高飛紅翻天

說到PRADA，妳想到的只有尼龍包嗎？有一款包從2006年秋冬發表以來，明星愛拿、銷售告捷，每一季改版現身都大暢銷，讓它成為尼龍包之後的下一個經典！它就是～高菲包。

高菲包成經典

在PRADA，有所謂的DNA商品，也就是不受季節限制的長賣款，並且每季都會推出新款改版。最為人所知的DNA商品就是尼龍系列（Tessuto），更是許多人購買PRADA的第一首選。不過，這個態勢已經被高菲包（Gauffre Bag）打破！自從2006年秋冬，高菲包創下「推出第一天即被搶購一空」的紀錄後，連續3季都有新款推出，成為PRADA最新的DNA商品，晉身和尼龍系列並立的經典之列。

原創＋實用＝銷售實力派

其實PRADA為了擺脫「尼龍」標籤，早早便於包款上玩花樣，不論是主打明星的話題包、或是訴求一般消費者的實用包，一直都有各式各樣的設計推出，為何高菲包能夠在百花齊放中脫穎而出？高菲包最初推出時，獨特的皺摺設計和其他話題包相較，顯得相當具原創性，加上仿舊脫色效果的上色法，在在讓人耳目一新；且實用的大尺寸設計，更是具有市場銷售實力。

好萊塢明星推波助瀾

除了實力堅強，高菲包的強力行銷手法，更是讓人無法忽視它的存在。甫一推出，就看到瑪丹娜（Madonna）背著它趴趴走的照片到處放送，隨後一票好萊塢明如星畢昂絲（Beyonce）、黛咪摩兒（Demi Moore）、維多莉亞貝克漢（Victoria Beckham）、荷莉貝瑞（Halle Berry）、潘妮洛普（Penelope Cruz）、麗芙泰勒（Liv Tyler）等不下數十人，都被拍到背著高菲包出門，明星效應的推波助瀾之下，想要不紅也難。

手工打造完美皺摺

高菲包最大的特色便是層層的皺摺效果，要做出自然且不變形的皺摺效果，必須以全程以手工製成，且工序相當複雜。首先要將小羊皮內襯鋪棉，再以橡皮筋綑綁並分段車縫，第一代高菲包還需手工噴色，做出仿舊效果。新的秋冬版高菲包則沒有漸層色澤，復古包型搭配小羊皮的柔軟質感，呈現另一種復古優雅味道。

尼龍VS.皮革 各有千秋

由於高菲包是所謂的DNA商品，所以販售時間不受季節限制，款式也是隨時推陳出新。目前高菲家族的基本款為小羊皮、尼龍兩種材質，偶爾會有蛇皮、漆皮、金屬色皮革等變化款，如果預算是妳的考量，不妨從尼龍材質入手，價格約在5萬元左右，比皮革款便宜了近2萬元，且材質辨識度高，又很輕巧耐用；但如果妳想要體驗細膩小羊皮製成柔軟皺摺的豐盈手感，就非得從皮革款開始選購了。

@Source: BRAND名牌誌2007年12月號

Fashion@衛道人士勿闖 浪蕩男女的性感派對 DOLCE&GABBANA

Designers Portrait (Photographer Mariano Vivanco) Domenico Dolce與Stefano Gabbana兩人良好的分工是品牌成功的關鍵。

以性感為訴求的品牌何其多，卻沒有像DOLCE&GABBANA說得這麼直接而露骨，貼合曲線表現胴體的設計，直指出性的原始慾望，讓人聯想起一場肉體的、感官的、歡愉的性愛遊戲。

自從有了DOLCE&GABBANA，世人開始認識一種截然不同的義式女人味，說得更精確些，是一種來自西西里島的南義作風，充滿著熱情、狂放的華麗性感，誘惑著普天下不吝表現身體魅力的感官男女。

DOLCE&GABBANA品牌的誕生，來自於雙人設計師Domenico Dolce與Stefano Gabbana的組合，是事業伙伴更曾是感情伴侶的他們，在攜手共同創立品牌前，其實是走著全然不同的人生道路。出生在西西里島海邊的Dolce，有著天生的浪漫性格，雖沒有受過正統服裝訓練，但從小跟在裁縫師父親身邊選布學裁縫，打下紮實的服裝基礎，主導著品牌的設計大權。而來自時尚重鎮米蘭的Gabbana，雖然受過專業設計訓練，但理性的他更清楚自己的長處在行銷，所以樂得扮演幕後的操盤推手，就在這樣性格與專才的互補下，兩人一拍即合，造就出品牌的誕生與成功，他們曾說：「少了任何一方，DOLCE&GABBANA就無法成為DOLCE&GABBANA。」

在結實肌肉的俊美男模，與呼之欲出的女體背後，DOLCE&GABBANA展現了一種南義大利式西西里島風情，出身自西西里島的Dolce曾說：「這個世界上，最令我醉心的是西西里島的海邊。」而主導整個品牌設計的他，也把南義的奔放熱情與特殊風情投射在作品中，成為品牌最獨特的風格標誌，因此天主教婦女身上經常出現的黑色成為品牌最主要的用色，聖母瑪利亞等天主教圖像與宗教色彩也轉換為各種表現圖案，另外，義大利女人喜歡強調曲線的穿著與講究飾品的特色，也都被DOLCE&GABBANA拿來大肆做文章，使得內衣式剪裁成為品牌最典型的設計，也造就出DOLCE&GABBANA一貫豐富而華麗的配件。

如果說Dolce的性感設計奠定了成功基礎，那麼Gabbana懂得吸引媒體的操作，更是將品牌推向成功高峰的關鍵，為瑪丹娜與凱莉米洛設計演唱會服裝曾引來一陣話題，但鋒頭卻遠不及以性為主題，遊走在道德尺度邊緣的每季平面廣告。不過，若要說到搏版面，什麼也比不上DOLCE&GABBANA的兩位設計師本人，自2005年春夏服裝秀開始前的分手傳聞，一連串如肥皂劇般的分分合合情節，連番搶佔新聞版面，聲勢直逼好萊塢明星。

@Source: BRAND名牌誌2007年12月號

Travel@昆士蘭 時尚渡假新風貌

布里斯本與黃金海岸的精品旅館、時尚美食、浪漫渡假和精彩夜生活，等著時尚的妳來這裡盡情享受！

說到澳洲昆士蘭，妳腦中浮現的第一個印象是什麼？無尾熊、袋鼠、大堡礁、熱帶雨林、陽光……這些都沒錯，昆士蘭確實有令人讚嘆的自然美景、野生動物以及好得沒話說的天氣。除此之外，澳洲昆士蘭更是個非常年輕有活力的地方！布里斯本與黃金海岸兩大區這幾年快速發展，精品旅館、時尚美食、浪漫渡假和精彩夜生活也等著妳來這裡盡情享受，顛覆妳對澳洲的既有印象！

時尚美食

◆神秘創意的完美呈現 Absynthe

位於才開幕半年的世界最高住宅大樓Q1一樓，Absynthe是黃金海岸的美食新地標。Absynthe由法國米其林二星主廚Meyjitte Boughenout和他的澳洲妻子Debbie一手打造。餐廳空間營造出一種摩登時尚又溫暖隨性的氛圍，每桌可以自由調整燈光的亮度，在夜裡更像是個私密的Lounge bar；一走進餐廳，右方一整面牆約七百瓶的酒，前方的吧台上有個從法國運來的苦艾酒酒器，吧台後方便是開放式廚房，讓人一窺Meyjitte對待食物的溫柔、細膩、熱情和創意。 Absynthe 的Degustation menu名為“A Journey into Taste”，讓人充滿驚喜與感動！曾與世界各地米其林三星主廚共事、凡事要求完美的Meyjitte，他的創意美食是一種想像不出的好味道，讓人心蕩神馳。餐廳名為“Absynthe”，也就是苦艾酒，20 世紀初在巴黎許多藝術家因苦艾酒得到靈感，也因之瘋狂，因此苦艾酒曾被禁了將近一個世紀。Meyjitte選擇這個神秘、成分複雜、帶有一抹傳奇色彩及故事的酒，來作為餐廳的象徵。和苦艾酒一樣，Absynthe餐廳讓人一不小心就上了癮。

◆熱帶雨林裡的Songbirds

一來到位於Tamborine山上的Songbirds in the Forest Restaurant and Rainforest Retreat，就被山林間的靈氣和禪意撫平了身心。走進門口的藝術精品區，來到半戶外的Songbirds餐廳，更是感受到當自然、設計、藝術、時尚與美食結合在一起的時候，是多麼的和諧美妙！ Songbirds餐廳位在一大片綠意盎然的樹林裡，以強烈的紅、白色帆布交錯搭起遮蔽，聽著樹上澳洲小鸚鵡的叫聲，品嚐以當季新鮮有機食材料理而成的佳餚，身心靈都得到了伸展與滿足。Songbirds於2004年開幕至今，獲獎無數，主廚Philip Edwards曾在六星級的Versace精品旅館工作，但他更愛在私密氣氛下，以新鮮簡單的材料來刺激味蕾。Songbirds佔地五十英畝，還有六間精緻又浪漫的渡假木屋。來到Songbirds，彷若置身世外桃源。

◆都會嬉皮個性美味Gunshop

沒錯，Gunshop cafe以前就是間Gunshop。位於布里斯本West End的這間槍店，在廢棄了八個月之後，Christensen Matt和Justine Whelan決定將這棟很美的舊建築改裝成一家餐廳，延續Gunshop的生命。他們保留了這棟舊建築的原始風貌，整面的磚牆透露著歷史痕跡，但是食物及食客為這裡注入了生氣和活力！ 一踏進Gunshop，就感受到cafe裡洋溢著一種親密又歡樂的氣氛。餐廳雖然不大，服務生卻隨著音樂靈巧穿梭轉身，送上一道道令人大快朵頤的美味以及打從心裡讓人甜滋滋的幸福甜點。這裡的早餐和早午餐是許多熟客的最愛，開店四年半至今，老闆說這裡也發生了許多故事，熟客在這裡邂逅、相戀、結婚……Gunshop是布里斯本年輕都會嬉皮喜歡流連的餐廳，他們將之當作家的延伸，這裡絕對是一個讓人輕鬆自在享受美食以及與人敞心交流的溫暖所在。

◆甜點+花+藝廊 Freestyle
半圓形的透明玻璃窗，室內正中央懸吊著一大盆花，並展出每月當地藝術家的作品，櫃台前放置的則是令人心動的甜點……任何時候，當妳逛街逛得有點累了、或是剛用完餐，來到位於Fortitude Valley的Freestyle享用甜點，當妳走出Freestyle，一定會帶著心滿意足的微笑！

精品住宿

◆凡賽斯宮殿飯店

這間六星級Versace精品旅館，外觀有如古羅馬時代宮殿。這個世界第一座的凡賽斯飯店精準保留凡賽斯的時尚氛圍與精緻生活，處處可見美杜莎魔女頭以及Greek Key的經典圖案。大廳的百年水晶燈、價值千萬澳幣的義大利大理石地、高聳的羅馬式廊柱……凡賽斯的奢華、氣質、高貴、華麗令人感到自己猶如王妃般備受寵愛。

◆世界最高精品公寓

目前這棟全世界最高住宅大樓Q1是黃金海岸最熱門的景點，77樓高的觀景台將黃金海岸線360度飽覽無遺。Q1是由設計著名凡賽斯飯店的SUNLANDGROUP公司設計及施工，早在規劃期就已眾所矚目，於去年底開幕。公寓分成單人、雙人、三人房，可供出租並提供旅館客房服務，並設有Spa。室內空間設計極簡、現代，寬敞的空間、美麗的海景，一切如夢似幻，卻又給人一種舒適的家的感覺。可容納140個賓客的78樓Skylight Room可以為妳一圓浪漫的高樓婚禮夢想。

◆神仙灣渡假村 Hyatt Sanctuary Cove
神仙灣渡假村位於黃金海岸北邊，氣候甚佳，每年有上千人移民至此。這個高級別墅區遍佈著高爾夫球場以及私人遊艇。Hyatt Sanctuary Cove座落於此，擁有247間豪華客房，每一個房間都擁有私人的陽台，面對潔白沙灘、蔚藍海洋，或高爾夫球場。許多澳洲人週末也會特別到此渡假，消磨悠閒時光，快樂似神仙。

浪漫假期

◆打造完美浪漫婚禮 Avica

AVICA Weddings & Resort是一個全方位的婚禮中心。從事先規劃、婚紗挑選、婚前保養、到婚禮的規劃進行、蜜月套房……所有結婚繁複的細節通通交給AVICA，只要把浪漫的感覺和回憶留下來就可以了！這就是為什麼有這麼多日本人大老遠跑來AVICA舉辦婚禮的原因。在Avica這個優美浪漫、綠草如蔭的場地，婚禮可以在溫馨小教堂或是在滿是花香的花園中進行。復古馬車迎接宛如公主的新娘……來到澳洲的Avica，結婚、渡蜜月可以一次搞定！

◆美酒佳餚醉人 Sirromet

青蔥翠綠的葡萄林巒繞山坡，延伸可望見遠方的Moreton Bay以及 Stradbroke Island，Sirromet水光山色的優美環境已經令人陶醉。營運至今才五年的Sirromet，是昆士蘭獲獎最多、最大的釀酒場，他們的《The Perfect Day》、《Vineyard Selection》、《Seven Scenes》系列都深受好評。附設的Restaurent Lureen's也獲得全澳最佳釀酒餐廳獎。Sirromet除了一流的美酒之外，還舉辦Winemakers Dinner、 Long Lunch、 Gourmet Club 、Wine and Food Festival等盛宴活動。每逢週日在酒窖門市還有現場音樂演出，醉人美酒、美食、美景與音樂，輕鬆度過一段浪漫時光。

@Source: ELLE 2006年7月號

Travel@與天堂媲美 蘇州

離開喧鬧的上海愈遠，愈能感受蘇州秀美典雅的魅力。一路上只見水澤越來越多，粉牆黛瓦的蘇式樣建築或零散、或成群散佈其中，安靜、祥和卻不冷清，還有一股豐饒但不招搖的滿足。

每次出門旅行，我都習慣帶一本書趁旅途中的空檔閱讀。飛蘇州之前，我就一直思量，該選哪一本書，才能讓這一趟蘇州之旅更加出色？最後，我挑了高陽的《茂陵秋》。這本書是《紅樓夢斷》系列小說的其中一部，講的是曹雪芹的舅公、康熙年間蘇州織造李煦的故事。書裡頭提到了不少織造府的精緻佳餚，孫春陽、陸稿荐等仍舊「存活」至今的當地名店，當然還有名勝古蹟和人文風情，非常引人入勝。之前看小說時便一直想像，一個可媲美天堂的地方到底美到什麼程度？待真正身在蘇州的時候，方才領略其中一二。

千年歷史與現代並存不悖

一落地，便從上海機場驅車直奔蘇州。離開喧鬧的上海愈遠，愈能感受蘇州秀美典雅的魅力。一路上只見水澤越來越多，粉牆黛瓦的蘇式樣建築或零散、或成群散佈其中，安靜、祥和卻不冷清，還有一股豐饒但不招搖的滿足。蘇州建城於西元前514年，吳王夫差的父親闔閭命伍子胥建闔閭城，至隋朝始稱蘇州。雖然歷史悠久，但蘇州的變遷並不大，依舊水陸並行、河街相鄰，古城區至今仍座落原址上，世所罕見。

抵達蘇州亞致精品酒店Hotel One已近傍晚。飯店的房間和台中Hotel One幾乎一樣，但可能因為已是第2間Hotel One的關係，所以感覺更加成熟精緻，屬於自己的風格也越來越明顯：每間客房均配備了37吋液晶電視、5聲道DVD家庭劇院、囊括各種連接埠的超大workstation等等，從Lobby到客房浴室的設計都非常時尚前衛。餐廳的菜色融合了亞洲各國的精華料理，大廳旁的lounge則是蘇州第一家，還有法籍DJ駐店，非常合乎現代觀光客和商務客的需求。

跟隨騷人墨客的足跡

到了蘇州，當然不能錯過甲天下的園林勝景，中國四大名園中的拙政園、留園都在蘇州。「春夏秋冬皆有景，陰晴雨雪都成趣」真的一語道盡名園魅力，一個小巧的園子，就是山川美景的縮影；而且，稍微換個角度，呈現眼前的竟是另一副圖畫！可惜時間短暫，只能走馬看花。不過，我倒是真正聽到了「吳儂軟語」──和上海話有點像，可是柔和、斯文多了。

貝聿銘設計的蘇州博物館、以及太平天國忠王李秀成的忠王府也是必遊之地。博物館採江南園林概念設計，呈現的卻是現代建築的風貌，但最神奇的是，與週遭的古老建築完全合而為一，絲毫不顯突兀。博物館內的陳列品就有點一般了；畢竟，見過台北故宮博物院的珍藏，此處的東西相較之下普通許多。寒山寺也是每個遊客一定會去的地方，但就像許多歐洲的古老教堂，建築本身並無特殊之處，迷人的是一個個縈繞其中的歷史故事。蘇州，是一個我願意再一次細品的地方。

@Source: ELLE 2007年7月號

Arch@在東京，過個藝術味的耶誕

秋冬的東京，大大小小的藝文活動正在城市的各地熱烈地進行著。小至社區的藝術季、住宅區商店街的爵士音樂祭，大至日本時尚周（Japan Fashion Week）、青山藝術季、東京電影節、東京設計師周（Tokyo Designer's Week）等等，都為這個都市叢林增添幾分活力，也為生活步調繁忙的東京人帶來新的刺激。集結了名設計師建築的六本木，也與美術館林的的上野並駕齊驅，成為東京新的藝術中心。

六本木是東京的高級地段，從2003年 Roppongi Hills 建設完成以來，帶動了周邊的發展，使原本就有繁華街之稱的六本木被媒體炒得沸沸揚揚。從今年上半年開始，隨著名建築師黑川紀章設計的國立新美術館落成，Tokyo Midtown（安藤忠雄大師設計的21_21Design Sight 藝廊和三得利美術館的所在地）的開幕，為原有紙醉金迷的六本木帶來了一批熱愛藝術的族群，舉辦藝術活動，也有各式各樣設計感十足的擺設和裝置藝術。

位於 Roppongi Hills 的森美術館和國立新美術館、三得利美術館和21_21 Design sight，在地理位置上形成一個三角形，三處移動相互移動的時間也只需15分鐘左右，因此「六本木藝術金三角」（Roppongi Art Triangle）的美稱漸漸形成。新的藝術元素、結合原本的高級購物中心，不論是想滿足口腹之慾或想追求感官上的心曠神怡，集時尚、電影、藝術、設計、美食、庭園綠地於一處的六本木，已被日本媒體譽為必訪的熱門景點。不久前建築師黑川紀章辭世，令日本建築界為大師的猝然凋零感到惋惜，但他生前最後的巨作─國立新美術館，將因「六本木藝術金三角」的人氣度，永遠被藝術愛好者所歌詠。

沉浸於藝術的洗禮之後，不妨到魚料理店「鈴波」享受烤魚定食。用味淋粕漬的魚肉鮮嫩甜美，配上新瀉產的香 Q 米飯，丹波黑豆和一杯煎茶，讓人身心靈都能得到撫慰。而位於國立新美術館3樓，擁有米其林三星加持的法國料理餐廳 BRASSERIE PAUL BOCUSE Le Mus，秉持著料理也是一門藝術的經營理念，要大家用味蕾品嘗藝術。

森美術館：Roppongi Crossing 2007：Future Beats in Japanese Contemporary Art－日本的當代藝術展，將展出36組日本當代藝術家的作品，包括畫作、雕刻、攝影、影像、漫畫、電玩遊戲設計等。即日起至2008年1月14日。

21_21Design Sight：「Water」展－將無色無形無味的水，化成可視的設計，企圖營造出人與水的接點，希望讓大家思考人與水的關係。即日起至2008年1月14日。



（國立新美術館，東京都港區六本木7-22-2；Roppongi Hills，東京都港區六本木6-10-1；森美術館，東京都港區六本木6丁目；Tokyo Midtown，東京都港區赤 9-7-1；三得利美術館，東京都港區元赤坡1-2-3）

@Source: 美麗佳人雜誌2007年十二月號

Restaurant@The art of eating

The dining room at The Morgan Library

The bar room at The Modern.

Dining room at Cafe Sabarsky.

Dining room at The Modern.

Dessert at The Modern.

Bacon and cheese gallette at The Modern.

Dinner at The Modern.

Pancakes with lemon and mascarpone at The Modern.

Scallops and cucumbers at The Modern.

An artful presentation at The Garden Court, at the Asia Society.

The Garden Court, at the Asia Society.

Reubens and fine dining rarely go together. However, that's set to change as several of the City's best art museums are starting to double as premiere dining spots. amNewYork has rounded up a few choice museum-restaurants where you can definitely find some artful fare.

The Morgan at the Morgan Library Eat like a robber-baron in the same dining room where Pierpont Morgan once menaced a dining staff with his insatiable appetite. Located in Morgan's restored 19th-century brownstone, this cuisine is a beacon of free enterprise. Just consider the brunch showstopper of lemon mascarpone-stuffed French toast with blueberry compote, as well as a dinner menu inspired by the exhibition "Painted with Words: Vincent Van Gogh's Letters to Émile Bernard," where a pleasing Dutch tasting plate awaits. In need of a quick nosh? The glass-enclosed, central court Café serves up deviled eggs, tea sandwiches, and Dutch patat met (french fries with mayonnaise). (225 Madison Ave.; 212-683-2130; Entrees, $19-$28)

Café Sabarsky at Neue Gallery Only slightly more seductive than the kohl-eyed femme fatales who roam Café Sabarsky's evening cabarets are the decadent kaffehaus classics of bratwurst, spätzle, and strudels. Providing polished, old world service amidst glossy period pieces, Café Sabarsky is the culinary expression of Neue Gallery's focus on the art of the Austro-German art of the early 20th century. (1048 5th Ave.; 212-288-0665; Entrees,$12-$27)
The Modern at the Museum of Modern Art Take a step away from the Picassos and Chagalls to walk down the white corridor to the Modern. Featuring Franco-American seasonal menus, the Modern is two restaurants in one. The bar room features snappy, casual fare like beer-braised pork belly with sauerkraut and ginger jus. The formal dining room serves up a luxe full-course menu and innovative dishes, such as the beet-root risotto with gold leaf and spicy diver scallop tartare. (9 W. 53rd St.; 212-333-1220; Entrees, $26-$45) .

Sarabeth's at the Whitney Museum of American Art Two of New York City's most important authorities on good taste have successfully co-existed, for almost 17 years, despite being the ultimate odd couple. The razor-sharp Whitney and down-home eatery, Sarabeth's, share little other than the same roof. Enjoy a bowl of Sarabeth's Velvety Cream of Tomato Soup or a slice of Chicken Pot Pie. Who's to say what's art, anyway? (945 Madison Ave.; 212-570-3670; Entrees, $13.75-$15)

The Garden Court Café at the Asia Society Find an elegant spot to sun yourself, in the glass-enclosed Garden Court Café, amidst flowering vines and floating art installations (when it re-opens January 8th after a brief winter holiday). The Asia Society is the local arbiter of Asian Culture and provides exquisite examples of art, culture, and authentic eats. They serve savory Indian Pancakes to Thai Coffee Cardamom Tiramisu with Coffee Anglaise. Their selection of long leaf loose teas and imported beer is worth a stopover. (725 Park Ave.; 212-570-5202; Entrees, $14-$21)

@ source: http://www.amny.com/ By Nicole Zerillo